Claire Keane
Jules of Nature
Alisa U Zemlji Chuda
2025 on Tumblr: Trends That Defined the Year
occasionally subtle

tannertan36
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roma★
wallacepolsom

JVL

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Origami Around

titsay
Peter Solarz
Game of Thrones Daily
i don't do bad sauce passes
AnasAbdin

Love Begins
cherry valley forever

❣ Chile in a Photography ❣

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@arbitrarye
Women are socialised to put up with so much shit from men in their lives.
I’ve lost count of the times my female friends, often feminists,have posted articles about sexual assault or harassment, or women’s issues generally - and Some Guy comes in and is utterly rude, condescending and intentionally out to upset them whilst not stepping over into outright abuse.
Numerous times I’ve gone to bat for these women or messaged them privately and their answer is always “Thank you for sticking up for me, but he’s a lovely guy really and I’m just going to let it blow over” or “He’s a friend, he’s just trying to wind me up”.
A friend doesn’t condescend, dismiss and provoke you into emotional reactions. A friend doesn’t dismiss your experiences as a woman. A friend isn’t a friend if you know he will belittle you and upset you when you try to speak up, and you just have to put up with it or roll over.
These men are NOT YOUR FRIENDS.
The entire point of the right-wing and conservative political project is to legitimize hierarchy. They are willing to use any method to do it, and that is why they are supposedly so fraught with contradiction. But they are only contradictions if you take them at their word. Every right-wing position makes perfect sense if you realize that their entire reason for existing is to legitimize or re-legitimize hierarchical relationships of power.
Conservatives hate the government when it undermines market or wealth hierarchies. Conservatives love the government when it upholds racial or cultural hierarchies (or wealth and market hierarchies). Conservatives hate so-called “politically correct” language when it undermines cultural or racial hierarchies. They love “politically correct” enforcement when it upholds them.
So there really is no contradiction. Conservatism loves deference to authority and unequal relationships of power, and they will use whatever method they can to legitimize or re-legitimize them.
This goes for femininity, too.
Feminists tell women that they have to be ashamed of being feminine and encourage them to be more like men (although they’d never, ever phrase it that way)…and then denounce men as being evil and masculinity as toxic. Men aren’t allowed to be men. Only women are allowed to be men. And because all women have to be men, women can’t be women.
It’s OK to be “manly.” It’s OK to be “girly.” Don’t let a bunch of bitter, hateful, toxic people tell you otherwise. They’re not trying to “liberate” you. They’re trying to control you.
Pray tell why you would need to use scare quotes around “manly” and “girly”? Is everyone really this confused about what gender is that they cannot even define any terms surrounding it??
People have personalities and they really don’t have to do with someone’s sex. Gender is actually psychologically instilled by environment (society) from a VERY young age. A VERY young age. You do not have the memory of learning much of it, but actually we all did learn it. This is why “masculinity” means something COMPLETELY DIFFERENT to men depending on their geopolitical location. Masculinity means some completely different thing to a Chinese guy living in Beijing than it does to an American guy in Portland who grew up with Catholic parents than it does to a devout Muslim dude in Tehran.
So like, people you need to define your terms. What are you defending? Cause in the systems of our society, masculinity usually symbolizes aggression and domination, while femininity signifies deference and submission. Neither of those things are good! Both are violent!!
Pity the conservative film critic. Suffering through so many juvenile, raunchy flicks and mindless blockbusters. Why even the great films are marred. No mat
Pity the conservative film critic. Suffering through so many juvenile, raunchy flicks and mindless blockbusters. Why even the great films are marred. No matter how extraordinary the film, something comes along to spoil it. Something…politically correct.
Maybe it’s the villain, an evil giant multinational corporation dumping oceans of toxins into the local river, which also happens to be the town’s water supply.
Maybe it’s Mr. Potter’s bank threatening to foreclose on the old homestead.
Typical liberal pablum, snarls the conservative critic. All corporations are evil. Banks are foreclosing on everybody’s sick grandma’s farm.
It hardly matters that socially conscious films like A Civil Action, North Country, Norma Rae, Silkwood and Erin Brockovich are extraordinarily entertaining films with Oscar-level direction and performances. What matters to the conservative film critic is that they are mere whored-up vehicles for socialist propaganda. And only he (and it’s always a he) is wise enough to see it.
Whatever would American film audiences have done without the conservative film critic to enlighten them as to the “awfulness” of Jordan Peele’s Get Out? The film boasted a perfect 100 score from critics on the movie review aggregator Rotten Tomatoes. That is until National Review’s Armond White reviewed the film. Where other critics saw the “satirical horror movie we’ve been waiting for, a mash-up of Guess Who’s Coming to Dinner? and The Stepford Wives that’s more fun than either and more illuminating, too,” Armand, who is African American, saw a film—which he dubbed “Get Whitey”—that was “tailored to please the liberal status quo.”
