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#Different Cultural Norms
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I simultaneously want to live a lifestyle where I can regularly afford to EXTRAVAGANTLY tip service workers, whilst also living in a world where topping culture is not normal or necessary because minimum wage laws do their damn jobs and actually allow all workers to comfortably support their selves & families without relying on the arbitrary "generosity" of entitled customers
#not a shitpost#anyway tipping is not the norm in many countries bc employers are held to a higher accountability re: liveable wages#and in the U.S. specifically tipping as a cultural norm is DIRECTLY descended from post-civil-war racism#I highly recommend googling that shit bc there are MUCH better sources than my dumb little blog#but basically i believe it arose in industries that employed (exploited) a large newly unenslaved black workforce#by offering service jobs that paid unethically low wages (to post-emancipation black americans with VERY few options/resources)#with the excuse that 'tips' would 'reward' good performance and make up the wage difference to 'deserving' workers#while actually it was a control tactic that enabled racist white customers to financially abuse underpaid black employees#keeping in mind that many white americans at this point resented the new legal right of former slaves to earn money and hold jobs at all#ANYWAY I'm rambling and I don't have a list of sources that's just a summary of stuff I remember reading#I apologize for any accidental misinformation this is why i normally stick to dumb clown biology horror posts#(the nose is the fruiting fungal body. honk it thrice to Release The Spores)#...no wait wait wait i thought i was done BUT:#it's no coincidence that tipping culture has continued predominantly in industries more likely to employ women and people of color#and people without access to higher education. because TIPPING IS FUNDAMENTALLY A FORM OF FINANCIAL ABUSE MEANT TO ENFORCE SOCIAL HIERARCHY#ok whew i think im done#oh P.S. LEAVE A FUCKING TIP for people who provide you services in industries where tipping is (unfortimatrly) standard#Yes even if they do a crap job. TIPS AREN'T A 'BONUS' for 'good performance' they're literally something exploited workers need to SURVIVE#you should be able to screw up occasionally at work without being terrified of being able to pay this month's bills#Humans are human. Which means we are DEEPLY FLAWED and IMMINENTLY DESERVING OF DIGNITY AND COMPASSION.#There i did it i summarized my personal core theology nobody asked for. and in entirely too wordy a process okay i am going to BED
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relaxxattack · 6 months
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every time someone calls moirallegience just an alien qpr i wilt a lil like YEAH thats more or less the CLOSEST human thing but its also Literally Not That. like a qpr is fundanmentally not romantic and thats not even going into moirails whole Actual Purpose of calming ppl down. its just. aughhhhh pisses me off i see the confusion but, as aformentioned, aughhhhh
OH MY GOD THIS HAS BEEN BOTHERING ME TOO.... but i don't want to get petty at the people in my notes always saying "moirails are QPRs!" because in some ways that is the closest human thing so it's hard to be mad...
i think there's definitely some overlap in some ways. but NOT because moirallegiance and qprs are the same at all really, but INSTEAD because both relationships have unconventional boundaries defined by the people within them.
you know... like every relationship.
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like the only reason the two have overlap is because they are both partnerships that emotionally care for each other but can choose to not bang (which is true for any romance anyway, even if it's considered abnormal). they're both just romances* that are unconventional to human norms, which makes people view them as the same thing when they're not.
i think the REAL issue here is that humans insist on using human words to understand things that are just, fundamentally, alien. can't we just appreciate alien romance for being... alien romance?
no, it's not platonic, it's romantic. it's just romantic in a way you aren't quite wired to understand, is all.
*in generalization, most QPRs are not romantic, because they are made up of aroaces who are life partners in a non-romantic way. however i want to disagree with you that none of them are romantic, because that is up to the partners in question.
