DEREK CHAUVIN GUILTY OF ALL THREE CHARGES, SECOND DEGREE MURDER, THIRD DEGREE MURDER, AND SECOND DEGREE MANSLAUGHTER
I actually want all of these things.
Reliable public transit. Fast passenger rail on more routes.
Genuinely walkable cities and neighborhoods. Sidewalks that connect to each other. Freaking pedestrian bridges which America has an odd allergy to.
And also self driving cars for those places where public transit isn’t efficient because of low population density, and for disabled people for whom taking public transit, no matter how well designed, is a chore at best and impossible at worst.
This is not a zero-sum game.
ALL of the above, please.
boromir had so much love in his heart. so much love. the ultimate corrupting influence in the world saw him and it could only use his love for his people against him, and he wanted to help people so much, he loved his country, he loved his brother, he loved the hobbits…..fuck….he worked so hard…..i just need a second fuck
Please stop breeding :) faces, they might be cute but they have trouble breathing. Please consider the :-) breed or the :^) breed instead. They have the same temperament as the :) breed but with none of the breathing problems.
Every time I see this I get the inability to read past “please stop breeding :)” and recoil a little bit in the shock from that
My dad was eating pistachios so I reached my hand out and he just started peeling them and giving them to me. Then suddenly went “I really hope you find someone who loves you a lot” and I went “enough to peel my pistachios for me?” And he laughed and said “yeah exactly” before carrying on giving me more
Your daughters do not exist to give you grandchildren
Or domestic labour by the age of 7
And they’re not a mini-mom for their siblings either
Your daughters are not dolls
I’m non binary but as a AFAB, this hit hard. Especially with my current irl life
good morning to bitches that cant regulate their body temperature, people who r perpetually falling asleep, mfs with brain fog, ppl who can’t sleep due to pain, ppl who have to take laxatives/other stomach help, and other chronically ill ppl ❤️💜💙💝💗💞💖💘💖❤️ To the rest of yall… good morning I guess
Hey should I call in sick tomorrow so I don’t have to do the super awkward team building exercises?
This is my favorite celebrity headline of today
John Mulaney voice: It was even weirder, though, when I went out for the night with some money, black out, and wake up with more money, because that means that I earned money. That means that I traded goods and/or services. Which is scary.
Why is Marvel like this?
So I’m not the only person who finds this really creepy right?
No, no you are not
…so it was that bad
Well, that sure explains a lot!
Back in the old days, Kenneth Branagh actually involved Tom in the process of creating Loki. He asked Tom for all the aspects that he’d wish to explore. Tom kept a scrapbook where he wrote down all his ideas. The actors of Thor met to discuss the dynamics between the characters. That’s when Tom and Rene Russo came up with the backstory of Frigga being the one who taught Loki magic, and decided that they would share a tic. After filming Thor, Tom met Joss Whedon and they spent a whole afternoon discussing Loki, and what happened to him after his suicide attempt.
And now, actors have no idea what’s going on when they’re filming and reciting their lines. It’s no wonder the films feel so soulless. It looks like Marvel completely missed the fact that Loki became so popular because the guy who played him always knew what the character was feeling and how he would be moving.
Friendly reminder that Joss Whedon sent Tom Hiddleston the entire Avengers script and Tom read the entire thing and loved it so much that he sent a gushing email back to Joss, thanking him for writing Loki as such an emotionally complex, layered character.
Just compare that level of artistic integrity and caring about the characters and the plot to the most recent shit show of the actors not even knowing what fucking movie they’re filming.
Funny thing - if your actor doesn’t know what movie they’re filming or the role they have in the plot, then their agent can’t properly negotiate for the pay they deserve for their work.
This is a rampant issue with voice acting too.
Some people can lift 200 pounds. But if they carried it everywhere they went for an entire day without ever putting it down, they’d severely tear their muscles and cause permanent damage to their body.
Some people can enter a 140° car in the summer to get something out of the car. But if they stayed in the car, they’d die from the heat.
Some people can hold their breath underwater for 30 seconds. But if they tried to go scuba diving without the necessary gear, they’d drown.
Clearly, someone doing something for a short period of time does not automatically mean that they can do it indefinitely with no problem.
So why do people assume that if someone can walk for a few seconds, they don’t need a wheelchair?
Divergent is a bad book, but its accidental brilliance is that it completely mauled the YA dystopian genre by stripping it down to its barest bones for maximum marketability, utterly destroying the chances of YA dystopian literature’s long-term survival
Sure. Imagine that you need to make a book, and this book needs to be successful. This book needs to be the perfect Marketable YA Dystopian.
