#especially against this post-war backdrop like
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for the deep fic writer asks: 2, 10, 16 & 19
2. what’s a fic that took you to an emotional/dark/hard place?
Oh god. I'm gonna have to go back quite a few years but I wrote two fics that I have a hard time revisiting. I really need to edit one, though, because I made a creative decision that didn't work.
A Deafening Distance is a Supernatural fic where Dean said yes to Michael, and Sam and Cas are left to pick up the pieces. There is a mini cast of OCs and I thought it would be funny to name the OCs after the actors but some people found it disorienting. I keep meaning to change that but I haven't been able to visit this fic and I posted it in 2010.
Wishing Well was a Cap Kink Meme fill back when kink memes were a huge thing on LJ. It's a CATFA fic and the prompt was "kissing lessons" and it's from Howard Stark's POV and I kept the ending the same as the movie so it was... it's really sad? But it's a good kind of sad, if that makes sense.
P.S. The ficmix I made for this fic still wrecks me.
10. how has writing positively impacted your mental health or overall mood?
All I can say is, if I can't write I'll go fucking mad. My brain is always on its bullshit. I maybe spent late elementary through early middle school obsessing over 1 ginormous crossover fic that I wrote in my head; it had its own soundtrack and score and the character voices I swear were on point and it was all I could think about. I still remember it all these years later because I never wrote it down. It seared itself in my head. Being able to write is like venting a pressure cooker and keeps me sane and focused.
16. Do you re-read old fics? Is there a time in your writing you won’t go back to?
I will not touch anything I wrote and posted to FFN. I refuse. But I'll re-read old fics I posted to AO3. I spent hours tracking down all my old Transformers fics in my old external HDDs to read and feel sad over the stories I wanted to tell but couldn't. I'll revisit the massive Tronfic that imo changed my life forever and is still my personal standard that I am always reaching for with my newer fics. I'll also click the back button on some of my fics because those stories just don't cut it for me anymore. It's nice to look back on your older work to see what held up, what didn't, what trends you kept, and how much you changed since you posted those fics.
19. If you could write an ideal fic, what would it include?
My ideal fic would have a deliciously slow burn romance against a plotty backdrop steeped in political conflicts and sociopolitical change/revolution. I think that's one of the reasons why I'm still going so hard and heavy for dinluke; I get so insane just thinking about the parallels between Din and Luke and their respective cultures/heritages, the play on "enemies to lovers" but on a generational scale where Din heard stories, where Mandalorian armor and weapons are designed to fight the Jedi, and Luke? Knows not enough because he has nothing but the teachings of two Jedi ghosts, whatever he can scavenge and salvage of the Jedi Order, stories from people who still remember the Jedi. Din is of an endangered people and Luke is of a nearly extinct people, and while Din tripped and fell into being the wielder of the Darksaber, Luke chose to try to reclaim and rebuild the Order. And they only crossed paths because Din sacrificed his covert for a Jedi youngling and went through hell to reunite Grogu with his kind. It's insane. They're insane. They drive me insane.
I am also so endlessly fascinated by this post-war galaxy, the rippling consequences of the Empire's downfall, the generational conflict between people who grew up while the Empire was in power vs. people who remembered the last years of the Galactic Republic, the struggles of a New Republic building on the ashes of the Empire and memories of the Galatic Republic, all the cartels and crime syndicates/organizations rushing in to get theirs, the displaced peoples either trying to come home or make a place for themselves in a turbulent galaxy, etc, etc, etc.
Uh. Yeah. I'm that kind of fic writer/fandom person.
Fuck that was a really long answer, oops.
Play ask games, win ask prizes.
#shirozora awkwardly responds to asks#can i tag this dinluke#i'm gonna tag this#dinluke#because I will ramble forever and a half about why this ship just clicks for me#especially against this post-war backdrop like#i go fucking feral just thinking about it#which is why I'm writing a fucking trilogy working out my feels about all of this#keep it small by watching the galaxy from din's headspace but allow a glimpse into the greater galaxy's struggles#i fucking love this shit#this is why i fucking love Andor. that show just fucking does it for me#the way the first two seasons of The Mandalorian did it for me#sorry to TBOBF and Kenobi#Kenobi was fine but didn't do enough#meanwhile I have so much beef with TBOBF it almost rivals my fucking seething hatred for TLJ#ANYWAY#the other fics i mentioned exist on AO3 though I really need to sit down and edit that SPN fic#it really deserves a second pass
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A speech made at the Academy Awards by Jonathan Glazer, along with the subsequent reactions, sheds light on how people tend to distort others' words to portray themselves as victims and, more concerning, their willingness to reside in a dystopian bubble as long as it doesn't affect them directly.
Rather than idolising Hollywood, I've previously posted about the complexities of my evolving parasocial relationships. But to disregard the influence wielded by these elites would be naive. It's frustrating to witness those in power facing backlash when they attempt to bring attention to pertinent issues.
While the Oscars' prominence in Western pop culture is waning, the ceremony and the fervour surrounding the nominees and winners, especially in the major acting categories, still hold significant sway in film culture and the broader world.
So when such a speech is delivered at the Oscars, it's bound to garner attention:
All our choices were made to reflect and confront us in the present — not to say, “Look what they did then,” rather, “Look what we do now.” Our film shows where dehumanization leads, at its worst. It shaped all of our past and present. Right now we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation, which has led to conflict for so many innocent people. Whether the victims of October the — [Applause.] Whether the victims of October the 7th in Israel or the ongoing attack on Gaza, all the victims of this dehumanization, how do we resist? [Applause.] Aleksandra Bystroń-Kołodziejczyk, the girl who glows in the film, as she did in life, chose to. I dedicate this to her memory and her resistance. Thank you.
Glazer highlighted in his speech that victims of the ongoing situation and the last 75 years, whether Palestinian and Israeli, all stem from the occupation and are casualties of entrenched ideologies like Zionism. But when he said this on stage and was immediately misquoted online on social media and by reputable news sources, alleging that he simply renounced his Jewish identity.
He also faced considerable backlash from those indicating a persistent conflation of anti-Zionism with anti-Semitism. It really parallels previous speeches of resistance at the Oscars. Boos rang loud and clear during Michael Moore's opposition to the Iraq war (which we know was a colossal failure by Geroge Bush and the US Government who perpetuated and pardoned multiple war crimes in the region after lying to their own people about evidence of weapons of mass destruction).
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There was also Sacheen Littlefeather's advocacy for Native American representation and the direct of attention to the Wounded Knee Occupation, a speech that had bodyguards having to restrain people from getting on the stage and attacking her.
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And, of course, Vanessa Redgrave's aim at “a small bunch of Zionist hoodlums whose behaviour is an insult to the stature of Jews all over the world and to their great and heroic record of struggle against fascism and oppression”, which still feels relevant today.
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Turning to Glazer's film, I am baffled at those who vehemently objected to it: Did they actually watch it? Because if they had any negative feelings towards Glazer's speech, especially after watching his film, it suggests, to me, a deficiency in critical thinking.
Glazer's film portrays a chilling atmosphere where genocide becomes normalised, echoing real-world situations like the ongoing conflict in Gaza. The film serves as a stark reminder of humanity's ability to coexist with atrocities, often turning a blind eye for the sake of comfort.
The horrors adjacent to the characters' lives evoke contemporary parallels, particularly in regions like Gaza. With over five months of relentless violence, Israel's defiance of international court orders, and Western governments passively reprimanding while fueling the conflict with arms shipments, the spectre of genocide looms ominously. It risks becoming a mundane backdrop to daily existence. It is a stark portrayal of how affluent lifestyles can be linked to neighbouring atrocities, challenging the notion of denial and complicity.
The film doesn't centre around the Holocaust (Glazer's own words), with its specific historical context. Instead, it delves into a more universal theme: humanity's ability to coexist with atrocities and even derive some form of reconciliation or gain from them. The discomforting reflections are on purpose. It prompts us to acknowledge that the threat of annihilation of any people is always closer than we might imagine.
One of the most poignant moments in the film occurs when a package filled with clothing and lingerie pilfered from the prisoners of the camp arrives at the Höss household. The commandant's wife decides that everyone, including the servants, can select one item. She claims a coat for herself and trys on makeup discovered in one of its pockets.
How can the people who are so staunch against Glazer not draw parallels with Israeli soldiers who have recorded themselves rummaging through the lingerie of Palestinian women and slut shaming them? (Why are Israeli soldiers obsessed with Gaza women's underwear?) Or proudly displaying stolen shoes and jewellery for their partners back home (Israeli soldier loots Palestinian homes for his engagement party). Or celebrating International Women's Day with a photo of women soldiers posing for selfies against the backdrop of destruction (How an AP photographer made this image of Israeli soldiers taking a selfie at the Gaza border).
The film is rife with these parallels that it feels like a documentary. It is a grim reality: the potential emergence of the first live-streamed genocide, captured by its very architects.
Gaza doesn't mirror the systematic mass murder machinery of Auschwitz, nor does it approach the scale of Nazi atrocities. However, the entire purpose behind establishing the postwar framework of international humanitarian law was to equip us with the means to collectively recognise practices before history repeats itself on a large scale. And disturbingly, some of these practices – such as the construction of walls, creation of ghettos, mass killings, openly stated intentions of elimination, widespread starvation, plundering, gleeful dehumanisation, and deliberate humiliation – are recurring. And have been long before October 7th.
How do we disrupt the cycle of trivialisation and normalisation? What actions can we take? There are persistent protests and acts of civil disobedience to "uncommitted" votes, disrupting events, organising aid convoys, fundraising for refugees, and creating radical works of art.
And as genocide fades further into the background of our culture, some people grow too desperate for any of these efforts. I am certainly one of them.
Yet, these efforts seem insufficient, particularly when those in positions of power remain indifferent. It's insufficient when I watch a video of a little girl saying that the violence has made her feel less beautiful before she talks about her father being kidnapped by Israeli soldiers or of the orphans visiting their mother's burial spot in the street. It is insufficient when the death toll rises to exceed the daily death toll of any other major conflict of the 21st century.
Perhaps it's unfair of me to prioritise one tragedy over another, given the multitude of suffering in the world – the ones that are in the news cycle and the ones that are not. Yet, my connection to Palestine and its plight feels as personal as it can be without me actually being Palestinian, fostered from childhood teachings and further enriched through my own research. I have loved ones directly impacted by this conflict: friends in the diaspora grappling with survivor's guilt, friends in the West Bank enduring the daily hardships of occupation. And my friends in Gaza are all either dead, dying or being pushed straight into the arms of death.