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cinnamonsikwate · 2 months
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"why couldn't shuro have just been honest about what he felt with laios and falin it's not that hard" are you. are you White
#dungeon meshi#shuro#toshiro nakamoto#look you can hate him for other things but this is very clearly a case of cultures (& personalities influenced by these cultures) clashing#shuro is japanese/east asian-coded and laios is european white boy#i am not japanese but i also come from a collectivistic society#pakikisama is a filipino value both prized and abhorred#it relies heavily on being able to read social cues and prior knowledge of societal norms#shuro being from a different country/culture is important to his character#his repressed nature is meant to contrast with laios' open one like that's the point#they both had similar upbringings but different coping mechanisms#shuro explicitly admits that he's jealous of laios being able to live life sincerely#anyway the point is they were operating on different expectations entirely and neither had healthy enough communication skills#to hash things out before they got too bad#re his attraction to falin i personally believe he unfortunately mpdg-ed her#she represented something new & different. a fresh drink of water for his parched repressed self#alas not meant to be#i'll be honest the way ryoko kui handles both fantasy & regular racism in dm is more miss than hit for me#i don't doubt that a lot of the shuro hate is based off of marcille's pov of him#marcille famously racist 😭#characters' racist views don't often get (too) challenged#practically everyone is casually racist at some point#anyway. again if you're gonna hate shuro at least hate him for being complicit in human trafficking & slavery#he couldn't help falling for the wrong woman goddamn 😭#calemonsito notes
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wof-reworked · 3 months
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I have the worlds smallest little headcanon that Seawings are, on average, more likely to be deaf/hoh since they rely the least on it for hunting and survival + Aquatic means it’s much easier for a deaf Seawing to be fully absorbed in Seawing society
Second highest is (modern) Nightwings because naturally sensitive hearing + constant exposure to a loud volcano = lots of dragons with progressive hearing loss. Im not sure how much Nightwings have a sign language (time at volcano vs how terrible nightwing society is, fight!) but I do think the most recent generation of Nightwings would probably have their own dialect/baby language since they’re the most likely to be effected by it with the increase in volcanic activity and the way Nightwing dragonets are raised together in dormitories
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identitty-dickruption · 5 months
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it’s that time of year where uh.
me (a christian) 🤝 my friends in religious minorities
getting sick of people referring to Christmas as a secular holiday
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I watched all eight episodes of season 1 of Blue Eye Samurai over the weekend. I then went browsing because I wanted to read some online reviews of the show to see what people were thinking of it and also because I wanted to interact with gifs and art, as the series is visually stunning.
Yet, in my search for opinions on the show, I came across several points I'd like to address in my own words:
Mizu’s history and identity are revealed piece-by-piece and the “peaches” scene with Mizu and Ringo at the lake is intended to be a major character reveal. I think it’s weird that some viewers got angry over other viewers intentionally not gendering Mizu until that reveal, rather than immediately jumping to gender the character as the other characters in the show do. The creators intentionally left Mizu’s gender and sexuality ambiguous (and quite literally wrote in lines to lead audiences to question both) to challenge the viewer’s gut assumption that this lone wolf samurai is a man. That intentional ambiguity will lead to wide and ambiguous interpretations of where Mizu fits in, if Mizu fits in at all. But don't just take my word for this:
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Re: above. I also think it’s weird that some viewers got upset over other viewers continuing to acknowledge that Mizu has a very complicated relationship with her gender, even after that reveal. Canonically, she has a very complicated relationship with her identity. The character is intended to represent liminality in identity, where she’s often between identities in a world of forced binaries that aren’t (widely) socially recognized as binaries. But, again, don’t just take my word for this:
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Mizu is both white and Japanese, but she is also not white and not Japanese simultaneously (too white to be Japanese and too Japanese to be white). She’s a woman and a man. She’s a man who’s a woman. She’s also a woman who’s not a woman (yet also not quite a man). But she’s also a woman; the creators said so. Mizu was raised as a boy and grew into a man, yet she was born a girl, and boyhood was imposed upon her. She’s a woman when she’s a man, a man when she’s a man, and a woman when she’s a woman.
Additionally, Mizu straddles the line between human and demon. She’s a human in the sense she’s mortal but a demon in the sense she’s not. She's human yet otherworldly. She's fallible yet greatness. She's both the ronin and the bride, the samurai and the onryō. In short, it’s complicated, and that’s the point. Ignoring that ignores a large part of her internal character struggle and development.