So you build your protagonist. She has no personality traits beyond being decently strong-willed, so that her quirks and interesting traits absolutely can’t get in the way of the audience’s projection onto her. She is dainty, birdlike, beautiful despite her protestations that she is ugly–yet she can still hold her own against significantly taller and stronger combatants. She is the perfect mask for the bashful, insecure tweens you are marketing to to wear while they read.
You think, as you draft your novel, that you need to add something that appeals to the basest nature of teenagers, something this government does that will be perversely appealing to them. The Hunger Games’ titular games were the main draw of the books, despite the hatred its characters hold for the event. So the government forces everyone into Harry Potter houses.
So the government makes everyone choose their faction, their single personality trait. Teenagers and tweens are basic–they likely identify by one distinct personality trait or career aspiration, and they’ll thus be enchanted by this system. For years, Tumblr and Twitter bios will include Erudite or Dauntless alongside Aquarius and Ravenclaw and INTJ. Congratulations, you just made having more than one personality trait anathema to your worldbuilding.
Your readers and thus your protagonist are naturally drawn to the faction that you have made RIDICULOUSLY cooler and better than the others: Dauntless. The faction where they play dangerous games of Capture the Flag and don’t work and act remarkably like teenagers with a budget. You add an attractive, tall man to help and hinder the protagonist. He is brooding and handsome; he doesn’t need to be anything else.
The villains appear soon afterward. They are your tried and true dystopian government: polished, sleek, intelligent, headed by a woman for some reason. They fight the protagonists, they carry out their evil, Machiavellian, stupid plan. You finish the novel with duct tape and fanservice, action sequences and skin and just enough glue and spit to seal the terrible, hollow world you have made shut just long enough to put it on the shelf.
And you have just destroyed YA dystopian literature. Because you have boiled it down to its bare essentials. A sleek, futuristic government borrowing its aesthetic from modern minimalism and wealth forces the population to participate in a perversely cool-to-read-about system like the Hunger Games or the factions, and one brave, slender, pretty, hollow main character is the only one brave–no, special enough to stand against it.
And by making this bare-bones world, crafted for maximum marketability, you expose yourself and every other YA dystopian writer as a lazy worldbuilder driven too far by the “rule of cool” and the formulas of other, better dystopian books before yours. In the following five years, you watch in real time as the dystopian genre crumbles under your feet, as the movies made based on your successful (but later widely-panned and mocked) books slowly regress to video-only releases, as fewer and fewer releases try to do what you did. And maybe you realize what you’ve done.
one quibble: hunger games was intense and sincere and the writer had worked for tv and knew exactly what she was talking about when she wrote how media machines create golden idols out of abused kids and then leave the actual people inside their glamorous shells to rot. hunger games had a genuine core of righteous anger that resonated with a lot of people. the hunger games was genuinely angry about shit that is genuinely wrong.
but divergent was clumsy make-believe the whole way through. it aped the forms and functions of dystopian lit but the writer didn’t actually have any real, passionate, sincere anger to put on the page. she didn’t know what it was talking about, so she didn’t have anything worth listening to.
there’s a difference between anti-authoritarianism as a disaffected, cynical pose and anti-authoritarianism as a rallying cry by people who believe in a bitter world. and the former is something corporations and industries and publishing houses are so much more comfortable with. so divergent and the flood of books published and marketed alongide and after it showed how the dystopian genre was no longer truly revolutionary, no longer a sincere condemnation of corporate oligarchies. the mass-market dystopian genre was now nothing more than an insincere playspace for people who were writing dystopia as a safely distant, abstract make-believe stage for their pretty girl heroes, rather than a direct allegory for everything that needs to be torn down in this world today.
This is the second branch of this post I’ve reblogged and like the fourth I’ve seen and I’m just thinking about how the Uglies series, a pre-Hunger Games forerunner of the YA Dystopia boom, had significantly less staying power than it could have specifically because…with the toxic beauty standards forced on teenagers being a Big Theme, studios couldn’t figure out how to make a profitable movie out of it. The book got optioned multiple times, but a film version made in Hollywood was destined to fall apart at casting & makeup - their marketing methods relied on exactly what the series was criticizing, which is…part of what made it so popular with teenage girls to begin with.
You contrast that with how the marketing for the Hunger Games films directly contradicts the messaging of the text, and how Divergent seems ready-made for the big screen, and it becomes really apparent why the genre folded in on itself. Capitalism tried to recuperate dystopian fiction criticizing capitalism, and in doing so, butchered the genre.
