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the-cat-and-the-birdie · 9 months

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hi! i saw your post about how true the makers of atsv were to real-life brooklyn and i loved it so much that i just had to ask if you'd be willing to make a more in-depth analysis on that? i'm not from america but i adore the movie so it's very interesting to hear firsthand accounts about its authenticity from locals! ofc this is just a humble request and i completely understand if the answer is no <3

I'd LOVE to! The Spiderverse Series is honestly the most accurate movie of New York I've seen in my life - including live-action movies. I say that not just in essence but in everything. And Across the Universe takes it over the top. Like, INSANELY so.

Across The Spiderverse & It's Dedication to Cultural Accuracy [aka ATSV is so goddamn good I can tell you exactly what street Gwen and Miles went to Mumbattan from. It's that accurate.]

I'm a black, afro-latino, and a born and raised 'Brooklynite'. Despite there being thousands of movies of New York, I'd say less than 5 percent of them are in any way accurate or current. (Yellow taxi cabs are no longer a thing here really.)

But Across the Spiderverse defies that in every way - nailing it historically, culturally, and even by replicating exact locations.

Wanna see the Bodega Spot robbed? Cause it's a real, random bodega! And the building he goes into at the end - I can tell you exactly where it is, with 100% assurity. All by street signs.

In the first scene with Spot we see him standing outside on the curb, looking into the store. On the corner there is a street sign that reads Fulton St.

Fulton is an actual street in BedStuy (Bedford Stuyvesant, pronounced Bed-St-eye), literally a stone's throw from my house. And they take it further.

Although it can be hard to see, the other side to the left of it reads Nostrand Ave. Fulton and Nostrand is a very popular intersection in the neighborhood, mainly because there's a subway station for the A line located on one corner.

There's Nostrand and Fulton.

But if you turn to the other corner you see...A Bodega! Looks familar?

That's the bodega Spot robbed.

99% of the people who watch this movie will be from New York. Even less will be from BedStuy. Even less will catch the split second sign on the corner, only on screen for only a few frames.

It took me 3 watches to notice. But I noticed. And my jaw dropped. How much that means is unexplainable. I've been on that corner, and the TacoBell across the street. And so has Miles. That's insane.

It doesn't stop there.

Spot enters the store, as we pass we see a sticker for 'WIC/EBT' on the cashier's counter. I'm not sure how common this is - but WIC and EBT standards for Welfare Benefits and Food Stamps. As you cannot buy warm food with Food Stamps (sadly), lots of bodegas advertise taking EBT for the deli sandwiches.

Nice shout out to the struggling families in the communities, I love a Bodega that takes EBT.

We move towards the back of the store - In the Bodega while Spot messes with the ATM we get a wider shot, and another very insanely specific shout out.

Behind Spot is a sign showing a Beef Patty (which I'll mention in a moment) and a sun logo called 'Sunny Patty'.

This is a direct call out to a specific chain of Beef Patty shops in Brooklyn and Harlem called 'Golden Krust'.

I cannot stress how much of a niche reference this is! Golden Krusts only exist in low income neighborhoods - mainly in Brooklyn, Harlem, and the Bronx. If you're anywhere near Times Square or any place else New York shows choose to portray - you're not finding a Golden Krust.

Golden Krusts are store that is ingrained in Caribbean culture, which Brooklyn is full of - hence the adapted Jamaican flag up front. I grew up eating Golden Krust and I'd eat it more if they didn't close so goddamn early.

But it's there.

Once again, only a few pixels, only a few frames, but someone probably took 6 hours drawing that. For the 0.009% of the people who'll get the reference. Low-income, black New Yorkers - like me.

ATSV is so accurate that you can even find the exact spot in which Miles and Gwen leave through the portal.

But before I tell you where it is - I wanna talk about why it's so important.

It's important because one of the most famous Spider-man scenes in history is just plain WRONG to New Yorkers.

This scene is ENTIRELY incorrect, and I knew it even as a child.

Firstly, based on the skyscrapers everywhere, this is solidly Manhattan. The train says Bay Ridge, which is in South Brooklyn, maybe 40 minutes away by train. So I'm going to assume this is the Q or B train, running through Manhattan. Which, okay they do, but -

There are NO elevated trains in Manhattan. The Q, like every other train, only goes above ground in Brooklyn and Queens. This is very clearly Chicago.

So he couldn't be doing this. It's a simple but HUGE fuck up. Any one born in New York will notice it because Manhattan just looks wrong with elevated trains.