Mizu is intended to represent an “other,” someone who stands outside her society in every way and goes to lengths to hide this “otherness” to get by. Gender is a mask; a tool. She either hides behind a wide-brimmed hat, glasses, and laconic anger, or she hides behind makeup, her dress, and a frown. She fits in nowhere, no matter the identity she assumes. Mizu lives in a very different time period within a very different sociocultural & political system where the concept of gender and the language surrounding it is unlike what we are familiar with in our every-day lives. But, again, don’t just take my word for this:
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It’s also weird that some viewers have gotten upset over the fact women and queer people (and especially queer women) see themselves in Mizu. Given her complicated relationship with identity under the patriarchy and colonial violence, I think Mizu is a great character for cis-het women and queer folks alike to relate to. Her character is also great for how she breaks the mold on the role of a biracial character in narratives about identity (she’s not some great bridge who will unite everyone). It does not hurt anyone that gender-fluid and nonbinary people see themselves in Mizu's identity and struggle with identity. It does not hurt anyone that lesbians see themselves in the way Mizu expresses her gender. It does not hurt anyone that trans men see themselves in Mizu's relationship with manhood or that trans women can see themselves in Mizu when Mama forces her to be a boy. It's also really cool that cis-het women see themselves in Mizu's struggles to find herself. Those upset over these things are missing critical aspects of Mizu's character and are no different from the other characters in the story. The only time Mizu is herself is when she’s just Mizu (“…her gender was Mizu”), and many of the other characters are unwilling to accept "just Mizu." Accepting her means accepting the complicatedness of her gender.
Being a woman under the patriarchy is complicated and gives women a complicated relationship with their gender and identity. It is dangerous to be a woman. Women face violence for being women. Being someone who challenges sex-prescribed norms and roles under patriarchy also gives someone a complicated relationship with their identity. It is dangerous to usurp gender norms and roles (then combine that with being a woman...). People who challenge the strict boxes they're assigned face violence for existing, too. Being a racial or ethnic minority in a racially homogeneous political system additionally gives someone a complicated relationship with their identity. It is dangerous to be an ethnic minority when the political system is reproduced on your exclusion and otherness. They, too, face violence for the circumstances of their birth. All of these things are true. None of them take away from the other.
Mizu is young-- in her early 20s-- and she has been hurt in deeply affecting ways. She's angry because she's been hurt in so many different ways. She's been hurt by gender violence, like "mama's" misogyny and the situation of her birth (her mother's rape and her near murder as a child), not to mention the violent and dehumanizing treatment of the women around her. She's been hurt by racial violence, like the way she has been tormented and abused since childhood for the way she looks (with people twice trying to kill her for this before adulthood). She's been hurt by state-sanctioned violence as she faces off against the opium, flesh, and black market traders working with white men in contravention of the Shogun's very policies, yet with sanction from the Shogun. She's been hurt by colonial violence, like the circumstances of her birth and the flood of human trafficking and weapons and drug trafficking in her country. She's had men break her bones and knock her down before, but only Fowler sexually differentiated her based on bone density and fracture.
Mizu also straddles the line between victim and murderer.
It seems like Mizu finding her 'feminine' and coming to terms with her 'female side' may be a part of her future character development. Women who feel caged by modern patriarchal systems and alienated from their bodies due to the patriarchy will see themselves in Mizu. They understand a desire for freedom that the narrow archetypes of the patriarchy do not afford them as women, and they see their anger and their desire for freedom in Mizu. This, especially considering that Mizu's development was driven by one of the creators' own experiences with womanhood:
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No, Mizu does not pass as a man because she "hates women" or because she hates herself as a woman or being a woman. There are actual on-screen depictions of Mizu's misogyny, like her interactions with Akemi, and dressing like a man is not an instance of this. Mizu shows no discomfort with being a woman or being seen as a woman, especially when she intends to pass herself as and present as a woman. Mizu also shows the women in the series more grace and consideration than any man in the show, in whatever capacity available to her socially and politically, without revealing herself; many of the women have remarked that she is quite unlike other men, and she's okay with that, too.
