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mina-saiyat · 4 months

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Fashion Show (Dahyun)

A/N: Dahyun's fashion show smut! BBC, Gangbang, piss involved lol. Please enjoy

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In a hotel in New York, a horny scene was taking place on the bed. The fair-skinned Dahyun was sandwiched between two tall black men like a sandwich. Dahyun was lying on her back with small and sexy lips. There was a white trace of semen hanging from the corner of her mouth. As her little mouth opened and closed, Dahyun let out a seductive moan. Her long hair was draped loosely and messily on both sides of her shoulders, several strands of sticky semen dripping down from her hair.

The gold mini dress on Dahyun's body was pulled down to her waist, revealing a pair of tall, white breasts underneath, with a shallow cleavage squeezed out in the middle, which swayed as a black man thrust, As full of flesh as two spring-loaded grapefruits, the two small nipples were covered with mucus, as dazzling as two crystal rubies.

Dahyun herself held her two plump and tender thighs and spread them widely apart on both sides, assuming a lewd posture, and her glistening lower body was currently having two large-sized cocks going in and out, fucked out of the ground.

The black man on Dahyun's body is bald, with eye patches on his eyes, and his appearance cannot be seen. He spreads his legs and squats, holding Dahyun's ankles with two thick hands to support his body. Underneath his eight-pack abs, the eggplant-like big cock was thrusting up and down Dahyun's slimy pussy like a pile driver. The two egg-sized balls hit Dahyun's tender flesh with the thrust, making a "snap" sound.

The black man under Dahyun has curly short hair that sticks to his scalp. His big hands tightly wrap around Dahyun's slender waist, fixing Dahyun's body to prevent her from rocking back and forth. His thick black hard cock is struggling Fuck Dahyun’s little asshole.

The two cocks in Dahyun's lower body were turned on at full power and he was fucking her in and out. Judging from the thickness and length of the cocks, even the tall European and American bitches couldn't bear it, even this petite one? A thin Asian female idol, compared to the tall black man, Dahyun, who was being fucked hard between two black men, was like a junior high school student being fucked and raped by two adults.

The room was filled with constant sounds of "slapping, banging..." and "squeaking..." thrusting sounds, as well as Dahyun's excited "Ahhh...fuckme...ah...fuckme..."

Dahyun's lower body was in a mess, and the thick black pubic hair was covered with mucus. It was unclear whether it was semen or vaginal fluid. The entire hair was wet and greasy, and her small clitoris was like a small soybean that had absorbed water. Crystal clear and translucent, two long and thick eggplant-like dicks were thrust in and out. As they were thrusting in and out, semen and nectars continued to seep out of Dahyun's pussy, and Dahyun's two labia majora were fucked to the ground. The wetness tightly wrapped the thick cock, like a small mouth tightly sucking the long black eggplant; and Dahyun's little asshole was now like a blooming chrysanthemum, with the black man's big cock The cock was thrust open and closed, and white mucus seeped out from the crack of the asshole. It seemed that Dahyun's asshole had been filled with cum just now.

The sound of "Puff, Puff, Puff..." in the room became more intense, like the sound of stepping on mud, and the sound of "snap, snap, snap..." of flesh could be heard incessantly. All that's left is the heavy breathing of several bodies. Dahyun moaned lustfully, both Korean and English, "Ahhhh… I am dying...fuckme...ahhhhhhhhh".

This fucking scene lasted for nearly ten minutes. The thick cock inserted in Dahyun's little asshole was thrust hard and hard several times. Finally, the black man yelled "fuck...fuck...", this thick cock inserted hard into Dahyun's ass, and the semen was poured into Dahyun's body one after another.

After thirty or forty seconds, the black man under Dahyun pulled out his still-hard cock from Dahyun's asshole. At this time, Dahyun's little asshole was open like a small black hole, and the Large balls of semen flowed out from the black hole, accompanied by Dahyun's crying moans.

Three bodies with obvious black and white contrast twisting on a big bed, and the sheets on this big bed are already mottled and messy. The black man who just ejaculated moved away from Dahyun, and the one who was still fucking Dahyun was holding Dahyun's pussy, moved Dahyun's legs above her head, which raised Dahyun's ass high. It looked like if he pressed it down further, she would be able to fold Dahyun in half.

Dahyun's flexibility is really good, and now the big, sinewy cock like a black donkey's cock is still violently fucking Dahyun's pussy up and down, and Dahyun's pair of tender white breasts are like little leather balls, bouncing up and down, constantly slapping Dahyun's face. Dahyun's slender and well-proportioned arms rested softly on both sides of her head as if surrendering.

“Ahh! Ahh! Ummm… Fuck me! Ah…” Dahyun's obscene screams continued to come from the bed. Now there is a layer of fragrant sweat on Dahyun's body, and there are spots of white semen on his fair body and black hair, and there are at least three black men in the room who are surrounding Dahyun while stroking their thick cocks beside.

As the thrusting continued, Dahyun's screams became more and more lewd. Every time the black man's thick and big donkey-like cock was inserted hard into the glistening pussy, Dahyun let out a sharp scream. "Ah..." The sound was like the big cock suddenly hit the switch of Dahyun's pronunciation.

Dahyun's lustful screams were rising and falling in response to the frequency of the black man's cock being thrust in and out. A stream of semen seeped out from the cracks of the pussy that was being fucked so hard, and flowed all the way down Dahyun's flat abdomen. It flowed onto the bouncing breasts. As the pair of elastic little balls swung up and down, the semen was scattered around, and a few drops even landed on Dahyun's face.

In this way, Dahyun was surrounded by several black men and gangbanged. Dahyun 's tender body was even more white and shiny in the contrast with the black men. She was folded in half like a shrimp. A tall black man covered in greasy sweat was erecting a penis that looked like a black donkey’s cock was thrusting into Dahyun's wet pussy.

As the thrusting continued, Dahyun's crying moans became more and more intense, "Ah...ahhh...ah...coming...coming...ahhh..."

In the end, Dahyun's whole body tense up, her mouth wide open as she screamed silently, and her body began to shake violently. What was even more unexpected was that as Dahyun's intense climax came, she actually spurted out from her lower body. A stream of urine, and this crystal clear urine sprayed onto Dahyun's face and breasts. Accompanied by the sound of "squirting..." was the sound of "gu dong gu dong..." and the sound of Dahyun swallowing her own piss. The black men let out a laugh.

"Fuck, this Dahyun from Twice is so slutty."

"If this kind of slut comes to my hometown, she will be taken to the village square and fucked to death by all the men in the village."

"Hey, this slut is so durable, she can still squirt after being fucked for so long."

"Edward, where did you find this slutty idol?" a black man asked Edward who was standing aside.

"Hehe, I won't tell you this, but she has been fucked by our people these days. You also know how strong our young man is. This Dahyun is not only physically sensitive but also very resistant to fuck. I'm really sorry for not selling her out. Why? So, if anyone comes to play next time, the price will still be the same, one thousand per person, discount for more people."

"Haha... of course. You also know that people with big cocks like us are usually not willing to find prostitutes to play with. With this slutty K-pop female idol who is willing to be fucked, of course many people will come."

"Thank you very much, haha." At this time, Dahyun had finished peeing, and only a small amount of urine was left. As the dick was inserted again, it gushes out of the urethra. It flows down the belly to a pair of plump breasts bouncing up and down. Dahyun's body and face were covered with glistening traces of urine, sliding down his skin drop by drop.

"Does it taste good? Little slut, Dahyun." Edward asked with a smile.

"Ahhh... so... delicious... ahhh... fuck Dahyun to death... ah... ahhhh... again... ahhh... fuck Dahyun..." Dahyun gasped and moaned, speaking dirty words in a slutty tone, her two small hands as slender as green onion grabbed her big breasts and rubbed them.

"Fuck, your bitch Dahyun, ah...fuck...ah..." The black man who was working hard on Dahyun's pussy gasped and made the final thrust. With the thrust of the thick cock covered with black veins, Dahyun's moans became more lustful.

"Ahhhhh... big cock... I want to...ahhh... fuck me to death...ahhhh... ah Dahyun...ahhh..."

"Puff, puff, puff..." Dahyun is only responded by harder thrusting.

Finally, as the black man gasped heavily, "Heh...heh...", the ugly and thick cock was inserted deep into Dahyun's vagina, and a large amount of semen was injected into Dahyun 's vagina wave by wave.

"Ah... um..." Dahyun let out a long moan, pinching her bright little nipples with her tender white fingers.

The black man pulled out his wet and semi-hard penis. Dahyun's little hole was wet, like a swamp after a storm. The hole was slightly open, and white semen slowly flowed out. Before Dahyun could take a breath, another black man inserted his large cock into Dahyun’s pussy, which was still leaking semen, made a sound of “Puff, puff, puff…”

Dahyun's voice became even stickier, as if she had been inserted into a ball of paste. During the thrusting, semen was continuously squeezed out from the joint between the two, and flowed drop by drop onto Dahyun's pink little asshole, and then it flowed down the groin and onto the already wet sheets.

