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“why do i believe this” and “who benefits from me believing it” are the first steps to decolonization and we should all be doing this more
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the idea of public restrooms as "women's spaces" continues to confound me. you know who I hope is in a public bathroom when I go in?? no one. I would prefer no one else be in the bathroom. and if someone else is in the bathroom I am going to ignore them as much as possible. I did not go into the bathroom to connect with other women. I went into the bathroom to piss and/or shit. it's a toilet's space, not a women's space. shut the fuck up and let trans people piss and shit in peace. let's all continue to avoid eye contact with each other and any and all interaction in the toilet's space.
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I don't think a lot of people realize that lot of their advice to disabled people often boils down to "Get over it." they are trying to be helpful but their idea of helpful is "Just do the thing" because that's what they do. for them they just do things. It comes naturally to just do it.
They don't know how to bridge the gap between you and the task. For them the bridge is already pre-built and stable. For disabled people the bridge is run down, not well kept, it feels unsteady and is hard to get across without being slow and cautious - hell for some people there is no bridge and we need to build it ourselves but we don't have the bridge building tools and no one gives them to us.
"Just cross the bridge." They say before walking over their pre-built bridge. They never gave you the tools to build a bridge to cross.
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Faro di Kéreon (1916) - Scoglio di Men Tensel (Isola di Ouessant - Francia) - Oceano Atlantico settentrionale
#lighthouses
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One of the most fascinating pieces of movie analysis I've ever read is J.B. Kaufman's thesis of the "two different Snow Whites" in Disney's Snow White and the Seven Dwarfs.
He writes about this in both of his two books on the making of the movie, The Fairest One of All and its companion piece Snow White and the Seven Dwarfs: The Art and Creation. His argument is that Snow White's two leading animators, Hamilton Luske and Grim Natwick, each gave Snow White a slightly different personality when they drew her. A close look at the movie, and knowledge of who animated which moments, reveals subtle differences in Snow White's expressions and body language. Luske, her head animator who handled the majority of her scenes, portrayed her as a more purely innocent, childlike character, while Natwick, the creator of Betty Boop, gave her a little more maturity, sophistication, and sauciness.
You can see the difference, for example, when comparing her girlish interactions with the animals in "With a Smile and a Song" and "Whistle While You Work" (animated by Luske) to her flirtatious smiling at the Prince from the balcony, or her "mothering" of the dwarfs as she examines their dirty hands (animated by Natwick). Or her responses to Grumpy in the scene before the Washing Song: as she asks "What's the matter? Cat got your tongue?" she looks at him with a devilish grin (Natwick), but then when he sticks out his tongue at her, she reacts with the most wide-eyed, girlish shock (Luske).
Now, I don't know if these two men really held different views of Snow White's character, or if it just worked out that Luske drew Snow White's more innocent scenes while Natwick was assigned her more grown-up moments. But either way, Kaufman argues that this "tension," the movie's constant push-and-pull between "Snow White as a wide-eyed innocent girl" and "Snow White as a self-assured young woman," makes her an especially interesting Disney Princess. I tend to agree, especially because, miraculously, there's no sense of inconsistency in her character. She comes across as a young girl on the verge of womanhood, who naturally can still be naïve and childlike in some ways, but more grown-up and clever in others.
This thesis makes me wonder if certain "tensions" in other movies are the result of different viewpoints within the creative team.
For example, in Beauty and the Beast.
Linda Woolverton has often talked about her feminist goals in writing Belle's character, which sometimes clashed with her collaborators' visions of Belle as a more traditional fairy tale heroine. It just might have been those clashing viewpoints that created the dichotomy in Belle that I personally think makes her interesting. On the one hand, she's a strong-willed misfit rebel, partly inspired by Jo March in Little Women and by Katharine Hepburn's screwball comedy heroines, who longs for adventure, isn't looking for romance until she unexpectedly finds it, stands up to men (and beasts) who abuse their power, and refuses to let anyone dominate her. On the other hand, she's a sensitive dreamer with delicate beauty and balletic grace, who wears pretty, ladylike dresses, adores fairy tales and love stories, and is sweet, nurturing, and almost motherly to her friends and loved ones. Yet somehow these two sides of her character co-exist with no sense of inconsistency between them.