The realisation that my efforts to help them are insufficient fills me with frustration. I'm angered by the indifference of those in power and by the hostility encountered by those attempting to bring the truth to the forefront.
#palestine#free palestine#gaza#anti zionisim#academy awards#oscars#jonathan glazer#the zone of interest#geopolitics#politics#i hate doing tags#Youtube
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AU: Journey to Redemption (Part 5)
The Storm Within
Coriolanus Snow x Fem!reader
First Part. / The Winter Ball / Champagne Problems / Frost and Thorns / The Storm Within
Summary: Y/N, a young idealist in Panem, dreams of making a difference in a post-war society. As the winner of the prestigious Plinth Prize is about to be announced, a mysterious woman unveils a grim fate for Coriolanus Snow, Y/N's nemesis. Offered a chance to alter destiny, Y/N must navigate her conflicting emotions and intervene in pivotal moments to prevent Snow's descent into darkness. The story unfolds against the backdrop of complex relationships, past connections, and the challenges of a changing world, as Y/N grapples with the responsibility of shaping an unexpected destiny and challenging the very fabric of fate.
Warning(s): None, enemy to lovers, back in time, destiny, Snow being in love, Snow being Snow, possible grammar and spelling mistakes
A/N: I'm on Wattpad now too, click here to read and vote there: WATTPAD
Y/N was furious; each accelerated beat of her heart echoed her indignation. The news of betting on tributes, Arachne being beheaded on camera, the snakebites on Clemensia, and the final blow was the information that they had bombed the arena with Coriolanus inside. Determined to confront Coriolanus, she relentlessly sought him, even reaching the boy's apartment, a place she had never visited before.
The boy opened the door with wet hair, his chest still exposed with bandages. Y/N couldn't help but notice, especially because Snow was much taller than her. His hair dripped, and droplets ran down his torso. She couldn't help but notice his imposing height and the sight of his wet body. That only made her angrier because, despite everything, he still exerted some kind of attraction over her.
"I've been looking for you," Y/N exclaimed, her voice laden with anger.
"I just came back from the hospital, I'm alive," Coriolanus spoke as if everything were under control, trying to maintain composure but failing to completely hide his anxiety. "I'm getting ready to see Lucy Gray shortly. If you could excuse me…" He was about to close the door when Y/N stopped him, entering his apartment.
Without hesitation, Y/N lunged at Coriolanus, her weak blows against his chest unable to affect the boy but revealing the intensity of her frustration. His warm skin matched Y/N's fury.
"You idiot!" Tears glistened in her eyes. "I can't believe you have the nerve to tell me this! Arachne is dead, Clemensia is poisoned, and when I saw the explosion live, I thought the worst had happened. And you dare to keep thinking about the games? You have no soul?" She was furious with the boy. "Why do you still participate in this?" Y/N demanded, her voice laden with disappointment.
Coriolanus laughed in denial, spitting out words full of resentment. "Y/N, I'm not Sejanus, okay? I know you wanted me to be, and I would too, but I'm not. Arachne is dead, Clemensia is poisoned, and Lucy Gray… well, that's another horrible story. I doubt she'll make it to the Games, and maybe it's even better."
"I don't want you to be like him, Coriolanus. In fact, I don't know why you have this fixation on the boy. He's lost, he's afraid just like you."
"If you came here to talk about him, Y/N, you can leave." He pointed to the door.
"You need to get over this one-sided rivalry with him, Coriolanus."
"Sejanus usurped my position, inheritance, clothes, food, and the privilege due to a Snow. Now he's trying to take my apartment, my place at the University, my own future, and had the audacity to resent his luck in getting the best tribute. I even believe he wants to date you." This thought he had never shared with anyone. It was very intimate.
Y/N was astounded, shocked by the information spilled by the boy. Despite having the height and appearance of a man, he had feelings as petty and low as a child.
"Corio, I know you've never shared this with anyone. But these thoughts and this anxiety don't suit you. I won't judge how you feel, but I want to reassure you that these feelings are unfounded. You need to think better, calmly. About what is real or not."
"Stop with the therapy, Y/N. You're making me feel like garbage." The boy tried in every way to avoid the girl's gaze.
"Maybe because you're acting like a jerk."
"You just assaulted me, came to my house to hit me, and you're still offending me with words. I could call the police." My God, this boy was 10 years old.
"Darling, I used all my strength, and you didn't even feel it." He laughed for a moment, but soon his serious demeanor returned. "If I wanted something with Sejanus, I would have had it already. Also, because I'm single." She spoke sincerely, showing her hand with no ring. "But I don't like him that way." The girl approached him.
"Don't go, I don't know what to do for you not to go." She felt a tightness in her chest, and tears returned to illuminate her eyes. "You can't win the Games, Coriolanus. You can't."
He was afraid, didn't know who he could trust. He could have been stung if Clemensia had written the proposal in his place, and if Lucy Gray hadn't come back to help, he would have died in the arena fire. He hid his head in his hands, confused, angry, and, more than anything, afraid. Afraid of Dr. Gaul. Afraid of the Capitol. Afraid of everything. If the people who should protect him played so easily with his life, how was it possible to survive? Not by trusting them, that was for sure. And if you couldn't trust them, who could you trust? Impossible to know.
"Don't you see, Y/N? Lucy Gray saved my life, and I need to help her win. She needs me. My family needs me. This is an opportunity for us, a chance to get out of this difficult life. I can't ignore that." For the first time, real emotions appeared on Coriolanus's face, as if he were, indeed, fearing the consequences of his actions.
Coriolanus ran his hand through his blond hair, frustrated. "I can't change the system alone. But maybe, if I'm in there, close to the power, I can make a difference. I can change things."
"Promise me that when you win the games, you'll protect Sejanus. Please. Promise me."
The boy was confused; what did Sejanus have to do with the story?
"It seems like you're sure I'm going to win the games," he said irritably. "Because you're so concerned about Sejanus? Doesn't my life matter?" It was never about him, Coryo.
"The problem, Coryo, is that you were the only person who appeared in all the visions, alive, well. Not Sejanus, not me, not even Lucy Gray. It was never about Sejanus, it was about you. I don't want you to become someone despicable." Y/N thought.
"I trust in your ability to survive; you're a Snow above all else. Sejanus is your friend; there has never been a reason to worry about him. Don't think of him as your rival; think of him as a loyal friend." Y/N was so close to the boy she could smell the roses and mint from his toothpaste. "I don't want to lose you, Coryo." She rested her forehead against his. "It's not about Sejanus; it's about you. It has always been about you." Her lips touched his. This kiss was more urgent, like a last kiss. It seemed that both would waste time if they stopped to breathe. Coryo's large hands guided the kiss, and their bodies pressed together as if struggling to be in the same place. Y/N placed her hands on the boy's bare chest and could feel his heart beating at an impossible speed. She didn't want to stop the kiss, didn't want to leave, didn't want to let him go. She wanted to keep him there forever. With her.
Coryo gradually guided Y/N to the sofa, lying on top of her. The kiss was more than just a meeting of lips; it was a fusion of souls, a desperate search for comfort amid the chaos. He didn't intend to do anything beyond the kiss, but he wanted more and more. The girl messed up Coryo's hair with her fingers and made sounds of approval during the kiss. It was as if the two of them fit together like two pieces in a puzzle.
Y/N's body was on fire. Coryo didn't even remember there was a war outside. He could only think about how small and defenseless the girl seemed in his arms, completely surrendered to him.
"You're mine," he whispered in her ear, making her whole body shiver.
"Come back to me, Coryo. Fight, struggle, but in the end, come back to me."
With another kiss, Coriolanus silenced Y/N, and after a few seconds, they separated. Y/N returned to her apartment, hoping that her words and the heat of the moment had touched Coriolanus, prompting a profound reflection on his actions and choices.
_____________________________
Just wanted to drop a quick note to say a massive thank you for all the love, likes and comments on my story. <3
THIS ONE IS MY FAVORITE CHAPTER
Taglist: @shari-berri @h-l-vlovesvintage @tea-bobba @daenerysqueenofhearts @commanderfreethatdust @glxzillx
TAGLIST AND REQUESTS ARE OPEN!!!!!
#the hunger games#tbosas#angst#angst with a happy ending#coriolanus snow#coriolanus snow x reader#coriolanus x reader#coriolanus x you#enemy to lovers#fem reader#president snow#tom blyth#coryo snow#lucy gray baird#tbosbas#ballad of songbirds and snakes#josh andres rivera#snow#tigris snow
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Allies of Hungary’s far-right prime minister Viktor Orbán will hold a closed-door meeting with Republicans in Washington to push for an end to US military support for Ukraine, the Guardian has learned.
Members of the Hungarian Institute of International Affairs and staff from the Hungarian embassy in Washington will on Monday begin a two-day event hosted by the conservative Heritage Foundation thinktank.
The first day includes panel speeches about the Ukraine war as well as topics such as Transatlantic Culture Wars. It is expected to feature guests including Magor Ernyei, the international director of the Centre for Fundamental Rights, the institute that organized CPAC (Conservative Political Action Conference) Hungary. Kelley Currie, a former ambassador under then president Donald Trump, said she was invited “but declined”.
According to a Republican source, some of the attendees, including Republican members of Congress, have been invited to join closed-door talks the next day.
The meeting will take place against a backdrop of tense debate in Washington over Ukraine’s future. Last week the White House warned that, without congressional action, money to buy more weapons and equipment for Kyiv will run out by the end of the year. On Wednesday Senate Republicans blocked an emergency spending bill to fund the war in Ukraine.
A diplomatic source close to the Hungarian embassy said: “Orbán is confident that the Ukraine aid will not pass in Congress. That is why he is trying to block assistance from the EU as well.”
Orbán is a frequent critic of aid to help Ukraine against the Russian invasion. Seen as Vladimir Putin’s closest ally inside the EU for the past few years, he was photographed smiling and shaking hands with the Russian president two months ago in Beijing.
Orbán recently demanded that Ukraine’s European Union (EU) membership be taken off the European Council’s agenda in December. The Hungarian leader posted on X, the platform formerly known as Twitter: “It is clear that the proposal of the European Commission on Ukraine’s EU accession is unfounded and poorly prepared.”
The Heritage Foundation is leading Project 2025, a coalition preparing for the next conservative presidential administration, and has in recent months hosted speeches by leading British Conservative party members Liz Truss and Iain Duncan Smith.
The thinktank has also been a vocal opponent of US assistance to Ukraine. Last year Jessica Anderson, the executive director of its lobbying operation, released a statement under the headline: “Ukraine Aid Package Puts America Last.” In August, Victoria Coates, Heritage’s vice-president, posted on social media: “It’s time to end the blank, undated checks for Ukraine.”