Another strong black man pressing his big cock against the fair-skinned Dahyun and fucking her continuously. After thrusting for a while, the black man suddenly picked up Dahyun and then turned Dahyun over to a kneeling position, the black man clamped Dahyun's two fair and plump thighs on both sides of his waist, pushed Dahyun to the bed while thrusting, and then asked Dahyun to get off the bed with his hands on her hands.

"Ahhhhh…Urghh… Ahhh… mmmmm… Ahhh…" Dahyun whined and moaned as she was being fucked, while the black man thrust hard with his big cock, pushing Dahyun towards Walking towards the door, during the thrusting and moving process, semen and semen kept pouring out of Dahyun's pussy, dripping down to the floor like broken beads. She even saw several black men around her, stroking their large cock.

Then the door was opened, and the black man pushed Dahyun into the brightly lit living room. The sound of the weather forecast could be heard in the room. In the living room of a presidential suite, where people reunited warmly after having a meal. Dahyun, who was covered in mucus, with her long black hair spread on her smooth and shiny skin, her tits was shaking like a bitch , while being pushed up by an ugly black man who was tall, strong and full of power. A cock as thick as a wine bottle was thrusting and pushing towards the sofa step by step. The banging sound of "pah pah pah..." did not stop for a second. Dahyun's moaning like crying aroused the Endless desire of men.

The black man was fucking Dahyun in front of the sofa like a doggy. Dahyun's pair of boobs, which were as elastic as water-filled balloons, were dangling in the air, with rippling breasts, and he was fucking her fiercely. It went on until Dahyun's hands could no longer support her and her body went limp. She was only supported by her two breasts. The black man picked her up and sat on the sofa.

At this time, Dahyun was sitting with her back to the black man on the large cock that was constantly going in and out of her pussy. The black man grabbed Dahyun's slim waist with both hands and lifted Dahyun up until the entire wet and shiny cock was exposed, and then held it with one hand. He aimed his dick at Dahyun’s little asshole and inserted it all at once without any resistance.

"Ah..." Dahyun let out a low and suppressed moan. Then another black man came over with a thick cock. The egg-sized glans was still dripping with mucus. The black man lifted Dahyun’s legs and pressed the large cock against Dahyun’s vagina. Slowly push the whole egg-sized glans into Dahyun's cunt, which is flowing with semen and semen. Two petal-like labia opening like flowers, and the clitoris on the flower is the size of a soybean, appears more crystal clear.

Then, the black man inserted his entire cock into Dahyun’s vagina at once, and Dahyun let out a moan of pleasure.

As the fucking continued, more black men joined in. One of the black men sat on Dahyun's waist and used Dahyun's breasts to hold his own thick black cock and thrust it. The other two black men took turns to fuck their cocks, inserting it into Dahyun's mouth, the black man's cock was too big for Dahyun's small mouth. Only a third of the whole big cock could be inserted before it could no longer be inserted, but Dahyun was still swallowing and sucking desperately. As if eating a delicious lollipop, Dahyun's two thin white hands were not idle either, each holding a big cock and stroking it up and down.

Dahyun, just like a human semen sucking machine, constantly being fucked by the huge black cocks. Every time someone ejaculated in Dahyun's pussy, there would be another one as hard and thick as a wine bottle goes in again.

"Oh... uh... uh... uh... uh... uh..." Dahyun's lustful moans were suppressed in his throat. The sound of "slapping, banging, banging..." and the sound of "puff, puff, puff..." never stopped for a moment. Various insults from black people like "fuck... shit... dirty girl..." were heard from time to time.

During this period, a black man even ejaculated his fishy urine into Dahyun's mouth, and Dahyun swallowed it greedily. Every time she was fucked to climax, more urine spurted out from Dahyun's lower body, and then the black guys just thrust harder.

As the thrusting continued, the entire sofa became wet. The black men lifted Dahyun to the ground and continued to rape her. Until it was almost time to leave for the fashion show, Dahyun was still moaning and crying as she was being fucked by the thick cock.

#minasaiyatis #twice smut #dahyun smut #twice dahyun #twice imagines #female idol smut #girl group smut #kpop smut #kpop fanfic #male reader smut

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snowbunnywatching · 7 months

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Why're Norwegians/Scandinavians so into American tv and culture? Our culture's lame and our tv sucks.

(On an unrelated note, please keep posting pics of Black Men and white girls touching tongues. I don't know why but they get me SO soaked.)

Denmark has a population of about 6 million, less than New York City.

This means that the talent pool is tiny compared to the entirety of the US. And given that most films are only watched by a Danish audience, the budgets are similarly tiny.

Which is why most Danish films are about two people sitting in a room and talking to each other. Very artsy, but hard to eat popcorn to.

Oh yeah, here you go:

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mask131 · 6 months

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There's still a haunt on the hill...

In my previous post, I dug through the ghostly chain of adaptations of Shirley Jackson's "The Haunting of Hill House" starting by its various movie incarnations. But I am not done...

Because in 2018, Mike Flanagan released on Netflix his massively successful television series, "The Haunting of Hill House".

Flanagan's television series was strongly influenced by "The Shining", another major haunting-story of the 20th century, first marking American literature under the pen of Stephen King...

... Then marking American cinema by the movie adaptation of Stanley Kubrick.

Mike Flanagan never hid his passion and love for "The Shining", both the Kubrick and King versions, and it is for this reason he was the man behind the 2019 movie "Doctor Sleep"....

... an adaptation of Stephen King's sequel-novel to The Shining.

And fascinatingly, a lot of details and ideas of Flanagan's "The Haunting of Hill House" (or its sister-series, "The Haunting of Bly Manor") were reused for his Doctor Sleep movie...

But, speaking of Stephen King, did you know he made his own "The Haunting of Hill House"? Well, almost... He and Steven Spielberg worked on a project in the 1990s: a remake of The Haunting/a new movie adaptation of "The Haunting of Hill House". Unfortunately this movie never came to the light of day, as the two men split apart due to creative differences...

However this did not stop Stephen King from reusing the unused/unfinished script/concept for his "Haunting of Hill House" adaptation, throwing in a lot of elements from his own "The Shining", with several nods to the real-life Winchester Mansion, and tadaa! The result was 2002's mini-series "Rose-Red".

Stephen King has very often praised Jackson's novel. In fact, in his eyes it is one of the two greatest ghost stories of American literature... Alongside Henry James' The Turn of the Screw.

Do you recall Henry James? Sure you do! From the previous post... He wrote the "Ghostly Rental" story, that itself got adapted in 1999 into a horror movie called "The Haunting of Hell House" - confusing Jackson's "Hill House" with Matheson's "Hell House".

Do the links stop here? NOT AT ALL! Flanagan's "The Haunting of Hill House" was supposed to be the first season of an anthology series about ghost stories. This project got cancelled, but not before a sister-series to "The Haunting of Hill House" was made... a second season called "The Haunting of Bly Manor", which is a loose adaptation of "The Turn of the Screw".

AND THERE'S MORE! Because you see, before being re-adapted by Mike Flanagan, "The Turn of the Screw"'s most famous adaptation was a 1961 movie called "The Innocents". A movie which also became a classic of black-and-white haunted house horror movies, just like "The Haunting" that was released two years afterward... Film critics, cinema theoricians and movie enjoyers all agree that the two movies have to be compared, with something of a sibling relationship to each other.

"The Turn of the Screw" - and more specifically the 1961's "The Innocents" movie - also had a huge influence on one of the greatest Spanish moviemakers of the 21st century: Guillermo del Toro. In fact, it was to pay homage to both the classic of Gothic that was "The Innocents", and the behemoth of the traditional horror that was Kubrick's The Shining, that he decided to create his own Gothic horror movie... The wonderfully horrifying "Crimson Peak", released in 2015.

And not only does Crimson Peak unites The Turn of the Screw with The Shining (Guillermo also invoked the influence of other massive horror movies, such as The Omen or The Exorcist) - but this movie also is the final union, the ultimate blooming of Jackson and James' works. Because del Toro's original intention for this movie was to pay homage to the "two grand dames" of the haunted house movies... 1961's The Innocents, and 1963's The Haunting. The two ghostly tragedies finally united in one Gothic movie...

Well... To be fair, the uniting of "The Haunting of Hill House" and of "The Turn of the Screw" had already happened long before del Toro's Crimson Peak, but with a much less famous and successful movie: 1971's Let's Scare Jessica to Death... A cult piece (despite its lukewarm reception), it was created with only one goal in mind: recreating a psychological horror story with ambiguous implications, in the style of James' The Turn of the Screw, and Robert Wise's The Haunting.

(Think we're done? FOOL! Just you wait...)

#the haunting of hill house #mike flanagan #stephen king #shining #the shining #horror movies #rose red #guillermo del toro #crimson peak #let's scare jessica to death #the turn of the screw #the innocents #the haunting of bly manor

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laurasimonsdaughter · 5 months

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I got a copy of Erdoes and Ortiz's American Indian Myths and Legends (1984) for Christmas and it is fascinating to me how various Native American tales portray romance between humans and non-humans. Especially compared to the European takes on that motif, which usually center on the relationship being doomed from the start, because humans belong only with humans. But this does not seem to be the default in the Native American tales in this collection!