There's also the dichotomy between the two different views of the Beast that the movie seems to present at once. On the one hand, there's the Beast as an unseemly brute, who's beastly form is both a just punishment for his flawed character and an outward symbol of it, and who needs to be "tamed" into proper "human" behavior, culminating in his physically turning human again. On the other hand, there's the Beast as a suffering, self-loathing outcast, unfairly hated, feared, and dehumanized, whose plight under the spell can easily be read as an AIDS allegory, and who needs to be accepted and loved as he is. I suspect that this also stems from different goals and viewpoints in the creative team. (For example, Howard Ashman's clash with the directors over whether the Prince should be a child or a man in the prologue – the former would make him more "tragic" but the latter would make his punishment more "fair.")
I'd like to read an analysis of these "tensions" similar to Kaufman's analysis of the "two different Snow Whites."
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Hey! Are there blacksmiths in your story? I'm a hobbyist blacksmith and I'm here to help!
Blacksmithing is one of those things that a lot of people get wrong because they don't realize it stuck around past the advent of the assembly line. Here's a list of some common misconceptions I see and what to do instead!
Not all blacksmiths are gigantic terrifying muscly guys with beards and deep voices. I am 5'8, skinny as a twig, have the muscle mass of wet bread, and exist on Tumblr. Anybody who is strong enough to pick up a hammer and understands fire safety can be a blacksmith.
You can make more than just swords with blacksmithing. Though swords are undeniably practical, they're not the only things that can be made. I've made candle holders, wall hooks, kebab skewers, fire pokers, and more. Look up things other people have made, it's really amazing what can be done.
"Red-hot" is actually not that hot by blacksmith terms. when heated up, the metal goes from black, to red, to orange, to yellow, to white. (for temperature reference, I got a second degree burn from picking up a piece of metal on black heat) The ideal color to work with the metal is yellow. White is not ideal at all, because the metal starts sparking and gets all weird and lumpy when it cools. (At no point in this process does the metal get even close to melting. It gets soft enough to work with, but I have never once seen metal become a liquid.)
Blacksmithing takes fucking forever. Not even taking into account starting the forge, selecting and preparing metal, etc. etc. it takes me around an hour to make one (1) fancy skewer. The metals blacksmiths work with heat up and cool down incredibly fast. When the forge is going good, it only takes like 20 seconds to get your metal hot enough to work with, but it takes about the same time for it to cool down, sometimes even less.
As long as you are careful, it is actually stupidly easy to not get hurt while blacksmithing. When I picked up this hobby I was like "okay, cool! I'm gonna make stuff, and I'm gonna end up in the hospital at some point!" Thus far, the latter has yet to occur. I've been doing this for nearly a year. I have earned myself a new scar from the aforementioned second degree burn, and one singe mark on my jeans. I don't even wear gloves half the time. Literally just eye protection, common sense, and fast reflexes and you'll probably be fine. (Accidents still happen of course, but I have found adequate safety weirdly easy to achieve with this hobby)
A forge is not a fire. The forge is the thing blacksmiths put their metal in to heat it up. It starts as a small fire, usually with newspaper or something else that's relatively small and burns easily, which we then put in the forge itself, which is sort of a fireplace-esque thing (there's a lot of different types of forge, look into it and try to figure out what sort of forge would make the most sense for the context you're writing about) and we cover it with coal, which then catches fire and heats up. The forge gets really hot, and sometimes really bright. Sometimes when I stare at the forge for too long it's like staring into the sun. The forge is also not a waterfall of lava, Steven Universe. It doesn't work like that, Steven Universe.