When Heritage celebrated its 50th anniversary last April, Orbán’s political director, Balázs Orbán (no relation), was invited as a speaker for the event. Heritage’s president, Kevin Roberts, repeatedly praised the Hungarian leader on X: “One thing is clear from visiting Hungary and from being involved in current policy and cultural debates in America: the world needs a movement that fights for Truth, for tradition, for families, and for the average person.”
In recent years Orbán has championed a transatlantic far-right alliance with a hardline stance against immigration and “gender ideology”, staunch Christian nationalism and scorn for those who warn of a slide into authoritarianism.
Hungary has been portrayed by conservative media as an anti-“woke” paradise and model for the United States. Some far-right Republicans, such as Kari Lake and Paul Gosar, said they would like to see the “Hungarian model” transplanted to the US, especially when it comes to immigration and family policies. CPAC went to Hungary for the second time this year, and former Fox News host Tucker Carlson shot multiple episodes in Hungary touting Orbán policies.
Orbán has returned the favour by lavishing praise on Trump. During this year’s CPAC, where Roberts was also featured as a speaker, he claimed that if Trump were president, “there would be no war in Ukraine and Europe”. The Hungarian prime minister has criticised the multiple federal indictments against the former US president and called the judicial procedure a “very communist methodology” in a recent interview with Carlson.
Dalibor Rohac, a senior fellow at the American Enterprise Institute thinktank in Washington, said: “The Hungarian embassy in DC has been very active lately, trying to repair ties with the Republicans and strengthen them where it’s appropriate.
“It is also not surprising that Heritage is the venue of these talks because they are different from other thinktanks in DC; they are more partisan, and their funding model heavily overlaps with the Trump base.”
But, Rohac said, despite his good relations with some Republicans it was “unlikely” that Orbán would have any leverage over US funding for Ukraine.
Supporters of Ukraine have also been making their case to Republicans in Congress. This week David Cameron, the British foreign secretary, held meetings on Capitol Hill. He told a press conference: “I am sure that goodwill will prevail and the money will be voted through, and it will have a huge effect not just on morale in Ukraine but also making sure that European countries keep asking themselves what more can they do.”
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top five NON-video game things you've read/watched/etc this year!!
ouughgh good one!
the book of goose by yiyun lee - despite what you might expect from me, actually has very little to do with geese. rather it's about a codependent/fascinatingly unhealthy relationship between two teenage girls growing up in an utterly ravaged tiny town in post-war france.
the cipher by kathe koja - old school very weird horror that had me physically saying "oh, what the fuck, man" out loud several times. also had a few moments that legitimately frightened me, which given the amount of horror i read is pretty uncommon. drags a bit in the middle but if you like your horror Weird and Borderline Incomprehensible you will probably like this one.
our wives under the sea by julia armfield - bruh, my ebook hold on this came in right around the time the titan submersible shit was going on and man was that a weird feeling. a book about anticipatory grief/the changing relationship between a woman and her wife against a backdrop of light horror/magical realism elements. i found the ending quite abrupt but the rest of it was worth the read.
the glory (netflix series) - super brutal revenge thriller that quite refreshingly comes down on the side of "actually revenge is absolutely necessary sometimes, and you can commit it without losing yourself by maintaining connections/solidarity/caring relationships with those around you, especially those who may also be victims in their own way and in need of your support."
blue eye samurai (netflix series) - i'm not smart enough to write the analysis this series deserves but goddamn was it good. and it got renewed for a second season so!! more reason to watch the first season if you haven't yet!!
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Before I start this, I'm pretty new to comics, but from what little (and I mean LITTLE I got into the game late 😔) I HAVE read, I do like IDWs Transformers run. All the cool cybertronian lore, cultural things, social hangups things like that? THAT is what's interesting to me about stories based around aliens. Whats their culture? What is typical for them that would be so wild here? What is considered tradition? What is taboo? (Fighting is also REALLY cool but without some sort of emotional backdrop it kinda just turns into taking ur action figures and smashing then together randomly for me.) So since I missed the IDW arc, I thought I'd try the reboot. (Rest below the read more)
ALRIGHT, SO THE MEAT AND POTATOES OF THE POST: I've been debating on getting the skybound TF comics. I don't want to miss out if later on they reach more...interesting, to me, plot beats but I really really don't care about the "oooh back on Eaaaaarth" plot...AGAIN. I care even LESS about the forced G.I. Joe on the horizon. Hasbro. Let it GO. No one cares about the random American military propaganda franchise that literally never does well in ur crossovers.
I'm reading Transformers FOR Transformers, not "you too can help fight evil IRL, join the military!"
Furthermore the art style is uuuuh...not bad just definitely not for me. The random WWE moves are just kinda awkward, especially when paired with the art style (I understand its trying to emulate the G1 style but no). I get some people like em and that's fine but...yeah.
And so far, emotionally I don't really feel anything? From what people have tried to tell me is "good" about it, Its just "starscream is a menace". Which would be perfect as a sideplot, if anything else interesting was going on, but after getting an overview of the first 3 issues, it just seems like its: "fight fight fight", starscream does a war crime, "fight fight fight", the humans get in the way, "fight fight", Starscream is being very naughty, also the humans don't understand anything as usual and have decided the best course of action us to get in the way AGAIN (please ur are the size of this guy's EYE. MOVE)
I dunno, again my interest in the reboot has more to do with POSSIBLE on Cybertron plots that may or may not even happen, so is it even worth it?
If anyone has anything more to say on the Skybound reboot (in favor or against) please feel free to comment or anything, I wanna be more informed before investing in a series I'm just not gonna like or something.
I want something that has...feeling I guess it boils down to. Im not getting that from it so far from what people are trying to use to sell it to me.
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Misc. Tag Game~
(thanks a lot for the tag, Emily @1waveshortofashipwreck!♡) started by @ronald-speirs
Favorite place in the world you’ve visited? - Well, I think my favorite has to be Australia. I was there for ANZAC day last year and the sights really took my breath away.
Something you’re proud of yourself for? - I'm quite proud of my determination and ability to be analytical. It's a really handy skill to have in my academics and in daily life. I just love analysis a lot, helps me feel more connected with the world as a whole.
Favorite books? - In no particular order, here are some books that have left an incredibly lasting impression on me:
The Things they Carried by Tim O'brien - (blurb taken from the internet) '[...] tells the story of the men of Alpha Company, a squad of soldiers in the Vietnam War. O'Brien cuts through the veil of romanticized war to show these men as heroic, flawed, loyal, afraid, and above all - human.' -> This book is nothing short of a masterpiece in my opinion.
The Goldfinch by Donna Tartt -(blurb taken from the internet) 'Aged thirteen, Theo Decker, son of a devoted mother and a reckless, largely absent father, survives an accident that otherwise tears his life apart. Alone and rudderless in New York, he is taken in by the family of a wealthy friend. He is tormented by an unbearable longing for his mother, and down the years clings to the thing that most reminds him of her: a small, strangely captivating painting that ultimately draws him into the criminal underworld. As he grows up, Theo learns to glide between the drawing rooms of the rich and the dusty antiques store where he works. He is alienated and in love - and his talisman, the painting, places him at the centre of a narrowing, ever more dangerous circle.' -> Has a forever special place in my heart :)
Behind the Secret Window by Nelly S. Toll - (blurb taken from the internet) The autobiographical account of an eight-year-old Jewish girl as she hides from the Nazis in a small bedroom in Lwo+a7w, Poland, in 1943 contains twenty-nine examples of her many paintings during that period. -> I picked this up randomly because I liked the illustration on the cover...made me really emotional as I finished it
Anna Karenina by Leo Tolstoy - (blurb taken from the internet) Anna Karenina is a novel of unparalleled richness and complexity, set against the backdrop of Russian high society. Tolstoy charts the course of the doomed love affair between Anna, a beautiful married woman, and Count Vronsky, a wealthy army officer who pursues Anna after becoming infatuated with her at a ball. -> About over a year ago I listened to the audiobook during my bouts of insomnia and found that I quite enjoyed it
Something that makes your heart happy when thinking about it? - My very niche interests and dreams hehehe. A lot of it is historical related, of course. I love historical and vintage architecture and fashion, etc. My dream since middle school was to be a historian.
Favorite thing about your culture? - Hmm...perhaps the values of being fair and hardworking!
When did you join the HBO War fandom? What was the first show you watched? - Pretty late last year, hahaha. My teacher did once show a clip of Band of Brothers in class once and it left quite an impression. Recently I started watching The Pacific. I've only had Eugene Sledge for five minutes but if anything happened to him I'll kill everyone in this room and then myself
Have you read any of Easy Company’s books? If so, which ones were your favorite? - I'm reading Ambrose's book at the moment. I intend to get my hands on a copy of each of the others, too...especially Speirs'. @ronsparky 's posts really interested me
Favorite HBO War character and your favorite moment with them? - Eugene Roe and Shifty Powers my beloveds :( My favorite moment is perhaps when Doc Roe receives the chocolate from Renée for the first time and he smiles..I think my heart melted then and there. As for Shifty, it was when he spoke to Winters in the last episode. Again, I'm weak for that boy :( ♡
Do you make content for any fandoms, if so; what sort of content? - I mostly make content for Band of Brothers but I intend to branch out now that I'm getting pretty into The Pacific...I post some stuff from comic books I like from time to time on my instagram (mostly art).
Favorite actor/actress and your favorite film of theirs? - I love Emma Stone and Audrey Hepburn!! I find them to be really witty and charming. They're quite my role models hehe (esp. Emma). I'd say for Emma Stone I'd prefer Easy A, and Roman Holiday for Audrey.
Favorite quote/s that you wish to share with others? - "Life shrinks and expands in proportion to one's courage" by Anais Nin is something I like to live by
Random fact your mutuals/followers don’t know about you? - I can't swim, guys
If you’re a writer, do you need a beta reader? - Most of the time I just write and then call it done. No beta, we die like men
Three things that make you smile? - 1. Sunlight 2. french windows 3. sunlight pouring in through french windows (all of which remind me of my younger years sighh) bonus: Christmas!
Any nicknames you like? - I like being called by my name usually but I particularly enjoy it when people call my by my last name, especially when followed by a 'Miss' . Something about it makes me want to chuckle in amusement
List some people you love to see around on tumblr! - All my moots and the entirety of the hbowar fandom, to be honest! Historical blogs, too! bonus: @pilferingapples @just-aloststar @myrthena @rknchan @foolsocracy @macau1ay are some personal favorites that I always enjoy seeing
What would you do during a zombie apocalypse? - I suppose it wouldn't hurt to try to survive which can be possible if you can be pragmatic and smart enough about it. I'd try to explore how far I can go, maybe try to enjoy a few lawless days or months, help out when I can.