When she lives on the farm with Mama and Mikio, Mizu shows no discomfort once she acclimates to the new life. But people take this as conclusive evidence of the "only time" she was happy. She was not. This life was also a dance, a performance. The story of her being both the ronin and the onryō revealed to the audience that this lifestyle also requires her to wear a mask and dance, just as the bride does. This mask is makeup, a wedding dress, and submission, and this performance is her gender as a wife. She still understands that she cannot fully be herself and only begins to express happiness and shed her reservation when she believes she is finally safe to be herself. Only to be betrayed. Being a man is her safety, and it is familiar. Being a boy protected her from the white men as a child, and it might protect her heart now.
Mizu shows no discomfort with being known as a woman, except when it potentially threatens her goals (see Ringo and the "peaches" scene). She also shows no discomfort with being known as, seen as, or referred to as a man. As an adult, she seems okay- even familiar- with people assuming she's a man and placing her into the role of a man. Yet, being born a girl who has boyhood violently imposed upon her (she did not choose what mama did to her) is also an incredibly important part of her lived experience. Being forced into boyhood, but growing into a man anyway became part of who she is. But, being a man isn’t just a part of who she became; it’s also expedient for her goals because men and women are ontologically different in her world and the system she lives under.
She's both because she's neither, because- ontologically- she fits nowhere. When other characters point out how "unlike" a man she is, she just shrugs it off, but not in a "well, yeah, because I'm NOT a man" sort of way, but in an "I'm unlike anyone, period," sort of way. She also does not seem offended by Madam Kaji saying that Mizu’s more man than any who have walked through her door.
(Mizu doesn’t even see herself as human, let alone a woman, as so defined by her society. And knowing that creators have stated her future arc is about coming into her “feminine era” or energy, I am actually scared that this show might fall into the trope of “domesticating”/“taming” the independent woman, complete with an allegory that her anger and lack of human-ness [in Mizu’s mind] is a result of a woman having too much “masculine energy” or being masculine in contravention of womanness.)
Some also seem to forget that once Mama and Mikio are dead, no one knows who she is or where she came from. They do not have her background, and they do not know about the bounty on her (who levied the bounty and why has not yet been explained). After their deaths, she could have gone free and started anew somehow. But in that moment, she chose to go back to life as a man and chose to pursue revenge for the circumstances of her birth. Going forward, this identity is no longer imposed upon her by Mama, or a result of erroneous conclusions from local kids and Master Eiji; it was because she wanted people to see her as a man and she was familiar with navigating her world, and thus her future, as a man. And it was because she was angry, too, and only men can act on their anger.
I do think it important to note that Mizu really began to allow herself to be vulnerable and open as a woman, until she was betrayed. The question I've been rattling around is: is this because she began to feel safe for the first time in her life, or is this part of how she sees women ontologically? Because she immediately returns to being a man and emotionally hard following her betrayal. But, she does seem willing to confide in Master Eiji, seek his advice, and convey her anxieties to him.
Being a man also confines Mizu to strict social boxes, and passing herself as a man is also dangerous.
Mizu doesn't suddenly get to do everything and anything she wants because she passes as a man. She has to consider her safety and the danger of her sex being "found out." She must also consider what will draw unnecessary attention to her and distract her from her goals. Many viewers, for example, were indignant that she did not offer to chaperone the mother and daughter and, instead, left them to the cold, only to drop some money at their feet later. The indignity fails consider that while she could bribe herself inside while passing as a man, she could not bribe in two strangers. Mizu is a strange man to that woman and does not necessarily have the social position to advocate for the mother and daughter. She also must consider that causing small social stirs would distract from her goals and draw certain attention to her. Mizu is also on a dangerous and violent quest.
Edo Japan was governed by strict class, age, and gender rules. Those rules applied to men as well as women. Mizu is still expected to act within these strict rules when she's a man. Being a man might allow her to pursue revenge, but she's still expected to put herself forward as a man, and that means following all the specific rules that apply to her class as a samurai, an artisan (or artist), and a man. That wide-brimmed hat, those orange-tinted glasses, and her laconic tendencies are also part of a performance. Being a boy is the first mask she wore and dance she performed, and she was originally (and tragically) forced into it.
