#the cultural impact remains to be seen
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oppenheimer criticisms I haven't seen but think would be fair:
-choice to have 90% of florence pugh's screentime being "hysterical topless woman"
-movie does not pass bechdel test at all; otoh it is a historical biopic representing the life of a man to whose field of study very few women had access at the time and the movie makes a point to show those women gaining access. like. it's not a movie about women at all, and I doubt I will see nolan make such a movie ever, but beyond florence pugh's character there are some good and nuanced moments in there especially with emily blunt but also with minor characters
-early sequences of tortured baby oppenheimer dreaming the beauty of physics are very overwrought
-choice to not shoot on location in germany (look this one is just for me I have been to all the places oppenheimer studied (I am not a theoretical physics fangirl but I know several) and the only place they chose not to actually film in person is göttingen which I take personal offense at)
-they cast matthias schweighöfer in a hollywood movie. no excuses for that one tbh.
oppenheimer criticisms I have seen and think are unfair
-"nolan can't make a good war movie" bc he will not make an intersectional war movie. potentially accurate in re dunkirk, which I didn't see bc I don't like war movies, but in this case he did not make a war movie, he made a historical biopic. the war is relevant, obviously, but the movie is not at all about the battlefield or the front, it is about the life of a physicist, and yes, it's not very intersectional.
-the effects of the a-bomb on the people of japan are not given due diligence. I understand people disagreeing about this but I have also seen several posts of people going "I won't watch this but I bet it doesn't" and uh. I think it does. I think every moment in this movie after the trinity test is entirely about oppenheimer realizing the impact of his research and it is shown several times, excruciatingly, how aware he is of what the effects of the a-bomb were. we do not see the bomb, nor do we see japan, because again, it is a historical biopic about this one dude and he wasn't there. this is also the first time I have seen a mainstream hollywood movie make repeat and pointed note of the fact that in a military sense the use of a-bombs in japan was not necessary.
-movie is pro-war/glorifies the a-bomb/glorifies oppenheimer. I think the strongest case you can make is that it glorifies the a-bomb because movie splosions are cool. but I also think the movie's biggest strength is its ambiguity. whose fault is it there was an a-bomb? is it oppenheimer's? he sure thinks so! is it einstein's? he sure thinks so at least indirectly! is it the american government's? they sure think so and they're proud of it (all of these according to the various chracters of this movie). is it a good thing they developed the a-bomb? several characters have several differing opinions on this! oppenheimer himself seems very divided and unsure by the end of the movie and cannot make a judgment call. in the end (much like with cillian murphy's other iconic character who wears a hat cough cough) if people walk out of this movie as fans of the character or his actions imo that's on them and not on the authorship of the movie
#oppenheimer#I think it was a very good movie that's all#the cultural impact remains to be seen#and there are grounds for concern there#but the morality policing I will not watch the impure movie tumblr posts#really grind my gears
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I think I've rambled about this a little bit before, but I really believe that if we were able to shift our standard burial practice to human composting and memorial tree planting, the impacts could be huge.
Imagine how much more people would care about trees if they were the grave markers of their loved ones (and unlike grave markers, actually grew from the remains of their family). Think of the legal protections people would place on ancestral forests. A lot of people would probably be more invested in learning about the biodiversity needed for a forest to thrive -- not like the bullshit "carbon offset" single species tree plantings used to alleviate consumer guilt.
Some people would probably be motivated to spend more time in and learning about forests. Others probably wouldn't really, but you'd better believe people would be up in arms if they heard that somebody wants to cut down grandpa's tree.
Something I've seen in recent years is that the increase in fires on the west coast has made the reality of climate change a lot more real for a lot of people here. Especially after the week in 2020 when Portland had the worst air quality in the world due to wildfire smoke, people could no longer think of it as something for future generations to deal with. It became clear that we were going to be living with this, effective immediately.
I'm not saying that having ancestral forests would suddenly stop forest fires, but it would be another thing to get more people invested in environmental protections and technology.
And yes, I am on some speculative fiction hippy shit, but dammit, ancestral forests would be cool. Don't you want to remember your loved ones by going and talking to a tree? Or a group of trees? Like yeah, they'd be less permanent than a stone monument, but once an ancestor's tree falls, it can become a nursery log for younger generations.
Don't you want to become part of the forest when you die??
*Disclaimer: idea presented primarily as an alternative to preserving corpses with toxic chemicals and burying them in expensive boxes as is common where I live, and not meant to replace all other cultural traditions related to death and burial. Please don't come at me for responding to the norms of my own culture, I am aware that other cultures exist.
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Prehistoric Figurine of a Harp Player, from the Cyclades (Greece), c. 2700-2300 BCE: this figurine was shaped from a block of solid marble and then slowly sanded into form using pumice and emery
The figurine depicts a musician with a frame harp, an instrument that originated in the Near East and then later spread to the peoples of the Aegean. A sound box forms the section along the base of the instrument, and a small protrusion can be seen near the top of the harp's frame; some experts have argued that this protrusion might represent an ornamental carving of a waterfowl's head, while others argue that it represents a musical extension that facilitates the projection of sound (a feature that often appears on the stringed instruments of the ancient Near East).
This piece measures 35.8cm (about 14 inches) tall.
Musical performances like this are rarely depicted in Cycladic artwork. Depictions of male characters are similarly rare, representing only 5% of the Cycladic sculptures that are known to exist. When male figures are depicted, however, they are frequently shown playing musical instruments, as seen here.
Figurine of a Harpist, c. 2800-2700 BCE: a similar example of a Cycladic sculpture that features a musician with a frame harp
The Museum of Cycladic Art provides a more detailed explanation of the process by which these figures were created:
As we can deduce from the few unfinished figurines that have been discovered so far, the first step in the process was to roughly shape the raw piece of marble into a figure by the impact of a mallet. Emery powder was then used to abrade the surface until it obtained the desired shape and size. Once the desired shape was achieved, the surface was smoothed carefully before the fine work of carving the details started. At the end, the figurine was polished to a high degree that is still amazing.
And according to The Met:
Many of these figures, especially those of the Spedos type, display a remarkable consistency in form and proportion that suggests they were planned with a compass. Scientific analysis has shown that the surface of the marble was painted with mineral-based pigments—azurite for blue and iron ores, or cinnabar for red.
The Cycladic Islands (also known as the Cyclades) are a group of about 30 separate islands in the Southwest Aegean, off the coast of mainland Greece. These islands contain a wealth of natural resources, including marble, emery, pumice, obsidian, and an assortment of precious metals. The prehistoric peoples of the Cyclades made use of these resources for many different purposes, but the marble figurines/sculptures that they crafted during the Bronze Age are perhaps their most famous creation.
The vast majority of these figurines are stylized depictions of the female form. The cultural significance of the sculptures remains unclear; they may have simply been created as decorative pieces/artwork, without any additional function, or they may have been used as fetishes, totems, religious idols, grave goods, or votive offerings.
Sources & More Info:
The Getty Museum: Figurine of a Harp Player
The Met: Cycladic Harp Player
The Met: Early Cycladic Art and Culture
The Museum of Cycladic Art: Techniques
#archaeology#history#artifact#ancient history#prehistoric art#art#sculpture#music#greece#cycladic#bronze age#anthropology#harp
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Just a reminder since im seeing a lot of people who don't regularly read comics get tripped up on things: the Spider-man 2099 (1992) comics are NOT canon!
And this isnt due to a recent change or anything. As soon as it ended (with multiple characters dying, things being destroyed) the character of miguel went on to be retconned and reworked multiple times by his own original writer (who was dissatisfied with the state of things) and OTHER writers (who thought They could fix it).
Case in point; one of the first series after the shelving of the 2099 universe featured Miguel's 1992 timeline being quite literally *stopped* on its tracks during the first week -- before any of the other events could happen -- and had him walk out of it to join a multiverse group called the Exiles. His 2014 series reboot by the original writer also ignores 90% of the events of that series, like keeping his mom and tyler stone alive etc. Separate oneshots focused on Miguel during a few marvel events also pretty much focused on the concept of trying to reboot and fix the 2099 universe so these events "were not set in stone" or "could be changed at any time" -- and this isn't by mistake.
Miguel's latest appearance (in yet another reboot oneshot series) seems to be based on his movie visual but with 0 ties to the previous series or references to atsv itself, since at the time the movie wasnt out yet. They just wanted people to know they'd be trying again (yet again!), and it remains to be seen what will be done next.
The 2099 comics are not canon to ATSV. They are barely relevant to marvel comics. The 2099 comics, starting all the way up with the original 1992 one, are littered with all manner of racist stereotypes and cultural mishandling on part of the white author, that aged pretty badly pretty quickly. Marvel is trying to pretend they didn't happen. Miguel's 2014 comics briefly, and insistently, also tried to pass him off as a white man (he was called "Mike" for a period) which was backpedalled when it didn't work.
*You are not obligated to read these comics to understand ATSV Miguel.* ATSV Miguel was created in collaboration with actual latinos to have his own, separate, improved story. (A few interviews have stated his characterization stems from Oscar Isaac's experience as a Cuban Exile) He is visually distinct and the artbook implies his 2099 universe is built from the ground up, set apart from the comics as well.
This isn't new. Miles from the ITSV movie is also completely removed from his original universe (where among other things, his mother gets killed by venom and the avengers are assholes) which is a long way of saying TL;DR --
Don't worry about wading through Miguel's garbage if you don't want to. Half of the people and events in these books have had no effect or staying impact on canon, they are snapped out of existence at will. And absolutely don't let anyone guilt you into reading these comics to prove "you're a real fan" when the MOVIE ITSELF does not give a shit lol
#across the spiderverse#atsv#miguel ohara#miguel o'hara#spiderman 2099#atsv miguel#marvel comics#my spider stuff#oscar isaac#itsv#into the spiderverse#spider man: across the spider verse#ON THE CONDITION HIS CHARACTER NOT BE BORING#Aka oscar is a real one. btw#long post#long reads#miles morales#atsv miles#meta tag
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Trans men face deep isolation in Pakistan. The country, with a conservative Muslim majority, has entrenched beliefs on gender and sexuality, so trans people are often considered outcasts. But trans women have a degree of toleration because of cultural traditions. Trans women in public office, on news programs, in TV shows and films, even on the catwalk, have raised awareness about a marginalized and misunderstood community.
The Pakistani movie and Oscar contender “Joyland” caused an uproar last year for its depiction of a relationship between a married man and a trans woman, but it also shone a spotlight on the country’s transgender community.
Trans men, however, remain largely invisible, with little mobilization, support or resources. Trans women have growing activist networks — but, according to Aman and others, they rarely incorporate or deal with trans men and their difficulties.
“It’s the worst,” said Aman. “We are already disowned by our families and blood relatives, then the people we think are our people also exclude us.”
Trans women have been able to carve out their space in the culture because of the historic tradition of “khawaja sira,” originally a term for male eunuchs working in South Asia’s Mughal empire hundreds of years ago. Today, the term is generally associated with people who were born male and identify as female. Khawaja sira culture also has a traditional support system of “gurus,” prominent figures who lead others.
But there is no space within the term or the culture surrounding it for people who were born female and identify as male.
“Every khawaja sira is transgender, but not all transgenders are khawaja sira,” said Mani, a representative for the trans male community in Pakistan. “People have been aware of the khawaja sira community for a long time, but not of trans men.”
He set up a nonprofit group in 2018 because he saw nothing being done for trans men, their well-being or mental health.
Trans people have seen some progress in protecting their rights. Supreme Court rulings allow them to self-identify as a third gender, neither male nor female, and have underscored they have the same rights as all Pakistani citizens.
Although Mani was involved in the trans rights bill, most lobbying and advocacy work has been from transgender women since it became law.
“Nobody talks about trans men or how they are impacted by the act,” said Mani. "But this is not the right time to talk about this because of the campaign by religious extremists (to veto changes to the act). I don’t want to cause any harm to the community.”