There was one story which did portray the relationship as doomed (Tolowim woman and butterfly man, Maidu) and one where a human woman was taken against her will and gladly rescued by her husband (The stolen wife, Tewa). But there is also a tale where a wife is willingly taken by a great buffalo and when her human husband steals her back and kills White Buffalo Chief, she mourns him so that her jealous husband kills her (Apache chief punishes his wife, Tiwa).

That last tale, while tragic, already goes out of its way to show that the woman was happy with the powerful buffalo, and there are four stories in the collection that make a point of ending in happiness:

The industrious daughter who wouldn't marry (Cochiti)

A beautiful young woman who is a master at making beautiful garments spurns all her human suitors, until it is widely known that she doesn't care for young men. Coyote hears of this and goes to court her, dressed in his finest clothes. He does not offer her any gifts, but he dances very well and he brings a branch of blackcurrants, which are her favourite. She is pleased with him, so she takes him home, sleeps with him, and gives birth to two little coyotes. Her parents are dismayed and the other people turn away from her, but Coyote brings her to his home under the ground. There he has all kinds of clothes just as fine as the ones she makes, and she lives there happily with him ever after.

The Serpent of the Sea (Zuni)

The beautiful daughter of the priest-chief of the village Home of the Eagles cannot abide dust or dirt. Every day she spends almost all her time bathing in the sacred spring of the Serpent of the Sea and this angers him. He changes himself into a beautiful baby boy and she finds him and takes him home to care for him. As soon as she falls asleep the Serpent takes his true form again, coiling himself all around the maiden and all around the room. In the morning the whole household panics, but the girl’s father understands what happened and begs the Serpent to let his daughter return to her family once more, even though she now belongs to him. The Serpent moves enough to release her, finally waking her. She is very frightened, but after four days of ceremonies she bids her family goodbye and goes with the Serpent. As they travel the Serpent takes the shape of a beautiful young man, and speaks in a kinder and kinder voice, until she dares to look at him. Startled she asks him where the terrifying creature has gone. He explains that he is the serpent, but that he loves her, and that if she will consent to come and stay with him they will live and love each other forever in the Waters of the World. The maiden goes with him, forgetting her sadness and forgetting her family, and lived with him ever after.

The man who married the moon (Isleta Pueblo)

The great leader, weaver, and medicine man Nah-chu-rú-chu (the bluish light of dawn) got tired of all the young women trying to win his affection. He proclaimed that he would marry the girl who could grind corn meal so fine that it would stick to his pearl water dipper. The only woman who could do it was the Moon, who was an Isleta maiden before she went to live into the sky. He marries her and loves his moon-wife above all things. Two sisters, the Yellow Corn Maiden, are so jealous that they persuade the moon to admire her reflection in the water of the well, and push her in to drown her. The chief mourns so deeply that it no longer rains and all the crops begin dying, until they bring him a mysterious flower from a mound in the forest where his wife disappeared. He performs a sacred ritual and the moon is brought back to life. The corn maidens are changed into helpful, gentle snakes as punishment, and the moon lives happily with her husband.

The woman who married a merman (Coos)

A girl who refuses all her suitors and goes swimming in the creek every day becomes pregnant without understanding how. She gives birth to a baby that always cries unless it is left outside, where someone brings it seal meat to eat. The young mother watches over her baby and at night is approached by a man who says he is her husband and promises she will be safe if she goes with him. The merman takes his wife and child to the bottom of the sea, where many people lived. Her husband was one of the five sons of the village chief and the couple lived there happy and satisfied. She goes to her relatives once to get arrows for her little boy to play with, and once to visit her brothers. The second time they see her shoulders are turning dark and scaly like those of a sea serpent. She never returned again, but sea serpents came into their harbour, and every summer and winter they would send a whale ashore, a gift to their kinsmen above the sea.

Erdoes and Ortiz even draw a parallel between the tale of the Serpent of the Sea and Beauty and the Beast, but I rather love the girl running off with the Coyote and "the woman who married a merman" is such a lovely counterpoint to the selkie and mermaid stories I grew up with. I'm really happy with this book~

#I'm sure I'm missing lots of nuance and details in my synopsis #but this book is pleasant to read and the tales were clearly written with care #so I really recommend going to read these for yourself if they sound like your thing #American Indian Myths and Legends #native american folklore #laura babbles

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feminismisstillahatemovement · 3 months

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Google’s push to lecture us on diversity goes beyond AI

by Douglas Murray

The future is here. And it turns out to be very, very racist.

As the New York Post reported yesterday, Google’s Gemini GI image generator aims to have a lot of things. But historical accuracy is not among them.

If you ask the program to give you an image of the Founding Fathers of this country, the AI will return you images of black and Native American men signing what appears to be a version of the American Constitution.

At least that’s more accurate than the images of popes thrown up. A request for an image of one of the holy fathers gives up images of — among others — a Southeast Asian woman. Who knew?

Some people are surprised by this. I’m not.

Several years ago, I went to Silicon Valley to try to figure out what the hell was going on with Google Images, among other enterprises.

Because Google images were already throwing up a very specific type of bias.

If you typed in “gay couples” and asked for an image search, you got lots of happy gay couples. Ask for “straight couples” and you get images of, er, gay couples.

It was the same if you wanted to see happy couples of any orientation.

Ask for images of “black couples” and you got lots of happy black couples. Ask for “white couples” and you got black couples, or interracial couples. Many of them gay.

I asked people in Silicon Valley what the hell was going on and was told this was what they call “machine learning fairness.”

The idea is that we human beings are full of implicit bias and that as a result, we need the machines to throw up unbiased images.

Except that the machines were clearly very biased indeed. Much more so than your average human.

What became clear to me was that this was not the machines working on their own. The machines had been skewed by human interference.

If you ask for images of gay couples, you get lots of happy gay couples. Ask for straight couples and the first things that come up are a piece asking whether straight couples should really identify as such. The second picture is captioned, “Queer lessons for straight couples.”

Shortly after, you get an elderly gay couple with the tag, “Advice for straight couples from a long-term gay couple.” Then a photo with the caption, “Gay couples have less strained marriages than straight couples.”

Again, none of this comes up if you search for “gay couples.” Then you get what you ask for. You are not bombarded with photos and articles telling you how superior straight couples are to gay couples.

It’s almost as though Google Images is trying to force-feed us something.

It is the same with race.

Ask Google Images to show you photos of black couples and you’ll get exactly what you ask for. Happy black couples. All heterosexual, as it happens.

But ask the same engine to show you images of white couples and two things happen.

You get a mass of images of black couples and mixed-race couples and then — who’d have guessed — mixed-race gay couples.

Why does this matter?

Firstly, because it is clear that the machines are not lacking in bias. They are positively filled with it.

It seems the tech wants to teach us all a lesson. It assumes that we are all homophobic white bigots who need re-educating. What an insult.

Secondly, it gives us a totally false image — literally — of our present. Now, thanks to the addition of Google Gemini, we can also be fed a totally false image of our past.

Yet the interesting thing about the past is that it isn’t the present. When we learn about the past, we learn that things were different from now. We see how things actually were and that is very often how we learn from it.

How were things then? How are they now? And how do they compare?

Faking the past or altering it completely robs us of the opportunity not just to understand the past but to understand the present.

Google has said it is going to call a halt on Gemini. Mainly because there has been backlash over the hilarious “diversity” of Nazi soldiers that it has thrown up.

If you search for Nazi officers, it turns out that there were black Nazis in the Third Reich. Who knew?

While Google Gemini gets over that little hurdle, perhaps it could realize that it’s not just the Gemini program that’s rotten but the whole darn thing.

Google is trying to change everything about the American and Western past.

I suggest we don’t let it.

There was an old joke told in the Soviet Union that now seems worryingly relevant to America in the age of AI: “The only thing that’s certain is the future. The past keeps on changing.”

#douglas murray #google #racist ai #DEI

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wasabijean · 4 months

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Why do people treat Thrax and Osmosis like That? A Discussion About Fandom and Antiblackness

Happy black history month!

I’ve been considering making this post for a long time, and I wasn’t sure when, but I think now is a good opportunity.

NOTE: Let me preface this by saying that with a movie with a predominantly black main cast, the fanspace has been predominantly white/non-black, and I feel that has effected the conversations surrounding this movie for a long time.

Fandom, in general, continues to have white voices and perspectives highlighted, while black and poc voices are drowned out. Compare 2014 to 2024, and it’s obvious that there’s been a shift in diversity among all fanspaces, and I’m so very glad.

I want to continue this shift, by giving my own perspective as a black person who loves this movie, and I’d like to highlight the way the OJ fandom has treated these black characters (and spoiler, it hasn’t been great.)

Firstly, too many people are comfortable with portraying Thrax as this sexual r*pey monster, and I need it to stop. ESPECIALLY when he’s explicitly a black coded character.