Challenging the normative identities of her society does not guarantee her safety. She has limitations because of her "otherness," and the transgression of sex-prescribed roles has often landed people in hot water as opposed to saving them from boiling. Mizu is passing herself off as a man every day of her life at great risk to her. If her sex is "found out" on a larger scale, society won’t resort to or just start treating her as a woman. There are far worse fates than being perceived as a woman, and hers would not simply be a tsk-tsk, slap on the wrist; now you have to wear makeup. Let's not treat being a woman-- even with all the pressures, standards, fears, and risks that come with existing as a woman-- as the worst consequence for being ‘found out’ for transgressing normative identity.
The violence Mizu would face upon being "found out" won’t only be a consequence of being a "girl." Consider not just the fact she is female and “cross-dressing” (outside of theater), but also that she is a racial minority.
I also feel like many cis-het people either ignore or just cannot see the queerness in challenging gender roles (and thus also in stories that revolve around a subversion of sex-prescribed gender). They may not know how queerness-- or "otherness"-- leads to challenging strict social stratifications and binaries nor how challenging them is seen by the larger society as queer ("strange," "suspicious," "unconventional," even "dishonorable," and "fraudulent"), even when "queerness" (as in LGBTQ+) was not yet a concept as we understand it today.
Gender and sexuality- and the language we use to communicate who we are- varies greatly across time and culture. Edo Japan was governed by strict rules on what hairstyles, clothes, and weapons could be worn by which gender, age, and social group, and this was often enshrined in law. There were specific rules about who could have sex with whom and how. These values and rules were distinctly Japanese and would not incorporate Western influences until the late 1800s. Class was one of the most consequential features to define a person's fate in feudal Japan, and gender was quite stratified. This does not mean it's inappropriate for genderqueer people to see themselves in Mizu, nor does this mean that gender-variant identities didn’t exist in Edo Japan.
People in the past did not use the same language we do today to refer to themselves. Example: Alexander The Great did not call himself a "bisexual." We all understand this. However, there is a very weird trend of people using these differences in language and cultures across time to deny aspects of a historical person's life that societies today consider taboo, whether these aspects were considered taboo during that historical time period or not. Same example: people on Twitter complaining that Netflix "made" Alexander The Great "gay," and after people push back and point out that the man did, in fact, love and fuck men, hitting back with "homosexuality wasn't even a word back then" or "modern identity didn't exist back then." Sure, that word did not exist in 300s BCE Macedonia, but that doesn't mean the man didn't love men, nor does that mean that we can't recognize that he'd be considered "queer" by today's standards and language.
Genderqueer, as a word and as the concept is understood today, did not exist in feudal Japan, but the people did and feudal Japan had its own terms and concepts that referred to gender variance. But while the show takes place in Edo Japan, it is a modern adult animation series made by a French studio and two Americans (nationality). Mizu is additionally a fictional character, not a historical figure. She was not created in a vacuum. She was created in the 21st century and co-written by a man who got his start writing for Sex in the City and hails from a country that is in the midst of a giant moral panic about genderqueer/gender-variant people and gender non-conforming people.
This series was created by two Americans (nationality) for an American company. In some parts of that country, there are laws on the book strictly defining the bounds of men and women and dictating what clothes men and women could be prosecuted for wearing. Changes in language and identity over time mean that we can recognize that if Mizu lived in modern Texas, the law would consider her a drag performer, and modern political movements in the show creators' home country would include her under the queer umbrella.
So, yeah, there will also be genderqueer people who see themselves in Mizu, and there will be genderqueer fans who are firm about Mizu being queer to them and in their “headcanons.” The scene setting being Edo Japan, does not negate the modern ideas that influence the show. "Nonbinary didn't exist in Edo Japan" completely ignores that this show was created to explore the liminality of modern racial, gender, class, and normative identities. One of the creators was literally inspired by her own relationship with her biracial identity.
Ultimately, the fact Mizu, at this point in her journey, chooses to present and pass as a man and the fact her presented gender affects relationship dynamics with other characters (see: Taigen) gives this story a queer undertone. And this may have been largely unintentional: "She’s a girl, and he’s a guy, so, of course, they get together," < ignoring how said guy thinks she’s a guy and that she intentionally passes herself as a guy. Audiences ARE going to interpret this as queer because WE don’t live in Edo-era Japan. And I feel like people forget that Mizu can be a woman and the story can still have queer undertones to it at the same time.