Another reason for trans men’s low visibility is that females lead a more restricted life than males in Pakistan, with limits on what they can do, where they can go and how they can live. Family honor is tied to the behavior of women and girls, so they have less room to behave outside society’s norms. On a practical level, even if a girl wanted to meet trans people and get involved in the community, she wouldn’t be able to because she wouldn’t be allowed out, said Aman.
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Got Ink? 💉 | Robert ‘Bob’ Floyd Imagine
Takes place before, during, and after the events of TGM
TGM masterlist
Characters & Pairings: Lt. Robert ‘Bob’ Floyd x tattooed model!reader (romantic), dagger squad (platonic)
Content Warnings: fluff, profanity, mentions of pain as a result of tattoos. Slight suggestive content if you blink | Female!reader (she/her) | wc: 6k
Requested 📨 yes/no (rules for requests)
Premise: Art comes in many different forms. And when you technically think about it, your body is a canvas that can be become a mural if you find yourself drawn to the beauty that tattoos bring. For WSO Bob Floyd, he appreciated art in every form and loved how patterns and colors could create something beautiful. When his sister invites him to a party for her job shortly after returning from a special mission with the Navy, Bob meets a woman who was the perfect canvas he’d ever seen.
Note: I cannot tell you how much I loved doing this request. As soon as I got it I was like, ‘I’m gonna love this,’ especially as someone who has tattoos and wants to have a lot (I have at least twenty planned) this was feeding my love for tattoos. To the anon who sent this request I hope you like it, I really enjoyed writing this for you and I hope you’re okay with me choosing Bob since you said you wouldn’t mind if it was him or Jake—since I just did a Jake imagine I wanted to give Bob some love 🥹 Also I made it where reader was born in 1989 so if we were to go by Bob being born in 1993 like Lewis then she’d be about four years older since the events of TGM take place in 2019.
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They often say that when you get your first tattoo it will either be the one and only time you subject yourself to the temporary pain of permanent ink…or it becomes one of many.
“It’s an addiction”, people defend, though they should probably look up the term addiction before using it in such context.
For many it’s the appreciation of art. Whether expressing it by becoming a tattoo artist or wanting to capture the beauty by etching it onto their skin like they are its own personal canvas.
Tattoos come in many different forms. There’s the traditional/old school style that is very recognizable with its bold black lines outlining bright colors. People in their old age, having grown up in the 60s and 70s, are the ones usually seen with these types of tattoos. Neo-traditional is not that far off from traditional, just the lines are not as bold. Delicateness is seen with fine line tattoos. In recent years it’s become popular amongst the younger generation—not just because they are pretty to look at but if one has a job that’s strict on policy then they can hide them better.
The oldest style would be the tribal tattoos. Beautiful elaborate patterns in various sizes, they represent the culture one comes from. Like fine line, watercolor tattoos have become a popular style—taking away the traditional black ink used as an outline so the colors have the spotlight. No color in a piece is blackwork and then there’s realism where it’s pretty much a picture that was printed onto the skin. Go on Pinterest and you’ll find multiple images of patchwork style where a collection of pieces put together can be any style already mentioned.
Japanese style, patch, geometric, black & gray, anime, portrait, the list goes on and on. So many ways to put a design on one’s body where it will remain until they go to the next life. Some people stick to pieces that represent sentimental value, like family or childhood nostalgia, others will simply see something they like and go, “I think it looks cool.”
When looking at Y/n’s tattoos, both aspects were seen in the array of artwork coating her body. After getting all the pieces that represented a person, place, or thing that impacted her life, Y/n started to get whatever the hell she wanted—not having an explanation for anything other than, “it looked badass so I got it. No value behind it, I just wanted it.”
Like many newly turned teenagers itching to get their first tattoo, Y/n was bold and got an intricate design on one of the most painful spots. Her reasoning was if she did it, then any other place in the future wouldn’t be as bad. All through college whenever asked what she wanted for her birthday or holidays the answer was always money to get a tattoo. An artist herself, she majored in drawing while attending Pratt Institute in Brooklyn, New York, also taking on an apprenticeship for a local tattoo artist. There she would get to work on her skills and tattoo people, progressing to doing tattoos on her legs and non-dominant arm. Anytime she traveled to a different state or country during the semester she studied abroad, Y/n got a new tattoo, wanting to have an array of styles from different artists on her body.
By the time she was 26, she had accumulated over 50 tattoos and still had room for more. From her neck down, artwork ranging from fine line to bold and traditional decorated her skin. Both her arms were half sleeves, ending just above her elbows with patchwork along her forearms and hands. The only place free of ink on Y/n was her face, though she did have her inner lip tattooed. If you asked her, it’d be the only place she regretted getting ink because it faded so quickly. But then again, she could get it redone if she really wanted to.
There were looks from people anytime she went out. Y/n loved dressing up in little black dresses and two piece sets to unapologetically show off her tattoos. Older, conservative couples or people who thought tattoos looked trashy on women would look down upon her. Getting hit on was normal, though she never gave the time of day and sending one look that read, ‘get lost’ had men scurry. Sometimes she'd be approached by teenagers asking about certain pieces, saying they wanted to get tattoos once they were of age and were looking for advice. Biker bars were a place she felt comfortable in, Y/n even taking a part-time job as a bartender so make some extra cash. People from all ages—well at least 21–were covered in tattoos like her.
In 2014, shortly after her 25th birthday, Y/n noticed an inbox notification in her instagram. She was used to getting messages on occasion. Being featured on the bar’s and tattoo parlors business instagram pages and accumulating her own following of potential clients had Y/n reach up to 80 thousand followers. The tattoo artist she worked for was very popular, having done work for celebrities and being featured in Inked Magazine.
Speaking of Inked Magazine…..
When Y/n clicked on the icon to open the message, the first thing she spotted was the blue checkmark. Then beside it was in bold lettering inkedmag. Coffee nearly spilled onto the floor when her grip faltered, gasping lightly at the name. She didn’t even realize the page was following her, confirming this by searching herself under their following and found her username staring back at her.
Heart pumping, Y/n opened the message. “Hi, Y/n, my name is Manda Williams and I’m a representative at Inked Magazine. We’re a fan of your profile and would love to work with you on our upcoming campaign. Would you be interested? Please email me at [email protected], I look forward to talking with you soon.”
Never did she think she’d become a model, let alone a tattoo model. She was taller than the average woman, standing at about 5’10 and strikingly beautiful. On countless occasions family members would say, “if you didn't have all that on you maybe you’d been discovered. You’ve got the height, the style, and high fashion look. Plus you’ll never get a well paying job with all those tattoos.” All they were met with was a roll of the eyes from the woman, annoyed with the constant nagging.
“I’m an artist,” she would defend. “I got accepted into one of the most prestigious art schools in the country and I work for a very renowned tattoo artist who has had Snoop Dogg, Angelina Jolie, and Lady Gaga as clients. Not to mention I work at a biker bar where the people there love me. Want me to go further?” the look on their face would read they didn’t but Y/n would put the nail in the coffin with, “Let me point out the fact I get paid more with both those jobs combined than you working a nine to five in your little office job. Also you should educate yourself. Tattoo models do exist.”
If only those family members could see her now. Posing on a motorcycle in nothing but a bra and booty shorts as the camera flashed in front of her.
“You’re a natural, Y/n,” the photographer complimented, making her flustered.
She adjusted her position, running a hand through her hair, “If you think so I trust your judgment.” Being in a studio felt very different than when she would set up her phone on a tripod in her apartment. It took many tries for her to capture the perfect angle, often deleting fifteen out of sixteen photos. Here with this guy calling out movements, “a little to the left,” “bring your hand up—just under your chin, perfect,” “Now act like you’re suntanning on the beach—tilt your head back as though the sun is in your face,” Y/n felt what it was like to be a model.
Not many tattooed individuals got the chance to sign with top agencies like Ford and IMG. Very few were recruited so it came as a big surprise when an agent from IMG Models contacted her following the release of Inked Magazine’s issue. When she took the job she thought it would be a small section in the magazine itself. Instead, she was on the cover.
“You don’t have an agent?” Bonnie’s tone was confused, staring back at Y/n from behind her desk as they sat in her office at the IMG headquarters. Bonnie had seen her cover on Inked, immediately going to Y/n’s instagram where she contacted her though the email listed on the tattoo parlors page. From there she asked the artist to bring a portfolio, which she was shocked to find out wasn’t much. “That was your first model job?”
Y/n shrugged, making a face like it was obvious, “Unless you count the dozens of comments I get on instagram beggin for my next post, yeah it was. I’m a bartender and tattoo artist, modeling wasn’t something I thought was in the cards.” She refrained from adding, “also didn’t think IMG scouted people like me.”
It was safe to say Y/n was unlike the typical runway model. Every now and then a high fashion show would hire a man with tattoos to walk for them. Very rare would you see a woman on the runway. For Y/n, that seemed to be the case in the beginning of her career. She did walk in the Marco Marco show that year which was the highlight of her life. Inked Magazine got so much response on her first feature that they made her their staple girl. Y/n worked with them the most on campaigns and even got to do a cover shoot with celebrities like Travis Barker and Kehlani. Those features got her a lot of recognition to the point she hit one million followers on instagram.
It wasn’t until Y/n went viral on the internet for her Sports Illustrated cover and becoming the first inked model to be featured in a Victoria Secret campaign that the top designers were booking her. Before long she was auditioning for brands during fashion week, securing Tom Ford, Calvin Klein, and Oscar de la Renta. Due to her tattoos being the star of the show, there were hardly any clothes on her save for tiny tops and skirts or dresses with intricate cutouts. She didn’t mind of course. After all, her tattoos were a part of her and the reason she was getting the opportunities of a lifetime.
Milan, Paris, London, New York. Fashion week was gonna have to get used to a new face in town.
Vogue, GQ, Vanity Fair, Inked. Pick up an issue and you’d find Y/n on at least one page, if not the cover.
Every now and then she’d get asked to appear in music videos for bands. The Weekend once asked her to be the cover art for one of his singles, bringing her more attention as "The Inked Beauty from Blinding Lights cover art.”
She appeared on the Inked Magazine YouTube channel several times. The most popular video being when she did a Q&A released shortly after walking in the last ever Victoria Secret Fashion Show in 2018, becoming the first inked model to walk the VS runway. Though it had low ratings, Y/n’s bit was plastered on every social media site, many tweeting: “the best thing VS could’ve done for their final show was put Y/n L/n in it. She carried the damn thing.”
“Hello, I’m Y/n L/n,” she smiled shyly at the camera, her agent Bonnie and publicist giving a thumbs up. “I’m a tattoo and high fashion model from New York City. You may recognize me from the cover of Inked Magazine, or discovered me through some of my other projects over the last couple years—hell maybe I even tattooed you at one point,” chuckling as she feels her nerves slowly evaporate. “Today I’m here with Inked Magazine, the owners of my heart and career, and I'm gonna answer some questions sent in by you guys about my tattoos and career.”
The producer gives a nod, “Ready, Y/n.”
“Let me hear them, sonny boy.”
“What was your first tattoo and at what age did you get it?”
Thankfully she was wearing a tube top beneath her jacket, removing the clothing to reveal the many inked designs on her chest, and stomach. Pointing to the one just below her ribs, Y/n says, “So this was my first one—as you can tell by how faded it is compared to the others. I got it when I was eighteenth birthday, literally wasted no time and my family is actually who inspired it.”
“As of right now, how many tattoos do you have?” The question has Y/n think for a moment, tilting her head back slightly.
“I counted just the other week and I think it was close to…. seventy,” nodding she adds, “yeah I think that’s right. I know I had fifty when Inked contacted me four years ago for my first feature. So I’ve added twenty to the collection since.” She made a mental note to count again when she got home that night.
