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transfemyoungblood · 4 months

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Tell me a bit about revolutionary girl utena, like give me a pitch. /nf Because I keep seeing you talk about it and it sounds like it would make me go insane but I have no idea what it even is

a young girl named Utena Tenjou is deeply depressed because her parents have died. she feels like she no longer has anything to live for. then, a prince atop a white horse comes to save her. he gives her a ring and promises that one day, they'll meet again. inspired by this act of kindness and courage, Utena vows to become a prince, like him. at least that's how she remembers it.

years later, she is a student at Othori Academy (which is also a time prison, fyi). she is confident, carefree, and rather tomboyish, wearing a boys uniform and excelling in sports. she doesn't have much interest in boys, but tries to get involved with them in hopes of finding her prince and also being a "normal girl." she accidentally gets involved in the duels that the student council members partake in, and here, she meets Anthy Himemiya.

Anthy is a shy and mysterious girl with a hidden temper, and the student council members fight each other to win her hand in a duel. she is othered due to her role in the duels, and treated as inferior. she faces abuse and manipulation from the student council members, and her older brother, chairman Akio Othori, abuses, manipulates, and assaults her as well, controlling every aspect of her life. Akio Othori was once the prince who saved Utena's life, but now he is a manipulative creep, though he still clings onto his princely image.

Utena desperately wants to protect Anthy, which at first is motivated by her desire to be a prince, but as she spends more time with her, they grow closer, and start to genuinely fall in love. Utena begins to want to free her from the abuse she faces in Othori, and mistakenly believes that becoming a prince and fighting the student council duels are what will help her do so. but in reality, the "prince" of Anthy's life is the source of her pain, and the duels are what keep Anthy trapped in her toxic environment.

Revolutionary Girl Utena is highly surrealist and avant garde, making heavy use of metaphor, visual symbolism, and allusions to philisophical concepts. it is a feminist anime that criticizes gender roles, misogyny, patriarchy and the institution of heterosexual marriage, and it's also impactful in its theme of breaking the cycle of abuse and having hope for a better future. it is also regarded as one of the most iconic yuri anime, due to the romance between Utena and Anthy as well as its criticism of cisheteronormativity.

in conclusion, you should watch revolutionary girl utena. 💥💥 YURI BLAST 💥💥

#revolutionary girl utena #asks #ooooo you're going to watch rgu. you wanna watch rgu so bad.

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cleolinda · 9 months

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(For our purposes, listen to it without the visuals first.)

I wasn't going to keep posting about Unreal Unearth, but something happened yesterday.

It's been five months since I first heard this song, and I'm still astonished by it. You know the tiktok skit about the Star Wars wedding music, and the guy is grooving along until the Imperial Death March filters in, and then he's kind of alarmed, like, wha—? And then he realizes it slaps anyway and he keeps dancing? That is "Eat Your Young."

It's the morning of March 17th. The EP with the first three singles from the new album has dropped. I've got my phone blasting the song on the bathroom counter, I don't understand half what the man is saying nor did I expect to, I'm cheerfully mumbling along in the shower, grooving along,

wait they did what for a war drum

Get some Pull up the ladder when the flood comes Throw enough rope until the legs have swung Seven new ways that you can eat your young Come and get some Skinning the children for a war drum Putting food on the table selling bombs and guns It's quicker and easier to eat your young

What the fuck, this song goes so hard. That's the chorus. The conceit of the whole album is that it loosely follows Dante's Inferno, so this is the third circle of hell, gluttony. Hozier himself says that he wasn't specifically thinking of Jonathan Swift's A Modest Proposal—

“I don’t know how intentional the reference to Jonathan Swift was in this. That essay [Swift’s 1729 satirical essay A Modest Proposal in which he suggests the Irish poor sell their children as food] is such a cultural landmark that it’s just hanging in the air. I was more reflecting on what I felt now in this spirit of the times of perpetual short-term gain and a long-term blindness. The increasing levels of precarious living, poverty, job insecurity, rental crisis, property crisis, climate crisis, and a generation that’s inheriting all of that and one generation that’s enjoyed the spoils of it. The lyrics are direct, but the voice is playful. There’s this unreliable narrator who relishes in this thing which was fun to write.” [Apple Music album notes]

—and I believe him. The song's not a suggestion, a proposal; it's an invitation to atrocity in progress. I also believe he probably wasn't thinking of Greta Thunberg's iconic speech at the UN Climate Action Summit, not specifically, but that's what I hear in the song, like the flip side of a coin:

You have stolen my dreams and my childhood with your empty words. And yet I'm one of the lucky ones. People are suffering. People are dying. Entire ecosystems are collapsing. We are in the beginning of a mass extinction, and all you can talk about is money and fairy tales of eternal economic growth. How dare you! [...] You say you hear us and that you understand the urgency. But no matter how sad and angry I am, I do not want to believe that. Because if you really understood the situation and still kept on failing to act, then you would be evil.

I feel like on some level, even coincidentally, "Eat Your Young" is the answer to the question, what would you sound like if you were that evil? Who would you be? I can think of a dozen possibilities just off the top of my head or looking around my blog, from something as petty as studio executives mangling trees to deprive striking workers of shade (while hoping they lose their homes), all the way up to the US school-to-prison pipeline. The National Rifle Association keeps politicians in its pocket while the US has more mass shootings than days in a year, Nestlé fucks shit up around the world as a way of life, even ChatGPT sucks up water while threatening jobs—and for what? And yet, I promise you most of these things weren't the inspiration for an Irishman’s song—some of them hadn't even happened yet. There's just that much fresh You Would Be Evil to go around. I am certain that Hozier wrote the song partly about (as one article puts it) "Ireland's housing crisis: Millennials, a generation sacrificed," given that time back in the day when he helped occupy a building—a housing crisis happening in multiple countries. There's so much of the world I'm not touching on. I can stuff a paragraph with links and it's utterly inadequate.

I haven't even mentioned war.

There's an overwhelming sense this decade of the future being fed into a meat grinder. That sense is in this song. What would it sound like to be in the head of someone who didn't give a shit about anything but profit? Well, it might sound like this.

And if you haven't heard it, well—I'm going to sound absolutely out of my mind after saying all that, but "Eat Your Young" has a beat and you can dance to it. It's sexy. And I'm certain that's on purpose. You get seduced into the sound of it, as if by something demonic, something that enjoys sucking down the future and is not going to stop. And the sheer fucking catchiness of the song keeps you listening to it—thinking about it—when maybe you push away the dry headlines we get everyday. If you let this song stay in your head, it becomes a lens. Five months later, I still think about it when I read the news. Maui was on fire and tourists stayed. Within days, the prospect of developers swooping in to buy up land reared its head. If there's something still to take, there is ground to break, whatever's still to come. Get some.