Favorite movie? - Roman Holiday (1953). I watched it a long time ago, but it still has a special place in my heart. aaand Sleeping Beauty (1959).
Do you like horror movies? - I'm always a sucker for good horror movies
Again, thanks so much for the tag Emily! 🥰 No pressure tagging: @montied @roeinyourheart @vanellq77 @executethyself35 @star-trek-supernatural and anyone who'd like to give it a go
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god i am SO frustrated with all of the shitty one-dimensional lean-in “feminist” takes on Goncharov now that everyone’s finding out about it. like. you can’t just boil it down that easily yk?? Katya is easily the most three-dimensional Scorsese woman, but I don’t think that’s actually because of Scorsese. even Roger Ebert pointed out that it was most likely Jwhj’s writing that allowed Katya (and also Sofia to a lesser extent) to actually be a person and character in her own right!! (i think it was Melissa Park who wrote about how this reflects early elements of Jwhj’s queer journey and life? read her book The Last One Looking for more)
it’s just that I’ve seen a lot of posts about what a #girlboss Katya is for faking her own death and making out with goncharov AND andrey AND sofia (YES they made out you can’t convince me that just because they were in disguise they didn’t both mean that) and don’t get me wrong I love that as much as anyone else but like
you can’t take this out of its context. the whole “and then she faked her death and used her feminine wiles” thing can absolutely be done in a subversive and empowering way, and I’ve seen some fanfics or reimagined endings that have her live and take over the mafia herself, but i personally hate that because like.
the whole thing takes place against the backdrop of the immediate aftermath of the russian revolution and the wars, with how it shows the intergenerational trauma at hand (i could go on for HOURS about the role of the kitchen table, it made me cry when I first saw that scene) and so to try to put 21st century feminist models on top of something that’s immediately engaging with the tensions of what feminism meant in a soviet context at the time (AND an italian context too, I’m thinking about The Catholic School right now, because while the events in that took place two years before Goncharov was released, it provides a good (fictionalized) encapsulation of the social context that inspired Jwhj), through the lens of a mainstream American man, is just flattening it down too much. it’s a miracle that Jwhj got credit for writing this at all, and that their writing actually managed to make it through as intact as it did (and I think in the 1996 remastering we got to see a bit more of what it could have looked like without studio interference, and also without Scorsese being Scorsese) but it’s clear that a lot of their vision for what the film could have been about and could have said was really overshadowed by Scorsese’s own style and goals. it’s no wonder film bros like it, right, but that doesn’t mean we have to give it to them wholeheartedly
BUT that also doesn’t mean we need to girlbossify it so that it can be easily digestible in a single sentence. twitter is dying, let’s stop with the 280 character film analysis takes, especially with something as rich as this.
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‘Revenge of the Sith may be the greatest work of art in our lifetimes...’
(an excerpt from a long-deleted blog post, archived here)
“Revenge of the Sith is still (and probably always will be) the greatest thing that will ever come out of the Star Wars franchise. I always go further, in fact, and say that it’s the greatest thing that will ever come out of big-budget, action/fantasy cinema at all. George Lucas’s final contribution to his Star Wars legacy—2005’s final prequel offering—was not only an artistic, cinematic and operatic masterpiece, but it was the ultimate, consummate manifestation of everything Star Wars was capable of being and, for that matter, everything that big-scale cinema is capable of being.
It literally does not—and probably can’t—get better than this ever again.
Lucas, who himself pretty much set the standard and invented the genre in 1977, had now taken us to the absolute zenith of what that genre of film-making could produce.
Epic, ambitious, stunning, moving, nuanced, and everything else, it was the glorious completion of Lucas’s original Star Wars saga that I had been waiting for—and something for which I will always be immensely grateful George Lucas came back to film-making to give us. I have already made the case at length for why Revenge of the Sith was an absolute masterpiece of staggering proportions, so I’ll refrain from re-stating here all the ... reasons I eternally bow at the altar of that film and its unfairly maligned architect.
People who didn’t get it or still don’t get it probably never will get it.
I’ve given up arguing with those on the tedious backlash bandwagon, those who join in with the Lucas-bashing for the sake of YouTube channel views, or those who, like [spoilt children] throwing a tantrum, bitterly disavow George Lucas and whine about how the prequels ‘ruined Star Wars’.
Someone who did get it, however, was the noted author and social critic Camille Paglia: she of course famously declared a few years ago that George Lucas was the greatest artist of his time and specifically that Revenge of the Sith was the greatest work of art in the last thirty years.
The respected, if often controversial, academic Paglia didn’t argue that Episode III was merely the best movie of the last thirty years… but the best work of art in any genre and in any medium.
[...] Predictably a lot of people either assumed Paglia was being sarcastic or they simply pooh-poohed her conclusions. Paglia, however, was not trying to be ironic, and she has reaffirmed and defended her position over and over again and with a passion—Lucas’s final Star Wars film, she maintained, is the greatest work of art in the last three decades.
[...] I cannot think of any film in any genre that has been as absorbing or as immaculate (or as ambitious). Even just conceptually, what Lucas tried to do with the prequel trilogy was staggering and is without any parallel. And while we could argue that the execution was off-the-mark in certain places, the sheer visceral power and broad artistic value of what he did manage to create—even with its various failings—puts Lucas’s saga (and ROTS in particular) into a different stratosphere entirely.
In her own view of it, Paglia especially focuses on the final act of the third prequel—the climactic finale centering on the extended Anakin/Kenobi lightsaber duel against the dramatic lava backdrop and the extraordinarily powerful way that the birth of the Skywalker twins is juxtaposed with the ‘death’ of Anakin and ‘birth’ of Vader. That latter sequence, by the way, in which the death of the mother coincides (and even feeds into) the birth of the ‘dark father’, all of it underscored by John Williams haunting, gothic choral/hymn composition, is just one example (among many) of Lucas’s extraordinarily acute and nuanced levels of vision.
‘The long finale of Revenge of the Sith has more inherent artistic value, emotional power, and global impact than anything by the artists you name,’ she said in this interview with Vice. ‘It’s because the art world has flat-lined and become an echo chamber of received opinion and toxic over-praise. It’s like the emperor’s new clothes—people are too intimidated to admit what they secretly think or what they might think with their blinders off.’
youtube
Speaking to FanGirlBlog, Paglia continued her celebration of Lucas’s final masterwork, saying, ‘I have been saying to interviewers and onstage, "The finale of Revenge of the Sith is the most ambitious, significant, and emotionally compelling work of art produced in the last 30 years in any genre—including literature".
Paglia’s assertions flowed from her 2012 book Glittering Images: A Journey Through Art from Egypt to Star Wars, which in part addressed the problem of modern cultural ignorance and the author’s worries that 21st century Americans are overexposed to visual stimulation by the “all-pervasive mass media” and must fight to keep their capacity for contemplation.
In the book, Paglia discusses twenty-nine examples of visual artwork, beginning with the ancient Egyptian funerary images of Queen Nefertari, and then progressing through various artistic works, including creations from Ancient Greece to Byzantine art and Donatello’s ‘Mary Magdalene’.
She explained, ‘Lucas was not part of my original plan for Glittering Images, which has 29 chapters crossing 3000 years. My goal was to write a very clear and concise handbook to the history of artistic styles from antiquity to the present. When I looked around for strong examples of contemporary art to end the book with, however, I got very frustrated. There is a lot of good art being made, but I found it overall pretty underwhelming. When I would happen on the finale of Revenge of the Sith, I just sat there stunned. It grew and grew on me, and I became obsessed with it. I was amazed at how much is in there—themes of love and hate, politics, industry, technology, and apocalyptic nature, combined with the dance theater of that duel on the lava river and then the parallel, agonizing death/births. It’s absolutely tremendous.’
Paglia also entirely recognised the sheer scale of Lucas’s creation and the value of even its various constituent parts as important or worthy works of art. ‘The fantastically complex model of the Mustafar landscape made for the production of Revenge of the Sith should be honored as an important work of contemporary installation art,’ she argued. ‘And also that Lucas’ spectacular air battles, like the one over Coruscant that opens Sith, are sophisticated works of kinetic art in the tradition of important artists like Marcel Duchamp and Alexander Calder. No one has ever written about George Lucas in this way—integrating him with the entire fine arts tradition.’
The problem is that Lucas and the prequel trilogy have become so widely misrepresented as ‘bad’ that most people don’t know how to deal with someone like Paglia sincerely proclaiming “Nothing in the last 30 years has been produced—in any of the arts—that is as significant or as emotionally compelling as Revenge of the Sith…”
[...] In fact, contrary to widespread misconceptions about how the Star Wars films are viewed, a Rotten Tomatoes poll ... found that Revenge of the Sith (and not Empire Strikes Back) scored as the best-regarded of the [Lucas] movies according to aggregation of archived reviews. So the idea that everyone dismisses the prequels seems like a misconception; but it is fair to say that a substantial body of people —including a lot of people who, rather incongruously, regard themselves as Star Wars fans—do completely dismiss this film along with its two predecessors.
As I said at the start, people who didn’t get it or still don’t get it probably never will get it.
But what has always struck me as pitiful about the whiny ‘Lucas Ruined Star Wars’ attitude is that it seems to flow from the premise that Lucas—a man whose stubborn commitment to his own singular vision gave an entire generation from the late 70s and early 80s unparalleled joy—somehow ‘owes it’ to those same people to do things precisely how *they* deem acceptable. That’s essentially what it comes down to—that he, as the artist, should make the art that the fans or the public want and not follow his own creative vision.
What people don’t realise, however, is that if he had done that from the beginning, there never would’ve BEEN an original Star Wars trilogy at all—and arguably all of these huge blockbuster SF/fantasy films that people spend their money seeing today wouldn’t exist either. What a lot of people also don’t realise is that Lucas was never setting himself up to be a populist or even mainstream filmmaker. On the contrary, he was the avant-garde film geek, the rogue, the outsider. The fact that Star Wars spiraled into a billion-dollar behemoth was an accident; and when the first Star Wars movie was released in 1977, it was an oddity that no one in the film industry understood or believed in.
But Lucas had stuck to his own creative vision—a vision that was largely incomprehensible to everyone else at the time the film was being made—and his singular vision hit the mark big-time and accomplished something unprecedented.