“Do you have any tattoo regrets?”
A nervous chuckle escaped, “Fuck, uh….yes,” she looks down shamefully, but gives a shrug like, ‘I can explain.’ Lifting her head back up, Y/n takes her two index fingers and gently pulls down her bottom lip to reveal the messy smudged ink that once read, ‘baby girl’. The camera zoomed in and once they got a good shot of it Y/n let her lip fall back into place, “I don’t know if you were able to read that but when it was freshly done eight years ago it said,” she pulled a face showing she was too embarrassed to say it. “It said ‘baby girl.’ I got it when I was twenty on a dare and frankly I thought it would be hot, but it faded so quick—which,” she raised a finger, “that’s the one place I would say don’t get a tattoo. Even though it’s technically temporary…you’ll end up with a blob of ink like mine and it’s not cute.”
“Where were the most painful spots you got tattooed?” Immediately she lifted her arms to show she had ink on her armpits.
“These basterds right here,” the producer and crew laughed, nodding along with her. “You feel me? Yeah, I thought the ones on my stomach and ribs were bad. Those were a tickle compared to my armpits—-oh and my elbows. I think I actually broke a sweat when I got those done. It’s why I have yet to conquer my knees,” patting the covered area, Y/n shakes her head, “I don’t know If i can do it. But funny enough, these tiny little hearts on my palms,” Y/n flashed her palms up, the camera focusing on the two red lined hearts in the middle of each hand. “These hurt so bad. Thankfully I’m not putting anything else here because I strictly wanted the hearts, so I’m sparing myself.”
“What do they mean?” The producer asked, taking a pause from reading out the next question. The little smile Y/n gave was shy.
“I was told a lot growing up that I keep my heart in the palm of my hand,” while she explained Y/n kept glancing at the hearts, “kinda like the saying, ‘wearing your heart on your sleeve,’ but with me it’s literally in the palm of my hand. So I got these little hearts on my palms—that way when I hold someone’s hand, they can feel the love and care I have for them,” sending a wink to the camera she finishes with, “because my heart is in my palm.”
“Have you ever dated anyone with more tattoos than you?”
“Noooo,” she snorts. “Not because I’m not open to it—I’m very attracted to people with tattoos. And I have dated people with a lot…it just seems that anytime I do get into a serious relationship, I’m the one who has more than the other. And if you’re thinking about who I think you are—,” Y/n points directly to the camera, like a mother scolding her child, “the answer is no, he did not have more than me. Louis has thirty-three, I believe, since the last time he and I talked—which was,” she pauses to think, “I think around New Year’s.”
“Do you find yourself enjoying campaign shoots or runway shows more?”
“That’s hard,” Y/n pouts, causing her agent to chuckle since she knew the answer first hand. “Both are fun in their own way. I love being able to come into a studio or go out on sight and do a photo shoot—except in the fucking winter because I’m usually half naked freezing my ass off.” She pauses to laugh with the crew before continuing. “And then there's this feeling of ‘wow, that just happened,’ when I step off the runway. Getting to work with designers I’ve idolized since childhood and being the face of Mugler is a dream come true. If I had to choose…..it would be campaigns and photo shoots. There I can express myself more freely.”
“Do you see yourself still modeling in ten to twenty years time?”
There was a question she had to think about, taking a moment before answering. “I sure hope so. I love my job and definitely see myself continuing in the future. As long as my agent Bonnie and Inked don't get tired of me,” she laughs, winking at the woman who blows her a kiss. “But honestly I have experience as a tattoo artist so I could see myself opening my own parlor. I’d love to start my own blog or get other tattoo models into the industry. There’s a lot to think about what the future holds, but for right now I’m gonna have fun in the present.”
While home in New York when not booked, Y/n continued to work part-time at the tattoo parlor. She left the bar shortly after signing with IMG, but still visited whenever she could. There was even a picture of one of her Inked shoots framed above the bar.
With her new found fame the parlor had little to no openings each month. Regulars and new clients had to call in to reserve an appointment the second the schedule was dropped, which was sometimes weeks in advance. Several of the friends Y/n made in the modeling industry would get tattoos from her, though they always tended to go for the fine line style. More celebrities booked with her boss, adding Cardi B, Rihanna, and Louis Tomlinson to the list. The latter whom, as mentioned, Y/n actually got romantically linked to in mid 2017. It only lasted a few months, but the photo of the two on the Inked instagram was the most liked on their page.
Louis wasn’t the only high profiled person Y/n was involved with. Unfortunately the downside to fame meant her personal life was to be blasted on every inch of the internet. From starting her modeling career in 2014 to spring of 2019, she’d been spotted with actors Michael B. Jordan, Tom Felton, and fellow model Vladimir Ivanov. Like Louis, they only lasted a couple weeks to months—save for Vladimir which lasted almost over a year—and ended on good terms where they remained friends.
Frankly when it came to settling down Y/n hoped to find someone who was sweet and down to earth. Who was a hard worker—passionate about what they did for a living and wanting to share that with her. Someone who could make her laugh and feel like she was the only girl in the world. It was hard finding someone like when the spotlight follows you around. Y/n had been in the public eye going on six years and due to her connections with big named people she never seemed to catch a break when it came to romance.
All those qualities she desired in a life partner came to her in the form of the adorable weapons system officer she met at a party in November of 2019. The poor guy felt so out of place. From behind the bar Y/n could see him at the corner glancing around like he was searching for someone. Only getting a glimpse at the side of his face, she didn’t recognize him. The party had many from the fashion industry to celebrate Anna Wintour’s 70th birthday. What was ironic was Y/n took up the task of working the bar, kicking into her skills from when she was a bartender at a popular biker club in Manhattan. With her view she was able to see the entire floor as people entered.
The man she’d been eyeing must’ve come in when she was busy making the Hadid sisters their drinks. He wore a white dress shirt with some slacks and a matching blazer. His glasses reminded her of the popular style from the 80s. Come to think of it, they were probably the aviator style. He was tall, roughly six foot so she’d be eye level with him considering she was wearing two inch kitten heels.
Seeing his flustered demeanor and the fact he looked like he didn’t know what the hell he was doing there—not to mention he was handsome from what she could see, Y/n waltzed over, “May I get you anything?”
When he spun around she was met with the most gorgeous pair of blue eyes staring back at her. They blinked rapidly, like they were trying to decipher if she was in fact real. Then they snapped straight to her neck, following the ink of the exposed skin on display from her red latex mini dress—which his face mirrored the color of since he was making it quite known he was checking her out. He had a baby face to him, which was kinda adorable, and Y/n assumed he was maybe a year or two younger than her.
Offering a smile Y/n said, “So what will it be?”
“Huh?” He said confused before remembering what she initially asked before he got distracted. “Oh uh, just water please.” Still smiling, Y/n took a clean empty glass and filled it with ice before adding the water. Finishing it with a straw she placed it on a napkin in front of him.
“Will that be all?”
“Yes. Thank you,” he took the glass, glancing around briefly before letting his shoulders drop.
“You seem a bit out of place,” Y/n wiped down the countertop, catching his attention again. The man nervously laughed, adjusting his glasses.
“Is it that obvious?”
“A bit,” she teased, nodding her head to the crowd in front of them. “All these people walk around like they own the place. You’re the first person I’ve seen tonight who doesn’t seem to know what he’s doing. Are you here with someone?” Part of her was hoping he’d say a friend invited him, feeling a sudden rush of butterflies at the way he looked at her—like he couldn’t believe she was real.
“My sister dragged me along,” he confirms, the model mentally sighing in relief. But she couldn’t get her hopes too high. For all she knew he may have a partner back home. “I was visiting her this past week and she begged me to come. I told her it was a bad idea since I’m not….part of this crowd.”
“Ah,” she hums, biting back a grin at the way he described the industry. “Not a model or influencer, I take it?”
“Nooooo,” his laugh filled her stomach with butterflies. “Not at all. I don’t know how to work social media. Are you?”
Y/n refilled a guest's drink and handed over a beer to another, “I dabble here and there,” it was refreshing to meet someone who wasn’t familiar with her work. Usually at events like the one they were at she had people coming up to her already knowing who she was. “You’re probably like, ‘thought she was just a bartender,’” she giggled at the flustered look taking over him. “I was one before being discovered. I’m doing this for fun honestly—-and because Anna likes what I make her.”
His eyes went to her neck and collarbones, lingering on the ink. She assumed he’d never seen a model with so many tattoos before. “You can look,” she smirked, when he glanced away from being caught staring. “You’re only seeing a small portion of the canvas,” his eyes went wide at her words, making her giggle, “these babies are the reason I’m in this business.”
“You're a tattoo model?”
Y/n raises a brow at the surprise in his tone, “Didn’t know they existed, handsome?”
“No-no,” he quickly apologizes, “sorry I meant no offense. I knew there were models with a lot of tattoos. My sister told me that the industry was starting to expand by signing more people with them.” His words have Y/n intrigued. Obviously his sister was someone in the business, she wondered if she knew her.
“Is your sister one?”
“No, she’s an agent,” Y/n stops what she’s doing, towel long forgotten.
“For a modeling agency?”
“Yeah.”
“Which one?” Just as the question left her lips, Bonnie’s voice interrupted the two, “Bob, there you are! Oh good—,” she grins wide when she sees who he’s talking to, “You guys met!”
Snapping their heads toward each other, the two have the same expressions of, “wait what?”
Bonnie claps her hands, coming beside Bob at the bar and motioning between the two, “Y/n, this is my brother, Robert—the one I was telling you about last week,” mouth slightly agape, remembering the conversations the two had about Bonnie’s brother—in which the agent suggested setting up a date between the two—Y/n watches Bob react the same when Bonnie then says, “Bob, this is Y/n L/n. One of my clients at IMG—I know I’ve mentioned her before to you.”
Not knowing what to do at first, Y/n extends her hand to formally introduce herself, “So you must be the famous, Bob,” butterflies swarm her stomach again by the warmth of Bob’s hand when he goes to shake it. “I’m Y/n. So nice to finally meet you—Bonnie’s told me a lot about you.”
“W-wow,” Bob stutters, mentally hating himself when he does. “It’s really nice to meet you too, ma’am. I wasn’t expecting to meet you tonight, but now I see why Bonnie was so adamant I come.” A pointed look is thrown at Bonnie, who shrugs with a smile like she did no wrong.
“Well seeing as you two found each other without me, I’ll leave you both to it. Bob, let me know if you plan on riding with me back to the house or if you catch a ride. And Y/n I’ll see you bright and early Monday morning.” Winking, Bonnie takes the Cosmopolitan Y/n made for her and scurries off, leaving the two alone.
“I should’ve known,” Y/n laughs lightly, topping off Bob’s water. “Your sister has brought you up the past couple times she and I have gotten together,” lips curl into a smirk, “she wasn’t lying when she said you were a cutie.”
Bob turns red, smiling shyly, “when she told me about the inked beauty she worked with, she left out the fact you’re a walking piece of art.” His boldness impressed her, Y/n leaning closer to him against the bar top, resting her elbow on to so she could lean her head on her hand.
“How long are you gonna be in New York?”
“Till Wednesday,” part of her was disappointed that it was only four days away considering it was currently Saturday. But it was enough time for something to blossom.
“Tell me about yourself, Bob. The night’s early and I could listen to you talk for hours. Let’s see if Bonnie was psychic when she said we’d be quite the puzzle when put together.”
Ever heard of the type of couples where the girl radiates black cat energy and the guy is a literal golden retriever?
That was Y/n and Bob to a tee.
Out in public they stood out—even in a city like New York. Then when Y/n went to San Diego to meet his friends for the first time after four months together—which also resulted in her being stuck in California due to lockdown from the covid pandemic—it was like everyone couldn’t believe someone like Bob was with someone like Y/n.
