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#`~steELAAY dyÅnn~`#what we do in the shadows#wwdits#laszlo#laszlo cravensworth#1K for what#teevee#vashtiOC
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SARAH JESSICA PARKER as CARRIE BRADSAW
in SEX AND THE CITY / S01E03: Bay or Married Pigs
#sex and the city#satcedit#satc#userentertainments#dailyflicks#tvedit#carrie bradshaw#sarah jessica parker#ummmmm literally what do i tag#mp#*#teevee#usercelebs#throwbackblr#90sedit#cinemapix#userbbelcher#clothes
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When attempting to critique the values of a long-running franchise like STAR TREK, it's important to draw a distinction between superficial issues and structural ones.
"Superficial" in this sense doesn't mean "minor" or "unimportant"; it simply means that an issue is not so intrinsic to the premise that the franchise would collapse (or would be radically different) were it changed or removed. For example, misogyny has been a pervasive problem across many generations of STAR TREK media, which have often been characterized by a particular type of leering-creep sexism that was distasteful at the time and has not improved with age. However, sexism and misogyny are not structural elements of the TREK premise; one can do a STAR TREK story where the female characters have agency and even pants without it becoming something fundamentally different from other TREK iterations (even TOS, although there are certainly specific TOS episodes that would collapse if you excised the sexism).
By contrast, the colonialism and imperialism are structural elements — STAR TREK is explicitly about colonizing "the final frontier" and about defending the borders, however defined, of an interstellar colonial power. Different iterations of STAR TREK may approach that premise in slightly different ways, emphasizing or deemphasizing certain specific aspects of it, but that is literally and specifically what the franchise is about. Moreover, because STAR TREK has always been heavily focused on Starfleet and has tended to shy away from depicting life outside of that regimented environment, there are definite limits to how far the series is able to depart from the basic narrative structure of TOS and TNG (a captain and crew on a Starfleet ship) without collapsing in on itself, as PICARD ended up demonstrating rather painfully.
This means that some of the things baked into the formula of STAR TREK are obviously in conflict with the franchise's self-image of progressive utopianism, but cannot really be removed or significantly altered, even if the writers were inclined to try (which they generally are not).
What I find intensely frustrating about most modern STAR TREK media, including TNG and its various successors, is not that it can't magically break its own formula, but that writer and fan attachment to the idea of TREK as the epitome of progressive science fiction has become a more and more intractable barrier to any kind of meaningful self-critique. It's a problem that's become increasingly acute with the recent batch of live-action shows, which routinely depict the Federation or Starfleet doing awful things (like the recent SNW storyline about Una being prosecuted for being a genetically engineered person in violation of Federation law) and then insist, often in the same breath, that it's a progressive utopia, best of all possible worlds.
This is one area where TOS (and to some extent the TOS cast movies) has a significant advantage over its successors. TOS professes to be a better world than ours, but it doesn't claim to be a perfect world (and indeed is very suspicious of any kind of purported utopia). The value TOS most consistently emphasizes is striving: working to be better, and making constructive choices. Although this can sometimes get very sticky and uncomfortable in its own right (for instance, Kirk often rails against what he sees as "stagnant" cultures), it doesn't presuppose the moral infallibility of the Federation, of Starfleet, or of the characters themselves. There's room for them to be wrong, so long as they're still willing to learn and grow.
The newer shows are less and less willing to allow for that, and, even more troublingly, sometimes take pains to undermine their predecessors' attempts along those lines. One appalling recent example is SNW's treatment of the Gorn, which presents the Gorn as intrinsically evil (and quite horrifying) in a way they're not in "Arena," the TOS episode where they were first introduced. The whole point of "Arena" is that while Kirk responds to the Gorn with outrage and anger, he eventually concedes that he may be wrong: There's a good chance that the Gorn are really the injured party, responding to what they reasonably see as an alien invasion, and while that may be an arguable point, sorting it out further should be the purview of diplomats rather than warships. By contrast, SNW presents the Gorn as so irredeemably awful as to make Kirk's (chronologically later) epiphany at best misguided: The SNW Gorn are brutal conquerors who lay eggs in their captives (a gruesome rape metaphor, and in presentation obviously inspired by ALIENS) when they aren't killing each other for sport, and even Gorn newborns are monsters to be feared. Not a lot of nuance there, and no space at all for the kind of detente found in TOS episodes like "The Devil in the Dark."