#Blue Eye Samurai#‘If I was transported back in time… I’d try to pass myself off as a man for greater freedom.’#^^^ does not consider the intersection of historically queer existence across time with other identities (& the limitations those include)#nor does it consider the danger of such an action#I get it. some come to this conclusion simply because they know how dangerous it is to be a woman throughout history.#but rebuking the normative identities of that time period also puts you at great risk of violence#challenging norms and rules and social & political hierarchies does not make you safer#and it has always been those who exist in the margins of society who have challenged sociocultural systems#it has always been those at greatest risk and who've faced great violence already. like Mizu#Anyway... Mizu is just Mizu#she is gender queer (or gender-variant)#because her relationship with her gender is queer. because she is gender-variant#‘queer’ as a social/political class did not exist. but people WE understand as queer existed in different historical eras#and under different cultural systems#she’s a woman because queer did not exist & ‘woman’ was the sex caste she was born into#she’s also a woman because she conceptualizes herself as so#she is a woman AND she is gender-variant#she quite literally challenges normative identity and is a clear example of what sex non-conforming means#Before the actual. historic Tokugawa shogunate banned women from theater#there were women in the theater who cross-dressed for the theater and played male roles#so I’m also really tired of seeing takes along the lines of: ‘Edo Japan was backwards so cross dressers did’t exist then!’#like. please. be more transparent won’t you?
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meadowlarkx · 8 months
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One of my favorite things about the worldbuilding in The Left Hand of Darkness is the "perverts" in Gethenian society—those who are permanently in one of the kemmer forms. The "normal" person on Gethen goes through a kemmer cycle with periods of somer, but that's not every Gethenian. People whose bodies don't work this way get treated with repulsion. Genly compares them to "homosexuals" in his society, and that comparison is really instructive. Gethenians may not have gender roles and identities the way we do, but they do have societal norms, including about bodies and sexuality. And those norms leave people out. They are imperfect and sometimes they are unfair. I think this is part of the point.
In subtle ways, this theme is woven throughout the book's descriptions of Gethenian cultures. To stick to sexuality, something similar can be said about the different norms surrounding incest on Gethen and the empathic treatment of Estraven's past relationship with Arek. There is no taboo about incest between siblings on Gethen, only on siblings vowing kemmering, but if a child is born of it, the parents have to separate (and it seems like Estraven is separated from Sorve because of this). The reason for including this element, in my reading, isn't to impose our own moral standards by "showing" that Estraven's relationship with Arek was "bad" (in fact, we learn fairly little about it, beyond that Estraven cared deeply for him.) Instead, I think it's partly to demonstrate the dissonance between Gethenian mores and our own, and unsettle both. Because, like Genly, we see Gethenian norms as strange, we can notice that they bring about particular situations and cause particular hurts. Even the custom of vowing kemmering monogamously for life, which sounds more familiar, is shown as double-edged. Estraven breaks a taboo by making his "false" vow to Ashe, but was trying to build a new life with Ashe really wrong?
These things are not 1:1 to any "real life" issue, but like everything else in this story, I think they're chosen because they are provocative. It's really meaningful to me that even in terms of gender and sexuality, Gethen isn't painted as a utopia, but as a real place. Le Guin shows us two sets of norms and asks us not just "are our norms arbitrary and/or constructed rather than essential truths?" but also "are norms always socially constructed? Should we question them sometimes? What harm is done to maintain them? Who is being left out?"
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Every new thing I learn about James Somerton's process just drives home how he almost (but really doesn't) knows what he's doing. Yes, of course you use the sources you read as a jumping off point. Of course you copy and paste the important sections into your outline document so you can reread them. That's why you put them in quotation marks.