He was a quiet, reserved naval officer and she was a sharp-tongued, world renowned tattoo model. They were the definition of the couple in high school you’d never expect would hit it off.
When Bob introduced Y/n to the squad, they instantly knew who she was, but had different ways of discovering her. Nat saw her walk in the VS Fashion show, Mickey and Reuben recognized her from The Weekend’s cover art, Javy remembered her from an episode of Ink Master she appeared on, Jake saw her on the cover of Sports Illustrated, and Bradley actually got a tattoo from Y/n when he was in NYC.
The entire period Y/n was in San Diego she grew close to the squad, even Maverick who had a lot of questions about her work and tattoos. “You think I’d look good with them at my age?” Y/n couldn’t help but laugh at the question, ensuring the Captain with a pat on the back.
“Some of the sexiest men I’ve met have been your age with ink more in than me,” she giggles when he goes red. “I worked at a biker bar in New York City. Believe me, Pete. Anyone can look good with some ink.”
Needless to say when it came time for Mav to get a tattoo, Y/n was the one doing it.
A lot of the squad ended up getting work done by her. Jake, Mickey and Rooster had a few already so they were familiar with the process. Nat only had one from a drunk night in college, which Y/n redid on her behalf since it had faded. Payback was a man who liked bold, meaningful tattoos so sometimes Y/n had her work cut out for her but she always came through.
“Yo is this gonna hurt bad,” Javy was practically sweating as Y/n removed the stencil from his shoulder. The design was a geometric sun about the size of an airpod case.
“It’ll sting, but this area generally isn’t too painful. If this was your bicep then it’d be a different story.”
Javy didn’t look convinced, turning to look at the guys while the stencil dried, “How was it for you guys?”
“Didn’t hurt at all for me,” Rooster shrugged, “my bicep was worse—like she said.”
“Yeah, you’ll be fine,” Payback waved a hand. “You see how tiny it is? It’ll be over before you know it.”
Going over the details once more to confirm the colors and shading, Y/n moved her chair closer after turning on the tv to an episode of Chopped. “You ready, Jav?”
“Ready,” he didn’t really sound like it but it was too late to back out. The buzz of the needle filled his ears and soon the stinging sensation they all said had him clutching his first.
“Try to relax, man” Bob sat on the chair next to Y/n, “being tense won’t help.”
After over a year of dating Bob had his fair share of tattoos. His were mostly small and easily hidden by his uniform. When they first got together, Bob loved learning about her tattoos. When she got them, why she did. If there were any meaning behind certain ones and if she planned to get more.
She was like a walking art gallery. So many colors and styles. Large and small. Y/n told him stories about almost every one—even if they were embarrassing like the inner lip tattoo.
“Biggest mistake,” she wiped a tear after she was done, the two laughing so hard. “Not only did it hurt but it faded not even a year after I got it. Now it looks so bad—I should get it redone but what’s the point when it will just end up looking the same.”
Bob hated when people would give her looks of disproval when they’d go out, usually from those who were unfamiliar with Y/n’s work. One time he nearly got into a bar fight with a older gentleman who thought it was okay to call Y/n a Jezebel. Rooster and Mickey had to hold him back, but Y/n simply looked at the guy and said, “Baby, I’m a fucking millionaire because of these bad boys. While you’re about to kick it the dust I’m gonna be on the cover of Vogue magazine next month. So eat shit and die already.” The man was left speechless, making her and the squad smirk in victory. The equally tatted bartender who knew of Y/n whistling and even given her a free round.
“That was so fucking hot,” Bob pulled her into a searing kiss when they left the bar moments later, Y/n smirking against his lips, “You think that was hot? I’m a mess under these pants from seeing you so worked up, baby. Let’s get the fuck out of here.”
Whenever he and Y/n would cuddle she’d trace the raised ink with a finger, Bob doing the same to hers and committing them to memory. He loved to kiss the ones on her neck and collarbones, but his favorite were the tiny hearts on the palms of her hands.
“What do these mean,” he asked one day during the early days of their relationship. They were laying out on the hammock, taking her hands to admire the collection of small tattoos along her fingers and wrists. He hadn't even realized she had any on the palms until he flipped them over. There his thumbs traced over the red outline of each heart.
“If you ask any person I’ve ever loved or cared for they’d tell you I carry my heart in the palm of my hand,” she flips her hands so they are holding Bob’s, the tattoos against his skin. “So when I hold people’s hands, they know a piece of my heart lies with them.” Letting her head fall back against his shoulder, Y/n shifts so her lips are against his jaw. “And I’m kinda hoping you’re the only one who gets to hold them from here on out.”
Anytime after that Bob would press a kiss to the hearts whenever he held her hands. Then when asked about what tattoo of Y/n’s was his favorite his answer was always, “the hearts.”
His family adored her. At first they were put off by her striking image but learned quickly Y/n was perfect for Bob. The children of his siblings loved taking washable markers to color in the tattoos Y/n had that were black and white. “Can I draw you a tattoo someday?” Little Emma asked shortly after the couple celebrated one year. She was a little artist who loved asking questions about the pretty pictures on Y/n.
“Of course, my love,” she promised. “Draw me whatever you desire and I shall get it done.”
The first fashion show Y/n booked after the pandemic Bob had front row seats. With his phone out he was the ultimate cheerleader, though he refrained from whistling or making noise so as to not embarrass the model, but would be in absolute awe when she strutted past him. It was the Tom Ford show, Y/n had walked out in a long black trench coat, coming to the end of the runway first before removing the item to reveal a silk dress underneath. It was spaghetti strapped with an open back, thigh slit to compliment her legs and the cameras loved it. She walked a few steps back up and turned to strike one last pose before making her exit.
Bob was mesmerized. It was the first time he’d seen her walk the runway and my God if he wasn’t already a simp he sure was then. A photographer captured his reaction to her discarding the coat and it went viral on Twitter.
@ inmyreputationera: if my man doesn’t look at me like @inkedbyY/n bf at NYFW then I don’t want it.
@ Inked✔️: We’re all Bob Floyd when @inkedbyY/n steps onto the runway.
When it came time to pick out her wedding dress Y/n was unsure of the route to go. It’d been five years the two were coming up on, one year of being engaged with the wedding to take place in North Island. A beach wedding in the late fall, Y/n wanted to look elegant and classy.
“Whatever you choose you’ll gonna look amazing, darling,” Bob kissed her head after she sighed when shuffling through bridal magazine pictures of dresses she’d cut out. “You know I love your tattoos—they are a part of you and I don’t want you feeling like you have to cover up for the sake of pictures. Baby, you’re one of the top models in the world. Like you told me when we first met, those babies are what got you discovered. Show them off.” Rubbing her shoulder exposed from her tank top, his lips pressed to the ink covering the skin. “But if you like this,” he pointed to the dress she kept going back to in her pile, it was elegant and pretty with neckline that fell just below her collarbones. “Then you should get it because you love it.”
The ceremony dress ended up being the one with a high neckline. It had open back with Y/n deciding on a her veil cascading down to the floor to become a small train rather than having the dress itself have it. Lace covered her arms, the ink peeking out from beneath to make the material stand out more due to the contrast.
She was stunning. An actual goddess that had Bob’s jaw drop the second his eyes landed on her. For the reception Y/n changed into a white two piece set that showed off her legs.
And you best believe she hired local tattoo artists to do a ‘spur of the moment’ tattoo booth at the party.
It didn’t take long for Inked Magazine to want to do a bridal shoot with Y/n. And if you look at it one way, it was a full circle moment. The issue marked ten years since they discovered Y/n and blessed her with the career of a lifetime that led her to meeting the love of her life.
All because she had a knack for getting ink.
……………..
TGM tag list: @avaleineandafryingpan @caitsymichelle13 @poppyalice2001 @cutelittlepotatofry @luckyladycreator2 @americaarse @elenavampire21 @back-tooo-black @wildellaa
#Spotify#bob floyd imagine#robert bob floyd fanfiction#robert floyd imagine#robert floyd x reader#bob floyd x reader#bob floyd x y/n#robert floyd#robert bob floyd#bob floyd#bob floyd fluff#top gun maverick fanfiction#top gun maverick imagine#top gun maverick#lewis pullman imagine#lewis pullman#tattoo!reader#tgm fluff#tgm imagine
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New article with more details (from Jason Schreier who first broke the story). If you can't see it, I'll copy the whole text under read more.
About 100 employees were laid off in total (8%) and one of the main reasons listed is "underperformance," "sharp drop in popularity" and "poor reception of Lightfall."
So you know when for the last year and a half content creators have been shitting and pissing on the game as a full-time job and the amount of negativity and ragebait content became the only thing to make content about for them? Well they certainly won't take the blame, but I will let it be known. These people either don't understand the influence they have or they do and they're doing it on purpose, and I don't know which of these two options is worse, but I am 100% confident that their campaign of rage and hate contributed to this.
You don't base your entire community around constantly hating everything about the only game you play (despite clearly not enjoying it anymore) and somehow avoid galvanising thousands and thousands of people into perceiving the game negatively. Imagine being employees who have barely worked there for 2 years and the only community reception they've seen is 24/7 hate train for their work and then they get fired because of "poor reception" and "drop in popularity." How can they not take that personally? I am absolutely devastated for these people who delievered a banger product and who were met with an unrelenting barrage of toxic gamer children which ended up having more sway over their boss than them.
Which brings me to the next bit and that's FUCK THE CEO. He is now my mortal enemy #1. I am projecting psychic blasts directly into his brain. What an absolute spineless coward who is more willing to bow down to fucking gamers than to protect his own employees. This is absolutely rage inducing because this has happened before. From the article from 2021 about the toxic culture at Bungie:
Reading this shit from the new article absolutely fucking sent me into blind rage because I immediately remembered this. Another instance of employees suffering because of comments on reddit. And because of toxic players. And proof that leadership is not protecting employees and is instead siding with players.
Match made in heaven. Asshole gamer content creators and asshole CEOs, all of whom sit at home on piles of money made from someone else's labour. I hope they all explode. None of the people that worked on this game deserve this.
Another article with an infuriating comment from the CEO:
In an internal town hall meeting addressing a Monday round of layoffs that impacted multiple departments, Bungie CEO Pete Parsons allegedly told remaining employees that the company had kept “the right people” to continue work on Destiny 2.
"Kept the right people." Really. Veteran composers weren't the right people? Die!
Bloomberg article in full:
Bungie’s decision to cut an estimated 100 jobs from its staff of about 1,200 followed dire management warnings earlier this month of a sharp drop in the popularity of its flagship video game Destiny 2.
Just two weeks ago, executives at the Sony-owned game developer told employees that revenue was running 45% below projections for the year, according to people who attended the meeting.
Chief Executive Officer Pete Parsons pinned the big miss on weak player retention for Destiny 2, which has faced a poor reception since the release of its latest expansion, Lightfall.
The next expansion, The Final Shape, was getting good — not great feedback — and management told those present that they planned to push back the release to June 2024 from February, according the people, who asked not to be identified because they weren’t authorized to speak publicly. The additional time would give developers a chance to improve the product.
In the meantime, Parsons told staff Bungie would be cutting costs, such as for travel, as well as implementing salary and hiring freezes, the people said. Everyone would have to work together to weather the storm, he said, leaving employees feeling determined to do whatever was needed to get revenue back up.
But on Monday morning the news got worse: Dozens of staffers woke up to mysterious 15-minute meetings that had been placed on their calendars, which they soon learned were part of a mass layoff. Bungie laid off around 8% of its employees, according to documentation reviewed by Bloomberg. Bungie didn’t respond to requests for comment.
Employees who were let go will receive at least three months of severance and three months of Bungie-paid COBRA health insurance, although other benefits, such as expense reimbursements, ended Monday, sending some staff racing to submit their receipts.
Laid-off staffers will also receive prorated bonuses, although those who were on a vesting schedule following Sony Group Corp.’s acquisition of Bungie in January 2022 will lose any shares that weren’t vested as of next month.