#teevee#star trek#star trek tos#star trek the next generation#star trek picard#strange new worlds#i find strange new worlds largely unwatchable#and this is a major reason why#along with their determination to no-homo spock
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normal conversation with my beautiful wife^_^
#crush/folder#art.jpeg#selfship#yes man#courier six#courier 6#teevee#<MY COURIER’S TAG^_^#fallout new vegas#yesvee/folder
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Heaven. I'm In Heaven
...
I hate his slimy face.
When The Slime bragged about how much and for how long Yi Joo liked him and Do Guk's face changed to one of sheer rage because it's a fact he can't deny. This Idiot had her love, might yet still have her love, and he is unworthy.
AND THEN CAME THIS:
When I say, I got up. Left the room. My soul floated. My ovaries were firecrackers. I ascended. I returned. Acting a fool, like:
Slime, oh, Slime, you are in so much danger right now and I am loving it!
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he better give up that fucking chip b4 i chip something out of his skull
#blood#eyestrain#fallout#fnv#fallout new vegas#fallout: new vegas#benny gecko#benny#benny fallout#fallout benny#fnv benny#benny fnv#courier six#courier 6#courier#fallout courier#courier fallout#fnv courier#courier fnv#teevee#original character#fallout oc
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FYI restarting Farscape rewatch, brace yourself!
(Getting to the two parter in s3 - you know which one - always knocks me out of rewatching ability for months. Always.)
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Photo
so.... about that new eeveelution in the pokemon trailer.....
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The girlies are going through it together once again
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(Casually Drops Tumblr Sexyman)
Meet my interepretation of Mike, Teevee, and Tenna
In my interepretation they form together into one being known as The Rook of Entertainment
Or Rook for short
Bonus doodles:
Ok some basic info:
Teevee AKA your host with the most: The voice of Rook. Talkative. Has an Italian mob boss accent. LADIES AND GENTLEMEN. BAMBINOS AND BAMBINAS. BOYS AND GIRLS OF ALL AGES. AND ALL YOSE GENDAS IN BETWEEN. ITS YA HOST WIT DA MOST: ROOK! Just a Tv on top a robotic body. Bisexual. Crushes hard on poor Toriel and wants her to be his co star. Built Rook Studio from the ground up in a rags to riches story. Just wants to entertain and make people happy. Manipulated by Mike to be concerned with money and power more than entertainment. Former friend to Spamton and took Mike from him. Former small time theatre actor before Mike came along. Has a horde of fan girls. Obsessed with Motey in a strange way...... In his fight you take control of Motey and disable Teevee's robot body. Afterwards Teevee is about to give up before Mike hits a special button on Motey that gives Teevee access to all TVs to attack the Fun Gang with but Mike then uses Tenna to take full control of Teevee. Has a bitter rivalry with Queen as she has replaced him as entertainment and specifically despises those "Lil Tellies"
Tenna: Not really sentient more like Mike's extra pair of eyes. Keeps tabs of the surroundings and residents of Television City. Cant speak. Always Watching....always. Loses signal if the attenas are tampered with which is what you must do to be able to take Motey from Rook. Secretly has been slowly taking control of Teevee and once Mike power up Teevee, Tenna is also powered up and able to take full control.
