Attention Creatives
You need to stop with the stories, plot lines, background info, and such in your works that are things like:
The Holocaust and the Atlantic Slave Trade were not really about that it was really a cover for vampires to have a way to access to mass feeding farms found in example like The Strain and Abraham Lincoln: Vampire Hunter
The Spanish Inquisition was really about vampires trying to find witches that could control them story line thanks to True Blood.
World War 2 was because of Greeks gods fighting with each via Percy Jackson.
There are shit-ton more examples of this kind of thing and it is disgusting.
The Holocaust and the Atlantic Slave Trade specifically in regards to United States part of it all and the horrific treatment of enslaved African peoples tend the most commonly used ones, I have found.
That said it does not mean other ethnic cleansing and genocides are not used as well as other major events and tragedies for very specific marginalized and/or minority groups.
These types of stories devalue our on going pain and trauma as well as degrade the memories of both the living and the dead who suffered through those horrors and the many who did not live to see it end.
Our trauma is not a sandbox that you get to play, our history is not something you to play pretend with.
All of us from the various communities that survived these atrocities, these crimes against humanity, these terrors we all each and every one us carry still the scars. Not just scars, but also still healing wounds.
We carry in us the stories of our people, the joys and the sorrows, the hopes and the fears, and we carry the dead so that they may live on in some small way.
You have no right to that, you have no right to pain, to our joy, and most importantly you have no right to recast the reason for it all.
I am so sick of it and it needs to stop.
And this is not even delving into deeper how deeply gross so many of the implications of these storylines are if you think about for just a little bit and the nasty stereotypes they help to reinforce.
19 notes
·
View notes
if i were neil gaiman i would make the good omens guys die tragically in each others arms at the end and delete my tumblr
1K notes
·
View notes
It seems like Within the Wires is going to be another Night Vale Presents production with a big Native American hole in its heart.
I've talked about this before, but a core motif in Alice isn't Dead is the emptiness at the heart of America, the big open spaces, the land with no people. America is a land of distance more than culture, etc. But except for an offhand mention in the third season and a more direct comment in the liveshow, the narrative doesn't engage with why that land is empty. If we're talking about the violence hidden within our miles, that first, defining act of violence seems critical. (Also, I know it's focused on highways, but if we want to discuss the violence and exploitation of our efforts to bridge those miles, the Chinese railway workers are right there... Also the displacement of poor and majority Black neighborhoods for the building of a lot of those highways.)
Meanwhile, WTNV establishes that Night Vale predates the arrival of European settlers. At the outset Night Vale is this zany town with spooky happenings where all conspiracy theories are true, but if its age means that its history and traditions are rooted in Indigenous beliefs, the surrealist comedy approach makes me a little uneasy.
Finally, I just finished Within the Wires season 3, where Michael talks about how the science and data support the efficacy of the year ten/family separation program. But... there is a major precedent in American history for removing children from their families and deliberately destroying their ties to their heritage, culture, and nation, and that's Native residential schools. Is that what they're talking about? Hell, the New Society seems to have come to power in the 50s and increased its draconian presence in the 60s - it's basically a Sixties Scoop but happening to everyone.
I enjoy Night Vale Present's work a lot, but it is bizarre to me that while all the productions go out of their way via character names to indicate a very diverse world, they consistently fail to engage with this part of American history even when it makes no sense not to.
85 notes
·
View notes
Dick & Tim’s favorite picture book
Dick: Right, I almost forgot about that. The Little Red Lighthouse and the Great Grey Bridge.
Tim: My dad used to read me that book at night. I think he loved it even more than I did.
Dick: Yeah. My dad too. This city and the red lighthouse seemed a million miles away from the circus and the elephant dung.
Tim: Even read it to my dad when he was in that coma.
OKAY LISTEN this is just a throwaway panel in Nightwing 140 BUT let us pause to consider this storybook that apparently both Dick and Tim’s dads read to them when they were young and impressionable
It is the story of a little red lighthouse and its IDENTITY CRISIS
I cannot possibly express how great this storybook is but here are some snapshots
But don’t worry, there’s a happy ending:
Anyway, in conclusion this is the best possible storybook for Dick and Tim to have grown up on, 10/10, no notes.
445 notes
·
View notes
On seeing the ads for The Last Voyage of the Demeter
Me before Dracula Daily: they made a movie of Dracula on a boat?
Me after Dracula Daily: OMG they made a movie of Dracula on the boat!
23 notes
·
View notes
the fight gideon and harrow have in alecto is gonna be so awful and mean and hurtful and i’m literally so excited
18 notes
·
View notes
one thing about having a funeral in the south is that people did bring us gallons upon gallons upon gallons of sweet tea (the eastern TN response to someone dying is apparently: order Bojangles), the only problem being, none of us drink caffeinated tea.
so that's the story of how my uncle had to drive from Tennessee to Boston with several gallons of sweet tea in his car. it was on him because everyone else flew.
4 notes
·
View notes