The layoffs are part of a larger money-saving initiative at Sony’s PlayStation unit, which has also cut employees at studios such as Naughty Dog, Media Molecule and its San Mateo office.
TD Cowen analyst Doug Creutz wrote in a report Monday that “events over the last few days lead us to believe that PlayStation is undergoing a restructuring.”
PlayStation president Jim Ryan announced last month that he plans to resign.
Many of the layoffs at Bungie affected the company’s support departments, such as community management and publishing. Remaining Bungie staff were informed that some of those areas will be outsourced moving forward.
#destiny 2#bungie#long post#and like i don't care what's anyone's opinion on lightfall. it doesn't matter#the expansion is fine. there's some bad shit in there as there is in every expansion#literally nothing on this earth was so bad to deserve the amount of vitriol that lightfall got#it was purely motivated by hate and rage from people who have clearly lost their interest in the game a long time ago#no one else normal enough would respond even to a weaker expansion this way. and lightfall wasn't even weaker#literally nothing ever released in destiny deserves to have comments bad enough to end up affecting employees#there's been some bad expansions/dlcs/seasons. whatever. none of them were like... gollum level. not even close#people genuinely treated lightfall like it personally killed their dog. it was insane. the reaction to it was insane.#it stemmed from people who should have stopped playing a long time ago and stopped being content creators for one game#i can't even properly explain just how long and tireless the ragebait content campaign for destiny has been#opening youtube and seeing 10 videos in a row of just complaining and bitching#opening twitter and seeing thousands upon thousands of posts and comments dedicated solely to hating the game#imagine being an employee trying to maintain some communication with the community#hippy was relentlessly bullied by people I've seen suddenly lamenting that she was fired. you caused this#they will never accept even a miniscule portion of the blame for this ofc. they will just keep claiming they don't have that influence#but they do. it's been proven years ago. in the same way#community comments DO reach devs and community comments DO influence what happens to them and the game#'the event is bad' 'meta is bad' 'pvp is bad' 'raid is bad' 'story is bad' stop playing. no longer asking.#it's a video game. if you hate it stop playing. you don't have to justify it to hundreds of thousands of people and take them with you#especially when it leads to employees taking the fall#so to all content creators who are appalled and baffled after spending 2 years hating the game: you did this.#and to the ceo even more: explode into dust and be forgotten
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No Pride with Genocide!
You have probably seen the grotesque images of jubilant Israeli soldiers holding the pride flag on top of our scorched Gazan lands infiltrating social media feeds last week. The Israel State cynically publishes on its Twitter account, “The first ever pride flag raised in Gaza,” as it proceeds with its genocidal crusade and its concomitant Zionist propaganda campaign. We view these images with immense feelings of frustration and uttermost disgust, and we see through their despicable tactics of weaponizing homophobia and queer violence for colonial means. The following are notes from Queers in Palestine, elaborating on what such imagery tries to accomplish and what underpins their production:
1. Zionist Colonization is Anti-Civilization
Colonial and Imperial powers have long used their fabricated lies of “civilization,” “rights,” and “democracy” to justify their plunder, military rule, and capitalist accumulation. We learn this from global histories of European colonization across Abya Yala, Asia, Africa, Turtle Island, Aotearoa, and Australia. The Zionist colonization of Palestine is no different. Oftentimes, the pretext of all of these bloodied invasions is that the “civilized” world is invading racialized communities to bring culture, education, and liberalism and instill it in societies it deems barbaric, immoral, and uncivilized. The images of the LGBT flag supposedly claim to bring rights and liberties to Gaza, but unironically, the soldier stands on top of the debris of hopes, dreams, and human remains of Palestinians he himself and the army he serves bombed moments before. The flag merely stands to reaffirm the simulacrum of colonization, death, white supremacy, and destruction.
2. Israel Erases Palestinian Queerness
The images of the Israel Pride Flag and the other with the text, “In the name of love” send a clear message: Israel will not allow queer liberation unless it’s through its settler-colonial genocidal project. To that, we say No! We queer Palestinians have a vibrant, diverse liberation movement that is part of the Palestinian anti-colonial movement. For decades, we have been tirelessly working on carving up and maintaining a space for Palestinian queer life amongst our communities and not despite them. We are everywhere: in schools, streets, prisons, hospitals, and at the forefront of every confrontation in every corner of Palestine, from the river to the sea. What we are working towards is a Palestine liberated from colonialism, patriarchy, and capitalist exploitation.
3. Queer Opacity in Times of Hypervisibility
In a time when Palestinians are being prosecuted without trial, student movements shut-down and students in universities suspended and detained, and solidarity with Palestine and Palestinians at large are attacked and criminalized, visibility has proven itself to be a frontline of resistance against the erasure of Palestinians worldwide. In Palestine, Israel’s surveillance apparatuses hunt any expression for Palestine’s right to exist as grounds to attack, incarcerate, and murder Palestinian life. This over-fixation on the supposed lack of Palestinian queer visibility steers the attention from Israel’s campaign against all Palestinians – workers, activists, students, feminists, queers, and otherwise. Israel and its allies dangerously decontextualize the violence queers suffer from its historical colonial roots, and dissociate it from the impacts of current settler-colonial violence. This is an attempt to portray Palestinian society as unsafe for queers to legitimize the annihilation of our people, and in turn our annihilation as queers. Under Israel’s surveillance & police state, visibility, opacity and invisibility are survival and resistance tactics we use interchangeably, and aren’t always a matter of choice. None of us is safe under settler-colonization.
4. These Images Endanger Queer People Worldwide
The Pride Flag has long been hijacked and homonationalised. It represents a narrow and limited understanding of gender and sexuality and excludes the myriad of sexualities in the colonized world. This homonationalism renders colonized sexual and gender attitudes illegible to the liberal gaze and forces us to speak a language that compromises our experiences. Under nationalist and colonial regimes, our bodies and sexualities will always be regulated. What the pride flag has come now to represent is a commercial, imperialist, and white supremacist sexual ideologies, and this, in turn, puts us queer people in danger. This homonationalist project hinders our fight against anti-queer violence within our communities because our identities and sexualities are constantly being hijacked by the empires and colonies that brought destruction upon us. We need to reject such associations that only strengthen queerphobia in colonized societies, especially during this time in Arab and Muslim communities, when the soldiers and armies that are destroying our homes and killing our parents, siblings, friends, and children are doing so in the name of LGBT rights.
5. Colonialism & Empire are Anti-Queerness
In the past, colonial projects sought to eliminate any sex-gender organization systems that fell outside of the European binary patriarchal model of man-woman. We learn this from the British criminalization of the Hijra in South Asia, or British and French social organizing efforts to enforce a binary sex-gender system in Yoruba Land, or Portuguese and Spanish efforts to eliminate “two-spirit” indigenous North Americans – deeming all uncivilized in need of external civilization. This was also the case in Palestine under British-Zionist military occupation, as same-sex relations and other diverse gender practices became criminalized and demonized. All the current laws in Gaza that criminalize queerness are, in fact, British and are upheld by Zionism. However, it becomes evermore absurd that rhetorics of bringing queer liberation to Palestine have been now hijacked by Zionists and, for the most brutal reasons, in service of annihilation of Palestinian life and mass destruction. We, Palestinian queers, position our movement for liberation alongside anti-colonial and anti-racist movements globally, and we stand firmly in objection to any attempt to hijack our movements, or exploit our bodies.
In the name of revolutionary love, a love which fuels our struggle for liberation and yearning for freedom, rooted in our love for our communities and our land; we tell you, there is no pride with genocide, and there is no pride in settler-colonialism.
Our pride can only come through true liberation for all, for us and for all the peoples fighting worldwide.
A Liberatory Demand from Queers in Palestine | Pinkwashing - Decolonize Palestine
#this literally took like 6 tries to post lol#sorry i tried to indent it so it was more obvious i was quoting this but it literally wont let me post it that way#palestine#current events
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Distant cousins of the jungle's stingbat, the aptly named stunbat (Tsealìm in Na'vi) is a native of the Txepìva volcanic plains that hunts by diving from great heights and colliding with their prey head-first, stunning them.
Their head is blunt, with a threefold crest reminiscent of the great leonopterix's dual one, but significantly more ossified. Their neck is thick and muscular, to help support the structure, but also to weather the high velocity impacts.
The hands, small and with fused fingers in jungle stingbats, are much larger here, and used to catch stunned prey falling from the sky, or pick them off the ground as they swoop down. It also allows stunbats to eat on the fly, as it were, as the plains' chaotic environment doesn't always provide them with safe perching opportunities.
Stunbats have short, prehensile neural queues that retract under thick, keratinous neck frills. The extra mobility of this limb allows them to make quick connections while in mid-air, front to back, back to back, or belly to belly, the latter being the more commonly seen one, accompanied by a stabilising "handshake".
The stunbat's vision is excellent. Early research by Eyris Makri with the Tuin clan of the Txepìva showed that their domesticated stunbats were able to spot prey up to 4 miles away, seeing clearly at ten times the distance of their Na'vi handlers. Their primary eyes show a high concentration of foveas, giving them enough focus to clearly distinguish prey moving against the complex backdrop of the plains and lava fields.
Although the stunbat's barbed tail has lost most of its poisonous sting, it is still used in defence against larger predators. Their best defence, however, remains a Na'vi bow.
It is hard to tell exactly when domestication started, though the olo'eyktan of the Tau'un clan claims one of his ancestors was the first to tame a stunbat. We're told this happened during the "Time of Long Nights", but dating that event is equally complicated. Current estimations are a minimum of two millenia.
During that time, the stunbat's range remained tied to the volcanic plains of the Txepìva clans, although the species has been observed by Serafiina Hukkala as far out as Mons St. Helen. One must note that the stunbat is unlike our previous study case of the Viperhound, which are bred for various purposes. Interviews with Txepìva hunters (Makri et al.) suggest that their relationship to the Na'vi is similar to that of cats and humans, with multiple domestication events, beneficial to both species. Na'vi led breeding appears to be very incidental, as stunbats tend to fly off to find mates in the wild, rather than mating among their clan's flock.
This species is significantly larger than their forest cousins.
The most common uses of stunbats are for scouting and hunting. While hunting of small game is extremely similar to what humans once achieved with eagles, stunbats also take part in hunting expeditions for large prey.
They are used to follow the movements of herds, but also to help separate young calves from their mothers, or the weak and wounded, by dive bombing them (Hukkala et al.) They understand complex orders, communicate with clicks and shrieks, and will come to hang on the queue or harness of their paired Txepìva to share more detailed visuals through Tsaheylu.
This is also how they are used for scouting. Serafiina Hukkala postulated that the stunbats' mated pair lifestyle influenced Txepìva culture by making the act of scouting a couple's task. Scouting, we must remind the reader, is a lot more crucial to the Txepìva, who have no qualms waging war against each other for the domination of water sources and fertile land. Raiding parties, while not frequent, are a banal part of life on the plains. Even small children learning to work with stunbats will be sent on sentry duties, often on the back of a Lenonin Hound.
The reason mated pairs of stunbats are favoured is because of their long flight range and their ability to connect together in mid-air. This means one side of the couple can move far ahead, and report back to their partner, already extended to the edge of their range. A couple of scouting stunbats effectively covers double the range a single hunter would.
Stunbats are occasionally used to communicate with similar techniques. While one half of a pair can be sent to deliver a message to another tribe, the other remains with their clan (often brooding). The homing individual (whichever has best endurance, as both sexes feed and brood chicks at will) can find its way back to them even if the clan is on the move. More research is needed on their communication capabilities.
When travelling or staying in temporary camps, stunbats are housed in loose baskets designed to let them hang onto the side. These carriers are custom made by every clan and come in many forms and sizes. Brooding stunbats are carried, either by a Na'vi who will fashion straps to turn the basket into a backpack, or tied to the back of Leonin Hounds.