From what I’ve seen observing and participating in this fandom over the past few years, is that Thrax and Ozzy is a very popular pairing, and honestly, I’m not a fan. It’s onesided, there’s not that much chemistry on screen except the dynamic of Jones being afraid and Thrax trying to kill him. I can’t control what people ship, but I absolutely can condemn the way people have paired these two up. Because… As a black person, I don’t like seeing these black characters in (oftentimes if not always) inherently racist dynamics.

Let me explain:

CW // mentions of racism, rape, grooming

Both Jones and Thrax are black coded characters. They use AAVE, have black VA’s, and Thrax literally has locs While Mayor phlemming is very much racist towards Jones in the movie (ie refering to him as “incapable”, treating Ozzy badly why Drix is praised, there’s obviously racial coding there). So, I can say with certainty that these characters are black, because of how theyre treated and also the cultural motifs in their story and character.

With that said, in the pairing of Ozzy and Thrax, so many people depict Thrax as this sexy controlling or possessive boyfriend that’s monsterous and the “top”, while Jones is the submissive scared stupid and sensitive “bottom”. I’ve seen this in fanfic, fanart, etc. It’s a shame that these characters have been boiled down into something like this, especially when I love Thrax as a villain, and I think Jones does a great job standing his ground as a hero even when he’s scared.

Thrax has high kill count and he wants to keep the killing going, and it’s refreshing to see a unrelentless villain like that in kids Animation; That’s one of the reasons why he’s so popular. But, everytime I bring up this character to people, its either “he’s so hot i need him” or “he should fuck osmosis”. Pushing aside the good writing of black characters in order to satisfy sexual fantasies via a ship is Certainly a Odd Choice. But, it happens anyway in a lot of fanspaces, and Osmosis Jones is no exception.

This type of dynamic of Thrax in particular just continues to perpetuate stereotypes of black men that are inherently racist. (ex: black men are rapists, are hyper sexual monsters, etc). Like, Historically, this stereotype has been used to dehumanize and incarcerate black men, And the stereotype in its self began with American slavery and the practice of “breeding” the enslaved. So, why do so many people continue to project this type of behavior on Thrax (particularly with Jones)?

Is it because he’s hot? Or that he’s just sexual in nature? Or was it that “big daddy thrax” line in the movie? Regardless of how Thrax was written compared to how he has been protrayed in fandom spaces, at the end of the day, thats fanon. Thrax isn’t a sex monster, he’s a egotistical virus with the intent to kill and win!

Themes of R*pe come up a lot with Thrax fancontent, for some reason. Maybe it was the choking scene, because it has sexual themes, but is not consesual in the slightest. Majority ozzy and thrax fanfics on AO3 have tags for Non-c0n and explicit. Sometimes, instead of fanfic it’s digital art, and it isn’t always tagged.

I vividly remember scrolling on tumblr when I was 14, looking for Osmosis Jones art, only to be flashed by r*pe and explicit content of Thrax, Jones, Leah. I remember Leah, a black woman character, often being pushed to the side and demonized. Little black kid me got so, so scared of the fandom, because of the racism and graphic content.

So, I kept lurking, holding my breath as I scrolled, and never interacting or posting my art, sharing my ideas, nothing. I felt alienated from the fanspace of a animated movie meant for kids, a movie that I loved. Online fanspaces are a great way for people to find other’s who have the same interest, but that wasn’t the case for me. I was deprived of something I should’ve had fun with, especially as an autistic kid who had no one else to talk to about the things I liked. I hated it; being uncomfortable and scared, because of something I loved, but feared the things that could come with it.

I tried overcoming that fear and branching out but it ultimately got me groomed by people who liked the movie on different occasions, and now that I’m 18, older, and wiser, I don’t want repeats to happen to anyone else.

There is no reason a animated movie, that’s meant for children mind you, has had such a racist and explicit fanspace.

There is no reason to not properly tag your content, not just for organization purposes, but for safety.

There is no reason why the most popular ship in this fandom is the one that has so much underlying themes of racism and SA, canonically and in fanon.

This is just my opinion, because I think black voices are important in fandom especially when so often overlooked, and I’m willing to discuss this further or answer any questions. It’s just tiring as a black person to keep seeing this happen with black characters.

#osmosis jones #yapping #rant post #discussion #racism #antiblackness #black history month #fandom #fanspaces #thrax #ozzy x thrax

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haggishlyhagging · 7 months

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But what exactly is it about women's equality that even its slightest shadow threatens to erase male identity? What is it about the way we frame manhood that, even today, it still depends so on "feminine" dependence for its survival? A little-noted finding by the Yankelovich Monitor survey, a large nationwide poll that has tracked social attitudes for the last two decades, takes us a good way toward a possible answer. For twenty years, the Monitor's pollsters have asked its subjects to define masculinity. And for twenty years, the leading definition, ahead by a huge margin, has never changed. It isn't being a leader, athlete, lothario, decision maker, or even just being "born male." It is simply this: being a "good provider for his family."

If establishing masculinity depends most of all on succeeding as the prime breadwinner, then it is hard to imagine a force more directly threatening to fragile American manhood than the feminist drive for economic equality. And if supporting a family epitomizes what it means to be a man, then it is little wonder that the backlash erupted when it did—against the backdrop of the '80s economy. In this period, the "traditional" man's real wages shrank dramatically (a 22 percent free-fall in households where white men were the sole breadwinners), and the traditional male breadwinner himself became an endangered species (representing less than 8 percent of all households). That the ruling definition of masculinity remains so economically based helps to explain, too, why the backlash has been voiced most bitterly by two groups of men: blue-collar workers, devastated by the shift to a service economy, and younger baby boomers, denied the comparative riches their fathers and elder brothers enjoyed. The '80s was the decade in which plant closings put blue-collar men out of work by the millions, and only 60 percent found new jobs—about half at lower pay. It was a time when, of all men losing earning power, younger baby-boom men were losing the most. The average man under thirty was earning 25 to 30 percent less than his counterpart in the early '70s. Worst off was the average young man with only a high-school education: he was making only $18,000, half the earnings of his counterpart a decade earlier. Inevitably, these losses in earning power would breed other losses. As pollster Louis Harris observed, economic polarization spawned the most dramatic attitudinal change recorded in the last decade and a half: a spectacular doubling in the proportion of Americans who describe themselves as feeling "powerless."

When analysts at Yankelovich reviewed the Monitor survey's annual attitudinal data in 1986, they had to create a new category to describe a large segment of the population that had suddenly emerged, espousing a distinct set of values. This segment, now representing a remarkable one-fifth of the study's national sample, was dominated by young men, median age thirty-three, disproportionately single, who were slipping down the income ladder—and furious about it. They were the younger, poorer brothers of the baby boom, the ones who weren't so celebrated in '80s media and advertising tributes to that generation. The Yankelovich report assigned the angry young men the euphemistic label of "the Contenders."

The men who belonged to this group had one other distinguishing trait: they feared and reviled feminism. "It's these downscale men, the ones who can't earn as much as their fathers, who we find are the most threatened by the women's movement." Susan Hayward, senior vice president at Yankelovich, observes. "They represent 20 percent of the population that cannot handle the changes in women's roles. They were not well employed, they were the first ones laid off, they had no savings and not very much in the way of prospects for the future." Other surveys would reinforce this observation. By the late '80s, the American Male Opinion Index found that the largest of its seven demographic groups was now the "Change Resisters," a 24 percent segment of the population that was disproportionately underemployed, "resentful," convinced that they were "being left behind" by a changing society, and most hostile to feminism.

To single out these men alone for blame, however, would be unfair. The backlash's public agenda has been framed and promoted by men of far more affluence and influence than the Contenders, men at the helm in the media, business, and politics. Poorer or less-educated men have not so much been the creators of the antifeminist thesis as its receptors. Most vulnerable to its message, they have picked up and played back the backlash at distortingly high volume. The Contenders have dominated the ranks of the militant wing of the '80s antiabortion movement, the list of plaintiffs filing reverse-discrimination and "men's rights" lawsuits, the steadily mounting police rolls of rapists and sexual assailants.

-Susan Faludi, Backlash: the Undeclared War Against American Women

#susan faludi #amerika #male fragility #patriarchy #antifeminism

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stephenjaymorrisblog · 1 month

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Pigs off Campus!

(College Revolt is Back in Style.)

Stephen Jay Morris

4/23/2024

©Scientific Morality

Here is a nifty little analogy: suppose your dad gave money to your uncle to buy a gun so that he could shoot his ex-wife? Would your dad be guilty of murder? Kind of. He would be an accessory to murder. Suppose your country gave weapons to another country to commit genocide? Would it be guilty of genocide? Sort of, as they would be an accessory to a war crime. So, is it justifiable for Americans to protest Israel’s genocide against Palestinians? Hell, yeah! Not only is it justified, but it is also warranted.

Now I am going to play a game of comparative history. The Chuds have been whining and bitching about how college professors are brainwashing their precious White children with leftist propaganda. Back in 1968, most universities were run by Right wing, WASP men in suits and ties. College professors were either moderates or conservative. Only the Arts departments were managed by liberals and Beatniks. Baby Boomers were never brainwashed by college professors. They were autodidactic and hungry for the truth. Some joined the “Ban the Bomb” movement and later, the Civil Rights movement.

