overconsumption is not a human right btw
you have a right to be clothed. you do not have the right to be clothed according to the newest fashion trends
you have a right to food/nutrition. you do not have the right to eat meat every day
you have a right to vacation. you do not have the right to take a plane to each vacation you take
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i feel like modern aus with paldulcie tend to place them as a well adjusted happy couple but ya know what. they are not innocent from the dyke drama. they've got an inappropriate age gap. ten years of long-distance letter writing. an unrequited marriage proposal. where are the aus where they're in a fraught on again off again situationship. they're in love. they're not dating. they're everything to each other. its not a relationship. camilla is also there.
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Idk why people think it's funny to buy shit from shien or temu or whatever slavery-corp is popular at the time just to video themselves laughing at the quality of the products. It's badly made because it's unrelentingly shoved through a production line for a few pennies each garment- this isn't fucking "content" and honestly these rich influencers should feel ashamed to openly admit that they're buying from companies that force their workers into slavery conditions.
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persona misogyny is so fucking wild. ignoring literally everything else about the entire rest of the games, every single s.link with a female character is like “entirely for having been born a woman i have had to work twice as hard for a fraction of the benefit. even now, i am stripped of my agency in a position i never wanted in the first place” and/or “i’m put on a pedestal by the people in my life because of my looks. men see me as an object to be conquered, women hate me for ‘stealing’ ‘their’ men. if i’m withdrawn i’m a bitch, if i’m friendly i’m easy. because of this, i’m alone” and/or “because of my personality or hobby or lack of cooking skills, i feel like i’m failing at femininity. if being a woman is something i can fail at, then where does that leave me? i’m scared at the loss of my identity and place in society”
like very consistently they present female characters with complex thoughts towards their place in society as women, femininity as a whole, and facing issues stemming from misogyny, and then the payoff is always “my problems were entirely my own fault. i wasn’t strong enough, i was a coward. but now, i’m gonna work hard to be exactly what society expects me to be (which is what i want to be)! i’m gonna do better at femininity (which is still something tangible i can fail at)! i’m going to try hard at making friends (which was my fault for not doing)! all my problems are solved through personal responsibility (that im totally culpable for), effort (which i previously was not putting in), or you, a man! i am Happy and Satisfied with this outcome, can i be Your woman?”
and like hello? why are we here. what the fuck are we doing. why do we keep doing this every single time. can we not do the constant lukewarm attempts at criticizing misogyny so you can jerk off to your own thoughtfulness, while ultimately reinforcing patriarchal systems and brushing off any deeper misogyny-bred issues as a lack of deference to one’s rightful place in society? like maybe don’t do that? for fucking once? just an idea
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“queer spaces should be inclusive of people who don’t enjoy sex and who have “strange”, negative or repulsed relationships with sex” and “sex is an important aspect of lgbt community, history, and activism and queer people should be allowed and able to talk freely about sex without stigma or shame” are ideas that can and should coexist.
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anyway. as glad as I am that all the HP business is reminding people to boycott F1 sponsors on the BDS boycott list(*). god knows there's no such thing as an ethical F1 sponsor. Big Oil Vroom Vroom is about as morally bankrupt as sports get. bootleg merchandise save me. aliexpress my beloved. etc etc
(*) reminder that Puma also sponsors Merc & Williams as well as Ferrari + too many sports teams to list; luckily they are all on their website.
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The Fourteen Hidden or "Bug" Audios In Order, With Reasoning
(i think! I'm fairly confident in this! I'm willing to Debate!)
12-14 / Howdy & Barnaby
[we know that Barnaby and Wally go to Howdy's every morning]
8-14 / Eddie & Frank
[the post office is right across from Howdy's]
6-14 / Julie & Frank
[Wally isn't scared of bugs, so he could be recruited to help with Frank's gardening problem]
1-14 / Howdy & Poppy
[Howdy mentions that he has a shipment waiting for his signature]
3-14 / Howdy & Sally
[it's possible that Wally went to Howdy's to get something for the beetles]
13-14 / Howdy & Eddie
[it looks like Wally just bought a box of apples, or something similar. Howdy signs for the shipment]
4-14 / Barnaby & Frank
[behind the pins, it looks like there's an apple or two on the ground. the shape and color is wrong for it to be tomatoes. an offering for the beetles?]