In more permanent camps, the Texpiva craft treillis to give them places to hang from. Serafiina Hukkala reported a clan that arranged dried branches and material for firewood as perches, while Eyris Makri stayed with a couple who fashioned fake branches at the top of their tents, like rafters. Both heard reports of clans that house their stunbats along with their livestock, but the practice seemed frowned upon.
The bond between Na'vi and Tsealìm needs further study. It isn't as exclusive as with an ikran, but much more complex than with direhorses. Stunbats bond strongly with a small family node, and more weakly with the extended family and friend group. Tsaheylu is typically only done with their main Na'vi hunters, although the stunbat can be introduced and passed down to children.
Emergency tsaheylu was witnessed twice by Makri, when a scout had urgent reports and the stunbat was sent ahead. Connection was made with the clan's tsahìk, who had a habit of bonding with every newborn stunbat. The practice, we were told, can be controversial.
Hunter depicted without ornaments, to highlight the process of Tsaheylu.
Some clans craft harnesses for hunters to better carry and support their stunbats, while others prefer natural body-to-body contact. The folding or tying of the neural queue to allow for better access to the kuru/tendrils seems universal among all interviewed hunters and scouts. Different styles were observed and will be presented in our published notebooks, after our paper on the use of stunbats in skirmishes and outright warfare, as the Txepìva practice it.
Part II of @straydaddy (art and design) and @bluedaddysgirl (lore concept + final art entry) in-world collaborative study, "Introduction to the Txepiva clans, their nomadic pastoralism and niche selective breeding practices in species of stingbats and viperwolves".
On twitter we are Knarme and Bluedaddysgirl
#avatar#atwow#avatar 2#jc avatar#avatar fan lore#fanart#aliens#alien biology#xenobiology#xenozoology#speculative evolution#creature design#concept art#creature art#creature concept#alien concept#fan art#collaboration#alien design#alien creature#spec evo#spec bio#speculative zoology#speculative biology#na'vi#na'vi oc#pandora#stunbat#stingbat#tsealim
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With all the stuff about the Titanic submarine I keep thinking about the tourism of sites of mass tragedy and human remains. It’s a really important conversation that I haven’t seen many people discuss outside of historical and final care provider circles.
The Titanic is a grave. The only reason that submarines are even permitted to go through it is because it’s in international waters. Other shipwrecks, like in Lake Superior, are frequently declared grave sites and have restrictions or bans on exploration of their structure. At the very least, there should be incredibly strict restrictions on Titanic exploration. It should not be a tourist destination. There may be still be human remains in certain parts of the ship, and the mud around the ship is filled with corpses. Considering the tragedy only happened 100 years ago, this tourism is very disrespectful. Also, exploration of the Titanic could potentially damage the structure, which would hinder academic research as well as further disrespect the dead and those who remember them. The structure will not be around for much longer.
Tourism of sites of mass tragedy can also be very dangerous. Obviously we know why the Titanic is dangerous, but it goes beyond that. Oftentimes people are not aware of the danger, or are reassured by authority that it is safe. For instance, many people visit active volcanoes, and some have been injured or killed by eruptions. For some, the danger is a feature. There are people who visit Chernobyl, an even more recent site of mass tragedy than the Titanic, despite being aware of the danger of radiation. It’s thrill-seeking, but instead of a rollercoaster people are putting themselves in danger to walk through human remains.
Our natural fascination with mortality leads many to disrespect the dead. The viewing of human remains in museums is a big debate, and I personally don’t think that we should display human remains without previous consent from the person. Imagine how you would feel if yourself or a loved one was displayed in a museum, or had your resting place constantly disturbed by tourists.
It’s also important to note that this type of tourism disproportionately impacts people of colour. Eurocentric society systematically dehumanizes the bodies of POC, and this becomes crystal clear in how we treat their remains. Egyptian mummies remain on display in museums despite the disapproval of many Egyptian people. Many black bodies, particularly of women, have been displayed in museums, such as Saartjie Baartman who was finally buried in 2002. Indigenous human remains are also frequently displayed, and ancient burial sites are viewed as cursed land and get destroyed by construction. The remains of people across Asia have been sold and displayed, with recent displays posing the human remains of Chinese prisoners. Most human bones being sold originated from graverobbing the graves of Asian and Indigenous people. None of these people consented to this treatment, and these communities are still being harmed by the commodification of their dead.
Engaging with sites of mass death needs to be done respectfully. The dead deserve our care.
It’s natural to be curious about tragedy and death, and engaging with our own mortality can be healthy. There are ways to engage with these topics respectfully. Many online resources are available to learn about death, with my personal recommendation being the youtube channel Ask a Mortician. Visiting cemeteries is another great way to engage with death, so long as you abide by the rules and have good intentions. There are some great documentaries about instances of mass death, with many available for free on youtube. You can visit designated memorials of the sites. The Titanic itself has a section in a graveyard in Halifax. I also recommend donating to and supporting the efforts of communities to have their human remains and cultural artifacts repatriated.
Sites of mass death need to be treated with the same respect as cemeteries. They are important and full of education, but we need to remember that these are real people. The dead are not fantastical oddities; they are us.
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wow you’re the first person i’ve seen actually support the retcon, that’s cool
i’ve always been neutral on it but would you be down with explaining your opinions on the retcon?
so my number one feeling is that the way homestuck is most like a game is not in its framing or its many subsystems within itself, but in that homestuck is a challenge to the reader first and foremost. it challenges a lot of existing preconceptions about what stories are, what stories can be.
sometimes this is in some stupid ways, but a lot of the time, it's in very palateable ways. hussie describes stuff like the juxtaposition of the earthbound walksprite panels and hussnasty mode as a "creative power move", something that keeps readers on their toes, something which kind of prods at your expectations and why you have those expectations.
and it helps to ask, what challenge is homestuck presenting to me, the reader, by doing this. this is the repeated motion of homestuck, like. "oh, what, it's insane that there's a whole playable game", "oh, what, it's insane that the fallout and consequences of an entire session of the game is being given in just three walkarounds". rose's arc is a challenge to the idea of a "coming of age" story, how do you come of age into a world where the metrics for growth and maturity and adulthood are denied to you? what if "adulthood" and "maturity" were fake ideas all along? well, if nothing matters, maybe you should have a drink to rest your mind about it.
one of the most direct challenges is the challenge of what death means in a story - there are a lot of stories where death is a bad end for a character. an impactful enough character death can change culture around itself for as long as it remains relevant. but that's not what death is in homestuck. death in homestuck is the freedom from being in homestuck. this is most prevalent with its deployment of gnostic ideas - yaldabaoth's treasure being homestuck itself expresses this most directly. the creator has made a flawed world and encourages the suffering of its inhabitants.
death is freedom from this flawed world, and this is expressed in terezi: remem8er. characters who did terrible things, horrible things, unforgiveable things, can find peace in death.
and i think the retcon is far and away the headiest challenge, the final boss of storytelling in homestuck's terms, because it directly challenges the idea of continuity, which is, by the way, TOTALLY FAKE.
continuity isnt actually real, its a thing youre actively constructing as you read. the drawings, the words, the music, the animation, the gameplay - all these things can help shape the idea of art, but the art itself, that's produced by you, the reader. and i think this is a good time to switch over to talking about the never-ending story for a moment.
the never-ending story is a story about atreyu. he goes on a fantasy quest, one which involves the death of his beloved steed artax, the plight of the world of fantasia, and confrontations with the nothing, this devouring force which threatens to end it. and ultimately, he loses. the forces of the nothing are just too overwhelming for a fictional character to overcome. the stakes are too high, no ending could be satisfactory and not contrived.
but then he doesn't lose.
because the never-ending story, the movie, is about bastian, and the relationship and empathy he builds with atreyu as he follows him on his adventure, and bastian, as the reader, is capable of caring about atreyu and fantasia even as it's been reduced to nothing. and its bastian caring about it, and bringing his own context, his own experiences - the name of his dead mother - to the story, that allows it to be reborn as something that can be completed.
and then he rides on the big luck dragon falkor and barfs on the bullies from the start of the movie.
homestuck is doing the same thing, but filtered through the language of video games. if youre playing ff9 and lose to black waltz #3 or whatever, it's a video game, that's to be expected. just do better next time. you wiped on the trial, it's normal, regroup and pull again. youve got 90 minutes. and in that time, in that regression, you become the kind of person who could overcome that challenge.
and it's a powerful challenge! it's one most readers don't overcome, because they are still stuck in the terms of thinking about things in what they expect out of it, instead of what it is. and this is kind of the core idea of homestuck.
hussie put it the best themself:
Homestuck, as an examination of all forms of creative practice, whether cosmic or artistic, isolates the tension between perfect, celebrated idealization and specific, flawed instantiation. The purity of the ideal is what's initially sought, but the imperfection of the specific is what has true value. Conflict and suffering arise from the guilt and stress associated with overvaluing the former. Deliverance and humanity come from recognizing and embracing the latter.
and honestly, i like what the retcon does for basically all the characters it changes dramatically. people take issue with rose's alcoholism plotline being resolved with vriska_slap.png but i don't really, because rose's alcoholism isn't like, of itself if that makes sense. it's alcoholism as an extension of nihilism, in a way that doesn't reflect real alcoholism, but it doesn't have to. s'a story. things can mean things nonliterally.
and vriska regresses as a character, but i think this specific regression is the core of homestuck. you get the platonic ideal of vriska-ness, one who didn't see and feel the trauma she inflicted on tavros, one who has completely supplanted gamzee's role as the plot-mover guide in the alpha session. and one who only makes token gestures at reparations and atonement for her misdeeds. one who is still obsessed with being at the center. and between 2016 and 2019, i was so certain that she had died a heroic death in act 7 that it is an immovable core plot point of my own comic.
(homework: why would homestuck call act 7 the rapture?)
and like, those pre-retcon characters literally do still exist, they show up in remem8er. remem8er goes unbelievably hard on giving every single dead character in the comic the best catharsis available to them: deliverance from having to be in homestuck. and i mean that entirely sincerely! the best ending for a homestuck character is not being in homestuck. and that's a tough thing for people to get their minds around.
but again, it kind of comes naturally with taking homestuck as it is, and thinking intently about what it's doing, what conventions it's challenging and how it's challenging them. because sometimes it's deeply stupid (decade-plus of thought on the matter has not made the incest any more palateable or understandable)
but sometimes it's the best shit in the whole world
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Chrysler Building. A World of Art
Global Recognition: The Chrysler Building's fame extends well beyond New York City, earning it recognition and admiration on a global scale.
Architectural Dialogue: Architects and designers worldwide engage in a continuous dialogue with the Chrysler Building's design, drawing inspiration from its aesthetic richness.
Symbolic Birds: The majestic eagle gargoyles perched high on the Chrysler Building's crown, with wings outstretched, represent freedom and aspiration, a symbolic presence in the New York City skyline.
Futuristic Elements: The Art Deco design elements incorporated into the Chrysler Building were seen as futuristic during their time, reflecting the optimism and progress of the early 20th century.
Architectural Innovation: The Chrysler Building's setbacks and terraced crown represent a departure from traditional skyscraper design, embodying the spirit of innovation that defined the era.
Chrysler Building. Literary Legacy
Novel Inspirations: The Chrysler Building has often served as a backdrop in novels, becoming an integral part of the narratives and symbolizing the essence of New York City.
Film Fame: Its distinctive appearance has made the Chrysler Building a sought-after location for film and television productions, solidifying its role as an icon of popular culture.
Influential Design: The influence of the Chrysler Building's Art Deco style can be seen in the design of numerous buildings worldwide, showing its enduring impact on architecture.
Fashion Statements: Art Deco, epitomized by the Chrysler Building, has left an indelible mark on fashion, with its geometric patterns and sleek lines inspiring clothing and accessories.