There’s also something rattling around my brain about a correlation between how made-for-screen a dystopian book is and how much it Doesn’t Understand Dystopia, with the culmination being Ready Player One, a piece set in a dystopia that somehow still actively glorifies capitalism & that was literally optioned for film before the book was published, but I don’t…know how to expand on that point.
gays be like “omg how do you know what models of car are” when literally every car in the world has their make and model plastered right on to it
Uber: “I am arriving in a grey honda civic”
Gays: “Omg what the fuck how do I tell what that is”
The literal back of the fucking car:
“memorize the differences between these you stupid fruit”
new tag game: try to name these
gays it’s not that hard 🙄
Yesterday I confused a friend because I called him sir and he was like ??? why are you calling me sir we’re friends? And i had to explain that sir is not a word its a feeling. my mac shutting down for no reason is sir. My cat is sir. My pair of jeans is sir. An email that finds me unwell is sir. Two bugs outside my window are sirs.
- sir please stop eating plastic
- sir do you really have to do this right now
- sir *intense stare*
- my good sir stop that right now
- sir why are you just standing in the way
- (warningly) sir…
- please listen to me sir
- (tiredly) sir please.
Honestly the whiplash of seeing the beginning of “do you love the color of the sky” and absolutely flinging yourself further down the dashboard at light speed to scroll past it, only to discover that it’s the shortened version and you now have to gingerly scroll back up to the posts you missed? Arguably a funnier prank than the original
it’s like I DO want to be feminine in the way a man is feminine. if I’m performing feminity I don’t want it to be read as an inherent reflection of my gender and who I am. I don’t want someone to call me ma’am or be called a girl. like. it’s drag. only it can’t be drag for me, because it’s not actually subverting anything, is it? so I’m in this spot where I either cannot allow myself any femininity or I do and accept the consequences of perception. my wearing eyeliner isn’t a subversion, a quiet rebellion, it’s perceived as fulfilling an expectation. somehow I can never be masc enough to be percieved as I want to be, so any introduction of femininity feels like a defeat. and yet sometimes I want to wear the pretty things that are still in my closet! or play around with makeup. but it isn’t a young boy getting into his mother’s vanity and heels, it’s growing up into the fulfillment of the wants of the mother and the rest of society as a blank whole.
gender goals: a boyfriend who looks like a girlfriend that you had in february of last year
Burnout is honestly such a mild word for what people use it to mean. I’m not experiencing “burnout”, which sounds so casual and routine that some face masks and a little rest is going to fix it.
My body and mind and even nervous system are stretched to the point that it’s going to take a lot more than just a “break” or a few self care tips to recover, and even then, my recovery is just so that I can reenter the spaces that contributed to me being this way in the first place. I’m a little bit more than just burnt out by this.
Workplaces and educational institutions aggressively overwork us, expose us to all kinds of discrimination, which they overlook and gaslight us out of acknowledging, and then constantly ask us to ignore our mental, emotional, and physical needs so that we don’t inconvenience them.
We’re not burnt out. We’re borderline traumatized. Burnout is always talked about like something transient and mild that a little rest and relaxation will fix.
But we’re exhausted. We need deep rest and healing. We need new systems. We need new ways of being. The language around burnout just seems like a way of upholding these current violent systems and downplaying their impacts.
- this is too much text i didn’t read any of these
- i’m not american
- i’ve never heard of any of these things
- i don’t main anything in mario kart, i’ve played it maybe one time ever
- i’m older than 16
- i don’t recognise any of these people
I feel like an important message is trying to be communicated to me but I have no idea what it is
Our forests are being cut down 3x faster than they can grow! One acre of hemp produces as much cellulose fiber pulp as 4.1 acres of trees!!! This is super useful for so many things, especially paper production! In addition, hemp takes in carbon dioxide 4x as fast as trees do, which makes it especially valuable in the act of reducing CO2 emissions/greenhouse gases! 🌲🌲🌲 source
#the scope of the anti-hemp conspiracy in the united states is terrifying once you start doing research tbh#like it was initially smeared/banned bc lumber lobbyists pushed for it to be…#and a major smear tactic was to associate it with black people#who now a hundred years later are the ones primarily being imprisoned for it#and the plant itself has now been inextricably linked to the drug so people won’t even allow for it to be grown for commercial purposes#like paper making (via literallyfuckeveryone)
Important reminder that industrial hemp can’t be used as a recreational drug, so if anyone tries to pull that card you can just stop them then and there. There are no real arguments against using industrial hemp, even if you’re rigidly against the legalization of any recreational drugs.
Not to get emo on main but you ever think about how the troop sang about their dreams of finding “a girl worth fighting for”, and they think their girl worth fighting for is one of romance, but the song abruptly comes to a halt when they find a different girl worth fighting for.