Welding and blacksmithing are not the same thing. They often go hand-in-hand, but you cannot connected two pieces of metal with traditional blacksmithing alone. There is something called forge welding, where you heat your metal, sprinkle borax (or the in-universe equivalent) on it to prevent the metal from oxidizing/being non-weldable, and hammer the pieces together very quickly. Forge welding also sends sparks flying everywhere, and if you're working in a small space with other blacksmiths, you usually want to announce that you're welding before you do, so that everyone in a five-foot radius can get out of that five-foot radius. You also cannot just stuck some random pebbles into the forge and get a decent piece of metal that you can actually make something with, Steven Universe. It doesn't work like that, Steven Universe.
Anvils are really fucking heavy. Nothing else to add here.
Making jewelry is not a blacksmithing thing unless you want jewelry made of steel. And it will be very ugly if you try. Blacksmithing wasn't invented to make small things.
If there's anything here I didn't mention, just ask and I'll do my best to answer.
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pssssst hey. hey. free and expansive database of folk and fairy tales. you can thank me later
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The way they keep flashing over to Sousuke's open mouth "uhhhh what the fuck is happening" face during Chidori's entire rant is sending me. The dude has met his match.
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it's not at all fair that japanese people/artists get all the smoke for inappropriate art of minors when you literally cannot look up images of starfire & raven from teen titans, jenny x-j9, the friendship is magic ponies or really any girl character from an animated early 2000s cartoon without getting some form of nsfw content
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booktok authors writing secondary characters
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She's getting cooked on twitter but she's entirely correct
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Made a chart for sorting fantheories
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Okay, I know I acted silly about this, but the fact that there is 1 singular year round roller skating rink in the city of Philadelphia home to 1.6 million people is kinda fucking horrifying when you think about the broader implications of it.
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I hate waiting for things to stop being popular so i can enjoy them
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the three caballeros "documentary" is almost hilariously mediocre but one thing im obsessed with (derogatory) is how, since it was made by disney and the company would self-combust if they said anything slightly negative about walt, they are doing absolute somersaults going over the animator's strike that (partially) led to the making of the movie. "ohh he uh. didn't understand why the meanie animators were doing this :( it made him sad" Girl they were striking because the pay inequality was wildly out of control and walt refused to let them unionize. everybody knows this. 😐
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So, the thing about Don Quixote.
The thing about Don Quixote is that he tilts at windmills - tilts in the archaic sense of ‘charge at with a lance,’ because it’s the story of a guy who read so much chivalric romance that he lost his mind and started larping as a knight-errant. He was, if you’ll pardon the phrasing, chivalrybrained.
The thing about Don Quixote is, sometimes people take it as this story of whimsical and bravely misguided individualism or ‘being yourself’ or whatever, and they’re wrong. If it took place in the modern day, Don Quixote would absolutely be the story of a trust fund kid who blew his inheritance being a gacha whale until his internet got cut off so now he wanders around insisting that people refer to him as ‘Gudako.’
But the real thing about Don Quixote is that it was published in the early 1600s, and the thing about the 1600s is that Europe was one big tire fire. This is because 1600s Europe was still organized around feudalism (or ‘vassalage and manorialism’ if ya nasty), which assumed that land (and the peasants attached to it) were the only source of wealth. And that had worked just fine (well, ‘just fine,’ it was still feudalism) for a long time, because Europe had been a relative backwater with little in the way of urbanization or large-scale trade.
That was no longer true for Europe in the 1600s. The combination of urban development, technological advances, and brutal Spanish colonialism meant that land was no longer the sole source of wealth. Sudden there was a new class of business-savvy, investment-minded upwardly-mobile commoners, and another new class of downwardly-mobile gentry who simply couldn’t compete in this new fast-paced economy. Cervantes saw this process with his own eyes.
One of the symbols of this new age was the windmill, a complicated piece of engineering that was expensive to build but would then produce profits indefinitely - in other words, a windmill was capital.
The thing about Don Quixote is, when he tilts at windmills, he has correctly identified his nemesis.
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