And it would've been fine if they just set it in Brooklyn where Bay Ridge and the elevated trains actually are.

But instead they made generic Manhattan streets - so much so I can't even tell what neighborhood they're in. Do you see how this is such a problem?

Across The Spiderverse is animated. And they still put in the effort.

I can't tell you where Peter Parker is stopping that train - it ain't Manhattan - but I CAN tell you where Miles and Gwen leave for Mumbattan.

So let's go back to where we started. We're on Fulton and Nostrand both in BedStuy.

Throughout the fight, we see Spot and Miles go through a couple streets - most notably a very popular street in the neighborhood - Broadway.

This happens twice, once while fighting Spot, and once when Miles and Gwen grab the hot dogs. They show this twice, cause this will be important for what we're trying to do.

Now this may not make any sense to you, since it's just random streets, but I'm about to tie it together.

Gwen releases the bug near an elevated train. When we see Miles and Gwen swinging, they cling to a train. Now, it's hard to tell what train this is but so far we know.

We're in Brooklyn

We're near Broadway

We're near an elevated train line

There's a station on Broadway called Broadway Junction. It serves the G line and the J,M,Z line.

When we see the train pass by, we get a glimpse of the model. Each train line has a slightly different variation, with some being a lot old. The one that passes is one of the newer ones.

(Once again, very accurate, as those models do run on elevated lines)

And although we can't see the letter on the train, by that alone, I can guess we're by the elevated J,M,Z lines in BedStuy - near Broadway Junction. Easy. Now we just need to know what stop we're at.

Well, they tell us that too. Finally, When Spot heads into the building we get a glimpse of the exact street he's on - Bedford.Ave

So I just threw a LOT of information at you - but look at this map of the J,M,Z line and hopefully it comes together

At the bottom along the green line - we see Bedford/Nostrand Ave. Remember, the robbery starts us off on Nostrand. Let's move up the green line. We get to a part where the green line passes the brown and orange ones - the JMZ trains.

They connect at Broadway (Officially Broadway Junction Station). We see Broadway with the hot dog vendor there.

If we move to left of Broadway we see Marcy Av. - and if we look to the left OF THAT we see a faint white line heading north.

THAT line is Bedford Ave. Where Spot enters the building.

Because we know they're in Brooklyn, and we know they passed Broadway. Plus we know they're now on Bedford by an elevated train that runs newer models.

So from those signs alone we can definitely say that Spot is on Bedford Ave. and Broadway. Next to the JMZ elevated trains, two stops from Broadway Junction in Brooklyn.

100% that's the spot (lol). That's the only place Bedford crosses an elevated train. And as a New Yorker, I got that from this photo.

Trust me when I say - we can tell.

By those short shots of street signs, we know that Miles started in BedStuy, swung north towards Broadway, then took a turn towards Bedford Ave in Williamsburg. And that's where Gwen plants the bug - and the place she returns to before going to Mumbattan.

Is that crazy? That's CRAZY. Percision accuracy that I have never seen in a movie live-action or otherwise.

All throughout the first scenes of ATSV - they are on actual streets, that are reasonably within swinging distance of each other, along actual train lines - with their stations accurately located.

That's INSANE. There was no need for that amount of detail, but they did it anyway.

There's SO many times in Spider-men movies where they'll start swinging in Queens, and then the next scene is like Upper Manhattan. They don't label the neighborhoods, but from buildings alone, I can tell what neighborhood it is.

And I'm supposed to believe Peter just swung 2 and a half boroughs in twenty minutes. I don't notice. But I NOTICE.

Here, Miles and Gwen are truly swinging accurate distances in the right amount of time. That's mental. And refreshing!

In a live action movie - they have NO excuse. Just film in the city, it's not like we're Gotham. And we give film crews huge tax breaks. In an animated movie - completely understandable. But they still said 'No, that's subpar.' and went the extra mile.

They didn't even have to show ANY street signs, they could've left it at the easter egg at the corner store.

But they didn't. Because they're telling a story about a Black kid from Brooklyn, who leaves for someplace completely unfamiliar. BedStuy is Miles' home, and they wanted to make it feel that way. So when he's not there - in the cold polish of Neuva York - you can feel it.

You can feel Miles leaving his warm, rich community when he lacks that community in the Society. In the movie and IRL, BedStuy is so full of color, with so many people doing so many things and sharing so many cultures.

And in the society, everyone is the same. There's no culture. That's dedication.

Because of a train in Spider-man 2, I was immediately taken out of the story. And because of train in ATSV, I was immediately brought in.