The urgency of the war at hand got ahold of Boomers. Many Vietnamese women and children along with American soldiers were dying by the hundreds, as was reported on the nightly news. A minority of Boomers felt helpless and wanted to stop the killing. So, they resorted to protests and strikes on university campuses. These acts were coordinated by two major student groups: the Black Student Union and Students for a Democratic Society, other wise known as SDS. I joined SDS in 1969. The only communication avenues we had at the time were printed fliers, underground newspapers, and FM rock stations. Oh, and let’s not forget the telephone. The FBI loved tapping them. If we’d had the technology Zoomers have today, we would have stopped the Vietnam War in 1967.

In 1968, the anti-war movement went international, from Europe to Africa to South America. Most of the world was opposed to the Vietnam War.

So, is this latest movement against Likud Party’s genocide on the Palestinian people a new Anti-War movement? As sure as the Earth is round! Now all this of this carping about Anti-Semitism is no different than when the New Left was accused of being Anti-American. Neither is true! There is a Jewish sect called, “Keturei Karta,” who believe that there can be no Israel until the Messiah comes. Many Jews do not accept Jesus as the Jewish messiah. Now, let me ask you. Is this orthodox sect antisemitic or just comprised of your average self-hating Jews? Shit no dumbass!

In 1968, we waved Vietcong flags and were accused of being communists. It was all done in the name of solidarity. Now the Palestinian flag is waved. Nothing has changed. We did have contingencies of Tankies, and other types of communist groups, who marched with us and chanted slogans that didn’t reflect the true sentiment of the movement’s coalition. Here are a couple I remember: “America must die! Let the red flag fly!” and “Get a clue! Fuck the red, white, and blue!” There were other silly ones I’ve long since forgotten.

Now you have Islamic nationalist groups doing the same thing. The Chants of “Death to America” come from small, Muslim, theocratic groups who are not affiliated with the Anti-authoritarian Left. Due to rumors and erroneous propaganda, the Left, as a rule, do not support Islam. Why? Well, because many of them does not support organized religion! Second, Islam, like Christianity and Judaism, are sexist religions.

It was the Battle of Seatle, in 1999, that gave me hope. Then came the occupation movement of 2011, and now, this anti-war movement of 2024. If they can pull this off, the movement’s young people can stop this so-called war in the Middle East. As for the young people in Israel, will they rise up and stop Likud Party? That remains to be seen.

#stephenjaymorris #poets on tumblr #american politics #anarchism #anarchopunk #anarchocommunism #anarcho communist #anarcho queer #anarcho capitalist #anarcho feminism #anarcho punk #baby boomer generation

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entropic-saudade · 2 months

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For @wellofdean (we interacted on your post on my main, but I had most of this in my drafts on this account).

Re: My disjointed, hastily verbalized thoughts on The American Dream as queered (and unqueered?) by Supernatural

The thing about Supernatural is that the thing that keeps the boys from being unable to reach The American Dream (a house, a successful job, a nuclear family) is that compared to the systemic issues (and the fact that it’s all a dangling carrot of a construct anyway) that keep most people from reaching it, what prevents them is the fact that monsters exist—at least, this is a premise as outlined by Pilot. These are two white, handsome, (debatably) cis, (arguably not) heterosexual men, and it should be something that should come as easy to them as others presume it should (See: Wishful Thinking). But a demon burned Mom on the ceiling, and then Jess, so that world is not for them.

But then the show does some interesting things.

They align supernatural beings with corporations (Hell and Crowley, Zachariah and Heaven), in S7 they use Leviathan as the literal embodiment of Thomas Hobbes’ defense of capitalism Leviathan, the all-intrinsic, insidious, corporate greed of corporate America. Even a lot of minor monsters who don’t get half-season or whole-season face times face the same underlying issues that hunters and other Americans (and people in general) face: they just want to survive. They want to keep food on the table. It’s eat or be eaten. Often, especially in later seasons (most notably in S15), we see glimpses of monsters living in dumps for houses just living relatively normal lives before the boys come in and kill them. To the monster, society at large and the hunter is what keeps them from their Dream of family and home and stability.

Monsters like Garth, Benny, etc, have to either be reformed or cooperative with humans, or else they face death. (I want to write on Benny and Garth later bc they’re SO fucking interesting, even among the monster archetypes).

Then, consider the fact that, yeah, monsters exist, but they’re just a decoy/byproduct of the fact that there IS an overarching systemic force that keeps them from ever exerting true free will, (note Hobbes’ social contract says we sacrifice a little bit of will in exchange for safety, that’s the condition of society; the safety here being so long as the boys follow Chuck’s stories they’ll forever be reincarnated into the rat race; if they want real free will they’ll no longer be safe from permanent death): God.

So the show in Pilot establishes that the American Dream apple pie life isn’t for them. Sam wants it, but he feels like a freak no matter where he goes. Dean claims he doesn’t want it, but you brush past his layers and you see how deeply he just wants a family and home (which John says he wants for him too, despite being the major force keeping him from it. Of course even without John, the other forces above kick in, because the system keeping them from it is God—John as an absent god figure represents that from the get go). They talk about the “apple pie life” with fluctuating tones of want and disdain throughout the show depending on their circumstances, but any time they get close to tasting it (Sam’s time at Stanford, Dean’s djinn dream in What Is and What Should Never Be, Dean’s time with Lisa, Sam’s time with Amelia—notably those examples stop after the boys get the Bunker, which I have more meta about I’ll RB & tag later, because it’s the closest thing to a home the show allows them to have), it gets poisoned by their past and snatched away by their path to the future.

Which makes the themes of “family don’t end (or begin) in blood” so important. (Though… consider also that most of their found family dies or isn’t shown by the end).

The way they get their American dream— a home (the bunker), a job (hunting, legacies, a hacked credit card), a family (all their found family, including Jack and Cas) is unconventional. In Lebanon, when John “I want this to be over, I want Sam to go to school, I want Dean to have a home” Winchester tells Dean he wanted him to have a home and family, Dean fully accepts and verbalizes that this is the best the life is going to give them. And that’s beautiful, and they’ll do anything to protect that. They make their little found families repeatedly: Ash, who burns down with the Road House; Jo and Cas and Ellen and Bobby, their family photo burned after Jo and Ellen die in AHBL. Every version of family they get is torn apart but they don’t stop, to the point that God literally has to take away everyone- and they still don’t stop fighting.

There’s smaller ‘jokes’ throughout— Dean never getting pie (never getting the apple pie life), Mary’s pie being storebought instead of homemade as representative of the fact that her home life wasn’t “real”— it was borrowed time. Even the pie in finale, is horridly, literally, delivered as a pie in the face. A joke. The apple pie life Sam got in the end isn’t necessarily even because he wants it anymore (Sam tells Dean such throughout, though he’s a little harder to read), but because Dean wanted it for him. The life Dean got in the end was in death.

Going back to Kripke and The Hero’s Journey as presented in his era of S1-5, the ending really subverted the ideas from Pilot. Dean got the apple pie life (and suffered), Sam did the furthest thing possible from normal and TOOK BACK POSSESSION FROM LUCIFER TO JUMP INTO A CAGE HE KNEW HE’D BE LOCKED IN FOREVER to save the world.

Then you get Gamble doing some interesting things with Leviathan/monster as Capitalist force, literally bringing the Campbell in Joseph Campbell back with Mary’s extended family— notably, Sam only fits in among them at the time because he Wasn’t Sam, and Dean feels like an outsider both in Lisa’s home (on the surface he keeps it together, but the life holds on), and among them even when he is hunting. They make fun of him for the traces of the American Dream apple pie life (golf clubs, magazines… even things he can’t control, like the ‘delicate features’ he gets from his mother, who waged a normal life so badly she made a deal with a demon while he inhabited her father’s body—the force that kept her from a normal life. More later on Mary and how she’s revealed to not be able to stop hunting regardless). The Campbells get killed off, and we get Mary in the form of Eve, Mother of All, who likewise is trying to protect her children. Is soulless Sam’s return in Exile on Mainstreet a “call to adventure”, presented as more of the inevitable same from Pilot— one so close that it’s Dean’s fear, that Azazel is back and will continue the cycle with Lisa and Ben? Ultimately, it’s not Azazel, but other demons and the existence of monsters, those pre-existing systemic family forces that keep Dean from his supposed idealized version of a normal life.

Carver’s era does some interesting things with Amelia (whose flashback scenes are so brightly lit they bring to mind the false cheery lighting of Dean’s djinn dream in What Is and What Should Never Be, of the false light lighting in It’s a Terrible Life— to the point that some have theorized the whole thing was a cope hallucination by Sam), with Benny (who I have meta written about elsewhere I need to post on here— but Benny is one of the most self aware, narratively echoed characters who aligns himself with every member of Team Free Will in just a few episodes. The notable/relevant thing here is that like Sam, Benny the blood drinker is a freak among freaks, feeling like he doesn’t fit in anywhere, has no home, and when he tries to find it (Andrea Kormos, Elizabeth in Carencro), he can’t get it either), with even the angels being thrown from the only home they’ve ever known, with Cain and Death and Rowena and God as a broken family with Lucifer and Amara and Chuck-as-God.