#James Somerton#honesty time: I totally believe he did this by accident#his entire problem is that he writes like a fandom account with bad takes#his anecdotal evidence that Todd in the Shadows spent a two hour video trying to find sources for?#they're all fandom drama taken out of their cultural context#(yes fandom counts as a subculture and therefore has specific context)#and all of it gets attributed to straight white women coz everyone knows shippers are all straight and cis women /s#he simultaneously treats his videos like bad fandom meta and Documentaries of Great Importance and those just do not mesh#it's part of why his videos were so unbearable if you actually knew what he was talking about#he learned how to make a youtube video essay. He did not learn how to write or study any of his chosen subject matter#I think that's also why he was not expecting to be called out the way he has because I suspect he probably thought everyone wrote this way#a lot of old video essayists especially the Chez Apocalypse bunch were very good at not broadcasting just how much went into their videos#so their style that has now become the norm feels incredibly off the cuff but is heavily researched#but also they are using that research to support their own hypotheses and ideas as you are supposed to#so I wonder if when he got called out he just brushed it off because surely he just writes the same way everyone writes#(and hey fandom posts are rarely cited because they assume everyone knows what they are talking about)#it almost makes me feel sorry for him but all I can think about is how catstrophically bad he is at this job#oh and for everyone wondering: I've found the best way to research is to put quotes in quotation marks#paraphrasing in either different punctuating or a different colour#and your own personal thoughts based on the source in something different again#all with the correct citations for your preferred style#this makes sure you have everything cited so when you put it all together you can do it easily without having to go back through it all#and prevents this from happening#(tbh I'm kinda sad I'm not still teaching. This would have been a perfect meme for how to do your damn citations week)
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tomwambsmilk · 2 years
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Gonna write briefly about “The Rehearsal” on my succ blog bc why not. But I think it truly is brilliant, in hindsight of the finale, that the show turned out to actually be an effective criticism of itself, of reality tv as a genre (even and maybe especially the shows that are framed as being helpful for their participants), the use of child actors, and even, to a certain extent, Nathan Fielder’s own brand of comedy. All of that is 100% intentional - they could’ve shown anything they wanted and deliberately showed things that would make us deeply uncomfortable for ethical reasons, and deliberately highlighted the ways in which participants may have felt pressured into participating and how the presence of cameras impacts behaviour.
I’ve already seen the claim that the finale’s big twist is that it’s a “scripted narrative” and I don’t think that’s true at all. It’s pretty clear that Nathan and the team had an idea of where they wanted the show to go, but all the people they featured were real people. They didn’t script so much as… well, manipulate what happened by introducing certain elements, as all reality shows do. While they might have had a general sense of where they wanted the show’s “arc” to go, they were reliant on the participants behaving in certain ways or raising certain issues to dictate just how they went about achieving that arc. The brilliance here is making it fairly obvious to the audience what they’re doing, whereas most reality shows will try to hide it.
(And this premise is built into the pitch! We all expected to get a show about Nathan running these little rehearsals, and that idea is built on the premise that human behaviour is predictable and manipulable, if you control enough variables. And then we watched this exact premise play out entirely differently - and in a way that was much darker - from how we expected.)
There are so many more things to unpack about the show, obviously, but personally I just keep coming back to the fact that they made a reality tv show to say “hey, maybe even ‘helpful’ reality tv is somewhat unethical because these people are being helped for our own voyeuristic benefit, and those motivations will determine how producers approach the participants and the arcs they deliberately try to set up, even if we don’t see that on our screens.” It’s a bold move but I think they pulled it off well
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sadhoc · 1 month
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I do think that the mix of oral tradition (rural West Virginia story telling culture) with written tradition (ashkenazi Jewish dad) makes for part of my ability to dissect narrative modes , like the way I take both equally seriously
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soloorganaas · 3 months
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do you think US wizards need health insurance for wizarding hospitals? is there like a separate plan for magical healthcare?