I was born in 1978 —I'm late Gen X. In my forties, I'm young enough to worry about the future still; I’m neither so rich that I can just plan to retire to Mars, nor so old that I can know I'll be safely gone before the world might go up in flames. But I'm also not my nephew, whose school year just started back up, or the neighborhood kids who race him home down the sidewalk in the afternoons. Yesterday, he had his very first mass-shooter lockdown drill. He’s six.

I think music can put the feeling back into numb fingers, and I think that's why "Eat Your Young" works so well—Hozier calls the song fun and playful, and I think you have to have that, something you can live with rather than just switch off for your own mental survival. We need music to feed spirit at protests; we need something to keep our feet moving. Don’t give up, don't close your eyes and slip away. Those kids, they have dreams we could try to steal back for them.

Since I mentioned Maui:

Why Hawaiian sovereignty has undeniable context for the Maui fires

The Climate Crisis and Colonialism Destroyed My Maui Home. Where We Must Go From Here

How You Can Donate and Help Support Maui Communities Right Now

The Maui Strong Fund

#music #music discussion #hozier #long post #eat your young #Spotify

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good-beanswrites · 4 months

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My thoughts on how the Milgram mv machine works based on the evidence we have:

(I know there’s been discussion about where exactly the interrogations take place, but wherever they are,) the prisoners are made to sit in a specific chair near the wall that houses the machine.

It’s ordinarily hidden, but the wall panels shift aside to reveal it when the mechanical sounds play in the dramas. As well as the walls moving, the chair transforms to restrain the prisoner and attach whatever it takes to access their brain. The fact that none of the more frightened prisoners try to run or break it makes it seem like they physically cannot. This is why Fuuta sounds so panicked, and why Amane is suddenly helpless in front of Es in their T1 vds.

(My mind conjures very classic sci-fi mad scientist machines with wires, pipes, lights, nodes, needles, etc, but I’d love to hear how other people visualize it.)

In some vds (maybe all? I’d need to check,) you can hear Es take some steps right before their iconic line -- it would make sense that for safety reasons, the power mechanism is placed across the room. Once again it could be anything, but the sound effect makes me think of one of those giant wall-mounted levers you have to pull down.

The voice dramas don’t really provide the type of crime details that an actual interrogation would reveal, and it’s odd that they’re placed before the extraction rather than after Es gets to see the new details. This leads me to believe the machine functions with priming. All Es needs to do is get them talking about their murder, so it’s on their mind.

The video produced is much like a (non-lucid) dream. Even if the prisoners figure out that this is how it works, they can’t control it just by thinking really hard about something else. The murders produce the strongest emotional affect, and that’s what it picks up on. If someone else used the machine, it would default to whatever gave them the strongest emotional reaction in the ~15 minutes beforehand, hence why Es’ video focuses on their daunting task ahead. (The Undercover theory is still a bit loose, though, given the private shots that Es wouldn't have known about). It’s why the videos are usually closely linked to the vd topics/beats. I also like to think that the reason their prisoner colors appear so much is because they’re looking at those colors on their uniform 24/7.

The bell rings to inform Es that it’s the optimal time to use the machine -- the prisoner has been thinking about things for long enough that the video will be about their crime, and if the conversation lasts much longer they’ll start thinking of other things. It’s at a different time for each prisoner because it’s based on the specific conversation. I guess Jackalope is listening in to the interrogation, timing it perfectly. (The only one that kind of messes with this theory is Yonah, because they just keep talking afterwards lol, but it could just show that the interrogation is still in Es’ control.)

Their “Sing your sins” is the final priming nudge to get them to think of their actions as a sin, revealing their guilt.

Once activated, the prisoner enters a sort of trance/sleeping state. It’s very much like REM sleep, with the machine forcibly activating neurons and recording the output. The prisoners have asked Es what they saw, meaning they don’t remember the mvs. I like to think the prisoners do experience the mv in real time, acting as the major version of themself that appears, but can’t remember it afterwards. It’s when you experience a dream, but as soon as you wake up you’re just left with fleeting emotions and memories right on the tip of your tongue.

The video plays immediately upon extraction -- whether on a huge projection or little screen depends on which room it’s in. It simultaneously saves the memory so that Es can rewatch it later (on those old TVs in the jailbreak mix). The machine downloads the song and video together, but requires special parts to retrieve them. The technology is pretty new and fragile, so if one is broken, there might be a delay between when Es can hear the extracted song and see it with the video. (That’s my justification for Kotoko’s delays -- after 9 prisoners the parts wear out, or maybe Mikoto himself overheats it with his complex situation.)

Based on the lack of conversation we get afterwards, I picture Es leaving before the prisoner wakes from the trance. The machine adjusts their brain back to normal before they awaken, restraints freed and able to return to the rest of the prison.

It’s very much like a dream, so it’s not harmful despite the amnesia/head injuries the prisoners have. It does, however, exhaust them. Brain activity alone takes a lot of energy, so forced brain activity with added emotional strain would cause them to feel pretty drained the rest of the day.

#milgram #👍👍#if theres anything contradictory please lmk -- this is how ive been taking the evidence we have so i definitely want to rethink things if #theres a mistake #but also i just wanna hear what people have been picturing 🤔#i mentioned it before but the jailbreak tvs really did shift my brain from sleek tech to clunky old scifi vibes #im also still partial to an idea mentioned a long time ago about the prisoners waking up to catch the last few moments of their mv #and how heartbreaking that can be for some #but i feel like it would make more sense if there was no direct interaction after the extraction since es is overwhelmed with different #reactions (from us) and the prisoners themselves are raw with emotion and fatigue #i like the thought of interrogations occuring in that big courtroom (seen in undercover and now deep cover)#but that room seems way too echo-y for the vds to take place in #and it seems overkill to build every cell with moving panel walls and access to the machine #so the jurys still out on that one #(also hehe im still so excited that my oc fits very nicely into all of this but i kept this post 100% canon compliant)#analysis/thoughts

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whateverisbeautiful · 4 months

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♥️ Ranking Richonne

#10: The Grand Introduction (S3E06)

✨Top 10! ✨From here on out, we’re in truly iconic territory when it comes to the Richonne scenes on this list. And, of course, this absolutely unforgettable s3 moment right here is as iconic as they come. 🤩 I adore that this is where it all began. Where Richonne really was born. This is one of the most significant Richonne moments because it's the very first one. And what a special first one it was. It's only fitting for Rick and Michonne's epic love story to begin with such an epic introduction...

I'll always appreciate that this is one of the most heightened and important meetings of two characters in the whole TWD series. And it’s fitting because it establishes right from the jump that Rick and Michonne would become very very important to each other.

It’s so sweet that in such a precious familial moment between Rick, Carl, and Judith that’s the exact moment when the matriarch of the Grimes family arrives.

And I always love how, despite several people around, it’s Rick who spots Michonne from super far away and walks over on his own.