And then you get Dabb’s era, bringing Mary Winchester/Campbell back, the chance to unfridge a woman and tearing all expectations about who she is down, never acknowledging her family was also resurrected at one point, the boys living as “Campbells” in Lebanon (which I loved, but the “I have a home and I have a family” gets kind of thrown away by the end), Dean’s “I have a home,” The Heroes Journey even being lampshaded in S15 with the episode with Garth (more thoughts on Garth and how that episode shows the only real American Dream on the show, and he got to keep it, doubly queered by the fact that they’re monsters who are also hunters). Dabb’s finale brought the Heroes Journey story circle back, quite literally in the sense that time is a flat circle and Sam and Dean are returned to their Pilot expectations— right down to their clothing choices in Heaven. (I know some people find that beautiful, and there is a nice symmetry to certain elements, and I understand the need to end the story that way, BUT it’s the broader story and structure and narrative and message that upsets and baffles me— it undoes Kripke’s whole “rip up the ending” bit, the subverted Hero’s Journey from S5, and combined with everything else in the show (not going to touch Heaven rn but I have Thoughts about that too), it sends the message that what meaning you create in life doesn’t matter (the found family (who we don’t see in the finale and barely gets acknowledged. SAM’s new family barely gets acknowledged, his son is a xerox of Dean and his wife is a blur in the background who doesn’t have any family photos in the home), the queered way in which they create the American dream doesn’t matter)— true happiness comes in death.)

Something something “the one thing I want is something I know I can’t have.” Cas’ confession is not only a confession to Dean but a show thesis. To me.

#supernatural meta #meta #supernatural

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blues-valentine · 4 months

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those crying about margot robbie not getting an oscar nom are the same people that haven’t acknowledged america ferrera’s first ever oscar nomination. it’s very telling…

As I said, Ryan didn’t deserve that nomination. And if I’m honest, neither did Margot Robbie or America Ferrera. I like them both but their performances on Barbie aren’t even close to comparable with the line up of performances this year. Like, I can name you two or more actresses that deserved an spot on Best Leading Actress before Margot Roobie.

And I don’t think she cares all that much. She pushed this movie to be more about her as the movie producer. I am sure she is fine with the billion dollars it made and her bonuses. Barbie getting a Best Picture nomination is a win for her and her production company. The moment I saw people quoting Taylor Swift over Margot not being nominated while throwing the rest of the actresses nominated under the bus just tells me everything I need to know about this brand of “feminism” being hysterical over it.

Let’s talk about Greta Lee’s snub. Or Teyana Taylor for A Thousand and One. Or Fantasia for The Color Purple. Let’s speak on Lily Gladstone being the first Native American woman from the US to ever be nominated at the Oscars for Leading Actress. But this whole award season has been about the internet crying and hyping white woman instead of the women of color. This year was great for black woman on TV, especially when it comes to the comedy genre.

With this being said, Greta Gerwig did deserve her Best Director nomination but so did Celine Song for Past Lives and she’s not even being mentioned in the conversation by the so called feminists that are tired of men taking the noms. Also so tired of some acting like Justine Triet didn’t deserve her nomination for Anatomy Of A Fall. People are being so disrespectful to her.

Lastly, I celebrate America‘s nomination as part of the Latino community and I’ll just pretend she was nominated for her debut Real Women Have Curves (2002) which she deserved way back. She won’t win. But I am happy for her getting that recognition for her years of craft.

#oscars #the academy awards #barbie #barbie movie #past lives #greta lee #margot robbie #a thousand and one #the color purple #america ferrera #white feminism #celine song #like i am tired of you all #lily gladstone

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scarlet--wiccan · 2 months

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So this is not supposed to be a gotcha question because I'm sure you'll have a good response to it, but what of the argument that Wanda and Pietro were white characters for the first 15 years of their history (arguably until VIsion & The Scarlet Witch vol. 2 confirmed Magda)? What gets to me on social media is the frequent statement that they were always Romani, a bit like (though not nearly as bad as) the idea that the Hitler-like Magneto of the 60s/70s should be read as a Holocaust survivor.

Well, I agree that it would be dishonest to claim that they were "always" intended to be Romani characters, because as far as we know, that's simply not the truth. But to that, I raise two points. The first-- so what? They didn't have a fully established backstory in the 60s or for most of the 70s, but the same can be said a lot of other Silver Age characters, including most of the original X-Men cast. So who cares? When the writers finally settled on a concrete backstory, this is what they came up with.

Second, I think the fact that they've existed as such for 40+ years, and that their heritage is an integral part of every iteration of their origin story-- not to mention the fact that it makes them arguably the most prominent Romani characters in the entire superhero genre/American pop culture writ large-- should be enough for people to accept that this is a key aspect of the characters, and it's not going to change. I'm sorry, but if you look at Wanda and Pietro's full 60 year publication history and all you can say is "well, for a small fraction of that time, years before I or most people currently purchasing comics were even born, they were white, so therefore I'm entitled to whitewash them," you're being racist. You just are.

We're talking about representations of a marginalized community, as well as depictions of, and narratives about, the way that community has historically been oppressed. You have to internalize that fact, and, like, have a moral backbone about it.

As for Magneto, I think that when we're reading material that spans decades, as comics do, we have to develop the ability to simultaneously read the text as it was written at the time of publication, AND view it in context of the larger continuity. I agree that it's hard to reconcile Magneto's characterization in the 60s and 70s with the version we know and love today, but you don't necessarily have to. And I have to say, this is a very different situation that I don't think compares at all to Wanda and Pietro. With Magneto, we've two different character treatments that really conflict, but with the twins it's just an absence of information that was eventually expanded upon.

#and don't ask me about Robert and Madelyne okay? That shit was swiftly retconned as a misunderstanding and nobody in the year 2024 #is checking for either of those characters unless they're trying to dig up a tired excuse to-- again-- be racist and undermine the decades #of continuity in which Wanda and Pietro are meant to be people of color #whitewashing

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my-mt-heart · 3 months

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Is the reason why you want a female showrunner so bad because most romance writers are women? I want canon Caryl but I don’t want TWD to be Bridgerton or Gilmore Girls with zombies.

Just because I want a romantic journey for Caryl doesn't mean I want someone to turn their show into Bridgerton or Gilmore Girls and it also doesn't mean a female showrunner would. If we should worry about anyone taking romance in the wrong direction, it’s Zabel and co. who are now comparing Daryl to a “lonely knight” from a Lamartine poem🤨 The reason I need an experienced female showrunner is because she's far more likely to connect with a deeply internal female character like Carol and an unconventional, also deeply internal, male character like Daryl. She can highlight their nuances and appeal to a largely female audience + many male viewers who don't fit the hypermasculine stereotype. She can help that audience grow and get the show a lot of mainstream attention.

I’m not saying men can’t write for these characters, but the toxic white men TWDU only seems to hire now are far too self-indulgent. They don't write for the characters or for their fans. Look at how Daryl often comes across in S1– as a white American savior, eligible bachelor, emotionally constipated except when he’s angry, and someone who can make eyes at a woman he barely knows despite having someone at home. That's not the Daryl so many people fell in love with during the Sophia arc in the flagship show. That's not the loyal family man who wears his heart on his sleeve and reserves any "glances' for the woman he’s always loved. They write their male protagonist from a limited perspective and same goes for the women. They turn them into tropes like the femme fatale (Maggie), the “good girl vs the whore” (Isabelle), the “manipulator” (also Isabelle), and the “strong woman” aka a woman who acts like an alpha male. Carol was a badass in 106, but there was no emotion behind her actions. Why couldn’t we get a closeup of her face while she was mounting the bike? Why couldn’t we see how worried she was about losing Daryl, the man who means everything to her? Was it cut? Was it even shot? Why didn’t the male EPs think that might be important?

Look at the ways they gatekeep. If “The Book of Carol” is supposed to shine a spotlight on our deeply internal female protagonist, then why are Zabel and Richman writing half the scripts themselves and why are their no female directors? Representation offscreen is just as important as representation onscreen.

Melissa will have had a lot to say about Carol's arc, which I think will make a big difference in S2 thankfully, but she still needs another woman in power to help her tell Carol's and Caryl's story the way she and her fans want it to be told and to promote Carol fairly. Notice how she keeps getting left out of promos or pitted against other characters or reduced to a subtitle? That does not mean Melissa has no agency or that she's weak. It means the misogyny at AMC, and TWDU in particular, runs too deep for her to be immune. She needs allies.

I need an experienced female showrunner for S3, otherwise I'm not interested. Zabel, Nicotero, and Gimple are a ticking timebomb. S1 was pretty damaging. I'm hoping S2 won't be, but at some point there's going to be no coming back from one of their careless decisions and I can't watch that happen to the two iconic characters who have functioned as fictional role models in both my personal and professional life. I need to know that AMC values Melissa, Carol, and Caryl as much as I do as a fan. Letting the men run amuck, letting them shit on Melissa/Carol/Caryl and their fans constantly, is not very convincing.