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crypt1dcorv1dae · 3 months
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Metalheads who don't like/respect Babymetal bc their "look" isn't, what? Traditionally metal? are so cringe. Like bro it's an alternative music scene we're supposed to say FUCK tradition????? What's wrong w y'all... Embarrassing
And also they are missing out bc Babymetal fucking rules
#its like pol who are like punk is only if you look like *this* and im like. you are asking me to conform to a societal expectation? in PUNK?#like what. the fuck are you talking about. NON CONFORMITY CAN LOOK LIKE ANYTHING. THATS THE WHOLE FUCKING POINT OF NOT CONFORMING#yeah i dont always dress like a typical punk but thats bc the clothes tend to he fucking uncomfortable or a lot of work and i dont care#like why would i put so much effort into looking a certain way... in... a nonconforming alternative group... why would i conform... what#like the way you look doesnt fucking mean shit. a real punk is someone who actually fucking thinks and acts like a punk.#thats all that matters#punk ain't about how you look or causing random mayhem its a fucking. lifestyle. its a culture snd belief system about the world.#its about saying fuck you to the way things are if the way things are isnt fucking fair. its about community and taking care of your fellows#its about safety in numbers against a ruling power that wants people who are different to stop existing.#the mayhem is for a reason. its to say you cant fucking keep us down and if you try we WILL fight back. you cannot keep us down.#thats the POINT.#idk how my post about people being snobs about metal and missing out on good music bc of it turned into a rant about punk ideology but.#well. here we are. i have a tendency of going off on tangents in the tags.....#point is. trying to enforce a 'norm' in a non traditional alternative genre is fucking stupid and against the whole POINT of the thing#and i think it fucking DUMB that ppls get so caught up in appearances when its never been about that
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fanfictiongreenirises · 2 months
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re: ur tags in that $10 food poll, why does the ethnicity of someone factor in to if you'll ask for reimbursement...???
this got really long lmao but in my defence the tl;dr version of it is literally "different cultures have different norms of how paying for food works regardless of amount" but if you're asking why ethnicity is a factor then i'd rather give more detail than leave it there
mmkay so first thing you need to know about me is im bengali, and culturally, there are many things that go into who pays when you're buying food and how reimbursement works. (second thing i'd like for you to know as a disclaimer is i'm 1.5 gen immigrant so my norms with paying might not necessarily reflect the current norms in bangladesh)
so if i'm out with another bengali or south asian person and they're younger than me, i'm paying for the food regardless of cost and absolutely not asking for reimbursement. if they're my age and we're friends and we're not paying for our own food for whatever reason, then we're going to fight about it and whoever loses will fight harder the next time we go out or reimburse in another way (e.g. buying other food, paying for smth else if we're shopping together - rly depends on the relationship, but it doesn't have to be a 1:1 reimbursement), but even if there is no next time and you both know it, there'll still be no "here have the exact amount back via cash/bank transfer" reimbursement over it bc you just wouldn't ask for the money back. if they're older than me, it'll take a pretty unique situation for me to be the one paying but depending on how much older, they'll likely repay me by buying something else, or paying next time. best example of this is my gujarati colleague who's about double my age - the first time we went to grab coffee together at work, it was spontaneous and she didn't have her wallet on her so i paid and refused to give her my bank details, and the next time we went for coffee she paid and specifically was like 'you paid last time' so i'd fight her less on it; every time after that we paid for our own even though she still tried to pay for mine (but fought significantly less, because the initial social dance was over).
however!! the norms in white australian culture (that i've experienced) are different!! if i pay and insist a little too strongly that they don't need to pay me back, then white australians get weird about it - because i'm not following the norms. (they'll either go to Lengths to pay me back, or they'll be like 'cool thx' and move on lmao there's no in between.) so i'll be like 'no you don't need to pay me back it's just $10' once (if at all) and then give in and accept monetary reimbursement. i don't believe anyone when they say i don't need to pay them back, unless i've known them for a v long time, so i'll still find a way to slip them money (or if i have friends who go to Lengths to pay me back, then i'll do the same for them, because that'll be their norm/expectation) (i've seen bengalis try to do this to other bengalis and the reaction ranges from being super offended to really confused/surprised lmaoo)
obviously, this is a super broad explanation and generalisation, and doesn't really take into consideration things like how my personal relationship with people also impacts this, or how different circles will have different norms within those circles that'd override other social and cultural cues that might exist, or how specific people will have preferences for paying you back that you'll respect and often mirror. and obligatory disclaimer: cultures aren't homogeneous and other people will have had different experiences with the ones i've mentioned that won't align with mine; and none of these norms are good/bad or right/wrong, they're just different norms and expectations and ways of doing things
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rozecrest · 1 year
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baru
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quarter · 5 months
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the way I've never called anyone maam or sir in my entire life is kinda funny
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ronithesnail · 5 months
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Girl help why is top/bottom discourse so big on twitter rn holy shit
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