It feels like the universe’s own, "It’s for you" moment. 😌

As Michonne walks up to the fence, resiliently finding the prison and making it there despite being injured, I love that it’s Rick who walks toward her as though summoned by Cupid himself, cuz it shows those magnets started kicking in immediately.

And then I adore that there’s almost this unspoken passionate energy behind this scene as Rick and Michonne lock eyes for the first time and stare at each other from across the fence.

But it's so much more than a meet cute. It's utterly grand. This is the moment that kicked off the love story to top all love stories so of course it’s uniquely special. #historic

Having watched separate stories from Rick dealing with hardship at the prison and Michonne dealing with issues at Woodbury, I love that this is the moment their stories finally join.

They finally get a major win because they found each other. Rick and Michonne's lives collide here and then only become more and more one.

I love that Michonne is here holding formula for Judith, the baby who will become her daughter. I've written before that I feel like part of what might have helped spur her to go to the prison is knowing there was a baby in there that needed that formula.

And it's great how from the literal moment she arrives Michonne is already being majorly helpful to Rick. She's brought his baby the sustenance she needs to live and then later has intel about Glenn and Maggie's whereabouts.

And I like that she stays fearlessly standing in between the walkers as they make eye contact through the fence. It lets Rick know this woman is special and brave. I've always felt the visual is a beautiful illustration of the living being found among the dead & love being found among loss.

Rick had been having an episode of understandably losing it prior and was finally able to emerge from the darkness for a moment and hold Judith. And it's just precious to think that Rick first holds his daughter on the same day and in the same moment that he meets his wife and Judith’s mom.

It's poetic also when you know that Michonne and Judith are the two ladies he will later go on to declare as his ultimate choice, even after years apart from them. Warms my heart to no end. 😭

The way he walks over, the way Rick and Michonne seem to be taking each other in like “this is different.” You can’t tell me after these stare-downs that these two weren’t going to love each other eventually.

The innate draw and attraction were instant, and I love that we got to witness this love story from the literal first moment Rick and Michonne so passionately laid eyes on each other.

This is the final beat of the episode cuz the end beat of an episode typically emphasizes something important that launches the story forward. And this introduction between Rick and Michonne would do just that, not only for the following episode but for the rest of the series. It changed the whole game. 💯

This scene is a powerful meeting between two tethered strangers destined to be tethered soulmates. And it's an extremely meaningful meeting as well because, from this point on, Rick and Michonne's journey to falling in love and building a whole life together would begin. Just life-changing in every way.

And I’ll add 3.07 to this too, because that’s when we get more of their interaction after their deep stares. I love that Michonne's future son and bestie Carl is the first one to ask about helping her and that he and Rick save her. It's like the first unofficial Grimes Family 2.0 moment. 🥰

Michonne even gets to demonstrate her resilient ability as she fights off those walkers before the pain from her gun wound takes over. And I bet Rick had to somewhat recognize the fight in her as the same fight in him.

Then, after a quite thorough inspection to see if she's been bit, Rick easily carries Michonne over his shoulder to bring her into the prison, which...

It's giving a little romantic to me idk. 😋 And it just hit me that Rick picks up his daughter and his wife for the first time that day.

Inside the prison, they get her water and all that, and Rick introduces himself and asks her for her name, but Michonne won’t tell him. Understandably, cuz Sis had been through it at Woodbury with their crazy leader.

And y’all, I love this whole exchange, especially in retrospect, because it shows there was a fire between Rick and Michonne from the word go. 🔥

Rick and Michonne's whole first time in front of each other feels electric and passionate. Like even just from their movement alone in this scene, there's something magnetic.

I love that we’re witnessing two fierce fighters who have truly met their match. We're also witnessing the first of many times Rick and Michonne get publicly wrapped up in their Richonne bubble. 😌

It's interesting that the first thing Michonne ever says to Rick is, "I didn’t ask for your help." Because you'd think the first line was gonna be...

But fr, it ends up being pretty ironic that that's the first thing Michonne says to Rick because they both will help each other so much that it completely changes their lives for the better. And Rick tells her, "Can’t let you leave," which will also remain true forever. 😋 Cuz Michonne's never leaving that man's heart.

(Side note: Also, I realized there's significance in Rick saying "can't let you leave" because it's another thing that lets Michonne know Rick is different and better than the Governor. Where the Governor tried to act like people could come and go from Woodbury when they really couldn't, Rick is just honest and straightforward with it by saying they can't let her leave until they assess the situation, which is almost more reassuring for her to see him being upfront about it.)

So while I'm not in the camp of thinking they were in love at first sight, I do think Rick and Michonne were intrinsically drawn to each other at first sight and there was something special between them right there at that fence that would soon bloom into love. And if the current Rick were asked about this initial meeting with Michonne, I low-key feel he'd be like...

With their iconic grand introduction, Rick and Michonne truly changed each other's lives and ours. (oh and also the entrancement started from the jump too.⬇)

And while Rick and Michonne aren’t overly trusting of one another yet, I appreciate Rick’s willingness to help her out, offering to tend to her wound and all that.

As a screenwriter, I have this belief that when a story is right it almost wants to tell itself, as it organically flows in a certain direction. And then that's when as a writer you follow the story's lead and help sculpt that natural direction. So while the TWD writers didn't know for certain that Rick and Michonne would be a romantic pair in their first two episodes together...the story knew.

The way their introduction plays out in this personal yet grand sweeping way, with the two locking eyes and looking at each other not just with desperation or skepticism but with this underlying passionate intrigue as though the person they're looking at is both fascinating and familiar - Richonne's romance really was written in the stars right here, even before it was more intentionally planted in Clear.

It's a love story that was longing to be told. And I'll forever celebrate that Scott, Andy, and Danai listened to what the story was so clearly saying, and then sculpted the best love story I've ever seen.

Their whole meeting is just an introduction to remember and everything about Richonne's first moments together shouts...

Watching it back is even sweeter when you have the knowledge that on the other side of that fence, Rick and Michonne are looking at their soulmate, the person they will raise children with, have a child together, the person they will fall head over heels in love with.

Their lives joined forever on this day, and these two wouldn’t be the same without each other, so thank goodness for this unforgettable moment bringing Rick and Michonne iconically together. 😌🙌🏾

#richonne #top 30 #the top 10 begins! 🎉#TOWL is just 10 days away and I've never been so ready and so not ready all at once 🙌🏽🫠#number 10 #rick x michonne #reveling in richonne #twd 3.06 #twd towl #the ones who live

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bigboobyhalo · 11 months

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badboyhalo’s decision on the DSMP to never upgrade his diamond boots to netherite was literally so iconic . it made him have a unique armor set that stood out from other people’s full netherite while still being effective at protecting him . AND it made it so his prison guard set that WAS full netherite looked visually distinct from his normal set ….. AND it was cute and stylish and added some diamond to his design to represent his love for skeppy .