For once, it feels like they're swinging around a neighborhood - cause they are.

A Large Detail in ATSV:

So I talked about Trinity Church - the real church that Peter Parker was buried at in ITSV - and how accurate the team got it to the actual building.

In fact, this is the spot where Miles is standing.

Like he's standing maybe 20 feet AT most from this spot, you can see in the windows and spires at the top.

But I also wanna explain why this - and why the fact that Peter was buried there is SO important.

Trinty Church is one of the most famous historical churches in the United States. It was started by the first English settlers in New York. It's extremely famous, and extremely sentimental.

For reference - Alexander Hamilton and his family are also buried at Trinity Church, along with dozens of other important US historical figures - across centuries.

You can't just be buried in Trinity. It's a city landmark. The cemetery is full, small, and you CANNOT pay your way in. The church is extremely choosy with who they will bury there - and honestly, I don't think anyone has been buried there for maybe a century or more.

So for the city to bury Peter Parker's body in the most prominent church in all of the city, if not the country - that speaks VOLUMES.

Like I said in the last post, my father use to work at Trinity Church - and they're the whole deal. Candles burning everywhere, super quiet and devote. The church has catacombs under it, everything.

They didn't just bury him anywhere. The people of New York went out of their way to give Peter Parker the most honorable burial physically possible within the city of New York.

The highest honor for any New Yorker. One reserved only for Spider-man.

Which I think was an amazing touch. Especially since Trinity is in downtown Manhattan - so anyone could come visit and pay respects.

Other Cultural Accuracies

Before we wrap up I wanna breeze through some other cultural accuracies that appear in ATSV.

Miles stops to eat a Jamaican Beef Patty while in the Bodgea. I spoke about these earlier with the Golden Krust sign. Jamaican beef patties are these flaky pastries colored with tumeric, full of spicy meat. And they are very popular with the large Carribean community in Brooklyn - which I'm apart of :)

In the case, we see the Beef Patties labeled with red dots. But Miles seems to go for the only one without it.

I'm guessing the red dots indicate which ones are the spicy Beef Patties and which ones are the mild, and Miles grabbed the last mild one they had.

They draw it really well, especially while Miles is eating it.

"Spider-man seems more Dominican." Genuine question - did anyone laugh at this joke in your theatre?

Because all three times I went, people laughed. The first time people LOVED that joke.

NYC, especially the Bronx has a HUGE Puerto Rican AND Dominican population - many times living side by side

And there's this kinda 'beef' in the same way Yankees fans have beef with the Mets fans (NYC baseball teams)

The best way I can describe the joke is that they're two very strong, very proud Spanish cultures that are often mistaken for each other - but Puerto Ricans and Dominicans can very obviously tell each other apart. Mainly because of the Spanish they speak.

So for him and his mom to have that back and forth, it's kinda an inside joke of Puerto Ricans and Dominicans getting confused for each other - but them being able to tell the difference.

His mom says Spider-man is Puerto Rican, but Miles corrects her - without backing it up with any reason.

It's like they can just TELL.

I don't know how else to explain the joke but its a very New Yorker thing to do - discuss that out like that.

Since a lot of us are the children of immigrants - it's knee-jerk to identify with your parent country and not this one.

If you ask someone in New York 'What are you'. Many young people (me included) would say "Oh I'm *parents nationality*." In my case, I say I'm Bajan and Peruvian. Even though I was born in New York.

Miles would say he's Puerto Rican though he's never been.

So them discussing where Spider-man is 'from' even though he's obviously a New Yorker is the joke.

Like - someone on the writing team HAD to be from New York to add that in cause it's so...oddly New Yorker???

While swinging Miles and Gwen pass the B46 bus. Once again, completely accurate. The scene starts on Nostrand and Fulton. The B46 does indeed stop on Fulton St.

When they're swinging, the movie accurately shows the new World Trade Center (aka The Freedom Tower) - which is the tallest building in the picture.

Also, the bridge to the LEFT is the Brooklyn Bridge, while the tall one on the right is Manhattan Bridge. Many people don't know there's actually two bridges. (There's more but those two are the main ones)

Good on them for showing both Bridges, both accurately placed as well

Fun fact: Trains run over the Manhattan Bridge - the Q, B and a couple others (beautiful - I love it when they do) but trains do not run over the Brooklyn Bridge.

And lastly, when Miles and Spot are on Broadway, the school behind them is actually architecturally accurate for a Brooklyn school. So much so that design is iconic.

