I really find it interesting how Zionists have no issues constantly using words like "Islamic" or "Islamist" or "jihadist" to describe the people they're killing without any fear of being accused of Islamophobia or that they're being bigots.
Because they know that we live in a world where anything or anyone remotely "Muslim" are automatically portrayed as inherently evil and deserving of death, especially in the US and other Western countries where Israel gets most of its support from them. So therefore, no one can be mad at them for killing all of these people, right? After all, they're only killing scary radical "Islamists" and "jihadists," NOT innocent people.
Meanwhile you would never hear any pro-Palestine people calling IDF soldiers "Jewists" or "Jewish extremists," even when they're literally branding the star of David onto Palestinians' faces and houses, instead we have to be very careful to not associate Judaism with Israel's crimes and are obligated to write a long essay about how we in fact do NOT want to kill every Jew in the world before we're allowed to show a shred of sympathy toward the thousands of Palestinian civilians being murdered as we are speaking.
Yet somehow that's not enough and they still hit us with the "when you say Zionists you actually mean Jews!" all while ignoring how they themselves aren't putting any effort into not demonizing Islam and Muslims with their words, because demonizing Islam and Muslims isn't an issue to them and the only way they can justify all the killing they're doing.
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Y/n, certified collector of all things creepy and weird: my bones are almost clean :)
Garcia: HUH?
Y/n: wait did I not tell you guys about the bones??
Morgan: what the fuck does that even mean
Emily: and you guys say I'm the crazy one
Spencer: I think you're all missing a very important piece of this conversation.
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started thinking something along the lines of "aw, what's wrong with me that i feel bad for unsubscribing from company emails" but then i remembered sitting in on a marketing meeting during my internship and listening to them proudly talk about how they use like. behavioral psychology to figure out how best to manipulate people into using their services and i feel much less like there's something wrong with me now
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literally nobody asked for it, but here's my list of saltburn essays that i've slowly been drafting over the course of the last week which WILL be required reading for anybody trying to engage with me about this movie. my very personal saltburn 101 syllabus just dropped
A Wolf in Deer's Clothing: Saltburn's Attempt at Innocence
an examination of party costumes and our character's last attempts to masquerade as something they're not: felix—an angel, all-forgiving and all-knowing, something to be worshiped; and oliver—a prey animal, prey to class-divide, prey to saltburn, prey to felix.
thoughts about oliver specifically are loosely organized in my #bambi tag
A Midsummer Night's Mare: Farleigh Start as the Ultimate Victim of Saltburn
a farleigh character study, about the ways he was mistreated and manipulated at saltburn, about fighting to stay alive and the scars left behind by knowing when to give in
alternatively titled "QuickStart", may be adapted into a conclusive essay specifically focusing on oliver and farleigh's relationship
The Eye of the Beholder: On Saltburn's Voyeurism & Violence [working title]
how wealth and class pushes the catton's toward the volatile reality of being able to look, but not touch. on desire and the lack thereof, and portraying yourself as an object to be desired
may end up as two separate essays on wealth and aestheticism but i'm pushing toward a conclusive essay about the intersection of the two, which i feel is at the heart of saltburn
alternatively titled "Poor Man's Pudding: A Melvillian Approach to Saltburn's Class", again, may be adapted into it's own essay
Gender-Fluid: A Study in Sexuality and Saltburn's Desire to be Dry
a deep dive into the bodily fluids of saltburn and how oliver upsets the standard of men who are just so lovely and dry. on the creative choice to lean into the messy wetness of sex and desire and the audience's instinct toward repulsion
a celebration of the grotesque and an examination of why we would label it as such
least developed of the four, heavily inspired by @charnelpit's lovely post about the fluids in saltburn
if anybody is actually interested in any of these, i can work toward something closer to a finished piece instead of just bullet points and quotes in a google doc, but mostly this is so i can share my very brief takes on a multitude of themes in saltburn that have been haunting me
edit for people seeing this in the future: all posts about my essays are being organized into my #saltburn 101 tag if you’re interested in following these through to development!
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"Nero's eunuch bride playing a role in the vicissitudes of the imperial succession" The Thick of It & the life of Nero;
The Thick of It, The Rise of the Nutters, 3x07, 3x08, season 3 deleted scenes, 4x02, 4x04, 4x06, 4x07 / Roman Homosexuality, second edition, Craig A. Williams / Suetonius' Life of Nero, 28, 46, 47, 49, trans. myself / Plutarch's Life of Galba, 9.3, trans. Aubrey Stewart
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not forcibly assigning phil a dad role in every single rp relationship regardless of if it actually makes sense is not just about not being annoying and forcing ooc headcanons onto characters, but like character wise it’s actually extremely good for characters to have relationships on equal ground. this is why c!emeraldduo Not being family is so good, because both phil and techno’s characters lacked equal-ground relationships and so having a closely trusted friend who is an equal was a very powerful dynamic. in both dsmp and qsmp phil Is a guiding or paternal figure in a lot of ways for a lot of other characters and because of that, him having relationships that are Different than that is really important and good
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