#sorry for thinking about this way more than is necessary

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iamthedukeofurl · 1 year

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One thing I like about Andor is the conscious choice to have so many of the Imperials unmasked. Like, the Stormtrooper, white-armored, helmet vaguely resembling a skull, is one of the most iconic pieces of Star Wars imagery, up there with the death star and the light sabre. The faceless hordes of the Empire. And it would have been easy to have Stormtroopers everywhere, Stormtroopers on Aldani, Stormtroopers patrolling the streets of Ferrix, Stormtroopers guarding the prison, but they don’t. I recall a few stormtroopers here and there in the finale, but the iconic white armor is fairly thin on the ground in the show. The various imperial troops we see usually show their faces. I think the one big exception is the shore trooper that arrests Cassian. Otherwise, almost every Imperial we see has their face uncovered. If I recall, the Riot-Cop equivalents in the finale don’t even put their goggles on, instead having them sit on their helmets even after the bricks and firebombs start flying. It’s a pretty major departure from the visual language we see elsewhere, where most of the Imperials are either fully armored Stormtroopers or cloth-uniformed Officers shouting orders. And it works because it scales down the nature of the story. Star Wars is a mythic tale about Great Heroes vs the Faceless Hordes of the Empire. As much as Andor is a story about rebellion and resistance, it’s ALSO a story that examines how authoritarian fascist regimes operate, and the answer is that there are a lot of people more than willing to help. By having the Imperials be unmasked, we don’t get to forget that the Empire isn’t just Palpatine and a handful of high-ranking officers with upper-class British accents, it’s people all the way down. Gunfights are not Heroic Rebels vs Faceless Puppets of the Empire, it’s People vs People. The Empire’s authority isn’t projected by human-shaped suites of armor with skull helmets, it’s projected by people who chose to join up with the Empire.

#andor spoilers #andor #visual storytelling

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soob1nn · 7 months

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MY FILMS - ADULT FAME DR

REMINDER! I haven’t shifted yet, so all these is just my imagination 🤍

masterlist - main masterlist

Films are a powerful medium of storytelling and artistic expression. Combining visual, auditory, and narrative elements, films captivate audiences, transporting them to diverse worlds, evoking emotions, and sparking thought. From silent classics to cutting-edge blockbusters, the world of cinema has evolved, reflecting societal changes and pushing creative boundaries. Whether it's the magic of a well-crafted screenplay, the mesmerizing performances of actors, or the technical brilliance behind the scenes, films continue to be a dynamic and influential form of entertainment and cultural expression.

PIRATES OF THE CARIBBEAN

The "Pirates of the Caribbean" saga is a cinematic adventure like no other, immersing audiences in a world of high-seas exploits, swashbuckling action, and supernatural wonders. This beloved franchise, brought to life by the charismatic Captain Jack Sparrow, has left an indelible mark on the world of cinema.

What sets the "Pirates of the Caribbean" saga apart is its perfect fusion of thrilling action and cleverly woven mythology. From the very first installment, "The Curse of the Black Pearl," to subsequent sequels, the films have taken viewers on a journey filled with cursed treasures, mythical creatures, and, of course, eccentric pirates.

At the heart of the saga is the enigmatic Captain Jack Sparrow, portrayed brilliantly by Johnny Depp. Jack's witty charm, unpredictable antics, and ever-present quest for rum have made him an iconic character in cinematic history.

The franchise's success also lies in its ability to seamlessly blend history and fantasy. The Caribbean settings, the pirate code, and the age of exploration provide a historically rich backdrop for the fantastical elements like cursed Aztec gold, undead sailors, and mermaids.

Each film in the series has introduced new characters and expanded upon the lore, creating a vast and interconnected narrative that keeps fans eagerly awaiting the next installment.

With unforgettable moments, memorable quotes, and a score that resonates long after the credits roll, the "Pirates of the Caribbean" saga has carved its place as a beloved classic. It's a thrilling voyage into the world of pirates, where legends, curses, and epic battles reign, making it a timeless adventure that continues to captivate audiences of all ages.

BEAUTY OF THE BEAST

"Beauty and the Beast," in its live-action adaptation, breathes new life into a timeless tale that has enchanted generations. This magical film takes the beloved animated classic and transforms it into a visually stunning and emotionally captivating experience.

Set in a picturesque French village, the story follows the intelligent and kind-hearted Belle, brilliantly portrayed by Emma Watson, who longs for more than the provincial life she leads. When her father becomes a prisoner in the enchanted castle of the Beast, played by Dan Stevens, Belle courageously takes his place, embarking on a journey of discovery, love, and the power of inner beauty.

With its stunning visual effects, lavish costumes, and memorable musical score, the live-action "Beauty and the Beast" faithfully pays homage to the original while adding depth to its characters and narrative. The film not only celebrates the power of love but also explores themes of tolerance, acceptance, and the beauty that lies within.

This enchanting adaptation is a cinematic masterpiece that captures the hearts of both long-time fans and new audiences, reaffirming the enduring power of this classic tale as old as time. "Beauty and the Beast" in its live-action form invites us to be their guest in a world where magic and love flourish, reminding us that beauty truly comes from within.

LITTLE WOMEN

"Little Women" stands as a cinematic jewel, capturing the timeless essence of Louisa May Alcott's literary masterpiece. This film adaptation, directed by Greta Gerwig, breathes new life into the beloved narrative of the March sisters, presenting a fresh and poignant take on sisterhood, ambition, and the pursuit of one's dreams.

Set against the backdrop of the American Civil War, "Little Women" unfolds the lives of the four March sisters—Jo, Meg, Beth, and Amy—each with distinctive personalities and aspirations. The film gracefully weaves between the past and present, allowing audiences to witness the joys and challenges of the sisters as they navigate the trials of womanhood, love, and societal expectations.

With an all-star cast featuring Winter Reed Jackman, Emma Watson, Florence Pugh, and Eliza Scanlen as the March sisters, and an exceptional performance by Timothée Chalamet as Laurie, the film brings these iconic characters to life with depth and authenticity.

Greta Gerwig's directorial prowess shines through as she infuses "Little Women" with a contemporary spirit, resonating with modern audiences while maintaining the timeless charm of the original story. The film is a celebration of the strength, resilience, and individuality of women, urging viewers to embrace their ambitions and forge their paths.

"Little Women" is a poignant and visually captivating cinematic journey that captures the spirit of sisterhood and the pursuit of one's aspirations. It invites audiences to revisit the cherished tale with fresh eyes, offering a profound and emotionally resonant experience for both new and devoted fans of this literary classic.