Mike AKA the Brain behind Rook. Mike is a microphone that uses to belong to Spamton but Teevee took him. Mike gives Teevee "advice" but is more manipulative than friendship. Wants total and uter control. The true villain. Helps Teevee run the Monochrome Mafia. Gets jealous easily. Usually has eyes closed but they open when angry or the like. Bossy and while normally chummy is prone to outbursts when Teevee fails. Trying to expand Rook Television to new heights. Always looking to checkmate the Queen. After beating Teevee's 2 forms Mike is easily defeated by the Lighteners
Motey: Not really sentient. Controls most functions to Rooks robot body. Constantly getting lost.
#deltarune#deltarune art#Mike#mike deltarune#Tenna#tenna deltarune#Teevee#Teevee Deltarune#Rook#Rook Deltarune#I took inspiration from many versions of Mike
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#vashtiOC#shauna shipman#misty quigley#natalie scatorccio#jackie taylor#vanessa palmer#van palmer#taissa turner#tai turner#lottie matthews#charlotte matthews#laura lee#mari yellowjackets#akilah yellowjackets#femme#blaque#teevee#yellowjackets#1K for what
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KIM CATTRALL as SAMANTHA JONES
in SEX AND THE CITY / S01E10: The Baby Shower
#sex and the city#satc#satcedit#userentertainments#dailyflicks#tvedit#samantha jones#kim cattrall#usercelebs#throwbackblr#90sedit#cinemapix#userbbelcher#mp#*#teevee#clothes
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Despite its protestations of progressive values, STAR TREK media has always explicitly presented (and, with only fleeting exceptions, consistently celebrated) the Federation as an expansionist imperial power, engaged in a large-scale project of colonialism.
The usual apologia/rationalization for this, both from the franchise itself and from its fans, is that the Federation is also a post-scarcity socialist utopia. However, that is expressly not the case in TOS, despite the attempts of the later series to insist otherwise.
Indeed, the plots of some of the most famous and acclaimed episodes of TOS are specifically about resource extraction and ensuring the Federation's access to crucial resources, including lithium (in "Mudd's Women"), pergium (in "The Devil in the Dark"), and dilithium (in "Mirror, Mirror," et al). We are told repeatedly that the Enterprise has a mandate to use force to secure these resources if gentler methods fail. Moreover, while the Federation has a strategic interest in these resources, it's clear at various points in TOS that their extraction and exploitation are, to a significant extent if not exclusively, overseen by private interests for profit. For instance, in "Mudd's Women," Harry Mudd remarks:
Well, girls, lithium miners. Don't you understand? Lonely, isolated, overworked, rich lithium miners! Girls, do you still want husbands, hmm? Evie, you won't be satisfied with a mere ship's captain. I'll get you a man who can buy you a whole planet. Maggie, you're going to be a countess. Ruth, I'll make you a duchess. And I, I'll be running this starship. Captain James Kirk, the next orders you're taking will be given by Harcourt Fenton Mudd!
In "The Devil in the Dark," Kirk ultimately takes a regulatory position — he will not permit the pergium miners to kill the Horta or continue to destroy her eggs — but at no point does he suggest that stopping the pergium production that threatens the Horta is a viable or even acceptable alternative. The accord he proposes is contingent on the Horta's agreement that she and her children will support the mining efforts on her planet, since Kirk emphasizes that "a dozen planets" are depending on the miners to supply needed pergium. (What would have happened to her if she hadn't agreed is not stated, but the episode strongly suggests that she would have been severely punished for noncompliance with Kirk's mediated solution: forcibly relocated to some kind of Horta reservation away from the main mining operations, perhaps.) When the Horta does agree to this proposal, Kirk assures Vanderberg, "you people are going to be embarrassingly rich," which once again suggests that while the miners may have contractual agreements to delivery pergium to Federation worlds, they are still a private, for-profit business, not a Federation department or nationalized entity.
Profit is also Ron Tracey's motivation for breaking the Prime Directive in "The Omega Glory": He believes that he's discovered a "fountain of youth" that he can own, monopolize, and exploit, and that the value of that resource will be enough to buy his way out of legal trouble for his regulatory violations.