9-14 / Frank & Poppy
[the table is clear of yarn, and Frank references the damage done to his garden]
2-14 / Sally & Poppy
[there are cookies - Poppy mentioned to Frank that she might have a non-seed recipe for his butterflies]
10-14 / Julie & Sally
[Wally could have gone with Sally to help with the script reading]
5-14 / Barnaby & Eddie
[Eddie mentions that it's late in the day, and he already delivered the bowling balls]
7-14 / Eddie & Julie
[Barnaby calls, asking after Wally]
11-14 / Julie & Barnaby
[the lighting through the trees looks like afternoon/evening]
14-14 / Barnaby & Home
[the end deterioration is very final, and Barnaby references things that happened throughout his other audios]
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I really think the #1 thing that Destiel Misunderstanders get wrong about Sam and Dean is that to Dean, Sam is closer to his kid than his little brother. The show references Dean raising Sam multiple times and Dean very clearly treats him like he's a parent more than an older brother in a lot of cases. This is obviously a root cause of their issues and there's been many posts written on that but it's also why I pause and go ????? every time an anti tries to use some variation of "well Dean will always choose Sam over Cas so he doesn't really love Cas." because. Yeah he would. But not because of some weird hierarchy of relationships and who he loves more, but because he is always going to put Sam's life over everything and anything. Including saving the entire world. Because, and this is the key point here, that is what parents do for their children.
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JULIE CHRISTIE rests between takes on location for DOCTOR ZHIVAGO, 1965
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something something warped funhouse mirror images that keep me up at night
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I have so much brainrot about Medic's wife, specifically the design from the comic doodles that Makani drew, I'm so ready to draw a whole comic about her, man I love hallucinating.
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look at him. he hasn't slept in three days bc he isn't ...impolitic about the emperor like his boyfriend is and he knows that when you strike at a king you must kill him
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I hate matpat because he admitted to not playing the games he makes theories on. like?? that’s his job and he can’t even do it right??? he lacks reading comprehension skills, like I swear he does
oh you don't have to swear, he does. fully. i'm not into hollow knight personally, but last time a post of mine critiquing his theories blew up, i got a lot of notes saying that his hollow theory (or at least one of them? idk if he's done more) is wildly despised within the community because it's apparently debunked in like. literally the first cutscene or something.
i've said this before, but it's kind of a weird line between "he does not have media comprehension skills" and "he DOES realize these things, he just doesn't give a shit and will say anything to make his theory make sense". for example, something i do know well: fnaf. in his like, "final timeline" or whatever the fuck, he creates an entire narrative about elizabeth and the funtimes being LATE in the timeline, taking place after the crying child's death. however, in that very video, he points out the OVERWHELMING amount of evidence that the crying child witnessed elizabeth's death, from the nightmares having stomachs on their mouths (elizabeth was scooped through baby's stomach) to the fact that the game constantly tells the crying child to "remember what he saw" or something loosely along those lines. he is AWARE of the fact that these things exist within the text, however, he has this fucking superiority complex that it doesn't matter, because HIS theory is CLEARLY right, these very important lore texts must've just been bullshit.
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As a small-time Stellan Skarsgard's Acting enjoyer and big-time Morally Compromised Old Man enjoyer I was inevitably going to fall down a Luthen Rael rabbit hole at least once so forgive me for being fully on my bullshit. But I can't explain my read on this guy without talking about That Speech, and I can't talk about that speech without dumping a bunch of thoughts about dialogue.
Because in my own writing the thing I get most obsessive about is character voice, and the thing about character voice is that not everyone is a poet. Sometimes the craft of writing is about euphony pure and simple. But sometimes (revealing my biases) I think the craft of writing is being able to ask yourself - sure it's good, but is it true? Can you find the poetry in the everyday? Can you express something sharp and compelling and resonant and stay faithful to the perspective of a character who isn't consciously honing their words in that way? All fictional dialogue is constructed. But there does come a point on the spectrum of naturalistic to constructed dialogue - it's partly a matter of taste - where you see more of the writer patting themselves on the back for writing a banger of a line than you see of the character, and personally I often find this off-putting.