#caryl #carol peletier #melissa mcbride #daryl dixon #norman reedus #twd caryl #the book of carol

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mariacallous · 2 years

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As far as mass shootings, go, it was over quickly. Just before midnight on Saturday, a man carrying multiple magazines of ammunition entered the Club Q, a gay bar in Colorado Springs, Colorado, spraying gunfire. As bullets flew, two patrons at the club subdued the attacker by grabbing the gun from him, and hitting him with it. They held him down until police arrived. The first 911 call was made at 11.56pm; the killer was taken into custody at 12.02am. But in those six minutes, five people were killed, including Daniel Aston and Derrick Rump, two men who were tending bar, and Kerry Loving, a partygoer. Eighteen were wounded. As the clock struck midnight, it became a holiday for the bar’s community: Transgender Day of Remembrance, which honors trans people killed in hate attacks, was observed on Sunday.

There’s a grim routine, these days, to the mass shootings in America. Some elements remain constant from shooting to shooting. Usually, the gunman is a young white man, and usually, he has a history of violence against women. There will have been mental health episodes, or previous run-ins with police. But none of this history will have stopped him from getting a gun. American mass shooters tend to use automatic or semi-automatic long guns, the kind that aren’t available to civilians in other countries. Almost always, they purchased them legally.

In the aftermath, the public makes a grim calculus. How many dead? How many wounded? The initial numbers that trickle out through the media tend to tick upward in the following hours and days, as more of the injured arrive in local hospitals and some of the wounded pass away. Americans compare the latest massacre to the others, rationalizing to keep the panic and despair at bay. “That one wasn’t so bad,” we tell ourselves. “Only three were killed.” This has become the price of being in public in America, a psychic tax that we all pay when we leave the house: that the next time, when the next gunman opens fire in a school, or a church, or a grocery store, that one of the anonymous numbers printed in the newspaper will be someone we love.

In the hours after a gunman stormed into Club Q, a morbid kind of box checking began. Yes, it was a young white man who committed the rampage – this time a 22-year-old. Yes, the shooter had a history of violence against women: the attacker was arrested last year after an hours-long standoff with police after making a bomb threat against his mother. He was charged with multiple felonies, but, yes, he still had access to guns. Yes, the killer used an AR-style long gun to murder his victims. And yes, the killer appears to have rightwing ties: he’s the grandson of a far-right California state assemblyman who supported the January 6 insurrection. On Monday, the shooter was charged with five counts of murder and several hate crimes.

There’s a morbid randomness to American gun violence – that fatal combination of scarce mental health treatment and superabundant firearms that makes America, and only America, a place where mass public massacres are common even when the nation is ostensibly at peace. But if the Colorado attack was enabled by America’s pervasive gun violence problem, it seems to have been prompted by the tenor of rightwing media, both broadcast and online, which over the past years has turned a virulent, conspiratorial and obsessively hateful eye towards the LGBT community.

In the coming days, the massacre at Club Q will be cast as an isolated tragedy, and those who point out the right’s complicity in the violence will be accused, with predictable cynicism, of politicizing the tragedy. But what happened in Colorado Springs this past weekend was the foreseeable continuation of a trend of escalating violence targeting gay spaces, and drag shows in particular.

Egged on by conservative politicians, like Lauren Boebert, social media figures, like Libs of TikTok, and traditional media scions, like Tucker Carlson, conservatives have spent the past months consuming the lie that gay and trans people are “groomers” – that is, perverts and pedophiles who want to molest children, or sterilize them, or confuse them into leading different, wrong and lesser lives. In the face of this supposed harm to the innocent, any vengeance can be justified.

The lie that gay people are “grooming” children has provided cover for violent and bigoted displays at LGBT community spaces across the country. Over the past year, drag performances and other LGBT events have been targeted with protests and violent threats in California, Idaho, Georgia, Texas, Florida, Indiana, Oregon, North Carolina and New York. Violent rightwing militia groups, like the Proud Boys and a group calling itself Patriot Front – who wear masks, because they are ashamed to show their faces – have appeared at these events, menacing gay people with threats. Just last month, in Eugene, Oregon, violence erupted outside a drag show when rightwing goons appeared and began throwing rocks and smoke bombs. At that hate rally, as at others, the anti-gay protesters carried semi-automatic rifles. It was only a matter of time before they started using them.

Like most bigots, homophobes know little about the groups they target, and their hatred doesn’t hew to logic. But when pressed, they will say that gay and trans people lack the virtues that they associate with traditional masculinity – virtues like honesty and integrity; courage, discipline and willingness to protect the innocent. But it was two patrons, almost certainly gay themselves, who subdued the attacker at Club Q, risking their lives to spare more bloodshed.

Meanwhile, in Uvalde, police officers armed to the teeth – the paragons of hegemonic masculinity that the right is always insisting we worship – stood by, cowardly and immobile, while a gunman slaughtered little children. If the right sees “manliness” as a virtue, a willingness to risk yourself to help the vulnerable, then you’d think it would be clear to them who the real “men” were.

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queering-ecology · 3 months

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Chapter 5 . Non-white Reproduction and Same-Sex Eroticism: Queer Acts against Nature by Andil Gosine prt 1

“In Euroamerican-dominant cultural contexts, two kinds of sex have been (are) said to be toxic to nature; reproductive sex between non-white people, and sex between men.” (149)

The concept of ‘overpopulation’ has put the blame for global ecological disasters/climate change on the reproducing proclivities of the poor; due to the easy collaboration of capitalism with patriarchy and racism, that has meant the economically dispossessed non-white peoples of the world, particularly child-bearing (or potentially child-bearing) women from Asia, Africa, and South and Central American, as well as First Nations and non-white women in North America. (149)

“Although overpopulation propaganda and its material offshoots (family planing programs, coercive sterilization practices, etc.) and the criminalization and policing of sexual acts between men have been and are generally treated as distinct phenomenon, their genealogies are intimately interwoven through the projects of colonialism, development, and nation building. Read against the heterosexist, racialized formations of nature engendered by these projects (the creation of national parks,etc.), heterosexual, potentially reproductive sex between non-white people and homosexual sex, I argue threaten colonial-imperialist and nationalist ambitions. Both are “queer acts'' in that they challenge the stated norms of collaborating colonial narratives of race, sex, and gender, through which modern formations of nature have been constituted. Both fail to meet and are threatening to the white nation building projects engendered through the process of colonization, and uncritically buttressed in historical and contemporary discourses of environment and ecology.” (150)

Any acts seen to upset this agenda are constituted as not just unnatural but toxic to nature. This claim is not far removed from those made by postcolonial scholars and psychoanalysts who recognize sex as a primary site through which the terms of empire are negotiated and stipulated. (151)

The Sex of Others

The sex of “Others” has long preoccupied the imaginations of social and economic stewards of Euroamerican culture. The author provides many examples of this. These fantasies exerted a powerful influence on figures such as Columbus and “informed the organization of colonial society around the tropes of race and gender” (Rattansi 1994, 44) (152) (ie the first time Columbus saw 'America' from his ship he compared the land to a woman's breast)

“The management of sexuality, parenting, and morality were at the heart of the colonial project” (Ann Laura Stoler 1995, 226) (152) Through the course of colonization, anxieties about non-white peoples’ sexualities would also inform the constitution of natural space across the world. The creation of “wildlife preserves' and national parks across the colonized world was predicated on the removal of their human, reproductive presence: the areas’ indigenous populations. Aboriginal peoples in Africa, North America, and Asia were viewed as both a part of and a threat to pristine nature, a contradictory argument that rested in no small part on fears about the potential reproduction and ‘abundance’ of them. (152)

Reproduction-Overpopulation

English cleric Thomas Malthus is credited with innovating the idea that the sheer growth of human population (and not what humans do) is socially and environmentally destructive. In his 1798 Essay On Population, Malthus argued that since agricultural production increases arithmetically and population soars geometrically, poverty and disease acted to check excess numbers of people who were outstripping available resources. (He was strongly influenced by his work as a colonial administrator in India for the East India Company)

Malthusian theory has been revitalized by racial theorists, birth control advocates, American military agents of imperialism and national security, ethno-nationalists, international development policy makers and project managers, and environmentalists.