We mostly don't see the Enterprise crew handle money except on away missions in other cultures or times, but there are a number of indications that the Federation in this era has not abandoned money: For instance, Harry Mudd's list of past offenses includes purchasing a space vessel "with counterfeit currency," while in "The Apple," Kirk rhetorically asks if Spock knows how much Starfleet has invested in him, which Spock begins to answer, "One hundred twenty-two thousand two hundred …" before Kirk cuts him off. More tellingly, in "I, Mudd," we have the following exchange:
KIRK: All right, Harry, explain. How did you get here? We left you in custody after that affair on the Rigel mining planet.
MUDD: Yes, well, I organized a technical information service bringing modern industrial techniques to backward planets, making available certain valuable patents to struggling young civilizations throughout the galaxy.
KIRK: Did you pay royalties to the owners of those patents?
MUDD: Well, actually, Kirk, as a defender of the free enterprise system, I found myself in a rather ambiguous conflict as a matter of principle.
SPOCK: He did not pay royalties.
MUDD: Knowledge, sir, should be free to all.
KIRK: Who caught you?
MUDD: That, sir, is an outrageous assumption.
KIRK: Yes. Who caught you?
MUDD: I sold the Denebians all the rights to a Vulcan fuel synthesizer.
KIRK: And the Denebians contacted the Vulcans.
Whether Deneb is a member of the Federation at this time is unclear, but Vulcan certainly is, and so we may assume that Vulcan and presumably the Federation itself are also part of "the free enterprise system."
The first indication that the Federation does not use money is in STAR TREK IV, and it's not obvious there if Kirk's remark that "They're still using money" is talking about money more broadly or just physical currency, which the Federation may have phased out even if it still uses credit or electronic transfers of monetary value. (Certainly, McCoy's attempt in STAR TREK III to charter a starship indicates that he had some means of paying for passage, since the captain of the ship specifically demands more money upon learning of the intended destination.)
If we accept at face value the assertion of TNG and DS9 that the Federation has genuinely abandoned the use of money, rather than simply going cashless, the most reasonable Watsonian explanation is that this has been a relatively recent development during the 70–80 years between the TOS cast movies and TNG, most likely related to the development of replication technology (which the Federation did not yet have in Kirk's time).
Of course, from a Doylist standpoint, we could chalk up some of this incidental dialogue to the franchise's evolving construction of its own setting, in the same manner as anomalous references to Vulcans as "Vulcanians." Roddenberry and his apologists might also insist that he always meant to depict a socialist utopia, but was prevented by the nattering nabobs of negativity (i.e., the network's BS&P); I'm very skeptical of such claims, but the writers were acutely aware that depicting what Earth is like in Kirk's time would be opening a can of worms, which is why we didn't actually see 23rd century Earth (even briefly) until the movies.
However, the focus on resource extraction and its ramifications is such a load-bearing story element in TOS that the revisionist assertion that the Federation was already a post-scarcity socialist utopia in Kirk's time (as both DISCOVERY and STRANGE NEW WORLDS have attempted to claim) would require really substantial retcons of the original show, perhaps to the extent of insisting that some of those events never took place at all, or happened radically differently than what's in the TOS episodes most STAR TREK fans have seen. For me, anyway, that crosses a line from willing suspension of disbelief to "don't trust your lying eyes," and suggests a frustrating and somewhat disturbing determination to insist that TOS is something much purer and nobler than it is rather than grapple with its actual conceptual flaws and ideological shortcomings.
#teevee#star trek#star trek tos#james t kirk#harcourt fenton mudd#spock#gene roddenberry#i love tos -- truly -- but it doesn't claim to depict a utopia#and its hypocrisies and moral failings are substantial#i am very disgruntled by strange new worlds and discovery#because they clearly WANT to redo tos#but rather than rebooting it to align with their current vision#they've opted for this revisionist death-by-a-thousand-retcons approach
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my courier (his name is Teevee and he is also Me) Before, During, and After yes man’s update….