KNIVES OUT

"Knives Out" is a modern masterpiece in the realm of whodunits, a brilliantly crafted film that masterfully blends mystery, humor, and a star-studded ensemble cast. Directed by Rian Johnson, this murder-mystery film takes audiences on a rollercoaster ride of suspense, twists, and dark humor.

The story centers around the death of wealthy crime novelist Harlan Thrombey, portrayed by Christopher Plummer. When renowned detective Benoit Blanc, played by Daniel Craig, is enlisted to investigate, the Thrombey family becomes the focal point of scrutiny. With each member harboring secrets and motives, the plot thickens, and the suspense escalates.

"Knives Out" boasts a stellar cast including Daniel Craig, Winter Reed Jackman, Chris Evans, Jamie Lee Curtis, and more, each delivering standout performances that contribute to the film's gripping atmosphere. The narrative is cleverly layered, keeping viewers on the edge of their seats as they attempt to unravel the intricate web of deception and motive.

Beyond its gripping storyline, "Knives Out" is a sharp and satirical take on family dynamics, privilege, and the consequences of wealth. Rian Johnson's expert direction and sharp dialogue elevate the film, making it a delightful homage to classic whodunits while infusing it with a contemporary edge.

This cinematic gem not only keeps the audience guessing until the very end but also provides a fresh and entertaining perspective on the murder mystery genre. "Knives Out" is a clever and stylish film that engages the mind, tickles the funny bone, and ultimately leaves a lasting impression, establishing itself as a standout in the pantheon of modern cinema.

TOP GUN: MAVERICK

"Top Gun: Maverick" is a highly anticipated sequel that soars into the iconic world of fighter jets and high-stakes aerial combat. Directed by Joseph Kosinski and starring Tom Cruise reprising his role as Pete "Maverick" Mitchell, this film is a thrilling continuation of the 1986 classic, "Top Gun."

Set decades after the events of the original film, Captain Maverick finds himself adapting to a new era of aerial warfare dominated by drone technology. As he mentors a new generation of Top Gun graduates, the film promises heart-pounding dogfights, cutting-edge aviation sequences, and a nostalgic nod to the beloved elements that made the first film an enduring favorite.

"Top Gun: Maverick" not only reintroduces fans to the adrenaline-fueled world of fighter pilots but also introduces fresh faces played by actors like Miles Teller and Winter Reed Jackman. With its combination of high-octane action and character-driven storytelling, the film aims to capture the spirit of the original while propelling the narrative into uncharted skies.

As Maverick confronts his past and embraces the challenges of the future, the film offers a blend of nostalgia and innovation, promising an exhilarating cinematic experience for both longtime fans and a new generation of moviegoers. "Top Gun: Maverick" is poised to be a blockbuster that reignites the Maverick legend while delivering a visual spectacle that takes the iconic franchise to new heights.

THE SEVEN HUSBANDS OF EVELYN HUGO

"The Seven Husbands of Evelyn Hugo" unfolds on the silver screen as a spellbinding cinematic journey through the glitz and glamour of Hollywood's Golden Age. Adapted from Taylor Jenkins Reid's compelling novel, this film invites audiences into the captivating life story of Evelyn Hugo, a legendary film actress portrayed with brilliance and nuance.

In the film, we follow Evelyn's journey through the decades, beautifully capturing the essence of old Hollywood. The glamorous sets, meticulously crafted costumes, and evocative cinematography transport viewers to a bygone era where stars shone brightly on and off the screen.

As the narrative unfolds, the complexities of Evelyn’s seven marriages come to life, each husband portrayed by a stellar cast that adds depth to the character-driven drama. The film navigates the twists and turns of Evelyn’s life, revealing secrets, scandals, and the sacrifices made in the pursuit of fame and love.

The storytelling prowess of Taylor Jenkins Reid is masterfully translated to the screen, with Evelyn's compelling voice narrating her journey. The film seamlessly weaves together themes of identity, love, and the price of success, creating an emotional tapestry that resonates with audiences.

While exploring the intricacies of Evelyn's life, the film introduces Monique Grant, the journalist chosen by Evelyn to tell her story. Monique's personal journey becomes an integral part of the cinematic narrative, adding layers of depth and connection to the overarching tale.

"The Seven Husbands of Evelyn Hugo" on the big screen is more than a glamorous expose of Hollywood excess; it's a poignant exploration of the human experience. The film's rich storytelling, combined with outstanding performances and lush visuals, elevates it beyond a mere adaptation, making it a cinematic triumph that lingers in the hearts of viewers long after the final credits roll.

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transmalewife · 2 years

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so back in my overanalizing pretentious fuck days I vaguely remember wanting to write a meta about the madonna whore complex in star wars costume. and while I still think theres a lot to work with there,

(like, a lot)

I'm just gonna focus on padme right now, specifically Padme's hair because something really interesting just hit me.

look at this for a moment

this is the most virginal imagery imaginable.

let's get the obvious out of the way and say the blue dress and shawl are almost on the nose references to the virgin mary (maybe a hint at luke being the real chosen one?). But more importantly, in so many cultures around the world, loose long hair, especially combined with flowers, is associated with young girls. there are countless traditions that dictate that women, once they get married or come of age, should wear their hair up, covered or short.

(this might be a good moment to disclaimer that I am very transgendered and irreligious and none of this analysis is coming from a tradwife mindset. it's coming from a 'this is the archetypes that exist in our culture being very clearly and skillfully referenced here')

her dress is made to look like flowing water, carrying flowers. in slavic cultures, on the summer solstice, young women would make flower crowns and throw them into rivers, so potential suitors could fish them out downstream and court them. They would also wear flowers in their hair on their wedding day, and after that, they would cover it with a kerchief. and those traditions still live on in some form in europe today. most girls in my class got their hair cut short after first communion. women still throw bouquets on their wedding day.

There are in universe explanations I could invent here, from the easy 'this is just naboo funeral tradition' to the political "they wanted to distance her from the secret marriage to spare her family the shame of the scandal" but i'm frankly not about all that. and now that i've noticed this, I can't ignore it. all throughout rots padme is shown with her hair down (partialy. will come back to that), and wearing long gowns and hoods. The virgin mary imagery remains in the cut of the velvet hooded gown, in the blue drape of her nightgown when she cries on the balcony, and the, also baby blue, nightgown she wears when anakin has his nightmare literally looks like 1950s sexy lingerie.

(Also, a note here that I'm not willing to let spiral into a tangent, is that she almost always, and iirc, only, wears blue when she's either on tatooine, or when it's just her and Anakin. And then in her coffin.)

We know, from lucas, from the costume designer and art director, of two costumes that were purposely designed to make her look sexy, romantic, seductive. The corset in the fireplace scene and the iconic lake house balcony dress.