______________________ So those are most if not all of the cultural accuracies in Across the Spiderverse!

I cannot stress enough how ridiculously bang on this movie is in terms of everything.

The team put in so much work, and it paid off. To me, at least.

I don't feel like Miles is some kid from a different alternative New York. I feel like he's a real kid in MY New York. From everything down to his Jordans (don't even get me started on how much Jordan's has a CHOKEHOLD on teenagers in New York. Like...it's a status thing. Even since I was a kid, everyone wanted Jordans. Jordans or Nike Air Force 1s. So having Miles wear Jordans is my favorite thing cause yea a kid from BedStuy would think those are flyest shit ever even though they're just regular degular Jordans lol. And you KNOW Miles 42 a sneakerhead. Look at those shoes. He aint creasing those)

This movie, is chef's kiss. It tops all other New York portrays - live-action or otherwise and I stand on that.

If you read this far, thank you SO much. I love sharing New York culture (and the cultures that make it what it is to begin with) and I'm SO happy I can share this stuff and hopefully help people appreciate the movie more too!

If you learned something or have any questions, I'm all ears!

And I usually leave a photo of Hobie here as a send-off but this post hit the photo limit LMAOOOOOO

Bye.

#no proofread as usu #atsv #across the spiderverse #miles morales #gwen stacy #the spot #spiderman #spider man #spidergwen #spider gwen #atsv analysis #marvel #across the spider verse

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satelitis · 2 months

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꒰ CAN'T GET RID OF ME THAT EASILY ꒱ . . . f reed !

pairing(s) : fulton reed x fem!portman!reader (romantic) , dean portman x sister! reader (platonic)

in which before the game against varsity, the portman siblings have a surprise up their sleeves.

requested : yes or no.

!! content warnings : fluff, yelling, swearing

robin chirps : erm so im out of my writing slump and ziggy and i nonstop talk about tmd and our boyfriends, so i decided to surprise her since she kinda got me out of my writing slumps and introduced me to my bf charlie and one of the most amazing movies of all time <3 ily zigma!! [@spaceagebachelormann]

"your'e playing hard, i'm proud of you guys." coach orion reassured as he patted russ on the shoulder.

"they're cheap shotting us to death!" luis groaned.

"i know they are, i know they are." orion sympathized.

"It's gonna take a miracle for us to hold on." averman replied. little did the ducks know that "miracle" would be a little more unexpected then they thought.

suddenly, the door burst open revealing a tall brunette with a bandana around his head. dean portman.

"dean portman is awarded a full athletic and academic scholarship to the eden hall academy," dean read off his maroon folder. "i found this lying around at home in chicago, my attorny thought i should sign it, and i agreed." he continued. "it's offical boys, im back!" he exclaimed as all the ducks cheered, especially fulton. his heart broke the day that his best friend dean, and the love of his life, y/n had to go back to chicago. he was ecstatic at the sudden appearance of his fellow bash brother. but if dean was here...then where was y/n?

"hey you ass, where'd you go?" a voice spoke in the doorway. fulton could recognize that voice from anywhere. y/n. the voice was further identified when she herself wandered into the room. fulton was beyond shocked, jovial and he felt that he might have a heart attack because of how much was happening. in no time at all, y/n was in fultons arms their lips interlocked.

"did you miss me?" y/n teased, as fulton rolled his eyes, kissing her once again. dean looked partially disgusted.

"what the hell. why didn't i get one?" dean joked, activly trying to piss y/n off. the girl gave her brother the bird as the ducks laughed and watched the cute reunion. russ and averman made jokes in the background and snickered.

"oh, fulton! i missed you so much mwah mwah mwah." averman said in a feminine high pitched voice, as he faked kissing noises. russ continued with the bit presumably as fulton.

"i missed you too, babe." he said also mimicking kissing sounds. the ducks snickered. fulton proceeded to threaten the two.

"will you shut the hell up before i give you pucks for teeth?" he said. averman and russ laughed, as they stopped the bit. fulton turned his attention back to y/n now answering her question. '

"of course i missed you, you were gone for like ever." he exaggerated. but that's what it felt like for the couple.

"the phone calls weren't the same." he frowned softly.

"yeah, 'specially WHEN DEANS BREATHING ON THE OTHER LINE." y/n raises her voice as she turns back to dean.

"why didn't you call me and tell me you were coming?" he asked her,

"cause this was way more fun." she replied, a goofy grin on their faces. "you can't get rid of me that easily." she said.