#crush/folder#art.jpeg#selfship#courier 6#courier six#yes man#teevee#fallout new vegas#yesvee/folder
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Story of Kunning Palace, E05 (semi-live reaction)
Of all the ways I thought Ning would handle the proposed slander against her beloved Zhang Zhe, the way she actually handled it did not align with my imaginings in the slightest. Sometimes what plays out is really better than the fiction in your head, hee. I did not see her calling out, not the dumb fiancee but the You-daughter. Nor did I foresee her half-drowning her in a jar full of goldfish.
FIERCE
Judging by the all the clips I have gorged on, this particular love line will be quite strong and trend for a while. Sigh. A decade plus of drama watching has whittled my patience for second lead to first lead love lines to whisper-thin nub but everyone keeps commenting on how amazing Zhang Zhe is so.... I guess the wait and watch won't be too grating.
...
I'm not sure I understand.
Zhang Zhe broke or bent his principles to help her on the oath that she'd become a good person thereafter.
Sometime later, Zhang Zhe is condemned to death for this.
Did he naturally get caught? Or did she deliberately sell him out? Was it more similar to the Yan Lin situation in which her people made moves without her knowledge and when push came to shove, she didn't make the necessary moves to upend the conspiracy for the sake of remaining Empress?
Whatever the case, it's clear Ning did many terrible things - some in ignorance, some in knowledge - to accomplish everything she achieved. I think she squared most, if not all of it with herself when weighing it against the ultimate end result... until Zhang Zhe ended up on the chopping block. I don't think she would have been able to write this sin off and once one stone in her ambitious bedrock was overturned, the rest likely came apart. It's why when she knew she was going to die she wanted her death to mean something, to be a reparation of sort to the only person remaining who might accept it because he thought she was worth something, because he's that good.
...
Oh. Oh. Look at the expression on his face as he listens to the patronizing, sexist drivel:
My scrumptious proto-feminist
...
LOL, he did a dignified catwalk and every lady in the room forgot to think and breathe!
I understand, ladies, I understand.
Geez, Ning, Xie Wei had them open a window for you, and only you, so you would have fresh air and bright light, to improve your mood and chances! Not to silently accuse you of being a potential cheat!
Wow, this is all up hill climb, my guy. Get your shoes with the best tread on, Xie Wei.
I know not a drop of Chinese and even I can see that's atrocious. And what did she draw in the corner. A flower? A dancing sun? A really fat, disproportionate hand with a vestigial finger?
And she asks, did she put too much effort into [failing]? Girl. It's so obvious she'd bring out the contrarian impulses of a saint. But maybe it's worth it since we get this face:
Teacher does not approve.
What I am enjoying so much in this scene is the action and counteraction. The way they each boldly challenge the other. She sent up an exam paper so abominable as to be a mockery [of him]; he passes her. She tries to expose her "stupidity" to the rest of the class; he threatens to critique the entire class, turning everyone against her idea.
point:
Counterpoint:
Concession:
Me:
...
I'm not even touching the "dementia." Rolling my eyes and moving on.
But, but, but... How was he so spot on?! How did he guess at reincarnation?! I mean, yeah, he said he doesn't believe in the supernatural but it can't be a coincidence to the narrative that he's the first to come closest to the truth?
Xie Wei: Ning, what's your relationship with Yan Lin? I NEED TO KNOW... *whispers* for science.
Oh, your father asked me to take good care of you in the palace... Yan Lin asked me to help you... By the by, that study partner list? Yeah, another ministry generates it but ultimately it has to run by me. The moment I saw your name I marked you for the palace. After going to so much trouble, it would be stupid of me to release you from palace duties now!
Xie Wei, be like:
...
God. I Hate Ning's Mom.
#post#tv show: story of kunning palace#teevee#cdrama#xue ning#bai lu#xie wei#zhang ling he#gif#references film: young frankenstein#references film: the little mermaid
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