That makes sense. Those are the scenes where she's falling in love with Anakin, but the corset is extremely restrictive both visually, (and physically, according to natalie portman.) She's wearing metal bands around her head, the scarf looks like a noose and prison bars at the same time, and her hair is pinned up tighter and closer that in any other costume (except maybe on mustafar). She's not allowed the freedom to live in the fantasy of their forbidden love. She's imprisoned in the conventions of her station, quite literally trapped by her clothing.

And while the lake dress does look very free and loose and open, which is what she's tying to let herself be, flirty even, her hair is still quite literally behind bars, (and that type of headwear repeats in many of her costumes) as are her neck and arms.

Worth mentioning that in the floral picnic dress, her hair, while the shape is quite obviously meant to reference Leia's buns, is still held neatly in place by hairnets. This isn't the typical imagery of a young woman enjoying her freedom, frolicking in fields of flowers for the last time before she puts her hair up and grows up.

Padme didn't get to grow up, because she was never a child. In tpm her costumes are heavy, royal, extravagant. they not only hide her hair, but her face and body as well. Because she doesn't really matter. The costume, the crown, her duty matters more than the child underneath. There's quite literally six more of her. (Leia goes through something similar, in that she only ever gets to let her hair down after a battle is won)

Thinking of the costumes in tcw for too long makes my blood boil so i won't linger too long, but the moment Padme takes off her wig to reveal long flowing hair underneath, implying that the short bob she wore for much of the show is also a wig, is incredibly important here. This is a girl who finally got one thing for herself. She got her summer fling turned secret marriage, the first thing in her life that isn't controlled by appearances. and the mask is starting to slip. she wants the freedom, she wants the dreamlike lakeside romance back. she's wearing a middle aged mom wig over her childish waist long curls.

The traditional, deeply ingrained in so many cultures in the world narrative of young girl with flowers in her loose hair, then braids, then cut short and/or covered with a scarf is entirely flipped here. We're introduced to her when she's barely a teenager, but already wearing the elaborate, heavy headgear of a medieval queen. Even when she's "undercover" as a handmaiden on Tatooine, her hair is up in tight, elaborate braids.

There are a lot of obvious east asian influences in her royal costumes, bordering on appropriation in some cases (like, frankly, the entirety of star wars) which I would not feel comfortable ignoring, but don't have nearly enough knowledge about them to properly explore their meaning and symbolism.

In aotc, she's 24, she's no longer a queen, but even when she's trying to act and look young, her hair is still pinned tightly up. Her gowns on coruscant are still elaborate and restrictive, but we start seeing her in more intimate situations, at home on Naboo, by the lake. (And she spends a good chunk of the last two movies in her pajamas)

I had originally written "she can quite literally only let her hair down around anakin" here, but on second thought, no. Not really. In the scenes I was thinking of, the scenes she's in a nightgown, her hair is loose and long, yes, but always in a half up half down situation. Even in her simplest nightgown, in the first ever pajama scene, the one in her apartment in aotc, a basic white chemise, without any of the capes and tiaras and lace we see on her other sleepwear, her hair is still pinned up.

She's at her most vulnerable, sleeping, literally acting as bait for an assasin, without any of her senatorial regalia to protect her, but her hair remains controled. (I could say something here about that being the scene where Anakin barges into her bed waving his lightsaber, but lets just keep things tasteful and move on.)

In rots is where we first see her hair actually loose for the first time, though it's still covered by the hood of the velvet gown. Her costumes become simpler, less decorative, to create a cohesive image with the entire galaxy becoming more drab and colorless as the war goes on, heading towards the fully grey hellscape of the original trilogy. And we see padme specifically in more intimate, personal situations, most of her screentime is at her home. She's growing up into her housewife role, but for her that means freedom. For her that means letting her hair down and sinking into the fantasy of running away to Naboo with Anakin and raising their 2.5 kids. But the first, and only time we truly see her with her hair fully loose and uncovered, is at her funeral.

another thing unworthy of a whole tangent here, is that corde dies with her hair falling apart, out of her updo. All the senatorial power that the costumes and the headdresses afford dissolves in death.

I could note here also that this is a weird way to emphasize the tragedy of a 27 year old woman dying in childbirth by associating her with youth. this is tragic regardless. the tragedy here is she never got to have that stage of her life. she never got to grow up, to be a mother. She remains, in anakin's memories, the 14 year old angel, the 24 year old rolling in the grass like a teenager, or rushing alongside him into battle without fear, and the wife in her sexy nightie waiting for him to come back from the war. In the galaxy's eyes however, she will always have been the strong queen, and the tragic martyr, taken before her time. Not a child soldier and a woman who died because she broke the rules and dared to fall in love.

Padme never gets the freedom of childhood. She only gets to let her hair down in death. Did she want it? Is it Naboo releasing her from her responsibility posthumously, or is is another denial of her freedom. She was a ruler when she should have been a girl, and she dies a child when she was ready to grow up.

#This isn't the 'there is no sex in sw' meta i mentioned this morning btw just another thing that has been languishing in my drafts #padme amidala #star wars meta #star wars costumes #star wars #mine.#id in alt

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blackraged · 9 months

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MORTAL KOMBAT 1 Thoughts Pt1.

[❌❌contains SPOILERS❌❌]

I've been waiting for this for such a long time and we finally got it. Now with MK1 being practically a full reboot, A LOT of changes are to follow. So here are my current thoughts in order how the story went:

Chapter 1

Kung Lao and Raiden being practically brothers is my fave thing in the world.

Half of the MK1 boys are full on babygirl and honestly? I love that for them. Except for Shang Tsung because that feels very much illegal.

That last scene with Madam Bo felt like a fcking fever dream.

WHAT DO YOU MEAN KUAI LIANG IS SCORPION? WHAT THE FCK DO YOU MEAN?? WHERE IS HANZO?? That feels very wrong. Only Hanzo is allowed to say "gET OVER HERE" that is HIS iconic line. I'm not sure if I like this change.

I KNEW the boys were pulling their punches. I KNEW IT. The entire fight felt so awkward and staged. For a short moment I legit thought NRS pushed down on their fighting animation.

Chapter 2

Sooo...Johnny is a failed Actor now? What happened to the glamour? That's not very Cage behavior.

Okay but I love love LOVED Liu Kang literally showing up in front at Johnny's Door all serious, and Johnny being Johnny.

What made NRS choose to paint Kenshi as a former Yakuza?? I mean the idea isn't too bad, because it would make sense for him to be searching for Sento to free his family. But I still prefer his revenge timeline more. Hell, even him being a cocky arse warrior trying to fight anyone and everyone made more sense.

Chapter 3

Idk why but I half expected Kano to show up in this chapter. The trailers made it look like he was at the Wu Shi academy

Liu Kang practically pathed the way for human Raiden to be champion and it shows. I'd like to think it's out of respect for former God Raiden from before, who practically raised Liu Kang and was a father figure to him.

General Shao is so fine, I can't. He was hot before, but now he's so....so..... y'know?