Which doesn't mean you never get to let the poetry off the leash (God, that would be joyless). It just means there's a time and a place.
Andor's writers are dropping a lot of bangers and they absolutely know it but largely it works for me, because they're smart about the time and place. Cassian gets to be a guy who's resourceful with his words when the chips are down - that's a big part of his characterization. Maarva and Nemik get to break out the poetry when giving a speech or writing a political manifesto; those words are crafted in-universe as well as out. And Luthen - a performer, a salesman, a man with constructed identities - he gets to use a lot of constructed speech even when he isn't in full-throttle soliloquy mode. I've said before that a lot of stories about espionage are also stories about storytelling: people who create characters, fictions, who tell lies in an attempt to get at truths. In this story Luthen is that guy. Wouldn't you rather give it all at once to something real than carve off useless pieces till there's nothing left - it doesn't matter how constructed that sounds if it's a sales pitch he's rehearsed. It doesn't matter if you see a little bit of the author or the actor peek through when he says things like I know the outside; I imagine the rest, because it functions as characterization when in some sense he is both those things.
All of which is to say That Speech works for me because it tells you something about Luthen beyond the face value of what he says. It tells you this is something he's THOUGHT about, at length. If he hasn't delivered those lines to a mirror, he has absolutely worked through some version of them in his head more than once. And that tells you something just slightly to the left of who Luthen objectively is - it tells you how he constructs and sees himself. I fully believe that Luthen believes what he's saying there.
I also fully believe that this is a man who self-admittedly has an ego and a desire for recognition, who says he's given that up but evidently hasn't let go of some measure of resentment about it. That here's a guy who put on a billowing black cloak, pulled out all the spy theatrics for the express purpose of unsettling his informant, and then gave his best space King Lear audition. That here's a guy with a soliloquy about his sacrifices locked and loaded. On some level Luthen is a little bit into being a martyr for the cause. He's a little bit into the dark glamor of being a lone wolf operator pulling morally tarnished strings. He's a little bit into frightening and manipulating his informant! For all the cynicism of what he's saying, he's a little bit enamored with his own self-image as the sort of man who says it, in a way that suggests an inner romantic more than an inner pragmatist. He says he's damned for what he does but there's more furious pride underlying it than self-loathing; in the same breath he's admitting that a tiny piece of him wants a parade.
Which is fascinating and a little unflattering and way more interesting than just a badass character delivering a badass monologue. The characterization here is partly that Luthen is the kind of guy who monologues.
And to give him his due - I also fully believe that he's a very driven and committed man who has sacrificed a lot. Seen in that light, in fact, I think some of his character flaws come into focus in highly sympathetic ways. Ultimately this is a guy with a deep sense of urgency - "terrified the Empire's power will grow beyond the point where we can do anything to stop it," as he says. And sometimes there can be a lot of ego in urgency. It is a special kind of crazy-making to feel you are taking a problem far more seriously than almost everyone around you. It is a weight of responsibility to believe it's on you to fix that problem before it becomes too big to solve. Under those circumstances it's very understandable that Luthen has big responsible student leading the group project energy and a touch of main character syndrome (which is interesting and sort funny, contrasted with Cassian spending much of the story desperately trying to avoid becoming a main character). It takes a certain kind of drive and audacity-verging-on-arrogance to accomplish what Luthen has accomplished. But character flaws are often the flip side of character strengths, and I think a lot of his are tied up here. Sometimes he's a little enamored with his own isolation (he could choose to be more open with fellow rebel leaders like Saw imo). Sometimes he's awfully comfortable instrumentalizing others while insulating himself. He says Imperial arrogance is remarkable, but sometimes he's blind in similar ways - Luthen is almost as surprised as the Imperials by the funeral riot in the final episode. He's spent so much time stage-managing his would-be rebellion from Coruscant that an organic uprising startles him. In his self-appointed position as the lonely string-puller at the top, he maybe has a bit too much fondness for control and not quite enough regard for community (imo it's also kind of telling that there are no actual Aldhanis involved in the heist on Aldhani). As Clem says - sometimes people don't look down the way they should.
All of which are very interesting and human flaws for him to have! And which I do think the show subtly gestures at in the sort of contemplative way he reacts to that riot, and which I'd love to see come into focus more in S2.
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