The idea that population growth in non-white communities poses an ecological threat has throughout the twentieth century enjoyed considerable popular appeal, particularly in the Global North. (153) i.e. Tragedy of the Commons-Garrett Hardin (1968) (“Freedom to breed is intolerable”, eugenics, sterilization, against redistribution of wealth, privatized ownership of natural resources)

Most credible scholarship has outright rejected Malthusian claims. The overpopulation myth is simply bad science, unsubstantiated by lived experience and driven by particular ideological interests that serve to deflect attention from the fact that most environmental problems–global warming, pollution, deforestation, and so on–are the direct consequence of industrialization, over-consumption, and capitalist territorialization, and NOT simply the overabundance of people. (153)

For preservationist-conservationist environmental movements in North America, the myth of overpopulation was an appealing distraction from the effects of capitalism and industrialization that became especially apparent in the 1960s, effectively turning attention away from the consumption activities of white, middle-upper-class Americans who often made up the movements’ membership (Darnovsky 1992). (153)

One important point oft overlooked in Malthusianism is that in overpopulation discourse the main culprit is sex. Identification of overpopulation as the cause of poverty and environmental degradation necessarily implicates the people said to be engaged in dangerously overproducing themselves: non-white men and women living in the Global South engaged in heterosexual sex. Sex itself, then, is the act of destruction. (154)

#queer ecologies: sex nature politics desire #ecofeminism #colonialism #overpopulation #malthusian theory #critical ecology #sexuality #queer ecology #queer theory #erotophobia #environmental politics #heteronormativity #tragedy of the commons #conservation #racism #anti capitalism #eugenics

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thebestpartofwakingup · 2 years

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Wes Anderson’s Fantastic Mr Fox is the best anthropomorphic media about gender identity and it does so without making animal species a metaphor FOR gender in fact that’s kind of the whole point and beauty of it and why it works. Their animal natures all reflect their human natures, their personalities, in a way reminiscent of classic folktale while allowing gender to exist amongst animals the way it does among people, making it easier to resonate with these themes rather than pulling an anthro bunny girl “radicalization of gender” (because gender and race operate very differently when taken as individual attributes of identity, and by presenting the two as comparable facets of the same dynamic, the way a writer may decide to compare the history and dynamics of African American identity to Native American identity or to whiteness as a construct——because the way the white man oppresses the non white man and the way he oppressed the white woman are fundamentally different and these sort of “what if woman was a fantasy race” analogies obfuscate that and the oppressive relationship between white women and non-white men AND women)

Like the movie basically presents Mr. Fox’s notion that a fox is 2 things

-a wild animal

-a gentleman thief

And it’s no coincidence that one is a product of nature, you’re either born a Fox or you aren’t, and the other is a fully social construct. It is also a gendered construct. Mr Fox (and others) correlate foxhood and manhood throughout the film and in ways consistently demonstrated to be harmful to everyone

Because Mr Fox correlates his Fox identity wi h his gender identity he feels isolated from both sectors as the only adult male Fox in the movie, he doesn’t attempt to reach out to his wife about his foxy dissatisfaction, his cravings to hunt and outsmart humans, because he is correlating these feelings with both his foxhood and his masculine ego, and in recognition of his wife’s femininity determines that she is inherently incompatible with understanding these feelings, despite them both being foxes

It’s also representative of his office-kilter friendship with Kiley and his pseudo-antagonism with Badger, both other adult men, one a husband and father himself, but neither foxes, and so Mr Fox feels frustrated when neither empathize with his fox-based feelings and needs despite them all being men

It’s also reflected in how the children are treated by Mr Fox and those around them as a whole. Ash is by and large shown to be TERRIBLE at performing masculinity while also extremely aggressive, irritable, and desperate TO perform ‘masculinity’. Because despite his poor athletic abilities on the field he is a natural in the actual hunts themselves, and is shown to genuinely enjoy them both as a bonding activity with his father but also of their own merit. He is clever and fast on his feet and a creative thinker, he also has that natural drive to “prove” himself that Mr Fox also describes in the waterfall scene as a fundamental Fox-prone temperament. Mr Fox, Felicity, and Ash are fundamentally extremely similar people with extremely similar temperaments and complimentary skills and inclinations. Ash is an EXTREMELY good and natural Fox, it helps that he has maybe the most “wild” appearance when mask-less, dark circles under the eyes and rough fur that gives him a wild edge the other foxes lack in their design

Comparatively Kristofferson is a young gentleman in the making but not very foxy at all. He is a very skilled athlete, very composed emotionally (contrasted with the wild emotional outbursts of his wild Fox families and their weird games of emotional repression and run around) yet the people around him constantly reinforce the idea that these are natural FOX attributes because foxes being “gentlemen thrives” has been correlated as an inherit aspect of foxhood, being a Fox who is good at being a gentleman must indicate a Fox who is good at being a thief and at being a wild animal, when neither could be further from the truth for Kris, who has few natural instincts, and morally opposes stealing itself. He is rather similar to Kiley, a non Fox man who Mr Fox continuously pushes into Fox scenarios because he wants a companion in BOTH his foxhood AND his manhood because he has determined they are one in the same. It’s also why Kristofferson excites him so much, because if the kid is a Fox and this good at being a young gentleman he must clearly also be a “wild” animal and a great thief when he ISNT because those traits are all differently and not inherently linked. Mr Fox is so swept up in his belief that masculinity and foxhood must me inherently linked or one in the same that he unintentionally hinders his own plans of thievery by enlisting poor poultry thieves and ignoring the sheer Fox talent in his own family

It’s also why his marriage with Felicity nearly falls apart, because Mr Fox insists that foxhood is an extension of manhood he ignores the own Fox related feelings and needs of his wife and presumed that his nostalgia for stealing chickens and his need to feel clever and “fantastic” are concepts that she could not empathize with because she is a woman, meanwhile it is because she is a woman, and a wife, and a mother, that Felicity keeps those feelings controlled enough to keep her family and community safe. She recognizes her gender and her foxhood as separate aspects of a single identity and therefore is able to balance them to what she feels is appropriate, she is self aware and therefore able to express self control. What’s really interesting is the film also suggests that her experience with prefect helped In her recognition of this relationship, her sudden fan unexpected introduction of a third identity that conflicted with the needs and desires of another, yes foxes love to steal and outwit farmers and escape danger, but mothers also need to keep their children safe and cared for and she recognized that she could not maintain both the life of a thief and the well-being of her child, and that the latter was simply more important to her. This is why she’s so upset and angry with Mr Fox and tells him she loves him but she shouldn’t of married him, because by failing to recognize these roles and manage them Mr Fox has communicated that he does NOT share this same value, or doesn’t possesses the maturity and self control to properly practice it. He cannot get over his masculine ego to express his discontentment with his non-Fox-esq life to the other adult Fox IN his life because she is a woman, and by failing this his cannot keep his Fox-feelings in-check to prevent himself from putting his family in danger.

It’s also why Felicity is the one who is able to get through to Ash, because she doesn’t correlate gender and foxhood she is able to recognize that Ash is very much 100% red blooded Fox just like his parents are, but because he cannot perform traditional masculinity this aspect of himself gets overlooked by his father and misunderstood by other adults as Ash tries to cope and overcompensate this disconnect with aggression (something both masculine AND Fox like)

There are some readings that Ash is trans (specifically a trans woman egg) and both readings absolutely support each other. The beaver bully also addresses Ash’s lack of masculinity as femininity but this is also based off a binary model so a NB reading of Ash is also possible. We do not get enough of Felicity or Agnes to really comprehend what “Fox femininity” looks like as a whole to compare Ash’s behavior with. Ash could be equally unsuited towards both. Ash also wears a costume throughout the movie and this can be read as discomfort with Ash’s own identity and body, another failed attempt to project masculinity that doesn’t feel right to Ash.

The lack of other foxes in the movie also helps to convey that Fox-ness is less of a cultural construct, while the animals certainly all have a shared cultural understanding of what a Fox is, the preterition for thievery, risk taking, and cunning that all three red foxes show in the movie is framed more in the way that shared family behavior is often understood. Being “a Fox” is less comparable to “being a Texan” or “being a man” as it is to “being a belcher” or “being a Simpson”. However Mr Fox is too self centered initially to recognize this relationship and instead correlates foxhood to his other most important identity, his manhood, and comes to the conclusion he is the only “true” Fox because he is the only Fox man in his family or community

It’s also been highlighted in other readings that his phobia of wolves is likely a metaphor or derived from his fear of wild inadequacy, that his failure to live up to his standard of what a real Fox, a real wild animal is, is due to him being inadequate at those roles rather than—-as pointed out by the Felicity analysis—-simply the sign of a multifaceted man balancing different identities and values. Felicity doesn’t fear wolves because she knows her dedication to her family and to painting over stealing were choices she made based on other aspects of her identity and other values outside of how Fox-like she is, while for the first half of the movie Mr Fox has yet to come to this understanding and instead internalizes his failure to live in a fancy house off of his earnings as a wild farmer outsmarting bird stealer as his failure to be a Fox, a wild animal, and a man, or in his conflated logic, his failure to be a Fox

The inherent conflict in this conflation is even something Felicity highlights in their real rate discussion, she likes living in a hole because it’s Fox-like, she has a Fox instinct to burrow. Mr Fox presumably does too but is valuing the “value” of a home as the value of a man and his ability to provide for his family OVER his value of his Fox instincts, AND is valuing his Fox-based desire to “show off” and “flaunt” in front of danger OVER the OTHER Fox instinct to burrow away from predators to stay and keep their cubs safe. He is making a choice similar to how his wife has made choices with her life however he is doing so in the most self-centered of ways. He is more in control of his values and identity-expression than he admits because it benefits him personally to play stupid and powerless, “foxes will be foxes” which is where Felicity’s anger with him and Ash’s frustration with himself stem from,

Because Mr Fox refuses to recognize them as fellow foxes, because doing so would require him to acknowledge the inherent responsibility he has for his behavior.

#long post #fantastic mr fox #the fantastic mr. fox #wes anderson #analysis #gender

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