A tiny girl that had been killed at the hands of the Huns. A child too weak, too small to have any chance of withstanding the murderous invaders. That is their girl worth fighting for.
This is fucking horrific
It’s also worth noting that ‘A Girl Worth Fighting For’ is the last song in the movie. Up until here, it’s a fun movie, and the imminent invasion feels like it’s just there to keep the plot moving, and to provide a little bit of drama to spice things up. None of the soldier’s are quite taking this seriously yet; sure, Mulan wanted to save her father from the draft, and on some level she was aware that he would die if he went to war, but beyond that she’s interested in not being caught, and not shaming her family. Her motives are good, but they’re entirely self centered. All the other soldiers are more or less in the same boat - they want to get tougher, they want to impress girls, they want to be cool soldiers. Shang’s easily the most serious of the bunch at first, and even then it’s just because training bad soldiers will reflect poorly on him, and important people are paying attention.
The abrupt ending of ‘A Girl Worth Fighting For’ is the wake up call. The soldiers and the audience get slapped in the face with the realization of what’s really at stake here. China is being invaded. Villages are burning, civilians are dying, and this isn’t going to stop until the country is conquered or the invaders are defeated. This is not a fun musical, this is a major crisis.
Mulan is such a good movie for so many reasons, but the abrupt tone shift is such a major reason why. It’s an excellent commentary on the reality of war, and it being a kids movie just meant they had to make their point without showing any actual gore, which I’d honestly say makes it that much more poignant.
That moment, when they come over the rise and see the razed village is one of the best scenes in film. Period. Somehow, instead of giving me tonal whiplash, it took my breath away, and that’s one fuck of a balancing act.
One of the things that makes this scene work is that, from the very beginning, all the story beats were set up so that this moment was earned.
1998 Mulan began by giving the audience a reason to care about Mulan and her circumstances. The story begins with her failing to do what what is expected of her, and in the wake of that failure, we are given a glimpse of what kind of people her family members are; they are absolutely the kind of people worth risking to protect. So when she runs away that night, it’s easy to understand why she would feel the need to. Not only that, it’s just as easy to see how devastating that choice is for her family.
When she gets to the training camp, things do not go well: she’s not doing a very good job passing as a man, and she’s doing even worse as a soldier. Her relationships with the people around her are abysmal, and not all of that is her fault. But, via the magic of musical montage, we see her making perhaps the first real choices she makes for her own sake, rather than for the sake of her family. She proves herself competent, solving a problem in her own way, and that becomes the catalyst for everything that comes after: it earns her the respect of her peers, and through that she salvages her relationships with her them, eventually forming into an odd, second family of sorts. It is with them, and not her village, that Mulan finds a place for herself in the world that she almost fits.
And it’s that “almost” that we have the barest moment to consider when the army is goofing off while marching to war. “A Girl Worth Fighting For” is a very uncomfortable reminder for Mulan of her failure to be the kind of person her society expects her to be, while at the same time illustrating some of the romanticizing of war that inevitably happens. It’s a fantastic call back to the introductory musical number “Honor to Us All”, and it reminds her that she does not fit here either. Additionally, she’s probably less inclined to romanticize war because of the very real possibility that, if it had been her father–and not her–marching off to war, he very likely would have died.
So Mulan, having realized that her little place in the world that she’s made for herself cannot last, is in the middle of trying not to get too caught up in the army’s antics, not getting discovered, and even trying to distance herself from her peers, while “A Girl Worth Fighting For” is playing.
This is when the smash cut to the razed village drops.
That moment is almost a direct rebuke of both “Honor to Us All” and “A Girl Worth Fighting For”.
War is not a romantic, honorable affair.
A girl worth fighting for, is not only the kind of girl one wants to marry.
And Mulan, already scrambling to find her footing in the world again, is stuck processing something beyond the scope of her imagination. On a normal day, all of her existing problems would have been serious enough on their own. But this is not a normal day.
As has been said, “The abrupt ending of ‘A Girl Worth Fighting For’ is the wake up call.” And after it has done its job, Captain Li Shang learns that his father died on the battlefield. This is exactly the fear that caused Mulan to leave her family in order to prevent. It’s a tragic moment, but a reaffirming one for her. Unfortunately, that’s all it is; just a piece of information that validated her fear. All she knows is that she’s about to face the fate that might have met her father instead.
And so, no whiplash. Because even though the moment itself was unexpected, the way the story was told made it so that the moment felt inevitable.
Mulan 1998 had a heart, and it was a heavy one, despite its humor.