'i'd hate to intrude on your little love fest but we got a bunch of temperamental man children's asses to kick." russ chimed in.

the ducks all cheered as they made their way on the ice.

"is that dean portman?" the teenage announcer asked. the crowd was in unbelief, "oh and his sister, y/n! they're both back!" he exclaimed.

"who are those kids? they cant play!" tom exclaimed. "they're on scholarship tom, my hands are tied." dean buckley replied.

"so you're the big enforcer, huh? well its nice to meet you, see, we have a lot more in common then you think-" dean rambled.

"shut up." the warrior spat, "lets play hockey," he said.

"whatever you say sunshine," dean shrugged, the game continued as dean ended up making cole go through the glass, shattering it.

dean and fulton cheered as they banged their heads together. "the bash brothers are back and they're here to stay and so is "y/n "the firecracker" portman, as she scores goal one for the ducks!" the announcer called out and boy was fulton beyond happy with it.

#quill to paper (rowan's version)#fulton reed #fulton reed x reader #the mighty ducks #the mighty ducks x reader #d1 #d2 #d3 #fulton reed x fem reader #fulton reed x yn

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fairydrowning · 1 year

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"Time is not a straight line, it's more of a labyrinth, and if you press close to the wall at the right place you can hear the hurrying steps and the voices, you can hear yourself walking past on the other side."

– Tomas Transtromer (1931-2015), from "Answers to Letters", in: "The Great Enigma", translated from the Swedish by Robin Fulton

#on time #dark academia #light academia #excerpts #fragments #poetry #books & libraries #spilled thoughts #spilled words #literature quotes #book quotes #classic literature #literary quotes #english literature #words #booklr #chaotic academia #dark academism

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wanderingnewyork · 6 months

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From 2018: The #80th_Street_Hudson_Street_Station on the A line, #Queens.

#nyc #queens #80th Street-Hudson Street Station #a line #Fulton Street line #newyorkcity #new york city subways #elevated subways

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transgenderer · 1 month

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The Fulton surface-to-air recovery system (STARS), also known as Skyhook, is a system used by the Central Intelligence Agency (CIA), United States Air Force, and United States Navy for retrieving individuals on the ground using aircraft such as the MC-130E Combat Talon I and B-17 Flying Fortress. It involves using an overall-type harness and a self-inflating balloon with an attached lift line. An MC-130E engages the line with its V-shaped yoke and the person is reeled on board. Red flags on the lift line guide the pilot during daylight recoveries; lights on the lift line are used for night recoveries. Recovery kits were designed for one- and two-man retrievals.

Illustration of operating principle of the Fulton recovery system

After experiments with instrumented dummies, Fulton continued to experiment with live pigs, as pigs have a nervous system close to humans. Lifted off the ground, the pig began to spin as it flew through the air at 125 miles per hour (200 km/h). It arrived on board uninjured, but in a disoriented state. When it recovered, it attacked the crew.[3]

By 1958, the Fulton aerial retrieval system, or "Skyhook", was finished. The ground system could be dropped from an aircraft and contained the necessary equipment for a pickup, including a harness, for cargo or a person, attached to 500 feet (150 m) of high-strength, braided nylon line and a dirigible-shaped balloon inflated by a helium bottle.

The pickup aircraft was equipped with two tubular steel "horns", 30 feet (9 m) long and spread at a 70° angle from its nose. The aircraft flew into the line, aiming at a bright mylar marker placed at the 425 foot (130 m) level. As the line was caught between the forks on the nose of the aircraft, the balloon was released and a spring-loaded trigger mechanism (sky anchor) secured the line to the aircraft. After the initial pickup, the line was snared by the pickup crew using a J-hook and attached to a powered winch and the person or cargo pulled on board. To prevent the pickup line from interfering with the aircraft's propellers in the case of an unsuccessful catch, the aircraft had deflector cables strung from the nose to the wingtips.

The first human pickup using Fulton's STARS took place on 12 August 1958, when Staff Sergeant Levi W. Woods of the U.S. Marine Corps was winched on board the Neptune.[4] Because of the geometry involved, the person being picked up experienced less of a shock than during a parachute opening. After the initial contact, which was described by one individual as similar to "a kick in the pants",[5] the person rose vertically at a slow rate to about 100 ft (30 m), then began to streamline behind the aircraft. Extension of arms and legs prevented spinning as the individual was winched on board. The process took about six minutes.