Cultural Beacon: Beyond its architectural marvel, the Chrysler Building is a beacon of innovation, aspiration, and creativity that embodies the spirit of New York City's enduring cultural significance.
Chrysler Building. Preserving History
Ongoing Care: Diligent preservationists continue to protect the Chrysler Building's exquisite details and structural integrity, ensuring its heritage remains intact.
Art Deco Resurgence: The resurgence of interest in Art Deco design has brought renewed attention to the Chrysler Building's architectural significance, prompting preservation efforts.
Sustainability Commitment: Modernization initiatives have also included sustainability efforts, enhancing the building's energy efficiency and environmental impact.
Accessible Beauty: While primarily a commercial office building, the Chrysler Building's lobby remains accessible to the public, offering a glimpse into its Art Deco grandeur.
A Living Heritage: The Chrysler Building's legacy is not static but continues to evolve, adapting to changing needs while preserving the timeless essence of its design.
Chrysler Building. A Guiding Light
Beacon of Hope: The illuminated crown of the Chrysler Building stands as a symbol of hope and unity, often bathed in special colors to commemorate significant events or causes.
Cultural Connection: Its presence in the New York City skyline creates a cultural connection, a shared symbol that binds residents and visitors in a collective appreciation.
Historical Resilience: The Chrysler Building has weathered the tests of time, remaining steadfast through historical events and shifts in cultural preferences.
Artistic Expression: Countless artists have paid homage to the Chrysler Building in various forms of art, capturing its beauty and significance across generations.
Promise of Tomorrow: As the sun sets behind the Chrysler Building, its illuminated crown serves as a guiding light, reminding us that even in challenging times, a brighter future awaits on the horizon.
The Chrysler Building, with its enduring elegance and architectural marvel, continues to ignite the imagination and inspire. Its legacy transcends its steel and concrete structure, serving as a testament to human creativity, determination, and the indomitable spirit of New York City. In its gleaming spire and Art Deco opulence, we discover not just a building but a symbol of aspiration, a beacon of possibility, and a tribute to the heights that can be achieved through visionary ambition and unwavering dedication.
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#Chrysler Building#nyc#new york city#new york#new-york#newyork#ny#manhattan#urban#city#usa#United States#buildings#travel#journey#outdoors#street#architecture#visit-new-york.tumblr.com
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Incoming: Long post! Black media discourse! Zendaya think piece!
Two years ago I wrote this post about Zendaya, Keke Palmer, and how colorism shapes the career trajectories of Black actresses.
This past weekend Challengers released in theaters, sparking a round of online discussion about Zendaya, her star power, her talent as an actor, and how a raunchy film like Challengers fits into a cultural landscape that’s less enthusiastic about on-screen depictions of sex.
Early reviews of the film lauded Zendaya’s performance, and even after it’s release, the general consensus remains overwhelmingly positive, with quiet buzzing of a potential Oscar nomination for Zendaya. Kudos to her!
I’m not here, however, to discuss or analyze Zendaya’s acting chops. (To some ppl, she’s outstanding, to others she’s overhyped. Personally, I think Zendaya is talented. Her work in Euphoria was no small feat and she’s proved herself capable.)
The reason I’m writing this now is that an excerpt from this article about Zendaya and Challengers got me thinking again about what it takes for Black actors to become “stars” in this day and age. I’ll insert screenshots here.
Now I’m sure the reviewer’s tone in these excerpts will be off-putting to some, esp those who identify as a part of the Zendaya standom. It’s clear that Ms. Angelica Jade Bastien has yet to buy into the fanfare about Zendaya’s acting abilities.
But she touches on something very interesting to me. Zendaya is THE most prominent Black actress of the younger generation and I’d argue her degree of star power is unmatched by even her non-Black peers, some of them having comparatively longer (& more impressive) resumes. Zendaya is incredibly well liked. People want to see her and she’s been so visible these past 6 years that it’s hard to believe Challengers is her first leading role in a big release.
So…why her? Why has Zendaya been able to garner this level of star power and leverage behind the scenes while other equally talented Black actors fight for adequate roles and visibility? After reading several opinions, I’ve come to some conclusions.
I think colorism, racial identity, and desirability politics all play a role (as was discussed in the colorism post). But I also think Zendaya has been very smart about managing her online presence and overall brand. She’s maintained Beyonce level privacy about her personal life (virtually scandal free since her teens) and has managed to exude poise while still being seen as delightfully down-to-earth. That in itself is praiseworthy b/c it’s a delicate balancing act and many have faltered.
I also think that as AJB states, there’s an indictment on Hollywood to be made here. I think since Zendaya’s exit from Disney, the projects she’s taken on have used her likeness to stoke public interest in the films. (Similar to the way ppl watched Selena’s film choices post- Wizards of Waverly: “What’s this beloved disney kid up to next?”)
And this is noteworthy b/c the significance of Zendaya’s roles in the early films of the Spiderman and Dune franchises have been disproportionate to her visibility in promotional materials. Zendaya’s screentime in the first Dune couldn’t have amounted to more than 10 minutes, but she was prominently featured on the press tour and red carpets. The same goes for the first Spiderman. She’s clearly been used to sell tickets to these movies, even when she doesn’t have a lot to do in them.
And Zendaya, to her credit, has made the most of these opportunities (earlier this year she received high praise for her performance as Chani in Dune 2). She once stated in a vogue interview that she started going out for roles initially written as white to see if she’d be able to change the casting team’s mind. And it seems that she’s succeeded, as evidenced by her presence in several huge releases over the past 6 years. But these were often small, supporting roles where her identity as a biracial Black woman didn’t impact her character’s arc within the overall story. (This is not necessarily a bad thing in itself, but stay with me)
This then begs the question, “What does it mean for a star like Zendaya to take up roles originally reserved for white actresses?”
The conclusion I’ve come to is that it means providing a film with enough racial diversity to give the impression that Hollywood cares about being inclusive, while not being so different that certain audiences are unable to “connect” to the character. I think that “Hollywood’s acceptable Black girl” has to be Black enough to fulfill a diversity quota, but not so Black that audiences are reminded the character has a different lived experience from them and feel uncomfortable.
Like AJB said, I don’t believe mainstream audiences are actually interested in Black female rage. It makes them uncomfortable and lately certain factions of the population have been extremely vocal about being “tired of woke.”
I find it strange that Justin Kuritzkes (the Challengers screenwriter) stated it only made sense to write Tashi as a Black woman bc of the visibility and dominance of Black women in tennis, but didn’t think it’d be important to explore any of the challenges that come with that in the film. And for this to be followed by the decision to cast a light skinned, biracial actress in the role? It doesn’t make any sense.
We’re shown that Tashi Duncan is a fierce, unapologetically competitive athlete. And yet, these are not qualities that Black female athletes are usually applauded for having. Just look at the narratives that have swirled around athletes like Serena Williams and Sha’Carri Richardson since their debuts. There’s always a barely concealed desire to humble high achieving Black women who are confident in their abilities. The press coverage around Serena & Naomi’s infamous match (which Justin Kuritzkes said inspired Challengers) is a perfect example of that. It’s strange to model a character after these figures and give no mention of these struggles and how they’d influence character motivations.
IMO, this reads as another case of not wanting to be critized for lack of diversity in your film, while also not wanting to do the work that goes into making your diverse cast authentic. (like getting input from or writing alongside other BIPOC screenwriters. That “little white boys” line is truly meaningless without any context or backstory. And it doesn’t sound like they’ve given Tashi much.) The result is an Black female lead character who is under-written and whose importance has been overstated in the promos in contrast to the actual story. (Which seems to fit right on trend for films Zendaya’s been a part of.)
Zendaya seems to have become the go-to Black actress for when big budget films want to “go ethnic.” She’s mixed race, conventionally beautiful, near universally well-liked w/ a loyal fanbase, and has been recognized as talented enough (Two Emmys! Count ‘em. Two!) to get the job done. She’s a safe bet that allows them to kill two birds with one stone. By adding Zendaya to the mix, the studio gets to check a diversity box for their cast and gets leading star guaranteed to get them sales.
I really don’t want anyone to misconstrue this as downplaying Zendaya’s achievements or her talent, b/c it’s not. But no part of the society we live in is a true meritocracy. As I discussed in the original post re: colorism, there are always structural and social forces at work shaping our ability to advance. Like Beyonce, Zendaya is an incredibly privileged Black woman who is talented, has worked hard, and has made the most of the advantages she’s been afforded. And I don’t think Zendaya has any control over the way she’s been used to advertise the films she’s done over the past 6 years.
I just think this conversation is another opportunity to adjust our perspectives and examine the limitations of representation in Hollywood. I’m reluctant to acknowledge Zendaya’s current success as a marker of progress or even see it as a win for Black female representation.
“Zendaya is officially Gen Z’s Hollywood star. Gen Z’s first true Hollywood star is a Black woman!”
What does it say about the stage of progress we’re in if our generation’s chosen Black leading lady has to have such close proximity to whiteness that people can choose to overlook her Blackness, if they so desire? Is the mere presence of a Black face in a high place progress? Or is it what that person’s power allows them to do for others who are also marginalized? As AJB asked, how meaningful is Zendaya’s position as a Black female producer if everything about the projects she’s involved in is white except for her? (Just throwing out food for thought: How different would Challengers have been if a MoC was casted as one of the male leads instead of the two “white twinks” everyone can’t stop talking about? No shade to Mike Faist or Josh O’Connor, but would it still have gotten buzz? Would the marketing team have known how to advertise the film if there were two main actors of color instead of one?)
I think it’s amazing to see Zendaya’s growth and success as a biracial Black female entertainer, but I won’t attach any meaning to her success that isn’t there.
This is actually a really shitty time for Black art and Black actors in Hollywood. Last year, so many wonderful Black shows were cancelled. DEI rollbacks are hitting all parts of society, but especially entertainment and the trend doesn’t seem to be reversing any time soon.
It’s not comforting to see Zendaya reach the heights she’s soared to, while other equally talented yet less privileged Black actors fall into obscurity waiting years before they get another role that showcases their abilities. Black actors continue to suffer from lack access to opportunities/roles. Their projects are not marketed and given time to grow. And even when the support is there, the shows will still be cancelled. What does it say that the one Black actress who has had consistent enough access to these opportunites to achieve “star” status is the one with the closest proximity to whiteness?
Things are actually very bleak.
#blackgirlcinephiles#black girls on tumblr#discourse#black actresses#black actresses in hollywood#zendaya#challengers#what does it mean to be a star in this day and age#what is the true importance of having a Black hollywood star?#should it mean anything?#black representation#black representation in media
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The part about 938 seconds that really stands out to me is that, when Mendoza mentions that Sampson’s culture died out last year… he doesn’t specify ‘in frame’ year. That’s pretty consistent over the rest of it, in frame vs out of frame, but that mention… even though he then goes on to talk about the years since Sampson woke up, it makes it seem like his culture dying is incredibly recent. Like, recent enough that Sampson being an ambassador isn’t intentional, it’s just that… he’s the only one left, by coincidence.
i also really like Sampson’s last line— “I didn’t see a single soul that night”. With this job, I don’t think he’s lying.
(938 Seconds Per Second)
Yup. See here's the thing - there's even more to it.
Mendoza spends nearly the entire narration intentionally specifying In Frame or not. It's his way to keep himself grounded and aware, and to never view In Frame time the same as the time of the whole rest of the universe. By being constantly aware, he'll never slip into the trap of thinking anything outside the ship is connected linearly with him. It's to avoid any nostalgia, any grief, any instinctual human response that assumes all time happens together, or any feeling like you are part of their world or they are part of yours.
Like, Mendoza even specifies that it's 3am (In Frame) when sarcastically noting Carson may have gone for a spontaneous 3am (In Frame) scrub down. Because again, that's a concept set by the ship they're on and its frame, not the planet.