By the time of the endlessly-maligned The Phantom Menace in 1999 and everything that followed, Lucas was still doing exactly the same thing—following his own vision, trying to create something extraordinary and largely ignoring contemporary trends or opinion. The only difference was that the vast fan-base he had acquired from the original films were older now, far more jaded and over-saturated with blockbuster movies (most of which were influenced by Lucas’s pioneering work in the 70s) and they essentially didn’t *want* something new, creative or challenging—they just wanted the same thing they’d had when they were kids.
In effect, they weren’t interested in Lucas the artist or Lucas the pioneer—they only wanted Lucas the Popcorn Movie dispenser. But Lucas the Popcorn Movie Dispenser had never existed—he was simply an illusion created by the extraordinary commercial success of the Star Wars Trilogy.
What Lucas had in fact envisioned—and created—with the prequel trilogy, especially Revenge of the Sith, was something that transcended the whole summer blockbuster ennui, transcended genre, transcended the very medium of film itself, and could be discussed in the same breath as Shakespeare, Virgil and the Aeneid, Julius Caesar, and a number of equally fascinating and endlessly debatable works of serious and complex gravity.
But there was an audience of millions who were instead looking for something that could be discussed alongside Jurassic Park or Terminator 2. Which is fine—Star Wars of course can also be discussed just as validly in that latter context too; but it also exists in a stratosphere beyond it. And because Lucas’s process and vision was in that higher stratosphere a lot of the time, there was a frequent disconnect that occurred, whereby a lot of people were unable to meet him halfway or relate to the films on those kinds of levels.
But Lucas pushed on with his long-envisioned trilogy; and by the time the final installment of his Star Wars saga arrived in 2005, a sizeable proportion of the old fan-base had either departed or were by now just coming to the party for the thrill of seeing Darth Vader one last time. Some dismissed the film the same way as they’d dismissed its two predecessors, some were full of scathing mockery, while others were ambivalent. Some were suitably entertained, but didn’t take it much further than that.
Another group, a smaller minority—myself included—had just seen something of epic, overwhelming proportions and had the greatest cinematic experience of their lives.
But great art is like that.
Great works of art divides people, provoking endless debate [...] An argument could be made that the greatest artist will go all-out to create something special and substantive, even if it won’t appeal to everyone. Said artist would follow his own creative vision and not compromise it to the committee of consensus or demand.
Lucas, it should be borne in mind, never made ANY of the Star Wars films with film-critics in mind—even the Original Trilogy movies were not critically approved, despite becoming cultural landmarks. And interestingly, the hang-ups of many of those who were scathing about the prequel movies—ROTS included—were virtually identical to the hang-ups of the critics in the early 80s who either just didn’t get those original Star Wars films or were unwilling to praise a rogue filmmaker who was rebelling against Hollywood at the time and who was making something entirely out-of-step with contemporary trends and sensibilities.
Fittingly enough, the Lucas who was out-of-step with the sensibilities of the time during the late 70s and early 80s is the same Lucas who was equally out-of-step with sensibilities and trends at the time of the prequels too. In both eras, Lucas rebelled against the sensibilities of contemporary cinema and carved out his own piece of utter magic according to his own stubborn vision—the difference is that so many of the same people who adored what he had done in the first instance couldn’t understand what he was doing in the second instance.
Even though what he was doing was essentially the same thing.
For that matter, I always suspected that one of the main reasons so many people failed to appreciate (or in a lot of cases, to even understand) this film is precisely because it isn’t contemporary. That’s a key thing to understand about the Star Wars prequels—they were not made in a contemporary style.
Lucas doesn’t make contemporary cinema. Both of Lucas’s Star Wars trilogies are written and designed specifically to NOT be contemporary, but to have a more timeless quality, steeped in traditions from the past.
Lucas, you have to remember, has never been a contemporary or generic filmmaker, but a more avant-garde artist and experimenter who foremost specialises in tone and impressionism. The fact that he invented modern blockbuster cinema is purely an accident. As he himself once said, “None of the films I’ve done was designed for a mass audience, except for ‘Indiana Jones.’ Nobody in their right mind thought ‘American Graffiti’ or ‘Star Wars’ would work”.
[...] They were not contemporary or generic at all—consequently, a lot of people didn’t understand or relate to what they were watching: because they couldn’t find a point of comparison in popular culture.
To really understand these films, you have to go back to some of the historical epics of the fifties and sixties, particularly films like Ben-Hur, Cleopatra or Spartacus. If you watch any of those films (and all three are timeless, truly marvelous cinematic works) and then watch the three Star Wars prequels, it will suddenly make much more sense. The acting style, the dialogue style, the themes, the epic scope and settings, the vast mythologizing, the way the films are scored, even the intricate costume design—all of it.
There’s nothing surprising about that. After all, it’s easy to overlook the fact now from our current vantage-point, but the original Star Wars trilogy movies weren’t contemporary in style either—they were stylistically based on things like Kurosawa, Flash Gordon and the Saturday matinee serials of the 1930s and 40s. The original trilogy films made no stylistic sense in terms of contemporary cinema or sensibilities in the late 70s or early 80s—they were, in style, a homage to a long-gone era.
So too were the prequels—just a different homage to a different era.
[...]
When you look at everything that makes up Revenge of the Sith, the scope of vision along with the degree of artistic nuance and juxtaposition is breathtaking.
There’s lots of action, yes, as you’d expect; but the action, like so much of what Lucas was doing by this stage, is almost transcendent. Sure, the acting or delivery is off in a few places; mostly due to some of the actors having to perform in non-existent CG environments—remember Lucasfilm and ILM were breaking new ground technologically in these movies, which we take for granted now with all our CG and digital filmmaking, but which at the time were bound to cause some teething problems. But Ewan McGregor is superb in this film, while the maligned Hayden Christensen....in fact does a solid job in any number of key scenes.
And there’s everything else. The special effects aren’t just good, they’re actually often beautiful in a way that most special effects don’t aspire to be. The level of detail and artistry in the visuals mean you could turn the sound off and still be captivated. Some of the backdrops could make extraordinary paintings that could hang convincingly in art galleries. And Lucas is the absolute master of the establishing shot and the scene transition, turning it into an art every bit as nuanced as in a piece of music.
For that matter, the music is extraordinary—and actually if you look at how underwhelming or non-existent the music is in the post-Lucas ‘The Force Awakens’, it becomes clear that Lucas and Williams had a collaborative process that really influenced how these films were scored (and which is now no longer the case). Lucas himself said that the music was 50 percent of what mattered in these films and that is certainly evident.
Much of it, particularly the climatic Kenobi/Skywalker duel and that final act with the birth of the twins, death of Padme and creation of Vader, almost isn’t cinema at all—but opera. This could’ve been something Wagner was composing if he had ever existed in the cinema age.
In fact, the final few scenes of the film don’t even have any dialogue, but are purely musical and visual. Even some of the most stirring parts earlier on in the film are without dialogue; take, for example, the breathtakingly beautiful sequence of Anakin and Padme trying to silently sense for each other across the exquisite, sunset cityscape—it’s all visual, tone and subtle music, pure emotion with no dialogue. A scene like that could almost be part of a silent movie; and it’s also like an impressionist painting in motion.
Even that Kenobi/Skywalker duel itself is more than just an action sequence. With Williams’ epic, stirring, choral score, it too is opera. But it’s opera married to performance art: the level of intricacy, fluency and speed of Ewan McGregor and Hayden Christensen’s dueling is insane, having required an immense amount of prep and practise. The choreography takes it onto the level of dance; of true performance art as opposed to disposable cartoon violence or cheap blockbuster action.
Everything here—to the last detail—is choreographed like a ballet and it is spellbinding.
Yet while other filmmakers would try to sell an entire movie on such an exquisite centerpiece, for Lucas all of this—all of this poetry, opera, dance, music, visual art and everything else—is ultimately mere constituent part to a greater whole: a Shakespearan epic of a tortured fall from grace and a Greek tragedy... wrapped within an even larger epic about the fall of a Republic, the fallibility of religion and the genius of the Devil and failure of the angels.
[...] What Lucas created in fact was the ultimate expression/culmination of the art of the epic itself—fittingly enough, in order to conclude the defining epic of our modern times (what Brian Blessed once described as the Shakespeare of our age). The Shakespeare comparisons aren’t trivial. The evident Star Wars/Shakespeare resonance has even prompted things like Ian Doescher’s book William Shakespeare’s Tragedy of the Sith’s Revenge: Star Wars Part the Third—a retelling of Revenge of the Sith as if it had been written by William Shakespeare for real.
[...] Various observers, including academics, have noted the obvious fact that Lucas’s story is also a retelling of the fall of the Roman Republic and birth of the Roman Empire. Lucas himself admitted this, pointing to how Revenge of the Sith in particular is partly a story about democracies become dictatorships and citing the historical stories of Caesar and Augustus. You can quite easily watch the prequel trilogy alongside I, Claudius or something like HBO’s brilliant Rome series.
But none of those references or allusions are the important part. Even the fact that the prequel trilogy—and again, ROTS in particular—is quite clearly in part a story about false-flag wars, banking conspiracies, the corporate and military-industrial complex, the Bush administration and the Iraq War, etc—isn’t particularly relevant to the issue of why it’s such an epic work of significance.
Lucas is the author and architect of our preeminent modern mythology—as interviewer Bill Moyers asserted during his fascinating and revealing 1999 interview with Lucas (for the release of The Phantom Menace). Partly inspired by his friend Joseph Campbell’s thoughts on mythology, but moreover informed by his own careful distillation of elements from various cultures and civilisations (what he has referred to as our collective human ‘archaeological psychology’), Lucas is every bit as influential as Virgil, Homer or Shakespeare were in their respective times, and has crafted out the ultimate mythological saga.
Revenge of the Sith is the final, completing piece of that saga—the piece that gives the saga its full scope and true soul, and the piece that makes every one of the other films count for so much more.
And it does it so well—with such vivid and breathtaking quality—that, even having written an article as long as this one now is (and another before this), I still don’t feel like I’m adequately able to explain its full brilliance.
Neither could Lucas himself, I suspect. I’m not sure Lucas even realised how masterful it was; but, as Paglia and others note, the guy is so mild-mannered and self-deprecating that it simply wasn’t in his nature to boast about his own work. Instead he just took in all the abuse and mockery with mild bemusement, shrugged his shoulders and walked off into the twin sunset, knowing that with Revenge of the Sith he had finished what he’d come back to do.
In fact, what Lucas did was so extraordinary, so complex and so nuanced that it may take another decade or two for people to even appreciate it properly—assuming they ever do. As film experts like Mike Klimo have noted, some of what Lucas did in ROTS and the prequels may have been so sophisticated that he deliberately didn’t talk about it, but just left it there, not knowing that anyone would ever even notice.