Liu Kang really wanted to give Kitana the loving Fam she deserved qwq

Everyone is so mean to Li Mei :(( I feel so bad for her

Reiko tho😳😳😳

Raiden has a cruuush~ Raiden has a cruuush~ unexpected but cute. I wonder what Liu Kang thinks about this.

Chapter 4

Johnny and Sonya are forever iconic...but Johnny and Kenshi? I didn't know I needed it until I had it. Their bickering is GOLD. They're so married.

Wealthy merchant Baraka???

Props to Quan Chis new look. He looks like a clown escaped asylum. Very uncanny.

Are they...are they trying to redeem Shang Tsung? No,that would be way too obvious. Plus that intro scene with Krusty Kronika makes it super sus.

Called it.

Chapter 5

KENSHIS BLINDFOLD WAS PART OF JOHNNYS ARMOR. Y'all NRS knew what they were doing. I am eating this up

I adore Reptiles human form. Very baby girl, very cute.

So if Tarkat is transmitted via physical contact, wouldn't that mean that the guys would have it too when they fought the prisoners in this chapter? You even see Johnny react in Chapter 4 to that fact when Baraka told them. Could it be that it's not infectious since they're clones/experiments?

So help me out here... Baraka is strong enough to rip the cages open that seem to be made of the same metal as their cell door, but failed to open that? Plot, I know, but c'mon.

REPTILE IS EVEN MORE BABY OMGGGGG. Pls let me hold him,, poor baby boy,, his sadness is literally tugging at my heart strings.

I love how honorable Baraka is. This is great character improvement. For a beast (visually) to be showing mercy. It's like he accepts who he is now but still holds onto that human (edenian) side of him.

Stopping here for tonight, but will continue tomorrow. So far it's going great but I have a hard time remembering which of some stories in this timeline are kept the same as from the previous timeline.

I'm still pleasantly overwhelmed by the amount if babygirls.

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sonobeunitsarecool · 4 months

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Super random

Went through the Milgram channel, watched... most of the videos again, trying to see if there were any tiny details I missed All I got was: Haruka - enough for a seperate post/theory, though I think someone's already gone over it? (psych ward theory) Futa - all the cans in Backdraft say "pressure", the graffiti is too hard for me to interpret for the most part. Though, the words in bubble text around the victim's witch icon reads "killcheroy", and there's the words "pazuzu" and... SaP? SkP? Does anyone know what all the other graffiti text says, I can only read the "pressure, pressure" ones. Mu - in After Pain, when you see the time on her phone, it reads 17:20. Why was she at school at 5:20? Shidou - looking at how he holds the scissors and knife in Throw Down, and how he opens the door and holds the "promise card" in Triage, I think he's left-handed? Mahiru - in Ai nan desu yo, the clothes she wears at one point have the caption "winter style", though many of the other pictures don't seem to have been taken in winter. She's also reading a lot, which fits with her literature degree. Kazui - near the end of half, he's shown with all his different costumes, without any masks. Kotoko - in Harrow, she looks at a sign/thinks about a sign with text that's partially cut off, but reads "at around ----- on this street... ----a traffic accident occurred... if ---- , please report to the police". She also thinks back to a news report showing the location and aftermath of an accident outside a house. Was she impacted by this? Random cipher translations (using assets from laniemae's archiving)

The text under the MW bit just says MARGLIM. The banner text says "lossitarelecste" on the top and "rutiro" on the bottom, or "et sceleratis sol oritur"/"light shines even upon the wicked".

The text reads "innocent sheep" on repeat. For the goat one, it reads "guilty goat" on repeat. Text above doors for T2 is "Lasciate ogne speranza, voi ch'intrate", or "abandon all hope, ye who enter here". The quote is from Dante's Inferno, the words written into the gate to hell. For the T1 key visuals, the text individual to each prisoner simply gives basic info. For example, Yuno's would be "Milgram second prisoner, eighteen age, five foot (something or other) point (something or other) height, female", with the others being in the same format. The wall behind the prisoners in Undercover just has "ft" and "ft in", for measurement. The backgrounds that look like this:

all read "every (s)aint has a past, and every sinner has a future." This is the same for some of the wallpapers, and whenever that kind of vertical text shows up (voice trailers and such). It's missing the "s" in "saint". Tags on the clothes and the tops of the cards from Undercover are all just their names. The prison jackets seem to repeat the text, "Milgram ---- prisoner (name)". The Undercover CD's cipher text just reads "Milgram prison guard Undercover Es. Es theme song CV Yurina Amami". Es's sashes read (backwards) "De omnibus dubitandum" and "Prison Officer". Are there any other ciphers that I've missed? Because I'd really like to try and translate those!

#milgram #milgram es #milgram cipher

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iz-rarepair-tournament · 26 days

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Click for larger image/higher quality!

But yes, it took a lot of fiddling graphic design is my passion but I managed to get a visual bracket made, but it's uhh not the best so I'll definitely explain it. I couldn't quite get the names to all fit in so I used icons instead, and basically, whatever line you see the icons sitting on is the line they go with. So as an example, at the top left, Tak/Tak's Ship go up against Purple/Membrane, and whoever wins that will go onto the line to the right, at which point they'll go up against Zim/Red. I think it'll become visually clearer once we get past the initial round, but I'm so sorry for this clutter, aa

This is seeded but I let a website choose the match-ups so if anything seems unfair, well. I'm sorry :')

Due to the weird number of pairs, we're gonna start off with a sort of preliminary round of just 6 polls for those pairs you see on the far left and right sides of the bracket. The winners of those polls will then go up against whoever they're matched to on the bracket, at which point we will have a huge round 1, then round 2, etc etc until we eventually arrive at a winner

The preliminary round will consist of:

Tak/Tak's Ship vs Tallest Purple/Professor Membrane

Professor Membrane/Mr. Dwicky vs Tak/Zib

Ms. Bitters/Countess von Verminstrasser vs Zib/Zimtwo

Sizz-Lorr/Mr. Dwicky vs Tallest Red/Announcer Irken

Professor Membrane/Tallest Miyuki vs Tallest Red/Professor Membrane

Jessica/Letty vs Zim/Professor Membrane

Following that, there will be polls for:

Zim/Tallest Red vs a winner from preliminary round

Tallest Miyuki/Tallest Spork vs Zim/Prisoner 777

Dib/Zib vs Gretchen/Zita

GIR/Mimi vs Gaz/Keef

Dib/Lard Nar vs a winner from preliminary round

Dib/Mr. Dwicky vs Dib/Skoodge

Dib/Gretchen vs Dib/Professor Membrane

Skoodge/Keef vs a winner from preliminary round

Dib/Keef vs a winner from preliminary round

Professor Membrane/Zim's Computer vs Zim/Tallest Purple

Dib/Torque Smackey vs Keef/Chammy Wamboo

Tak/Tenn vs Gaz/Gretchen

Tak/Skoodge vs a winner from preliminary round

Lard Nar/Prisoner 777 vs Bill/Count Cocofang

Dib/Gaz vs Dib/Tallest Purple

Dib/Tallest Red vs a winner from preliminary round

PHEW. Hope that clears it all up, sorry again for the trainwreck of a bracket but I wanted SOME kinda visual at least. And I'll update the bracket and likely keep it on the masterpost as time goes on. But yes, those are the ships.