So, having said that, the first time the death of Sampson's people is specified is during Mendoza and Carson's argument about the stolen tome
“I’m trying to educate myself. This is all that’s left of that poor poor culture that died 1,000 years ago.”
(Last year, In Frame.)
Mendoza does the mental specification. The culture's been dead 1,000 years their time, and they died last year In Frame.
Then, at the very end, when Mendoza is considering taking off with Carson and stealing what remains of Sampson's culture, there's this narration:
Sampson left while his culture was still bleeding. It died overnight, sometime last year, and had been dead a few good years before Sampson even woke up. I’ve never quite seen him recover.
Mendoza kind of... slips up, a little bit, here. "It died overnight, sometime last year". No... It died ~1,000 years ago. The Ship experienced about 1 In Frame year since then. These are separate. In Mendoza's usual style of talking about time, he'd have said something like "They died 1,000 years ago, which was last year In Frame."
Instead, you're right, Mendoza forgets to specify In Frame. Mendoza muddies the two together. And really what he's doing is he's describing when the culture died in Sampson's frame... It died last year to Sampson. Its death is fresh and new and painful to Sampson, the sole remnant of his people. In this moment Mendoza is failing to keep In Frame time separate from rest frame time because he's thinking about how it impacted Sampson. And Sampson, unlike Mendoza, is bad at keeping the times separate.
This is, of course, the scene where Mendoza silently makes the decision to abandon Carson outside the ship. Mendoza chooses Sampson over Carson here. And this is one of the hints, the way he breaks from his usual thinking and deviates, just slightly, to empathize with Sampson instead
#938sps#Sampson: ‘I didn’t see a soul’#Sampson: (cuz everyone on this ship is some kinda demon jfc I swear)
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hi, your blog is incredibly interesting- i genuinely didn't realise there was a not conservative side of the gender critical sphere. i've been on testosterone for about 7 months now, so far this has been making me feel more like myself. personally I am not thinking about 'gender' but rather what i want to look and sound like- this has been working better than the whole 'gender is a feeling' thing..which is definitely a theory! If its okay to ask, what are your thoughts on medical transition?
i think medical transition is, broadly, very harmful.
it harms the individual: disrupts natural hormone cycles, negatively impacts cardiovascular health, negatively impacts reproductive functioning, creates an artifice which the individual comes to rely on to "feel like themself," thereby severing that person from true authenticity, necessitating the person remain a lifelong medical patient to keep all effects of hormones, subjecting the person to unnecessary risk of surgery, including death. it costs a lot of money and time that you don't actually have to spend. there is no evidence it correlates with mental health improvement, and it is my opinion that by focusing on transition, people do not attend to the areas of their lives that actually need and would benefit from attention and intervention.
it harms the group: gays and lesbians are disproportionately impacted by medical transition; gender non-conformity (which homosexuality is a form of) has become pathologized; now young lesbians and gays are not only growing up in a culture dominated by heterosexuality and rife with homophobia, they also have to navigate the pervasive message that they might benefit from transition. when i was a kid i was told by adults that i was "trying to be a man," that real women are not lesbians, and eventually i agreed with them. that gender non-conformity is seen as a precursor to "trans identification" only makes this worse--it's like, you get the "what, are you trying to be a man >:( ??!!" but also, "what, are you trying to be a man <=D ??!!" messaging. and what chance do we stand against attacks from all sides?
it is harmful to all women: look around at misogyny--devaluing women's opinions as vapid or lesser, assuming women are weak and fickle, dismissing women's perspectives and ideas, preying on women and girls sexually, seeing women as one-dimensional vessels for the transformation of the men around them--of COURSE girls don't "feel like a woman" these days, who would? instead of looking at the way society treats women and the disidentification it is producing among youth as the blazing alarm that it is, trans culture has wedged itself between women and liberation with the suggestion that "maybe you're not a woman if you don't feel like one?" never minding that "feeling like one" generally means liking being objectified, belittled, seen as weak, ignored, simultaneously not being taken seriously but being blamed for things. not only does this derail the actually important conversation about misogyny, but it leaves women and girls vulnerable to the predation of medical transition, which as i mentioned above, is harmful physically, emotionally, socially, and financially.
also, i would argue there are actually no conservative "gender critical" people. conservatives tend to reject gender non-conformity and embrace traditional gender roles; ain't no way to be critical of gender while holding central traditional gender roles. conservatives may be "trans critical," but they're not actually "gender critical." trans ideology has a lot in common with conservatives when it comes to gender, actually. both reinforce traditional gender stereotypes; how different is "i'm masculine and fit in more with boys than girls, so i must really be a man" from "i'm not a man, so i can't act masculinely, i must act femininely" really? they are threads of the same rope and that rope holds us prisoner, it doesn't free us. true gender non-conformity is being female but realizing that your masculine nature doesn't change anything about you (trans ideology), nor does it need to change itself (conservative ideology).
i know you didn't ask for this part, but you're here in my inbox, so here you go: doesn't it strike you as strange that it's taking synthetic medical intervention to make you "feel like yourself?" is the route to authenticity really via the path of cosmetic surgery and synthetic hormones?
it's either intellectually dishonest or intellectually lazy to stop at you're just "thinking about...how you want to look and sound." WHY do you want to look masculinized and have a deeper voice? there is a zero-percent chance the answer to that question is entirely separate from how those traits get you treated in society. and that's the impact of misogyny. and please don't misunderstand this as me suggesting you should not be masculine--i just don't think you have to subject yourself to the harms of medical transition in order to BE masculine.
and i say this as someone who took these steps, who masculinized with a mastectomy and many years of testosterone. i get that there are certain advantages to appearing as a man in society despite being a woman, but largely these are individual advantages for ME that come at the expense of WOMEN. thinking i'm a man, men take me more seriously; this impacts women by reinforcing the idea that men deserve consideration when women's voices don't, and it means that i don't have to advocate for women to be taken seriously because I don't personally need it; it runs the risk of making me complacent to this phenomenon, convincing me that surely women are exaggerating when they share their experiences because i don't have such a hard time of things, all the men are nice to me. see how pernicious it is?
because i'm 5'10", skinny, and with a flat chest, many people think i'm a man when i'm running. this means i can run at night, with headphones in, in new places--all basically without fear. the stories other women tell me make it clear this isn't the case for them. some women i know don't run outside anymore at all because of how men treat them, sexualize them, harass them, prey on them. so i get that it is a clear advantage to appear as a man sometimes; this is one thing i'm actually really grateful for. but it is not worth the damage i did to my body, it isn't worth the sense of alienation i sometimes feel from women, a sense i also felt with men, even when i was pretending to be "one of them," it isn't worth the money and time and effort i spent trying to convincingly imitate men that i could have spent on things that would actually nurture me and my life.
"gender is a feeling" certainly is a theory, but so is "transition makes me more myself," and one is about as good as the other.
we are not alive to simply take our thoughts and feelings at face value! interrogate your feelings and your ideas! we live in a culture and none of us are immune to that. something something unexamined life.
best of luck, i'm rooting for you.
#gender critical#detransition#radfem#radical feminism#detrans#asked#answered#transgender#anonymous#anon
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Goncharov: Fandom's Struggle Between Fanon vs. Canon and How That's Created A Mythos Rivaling The Greeks
A tag ramble to this post that got away from me and became too long to feel okay putting in the tags lol. It can be easily read as a stand alone though.
It's absolutely FASCINATING to me being able to both watch and participate in the Goncharov (?)fandom(?). It's taking everything that fandom culture is and letting it run free without any barriers to stop it.
Because frankly, I can't think of anything (to my knowledge) quite like it in recent history to reach such a scale. Both the ability to write stories down and the rise of copyright have had a significant impact on the way stories are told. We went from a storytelling culture that slowly evolved each story told by the person telling it, to one that is very close-handed to the narratives created.
And yes, to some extent, this twisting and evolving still happens in fandoms to the point that fanon and canon can become so separated it feels jarring. But that's just it isn't it? There always remains the canon. That will always be the true story. Fanfiction will forever be fanfiction, no matter how much we want it to be "real." You can whittle away at the narrative to shape it into something more appealing, but it will always be stuck as a block of wood.
Yet, the very fact that fanon exists proves that we never lost that want to change stories and make them a little bit our own. All that we lost was the medium to do so. Evolve something too far, and it won't be the same, will it? We're stuck in the confines of "canon."
I have seen fanfiction of fanfiction before, but it tends to quite quickly pitter out without its own foundation to stand upon. More can be added to the universe, but what's there does not change. It does not evolve the way a story passed down orally does; in a story spoken, the canon is forced to slowly change by the memory and style of the speaker. A classic game of telephone.
Goncharov however? There is no original story; there is no true canon. Not only is the story evolving freely from storyteller to storyteller, but the only reason there is even a coherent story in the first place is that there are multiple storytellers weaving the tale at once yet also expecting you to fill in the gaps.
It's like we're all playing that one writing game where each person writes a sentence back and forth to create a story. Yet, instead of you and one friend, we're playing it on this gargantuan sitewide scale that can't possibly all be connected into a singular coherent narrative. But you're not supposed to be able to. Each person can choose what they want to know it as. It's like some big giant exploratory choose-your-own-adventure book. The framework is there, but it's going in 50 different directions and you can always add another one in just for fun. You discover the story as you read, but only the bits you like get added on.
It's fucking incredible.
We all see each piece of media through our own personal lenses but never like this?? Not to this extent. We're all collectively joining together to obsess over the little ideas in our heads we got from each other's prompts and are excitedly spewing them regardless of how contradictory they are. We do something similar brainstorming with others but not with 12k messages in a single day.
Would this have even been possible before the rise of social media? Not to mention the strong sense of community Tumblr has that is so rare to see with such a large amount of people. There's more people than you could ever know on this site but we all act like some deranged extended family. Yes, people can work together but so rarely do people that vary so greatly in personality and life experiences, get together in such larger numbers to do a little silly goofy CREATE AN ENTIRE STORY THAT DOESN'T EXIST.
We pull shenanigans like this all the time. But this time it's not like eeby deeby or even the mishapocolyse; this time we're seeing the power of an entire community working together to create not only layers and layers of memes but layers of memes shaping an entire mythos. It's like we're the Greeks thinking up stories of our gods but instead it's a homoerotic mafia movie from 1973 written by Matteo JWHJ 0715 and Martin Scorsese that all started with a picture of a shoe.
We have stumbled across something fascinating and new. This may not be the first mafia movie that's been thought up and played around with but this is absolutely the first to be created by thousands of people working together but also towards their own individual goal/story. We're seeing the power that created mythology being wielded by fandom culture, and it's letting it evolve like no other story has.
It's free from the confines of prescribed canon, but there is so much being created that can be canon if you want it to be. This isn't changing one by one like some spoken tale towards exponential growth either. This has been created like one spectacular big bang. We had a funny post of a boot, and then we had a poster and that was enough to make Tumblr go collectively insane. (Not that we weren't already.) I want to (politely) shake all of you by the shoulders till everyone realizes how crazy this all is.
This story is ours, all of ours. Goncharov (1973) is held together by the power of belief and love for it. We have fragments of canon, yes, but it only exists because we want it to. And God-damn it, I hope we do it again. Together we can create things that we'd never thought could exist (and in this case still doesn't).
-We- are strong. Please never forget that.
As it now 6am and I have not slept, I will leave you with a quote; Goncharov's final solemn plea as he slowly bled to death, for I feel it's in an odd way rather fitting.
"What is the dust but a remnant of what we once were, all around us coated with it.
But we brush it away in search of something else. Not everything that mattered once matters now.
Yet you seem to think that's the only way, just keep dusting it.
You never stop to think that some things we search for might not be worth keeping.
Nothing has meaning unless we continue to think it does.
So please... I beg of you, can't we just move on and let this sickening contempt between us dissolve into dust?"
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