This, as I said earlier, goes beyond cinema, and possibly even beyond Star Wars itself. Lucas genuinely outdid himself, and it is unlikely anyone will reach that height again—firstly because no one is going to be in the position Lucas was in again in terms of total ownership of a property, and secondly because no one is going to have that kind of ambition again, especially having seen how much of a backlash Lucas received from the legions of popcorn munchers, YouTube profiteers and ungrateful fans who were really looking for something much more in keeping with a generic, formulaic, standardized blockbuster formula.”
#the prequels#revenge of the sith#rots#george lucas#prequels appreciation#lucas' star wars as created-myth#Paglia is an expert on the Fall of Civilizations#which explains her fascination with RotS in particular#as for the blogger who wrote the post...i don't necessarily agree with every single thing he says#particularly his view on some of RotS' themes#(he seems to miss the fact that the Prequels are not about love as a negative element but are rather about the Fear of Loss )#(Anakin's tragic flaw is not Love but rather his FEAR losing his loved ones to Death)#but there's enough here i found worthy of sharing (and you can read the rest on the wayback machine link)#ultimately i feel that the inability of contemporary audiences to appreciate Lucas' work#is very much akin to the bafflement with which Tolkien's work was met in the mid-20th century#Tolkien was writing in deliberately archaic medieval tradition during the very height of the Modern era#and similarly ...#Lucas was making homages to old-fashioned cinema/Greek tragedy/and mythic Romanticism during the peak of cynical Post-Modernism#audiences seem to have truly have LOST the ability to comprehend older forms of storytelling#and that is the real tragedy
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Statistics Meme
Thank you @shabre-legacy for the tag!
No pressure at all tags: @tishinada @actualanxiousswampwitch
Rules: give us the links to your fic with the most hits, second most kudos, third most comments, fourth most bookmarks, fifth most words, and finally the fic with the least words.
(All of the ones that hit these benchmarks are my Lana/Viri fics; the Lucia/Rigel stories are, well, about a rare pair)
Most hits: An Open Affinity, which I adore, has 16,794 hits. This story is How Lana Met Viri, How Lana and Viri Figured Things Out, How Lana Lost Viri and how it all worked out.
https://archiveofourown.org/works/12143142
Second most kudos: The Eternal Wrath, which has 296 hits. I love this story, which features Viri and Lana dealing with the time period post-KOTET. I'm especially proud of how I dealt with the Machines of War (locked behind a raid in-game), with Viri discovering the buried Machines were fueling a lot of the galaxy's problem spots, like Oricon and the "forbidden land" on Tatooine. Viri also took on the abilities and energy of every Machine she defeated, which came to a critical mass when she faced Zildrogg.
https://archiveofourown.org/works/14255019
Third most comments: Sithy Snippets, a series of shorts mostly about Lana and Viri, has 29 comment threads.
https://archiveofourown.org/works/13790595
Fourth most bookmarks: Five Times, which is about Lana and Viri's rekindled romance and reunion against the backdrop of the events of KOTFE, has 21 bookmarks.
https://archiveofourown.org/works/12670263
Fifth most words: Commander and Advisor, which is a three-chapter fic set against KOTET chapter 2, where Viri goes missing in the jungles of Dromund Kaas and Lana frets about it, has 11,855 words.
https://archiveofourown.org/works/15377217
Fic with the fewest words: Kiss: Celebratory, which is about the moment after Viri finishes her battle on the Eternal Throne and wakes up, has 506 words.
https://archiveofourown.org/works/13373940
And this isn't in the rules but I thought I'd add.
Fic that is the only one in its ship tag: Alas, none of mine meet that criterion. Lucia/Rigel (Warrior of Light) is a rare pair, but I'm not the only one who has written a fic with that pairing.
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Saltburn
Hi, I am King, and this is PestoButGay.
Talking of gay, have you seen Saltburn Yet? The homoerotic period piece that lead to a bajillion TikTok’s of men walking around their houses with imitating ART as Sophie Ellis Baxter plays in the background?
Saltburn, transports viewers to the idyllic Saltburn House, where the lives of its residents are set against the backdrop of a picturesque summer sandwiched between uni years at Oxford.
Quite similarly I was asked to my friends summer house in a seaside town of Lyme, equally gay, but a bit less of the whole drinking cummy bath water.
The film follows the eclectic cast, as we follow Oliver, played by Barry Keoghan in awe over Felix, Jacob Elordi, as we are pulled through a scarily British cast ranging from Rosamund Pike to Richard E.Grant and their pets that reside at Saltburn house, from the enigmatic Venetia, to the eccentric Farleigh, or the wine aunt we all have, Pamela. The film, written by Rosamund Pike, as the characters navigate love, loss, and even the passage of time in the quintessentially British setting and class divides we have all become so used to.
What I really love, is the way the house and class is a sort of character in itself in the film. “Saltburn” was this character referred to as if it was heaven, it serves as more than a backdrop for the unfolding drama, it breathes and represents so much more than looks. It feels like its a fully realised character, with its own quirks, history and personality, I even picked on references to minotaurs or paintings like The Garden of Earthly Delights.
"Saltburn" explores the theme of class as another character in the story with the divide between the residents of the estate and the working-class inhabitants of the town to the subtle power dynamics at play within each social dynamic. The film's exploration of class consciousness and the inherent tensions between privilege and poverty adds depth and complexity to its characters and their interactions, shedding light on the broader social landscape of post-war Britain. And I love it even more because 2006 is the perfect setting for this that encapsulates all of those themes, and I think it is so interesting that what for many of us was our childhood can be considered a period piece.
I think I would give it about a 3 and a half stars to be annoying. The half star is purely because we got to see Barry Keoghan naked.
***.
In all honesty, what was that? Man! What a brilliant but also terrible but also stunning and grotesque and stupid and amazing film, yet the film loses me the most at the end. Basically up until he kills Venetia i’m with it! But then it unravels and i understand the thought behind it but at the same time its all dumb!!!!!!!!
I loooved the acting, Rosamund Pike especially but strong performances across the board. Visually stunning, all the things you want in a film, like constantly i found myself grinning at how well shots were put together or the way colours bounced off one another.
The shock value all kinda works for me, where as others looked like they had seen a ghost, I was sat there like it was any other day of the week, It worked for me, the like sexual shock value like the bathtub and the vampire and the grave was all a lotta fun. It just sticks the landing so much to the point it drags down the whole film.
I think the ending would be fine (still bad, but fine) if it didn’t re-contextualise other parts of the film from earlier and give them worse meaning!! he doesn’t need to be this mastermind what the hell is the point in that, let him be a weird little Liverpudlian freak who’s psychosexually obsessed with a 6'6 man and his big ass house like I thought this film was going to be about! Him being from Liverpool had so much potential for further analysis and points to be made to critique North/South class divides and dynamics in place in British society, that were just sort of lost and that was such a shame
i can see my opinion changing, either for the good or the worse tbh, depending on how it sits with me and whether i find myself thinking about the good or the bad more.
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Post for 2/21
Grave of the Fireflies put me in such a somber mood. It was so good, but so sad. It was easy to feel a sense of sibling companionship between the Seita and Setsuko whenever they looked out for each other, which was only strengthened by their social isolation from the people they were surrounded with. Seriously, it was so frustrating that almost nobody else in the movie felt like a good person who genuinely cared for their well-being. The movie hits different when you’re an older brother of a younger sister; it makes everything that Seita does feel more relatable. Against the backdrop of devastation, this movie had a surprisingly good amount of positive moments. Compared to Barefoot Gen, this movie’s depiction of the conditions during the war was a lot more colorful, delightful, and arguably more peaceful.
After the initial bombing of his village, Seita immediately recognizes his responsibilities as not only a soldier, but as an older brother. He carries out his daily routine without hesitation with a noticeable disregard for his bottled up feelings. He is seldom shown grieving until the moment that Setsuko reveals that she knows their mother is dead.
Setsuko is oblivious to her mother’s death at first, but as soon as she starts missing her and cries, I believe that she had already understood the situation at that point, even despite her brother’s efforts to hide the truth. This is likely why later, Setsuko approves of Seita spending their mother’s savings, but she does not approve of their aunt selling their mother’s more sentimental items, like her kimonos. In fact, Setsuko is shown having many sentimental attachments in the movie, from the kimonos to her doll to her can of fruit drops.
Speaking of the aunt, she had NO remorse or second thoughts when Seita and Setsuko decided to leave her house. Of course, you would expect some tension when two branches of a family are meshed together due to the need to split limited rations, but the aunt straight up did not like either of them.
It was interesting to read in “Victimization and ‘Response-ability’” that there was so much variation in the public responses to Grave of the Fireflies, especially regarding whether Seita was to blame for Setsuko’s death. While I personally think that Seita was doing everything he could for his sister, I guess I can see the perspective that it would have been better for them to remain with their aunt for a better chance of survival.
Image from https://www.bbc.co.uk/news/world-asia-43695803.
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AU: Journey to Redemption (Part 2)
First Part. / The Winter Ball
Coriolanus Snow x Fem!reader
Summary: Y/N, a young idealist in Panem, dreams of making a difference in a post-war society. As the winner of the prestigious Plinth Prize is about to be announced, a mysterious woman unveils a grim fate for Coriolanus Snow, Y/N's nemesis. Offered a chance to alter destiny, Y/N must navigate her conflicting emotions and intervene in pivotal moments to prevent Snow's descent into darkness. The story unfolds against the backdrop of complex relationships, past connections, and the challenges of a changing world, as Y/N grapples with the responsibility of shaping an unexpected destiny and challenging the very fabric of fate.
Word Count: 2k.
Warning(s): None, 15 yo Corio!! FLUFF FLUFF THE KIISS READ IT FOR THE KISS
A/N: First Fic EVER, dont be mean pls. Also Im not a english native speaker, sorry for any spelling errors. Just saw Songbirds and Snakes and Tom Blyth as President Snow is living rent free in my head! Feedback is appreciated! Comment to be tag in the next part" And REQUESTS ARE OPEN!!!
Y/N was nervous. Attending parties wasn't something she was used to, especially in the Capitol. Her father always reminded her not to trust anyone, and distrust had become second nature to her. Tigris, her friend, had borrowed her a dress, even though her father could now afford to buy as many as she wanted. Tigris insisted she needed something special, something she had that would be perfect. When Y/N asked if Tigris was going to wear it, the answer was no; the dress wasn't hers and wouldn't fit, but it would look gorgeous on Y/N. Tigris, with her generous heart, always tried to cheer up Y/N when she cried out of fear and missed her friends from the districts. And surprisingly, Tigris never judged her, perhaps because she shared her own fears and people to care about.