Now give me some time to get the polls prepared and then I'll start posting them :D We'll do week-long polls for maximum engagement.

Fun fact, Dib has the most unique pairs in this tournament at 11 different pairs! (slaps his back) this bad boy can fit SO many rarepairs in him

#invader zim #iz #shipping polls #again if a ship you nominated didn't make it don't fret! I might do a quick and dirty bonus bracket of all those after this one #they will get their chance to fight <3

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konu-d · 9 days

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Sorry but I can’t help but stare at the way Edmond’s drawn in both of his sprites

Cause like, they absolutely could’ve gone the regular ol’ “is he man or a vampire” route considering that’s ALWAYS how Edmond Dantes has been portrayed in most media especially visual ones like in the movies or hell even the Gankutsuou anime, he’s always been shown as vampiric

And hey maybe there ARE vampiric references in him in his purple Count form esp with that one attack of him like, curling up in his cloack and dropping upside down and all that

But visually?? Like his face?? The hair the silhouette the vibes??? It’s so interesting

Komatsuzaki Rui has a very iconic artstyle lbr, everybody knows the Danganronpa artstyle, so I can’t even say things like “Oh the artist doesn’t know how to draw rugged characters” because they do! They do know how to draw rugged and buff or old or slender kinda vampiric lanky characters, but what did they do for Edmond Dantes? They gave him a baby face and slapped him in some green robes and a hat

“Behold, the most famous face for revenge storylines, the predecessor of Batman, the og reincarnates and takes revenge on those who wronged them manhwa” and they give us… young man? White hair anime pretty boy? (Let’s be real, he’s a pretty boy. The hair is a consequence of the artstyle but you can bet your ass that shit is soft and well-cared for, let’s be so fr.)

Just putting him next to any other Edmond Dantes in history will have you bamboozled because like… why? What was the idea here? Please Komatsuzaki-san, let me inside your head to see your thought process in designing this idiot who now has my brain in his iron grip

It’s… it’s the baby face that gets me, I think. The man is 33 when he busts out of prison, 19 when he was first thrown in and lbr we’ve seen what he looked like when he was 19,,, young,,, so full of hopes and dreams,,,, boy’s smile is so bright it could compete with the sun,,, ough,,,, I’d go to war for that smile

I don’t know why I’m so hung up about this!!! “Maybe they just wanted him to look visually distinct from every other Edmond in history Konu, it’s not that deep” IT IS TO ME!!! IT IS TO ME WHO HAS LEARNED NOT TO SQUANDER ANY ASPECT OF DESIGN AND KNOWS THERE HAS TO BE AT LEAST SOME FORM OF A REASON

He looks,,, so young. Early 20s at most. Handsome, absolutely, a bit of an acquired taste maybe

I just

I dunno man

I just wanna know what they were thinking when they designed this idiot

#fgo #edmond dantes #fgo edmond dantes

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gatheringbones · 8 months

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[“Mainstream feminism too often puts ‘police violence’ and ‘male violence against women’ into different conceptual categories – if, indeed, it considers police violence to be a topic of feminist concern at all. This is especially the case for the violence that is ‘normalised’ as part of policing: arrests, most obviously, but also violations such as intimate searches, and harassment such as stop-and-frisk. The result is that police violence gets left out of mainstream feminist anti-violence work. However, when we think of police violence not only as state violence but also (often) as male violence against women, the criminalisation of prostitution comes into focus in a new way: as a key driver of male violence against women.

The infrastructure of criminalisation saturates our political consciousness. It is the bobby on the beat, the jail on the Monopoly board, the crime-drama TV show (with its inevitable murdered prostitute), the car-chase footage on the news. In this saturation, such images are rendered mundane, sidelining questions of the legitimacy or purpose of these modes of control. As Angela Davis writes, the prison ‘is one of the most important features of our image environment’, yet it

functions ideologically as an abstract site into which undesirables are deposited, relieving us of the responsibility of thinking about the real issues afflicting those communities from which prisoners are drawn in such disproportionate numbers. This is the ideological work that the prison performs – it relieves us of the responsibility of seriously engaging with the problems of our society, especially those produced by racism and, increasingly, global capitalism.

Theorist Beth Richie uses the term prison nation to mean a ‘broad notion of using the arm of the law to control people, especially disadvantaged people and people from disadvantaged communities’. Her term encompasses not only the physical infrastructure of prisons and jails, but also ‘surveillance, policing, detention, probation, harsh restrictions on child guardianship … and other strategies of isolation and disposal’.

Perhaps the key trick of the prison nation is ‘now you see it, now you don’t’. Prison vanishes people; criminalisation renders those same people hyper-visible. The deeply racialised, anti-Black figure of the Pimp looms large as the perpetrator of ‘slavery’ – while the prison system itself, one of the key material legacies of chattel slavery in the Americas, is filled with ever more Black inmates.

Through the intensifying militarisation of police departments, there is a direct link between the foreign wars at the frontiers of the contemporary American empire and the hyper-carceral state at home. As the New Yorker reports, since the 1990s, ‘local governments have received approximately thirty-four billion dollars in grants from the Department of Homeland Security to buy their own military equipment … That brings the total [spent by American police departments on military equipment] to thirty-nine billion dollars – more than the entire defense budget of Germany.’ The same trend is visible even in the histories of policing; early-twentieth-century American policing drew on the US Army’s experience imposing brutal colonial rule in the Philippines, just as UK policing explicitly drew on tactics developed by the British Army in subduing colonised populations.

Communities feel the police are an occupying army; the police feel themselves to be an occupying army, and the police respond to the people they encounter with the hostility that engenders. Some of the most powerful photography emerging from the ongoing fight for Black lives in the US speaks to the visual dimension of this: an iconic photograph taken in Baton Rouge, Louisiana, shows Ieshia Evans, a young Black woman in a summer dress, calmly facing down two oncoming police officers in full body-armour. Meanwhile, the overlapping military and prison industrial complexes drain hundreds of billions of dollars from the American public purse, outfitting the police who rushed Ieshia in futuristic ‘protective’ armour – alongside cuts to Social Security, healthcare, and education, and catastrophic divestment from Black communities.”]

molly smith, juno mac, from revolting prostitutes: the fight for sex workers’ rights, 2018

#molly smith #juno mac #currently reading #history stuff #cw racism

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