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schraubd · 10 months

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Leaving the Mess for Later

One thing that's come up in a few of the Supreme Court's recent blockbuster decisions is the shakiness of the fact pattern in the underlying case. Mr. Kennedy in Kennedy v. Bremerton School District wasn't really just an average citizen whose desire to privately pray on his own was stymied by the evil liberal school district. Ms. Smith of 303 Creative v. Elenis might have outright falsified documents suggesting that a gay couple asked to engage her services. The Supreme Court's conservative majority did not care, blitzing ahead in decisions that made dramatic alterations to major areas of constitutional law doctrine.

At one level, I actually understand the perspective here. When it comes to abstract, "philosophical" question regarding the scope of the Establishment Clause or whether anti-discrimination law must sometimes yield to free speech commitments, the details of the individual case don't really matter. If it wasn't Kennedy, it'd be someone else. If what you care about is the broad, sweeping change -- interring Lemon v. Kurtzman for good, or laying a marker that public accommodations laws must yield to businesses right to "expressively" discriminate -- the details don't affect the underlying arguments all that much. The same claims and counterclaims that would be made in any case would be aired here. 303 Creative probably already felt like the can that was kicked down the road from Masterpiece Cakeshop. Similar impatience was seen in some of the concurrences in Fulton v. City of Philadelphia -- we know we're going to have to decide whether to revisit Employment Division of Oregon v. Smith, and we know the arguments for and against preserving the precedent, so why delay the inevitable? Just make the decision one way or the other and get it done.

At another level, though, this speaks to how the current conservative judicial cadre really doesn't care about the formalities of law and legal doctrine. It's movement conservatism through and through -- the important thing is the bottom-line results, and the Court will shoot first and let others clean up the mess later. This especially stood out for me in 303 Creative, a case where it was striking how much more legalistic Justice Sotomayor's dissent was compared to Justice Gorsuch's majority opinion. The former, whether one agrees with the result or not, worked through the relevant First Amendment doctrine via the same methodology I'd teach my students -- explaining the relevant doctrinal framework, explaining why this case falls into a particular part of the framework, and explaining the implications thereof. The majority opinion was basically an abstract ode to the importance of free expression but skipped past significant swaths of the seemingly essential legal analysis (often by vague gestures at party "stipulations" or just treating as gospel certain holdings of the Tenth Circuit). It was hard to escape the sense that the nitty-gritty details of Lorie Smith's case were not at all what interested the majority, and so they were disinclined to spend significant time on them. They wanted to make a big statement about the interplay of free speech and anti-discrimination law, so that's where they devoted their attention.

From that vantage, the fact that Lorie Smith's case may not have been the cleanest vehicle isn't really all that important. Of course, from the vantage of lower courts trying to figure out what the hell 303 Creative actually means, it's extremely important, because nobody actually knows the concrete rule that 303 Creative is actually establishing, and the blurry fact pattern means that trying to infer it from Lorie Smith's situation is a doomed initiative. But again, that's someone else's mess to deal with. I honestly believe that the Justices in the 303 Creative majority did not care if Lorie Smith, personally, deserves the exemption from anti-discrimination law under the doctrine that will eventually lay out. What they cared about is being decisive in defending the existing of these exemptions in concept. Lorie Smith just had the good fortune to be the next case in line that could be plucked onto the docket.

I've written before of the Machiavellian character of the current Supreme Court, specifically, it's absorption of Machiavelli's advice to tyrants: that they should take their big oppressive swings early, in full force, and all at once. You won't gain any advantage from dragging things out, and you'll probably get credit if you cut back later. And the repeated pattern we've seen is of the Court taking these huge right-wing swings that delight conservatives on the level of ideology, but without much care for how they can be operationalized as a workable legal doctrine, and leaving it lower courts to clean up its mess. And to give an inch of silver lining, there is the chance (this follows from Machiavelli too) that as that "mess" resolves itself the Court will then quietly file down some of the roughest edges. The Bruen decision, which reads as a right-wing ideological fantasy document but which has unleashed utter chaos in lower courts, may be an example if the Court uses the Rahimi case to cut back the most extreme interpretations. Take the big swing, make the chest-out assertion of insisting that no amount of public necessity can weigh against robo-originalism, and then later on at their discretion maybe pick and choose a few morsels to dial back on and claw back some legitimacy.

But nonetheless, it really is striking the degree to which the conservative legal movement just no longer cares that much about the law. As a law professor, it makes for depressing teaching. As a citizen, it makes for depressing living. Just depression all around.

via The Debate Link https://ift.tt/03PY6Qg

#constitution #discrimination #gun control #law #supreme court

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