Tigris understood when Y/N called suggesting a girls' night. It was a code for "my father is unbearable, only talks about war, and I want to stay away from him at least tonight." Tigris simply made a list of activities for them, from plucking eyebrows to watching romance movies on TV.
Y/N's dress was stunning, in a bright navy blue shade. And it was the first time she wore heels. Tigris also borrowed her the jewelry. Y/N walked with cautious steps, afraid that someone would look at her and discover she was an imposter. Even though she was part of the Capitol now, she didn't know how people would react.
After almost an hour of pretending to be invisible and enjoying the chocolate dessert on the table, people started leaving the dance floor. They got tired of dancing and were heading for the food, the only activity they seemed to practice. Y/N left the table to get some air; so many people were starting to tire her, even without talking to them yet. Outside, the scenery was beautiful, with a flower-filled garden, water mirrors, and something like an illuminated gazebo. She walked there; it was already night, and she wanted some fresh air. Looking at the night sky was comforting, something shared by everyone, regardless of their districts.
"Hey, this dress looks beautiful on you." She almost had a heart attack; it wasn't for anyone to notice her. "Sorry, didn't mean to scare you." It was Corio, Tigris's cousin, always kind when he saw her.
"Thank you, it was Tigris…" She couldn't finish the sentence.
"It was my mother's; my grandmother gave it to Tigris, but it suits you much better. Tigris likes things less… simple." A compliment, perhaps?
"Thank you, it's a really beautiful dress." She replied with a smile. Almost too beautiful that it doesn't suit me. She felt guilty for undoing the memory of the boy's mother.
"What are you doing here?" He asked. Y/N couldn't stop looking into his blue eyes; how could someone be so beautiful? It was almost painful.
"I came out to get some air; it was too hot inside." She replied.
"Just when I was about to invite you to dance?" He smiled; my God, he looked even more beautiful smiling. Y/N! What's happening to you?? He's from the Capitol. You shouldn't be getting involved with these people, at least not sincerely.
"Oh, I don't know how to dance." She lied; what if he leaves and forgets that she's wearing his mother's dress. Maybe that's why he's here; he must have confused his feelings. After all, why else would he approach her? Oh, maybe he just wants to be friends with his cousin's friend. Could be, right?
"I can teach you." He was already so close to her; she could feel her heart beating in her throat. "If you want…" He extended his hand to her, and Y/N took it. What harm could it do, after all?
The touch of their skins was electrifying. He placed a hand on her waist, and she breathed; it was as if there wasn't enough air between them. She didn't even realize she was holding her breath. The music could be heard clearly from there, as well as the sound of their feet on the wooden floor.
"Tigris talks a lot about you. I think you're the only friend she really likes. She feels at home with you." There was sincerity in his words.
"We have very similar stories; I also went hungry during the first rebellion." Corio was an intriguing character; Y/N didn't know what his real intentions were. He seemed like a good guy, even if he was closed off.
"I heard your father is sick, is it true?" He seemed slightly concerned. Y/N met Trigis first, because of their parents. They became good friends despite the age difference.
"Oh, yes, it seems that sometimes winning a battle doesn't mean winning the war. The battle ends, but life goes on, and problems still arise." She spoke with a sad and thoughtful voice.
"It's kind of unfair, isn't it?" He asked as they continued to dance slowly.
"What?"
"Having to worry about hunger while there are people inside who claim to be hungry all the time, even without knowing the real meaning." She didn't expect to hear that, at least not from him. Corio seemed quite comfortable among his friends.
"Yes, it's unfair." She replied seriously. "I wish I could change all of this."
"You know, people like you, me, and Tigris. We deserve more; we have to strive to reach the top." Corio was ambitious; anyone could see that.
"I think we're already at the top." Whether she liked it or not, feeling hungry in the Capitol was different from living in the outer districts. At least here, they had a chance to be heard if they spoke at the right time.
"This isn't the top, Y/N." She didn't know how much she needed to hear him say her name until he said it for the first time. "We're in the Capitol, but we're still not at the top."
"What would be the top for you, Corio?"
"Being president. It's the highest position; I'm sure that when I get there, I can really do something." The way he spoke was as if he wanted to improve the country's situation. To be a fair and democratic leader.
"Sorry about the dress; I didn't know it was your mother's." Y/N didn't want to ruin the moment by talking about politics. They would have better opportunities for that.
Tigris probably said something about Corio's mother, but Y/N's memory was terrible.
"It's been a while since she died, in my sister's birth." She could see a glimpse of pain in his eyes.
"I'm sorry."
"The dress looks beautiful on you; I'm glad my grandmother kept it." Y/N's heart skipped a beat.
"Thank you."
All was silent. All was still. But as they looked at each other's eyes, they heard the unmistakable clamor of their own hearts. Corio was getting closer to her, his lips so close to hers. It was like one of the movies she watched with Tigris.
When their lips touched, something ignited inside Y/N; it was as if nothing else existed. It was a feeling that, if cultivated, promised to become addictive, a sweet dependence that she wouldn't be in a hurry to overcome. His lips were soft, an irresistible invitation, and his touch was like a gentle caress, unhurried, as if he wanted to savor every moment of that unique moment. One of Corio's hands held Y/N's waist with care, while the other stroked her face gently and firmly, as if sealing a silent pact between them. The kiss was like a hot summer day in the middle of winter, a comforting surprise that transported her to a place where there was only the softness of Corio's lips and the delicate and firm touch of his hands.
It was a kiss that transcended time and space, a promise of something deeper and more intense that awaited on the horizon. Breaking the kiss, the gaze they exchanged contained the promise of a future that, at that moment, seemed full of exciting possibilities. The world around them may have continued in silence, but within them, the melody of that kiss would echo for a long time.
The first kiss was a revelation, a sublime experience that transcended circumstances. It wouldn't be an exaggeration to attribute part of this enchantment to the beauty of the setting, but above all to the even more dazzling figure of Coriolanus. At that moment, for the first time, Y/N felt truly beautiful, removed from the ruthless clutches of war. It was as if, for a brief moment, she found the calm before the storm.
Although she wanted to prolong the kiss, Y/N interrupted it, yielding to the inevitable need for a pause. Their gazes intertwined in silence, a communication deeper than any words could express. Coriolanus's eyes, an ocean of blue fascination, were irresistible, and Y/N felt submerged in the intensity of that gaze. Withdrawing gently, she sought refuge on a nearby bench, and Corio, in silence, took a seat beside her. Hesitation hung between them, neither daring to initiate the next exchange of words.
"Did you enjoy the chocolate dessert, didn't you?" Corio's soft voice broke the silence, eliciting a sincere laugh from Y/N. Had he noticed the taste of chocolate on her lips, or had he just watched her during the dance in the hall? The question lingered in the air, hovering between them, lacking the courage to be asked.
"I loved it," confessed Y/N, although she couldn't determine if she was talking about the dance, the dessert, or the kiss. Perhaps all the options were correct.
"You lied to me," accused the young Snow.
"What?" Y/N laughed again.
"You said you didn't know how to dance." The accusation came with a smile from Corio.
"Maybe," she replied, smiling.
Hours unfolded in deep conversations, a natural harmony between Y/N and Corio. Words flowed, laughter echoed, and the kiss, a magical moment that both chose to ignore, was never mentioned again. Corio, a dreamer aligned with Y/N's aspirations, revealed remarkable ambition and unwavering confidence. Meanwhile, Y/N still struggled with uncertainties about her destiny, eager to capture some of the determination radiating from Corio.
It was the ultimate moment when Y/N felt truly connected to Corio. At that moment, she sincerely believed that he was destined for an extraordinary future as a student in the Capitol. With the passage of time, that memory became nostalgic, a pearl of an irrecoverable past.
In present times, in the Capitol (4 years later)
Y/N, immersed in reverie, contemplated a photo taken with Tigris during the ball. After this glimpse of the past, resentment towards Corio increased. How could he get so close so quickly and distance himself just as fast? They could have continued. However, after that winter break that year, Snow didn't spend more than 5 seconds near her. Their interactions were limited to fights, but even so, Y/N couldn't ignore the boy's beauty.
A last dance preceded the Plinth Prize weekend. It would be an opportunity to meet Corio again, four years after that memorable kiss, in drastically altered circumstances. Y/N awaited eagerly, sometimes questioning her sanity, pondering if everything that woman had said would come true. Corio would graduate, go to university, meet someone, and find happiness. He wouldn't become a murderer, let alone a dictator.
Y/N couldn't help but notice that something had changed in Corio since that first kiss. The boy who was once dreamy and affable now exhibited a more closed-off side, as if a shadow had settled in his soul. Every word was measured, and his smiles were scarce, replaced by a serious and concerned expression.
Corio had become more abrupt, and the lightness that characterized his personality seemed to have been replaced by intense seriousness. Y/N noticed that he closed himself off, keeping a distance that didn't exist before. That touch of softness and charm, present in the boy who taught her to dance and gave her an unforgettable kiss, had turned into an aura of tension.
Y/N remembered one of their first fights.
In a classroom full of tension and academic expectations, the teacher announced with a firm voice, "For the next assignment, we'll have randomly assigned pairs." The students' gazes met, a mixture of anxiety and curiosity. Among them were Y/N and Corio, both already known for their rivalries and fierce competitions.
The draw took place, and fate decided that Y/N and Corio would be partners in the next academic endeavor. A wave of murmurs ran through the room, accompanied by intrigued looks directed at the two protagonists.
On a cold study afternoon in the library, Y/N was immersed in her books, tracing meticulous notes and underlining important passages. Corio, on the other hand, flipped through pages with a serious expression, focused on absorbing all available knowledge.
As the hours passed, tension grew. Each had their own approach to the task, and soon the differences became apparent. Y/N preferred to explore ideas and theories more broadly, while Corio delved into specific details, prioritizing accuracy.
"You need to focus, Y/N. These assignments will shape our academic future," said Corio, his tone a mixture of concern and impatience.
Y/N lifted her eyes from the books, facing Corio with a resistant expression. "I'm not disregarding the importance, Corio. I just believe that there are more ways to learn than simply burying yourself in books all the time."
Y/N's words hit Corio like a challenge, and his response came with an unexpected intensity. "Do you think you can afford not to dedicate yourself entirely to studies? The competition here is fierce, Y/N, and only the best succeed." The discussion unfolded, and sharp words flew between them like arrows. Y/N advocated the idea that university life should be more than just grades and rankings, while Corio insisted that the path to success was paved with tireless effort and dedication.
The tension reached its peak when Y/N, driven by frustration, accused Corio of having lost the ability to dream and live beyond academic expectations. Corio, in turn, responded with the accusation that Y/N was being naive and reckless about her future.
The argument, fueled by intense emotions and fundamental differences, echoed through the silent library, drawing curious glances from other students trying to focus on their own studies. As the inflamed words dissipated, Y/N and Corio stared at each other, aware that they had crossed a line separating their views, revealing the depth of the differences that now threatened the stability of their relationship. The ensuing silence was laden with resentment and the bitter feeling that something significant, beyond grades and books, was shattering between them.
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Just wanted to drop a quick note to say a massive thank you for all the love, likes, comments, and follows on my story. <3
Big virtual hugs and high-fives to each and every one of you. See you on Part III.
Taglist: @shari-berri @h-l-vlovesvintage @tea-bobba @daenerysqueenofhearts
Again: REQUESTS ARE OPEN!!!!!
#coriolanus snow#tbosas#president snow#the hunger games#coriolanus x reader#enemy to lovers#angst#angst with a happy ending#coriolanus x you#coriolanus snow x reader#fem reader#hunger games au#fluff#tigris snow#thg#snow#tom blyth#coriolanus x fem!reader
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Netanyahu: Palestinian Gave Hitler Idea to Exterminate Jews
**Just to show the insane lengths this sociopath will go to in order to justify the murder of Palestinian. How far gone do you have to be to defend Hitler in order to place the blame for the Holocaust on a Muslim? Even historians from the Holocaust Museum have had to debunk this lunacy. This is a person that the US praises as an ally? Netanyahu is legitimately sociopathic**
Israel's prime minister suggested that a Palestinian gave Adolf Hitler the idea to exterminate Jews in the Holocaust, drawing rebukes from historians and politicians.
In a speech to Jewish leaders on Tuesday, Benjamin Netanyahu that the Mufti of Jerusalem in the World War II era — Haj Amin al-Husseini — had a "central role" in inspiring Hitler's Final Solution to make Jews extinct.
"He flew to Berlin. Hitler didn’t want to exterminate the Jews at the time, he wanted to expel the Jews," Netanyahu said. According to Netanyahu, Hitler asked the mufti what he should do.
"He said, 'Burn them,'" Netanyahu told the gathering.
"He had no impact on Hitler. He drew his inspiration from Hitler and not vice versa"
Netanyahu — the son of a historian — previously has described the Mufti as a "leading architect" of Hitler's Final Solution, according to Haaretz.
Contained within a broader speech alleging Palestinian incitement and against the bloody backdrop of recent violence against Israelis, Tuesday's remarks hit a fresh nerve. Politicians and historians were quick to condemn the comments as inaccurate or worse.
The chief historian of the Yad Vashem Holocaust museum, Dina Porat, told NBC News that Netanyahu's claims were simply "not correct."
“Hitler was the one who came up with the idea of the Final Solution … not the mufti," she said.
Porat said Hitler had been floating the idea for years — well before his Nov. 28, 1941, meeting with Husseini in Berlin. The mufti came to the meeting to push for Middle East inclusion in Hitler's plan, Porat explained, adding that a summary of the meeting makes no mention of anything Netanyahu referenced in his remarks.
“Hitler did not need him to tell him what to do with the Jews,” Porat said. "The Jews were already burning."
She said Netanyahu's wording was "not careful" — especially for the son of a prominent historian who grew up in a home "imbued" with Jewish history.
Opposition leader Isaac Herzog said Netanyahu's words amounted to a "dangerous distortion of history" which falls "like ripe fruit" into the hands of Holocaust deniers.
"It minimizes the Holocaust, the Nazis" and Hitler's role in the "terrible tragedy," Herzog wrote in a post on his official Facebook page. "I demand that Netanyahu correct himself."
While the mufti may have been a Nazi sympathizer, "there was only one Hitler," Herzog added.
Chief Palestinian negotiator Saeb Erekat slammed Netanyahu for "morally indefensible and inflammatory" remarks and accused the prime minister of exploiting a tragedy for political gain.
"Netanyahu blamed the Palestinians for the Holocaust," Erekat said in a statement. "It is a sad day in history when the leader of the Israeli government hates his neighbor so much so that he is willing to absolve the most notorious war criminal in history, Adolf Hitler, of the murder of 6 million Jews."
Even Netanyahu's ally and Defense Minister Moshe Yaalon questioned the remarks.
"It certainly wasn't (Husseini) who invented the Final Solution," Yaalon told Israel's Army Radio, according to Reuters. "That was the evil brainchild of Hitler himself."
The Israeli prime minister attempted to clarify his remarks Wednesday amid the uproar, saying he had “no intention” to absolve Hitler of responsibility.
“Hitler was responsible for the Final Solution to exterminate six million Jews. He made the decision,” Netanyahu said ahead of his departure for Berlin. “It is equally absurd to ignore the role played by the Mufti… the Mufti was instrumental in the decision to exterminate the Jews of Europe.”
#netanyahu is a war criminal#Netanyahu is a sociopath#hitler#nazi#Holocaust#rewriting history#bloodlust#israeli propaganda#israeli lies#save palestine#free palestine 🇵🇸#israel is committing genocide#genocide#ethnic cleansing#collective punishment#israel is an apartheid state#apartheid
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I've been thinking about that post about Revan becoming mistakable for Mandalorian in their quest to defeat them. "There's no Mando au for Revan because they are one in a lot of the ways that matter." Do you think there are Mandalorians that would agree with this assertation? Mandalorian sects that would revere Revan the Butcher as a Mand'alor in their own right? Perhaps descendants of Mandalore the Preserver and Clan Ordo, owed in part to his connection to them? Revan as a symbol of Mando-Jedi?
short answer: yes, maaaybe, if anyone would then definitely them, no.
long answer: i think that the list of foes who have given the mandalorians a solid run for their money is a very short one. and even among that list revan stands out as someone unique, located at such a point in time that their victory against the mando'ade was the death knell for the taung. the extinction of the taung was a targeted genocide on revan's part; it's both not canon and also, in my opinion, an out-of-character move for revan to make as there wasn't a huge tactical payoff for it. the future of the species is mostly just another causality of the war. but this is also the moment that is the dawn of all of manalore that will follow. and in that in that context i think revan is an incredibly integral part of mandalorian history. they didn't just defeat the mandalorians, they broke them. [ and yet, the children of mandalore persist. and yet, they thrive.]
during their era, among those who lived and died in the aftermath that was revan, things were polarizing. but later on? as decades turn into centuries into millennia and things fade? if anything, they're a foil in which te ani'la and te taylir are placed against. not existing is has their own figure, but a backdrop, and instrument to define the mandalores of their era. canderous especially.
as for being a mand'alor. well. mandos are fussy about rules. and revan did technically use the mask of mandalore to command the mandalorians to disarm, disband, and scatter across the galaxy, and the mandalorians did technically heed those commands, so i do think there are some among the mandalorians who do believe revan should be considered 'technically' a mandalore (but still not considered mandalorian). i do think there are some who are a particular stickler for tradition who would count revan among the ranks of mandalorians. but i mostly think it's a debate topic used for bar fights (a la 'here's how jaster mereel can still win')
i think rather than being perceived as 'a mandalorian' in any respect, in a more modern context revan is an archetype rather than a person; a symbol for the 'ideal enemy,' a 'catalyst' of change that comes at a price. a metaphor. mandalorian culture is often defined around conflict, not just in simple warfare but philosophically and culturally. conflict causes strife, but it also causes progress. change. for a blade to be sharpened the edge must be ground. and revan is the metaphor of the perfect whetsone. rather being perceived as 'a mandalorian' as an individual they become an abstract, integrated into mandalorian culture. but i don't think they'd be particularly revered or reviled either way. at their worst, they are a figure in stories meant to scare children, or a load-bearing wall in the mandalorian's complex and antagonistic relationship with the jedi. at their best, their interpretations are fussed over by mandalorians historians, cited by great thinkers like an old fable. they exist as they were meant to; a symbol. some mandalorians probably don't think revan was even a real person, but that the terms revan/the revanchist and the revanchist movement have been used interchangeably.
#also revan being 'the perfect enemy' while also being pseudo-mandalorian makes sense#i dont think anyone would acknowledge it tho#considering how infighting has destabilized the mandalorians more consistently than anything else#i think mandos have a lot of opinions about revan but few of those are 'revan is a mandalorian'#anyway i have a LOT of opinions about mandalorian culture for someone who doesn't write a mandalorian huh. i just think they're neat >:3#↘ ]⠀meta.⠀:⠀and all the many corpses begin to speak.#↘ ]⠀ares.⠀:⠀answered.
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randomly saw an account on a Sufficient Velocity thread about World War Z (I lurk there on occasion for let's reads) that matched yours icon and UN-wise so!!! If it's you here's a fun question:
thoughts on WWZ/"realistic" zombie/apocalypse media? I think obviously post the actual COVID pandemic there's a lot to say about the concept, good and bad (denialism as explanation for the massive outbreaks you see in Romero movies, Walking Dead, etc.). Would love to hear what another former Zack fan has to say!
Yeah, that's me! Hiii!
I think "realistic" zombies would be pretty easy to contain. The human jaw doesn't have a very strong bite force, all it would take is some light body armor to protect you against bites, and with the right tactics you can avoid being swarmed. Modern bullet calibers tear bodies to shreds, even if you don't hit the head you can still seriously disable a zombie, making it easier to properly dispatch them. You can also, you know, blow them up with artillery and bombs and run them over with tanks, especially if you lure big hordes out into the open where they can be taken out without damage to infrastructure.
I think a realistic zombie apocalypse wouldn't look like the complete breakdown of society. Rather, you would have the US (as our main example) still be around, but zombies would be an endemic problem, swarms emerging every year or so to trouble population centers before the government can respond to put them down. You would see a radical shift in the way people organize - suburbs are turbofucked because they don't have the infrastructure to survive, people in rural areas would cluster together in fortified towns to avoid being overrun by big hordes and would probably not be able to count on as much government support.
A good story in this setting, like any other good zombie story, would use the zombies as a backdrop to show how people and governments can exploit or mismanage a crisis.
The government would continue to insist the zombie plague was contained even as outbreaks killed thousands of people a year (but never came close to toppling the government itself), they would give short change to the poor and minorities while fascists would use the situation to purge undesireables. Working people might survive by relying on each other more through mutual aid and self-defense units.
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