The Chicago Reader’s J.R. Jones must have been watching another horror-comedy called Get Out, because he saw a brilliant film “that sticks closely to genre convention even as its ribbing of white liberals hardens into a social point.”
Selma was another film with a 99 percent rating on Rotten Tomatoes whose perfect score was spoiled by a critic from a conservative publication, this time Nigel Andrews of the Financial Times. Andrews, unlike every other reviewer, panned Selma as “a dead-as-a-plank re-enactment of a pietised ‘then’: a 50-year-old battle of ideals between Good Guys (MLK, LBJ in civil rights reform mode) and Bad Guys (Governor Wallace, keeping the Alabama hate fires burning) that seems exactly that: 50 years.”
Unsurprisingly, National Review’s White similarly hated the film (though he loved that jingoistic homage to endless war American Sniper). White called Selma “a mediocre and disingenuous film” and criticized the movie for “rubbing soft spots” and “sore spots” (i.e., depicting the murders of black children and white allies) instead of “making meaning.” (“Soft spot” is certainly a strange way to describe the murder of four black girls by a white supremacist.)
Until recently there was a paucity of films starring, written by or directed by African Americans. Blacks largely played the role of thugs or servants. As the role of blacks in Hollywood has slowly begun to broaden it has presented a unique problem for conservative magazines. How to criticize socially conscious African American films without sounding blatantly racist?
National Review seems to have hit on a successful solution when it hired Armond White. As an African American, White can freely trash socially conscious, historical “black films” like Selma and Twelve Years a Slave with little fear of a racial backlash. White can say things that white conservative critics are thinking, that they would have easily spouted twenty years ago, but dare not say in public today. And he says a lot of such things. For instance: “Who can forget the throwback image of British director Steve McQueen jumping Jim Crow at this year’s Oscars?”
Then there was White’s depiction of the 1963 Birmingham church bombing that killed four African American girls as “one of The Movement’s Greatest Hits.”
Not to mention his constant dog whistles that Hollywood Jews control the media’s image of black people.
When Twelve Years a Slave (Academy Award: Best Picture) came out National Review cautiously asked scholar Thomas Hibbs to review the film. Hibbs turned in a thoughtful piece which lauded the film. The editors tried again. In the print edition, conservative New York Times’ columnist Ross Douthat reviewed the film. Again, a positive review.
Soon after that, National Review hired White. He had dismissed Twelve Years a Slave in CityArts writing that it “belongs to the torture porn genre with ‘Hostel,’ ‘The Human Centipede’ and the ‘Saw’ franchise.”
Wrote White:
These tortures might satisfy the resentment some Black people feel about slave stories (“It makes me angry”), further aggravating their sense of helplessness, grievance–and martyrdom. It’s the flipside of the aberrant warmth some Blacks claim in response to the superficial uplift of ‘The Help’ and ‘The Butler.’ And the perversion continues among those whites and non-Blacks who need a shock fest like ‘12 Years a Slave’ to rouse them from complacency with American racism and American history. But, as with ‘The Exorcist,’ there is no victory in filmmaking this merciless. The fact that McQueen’s harshness was trending among Festivalgoers (in Toronto, Telluride and New York) suggests that denial still obscures the history of slavery: Northup’s travail merely make it possible for some viewers to feel good about feeling bad (as wags complained about Spielberg’s ‘Schindler’s List’ as an ‘official’ Holocaust movie–which very few people went to see twice). McQueen’s fraudulence further accustoms moviegoers to violence and brutality.
Just the thing National Review was looking for. A black reviewer who could spout highfaluting hokum for its racist white audience.
White was immediately given a chance to write about the film. He went profoundly negative calling the film “decidedly unpleasant (and unpopular).” It was “awarded (Best Picture) purely to make the Academy feel good about itself as a defense against Hollywood’s standard segregated practices.” It “distorted the history of slavery while encouraging and continuing Hollywood’s malign neglect of slavery’s contemporary impact.”
Conservative film criticism is so easy any conservative can do it. Simply choose a film with a social justice theme (say, family farmers versus the bank), then ignore everything else about the film. National Review critic Kevin Williamson carried this off spectacularly when he was tasked with reviewing Hell and High Water. Again, the film garnered overwhelmingly glowing reviews, including a 96 top critics score on Rotten Tomatoes.
Hell and High Water, which pitted two rural everymen versus The Bank, seemed to resonate with everyone: snobby film critics and conservatism’s base in the boonies. One might think that in this day and age when conservatism’s base is rabidly anti-Wall Street, a conservative film critic would go ga-ga over Hell and High Water.
Wrong.
“[M]an, is this movie stupid,” wrote Williamson. Who then spends 700 words nitpicking ways other than bank robbery that the heroes could have raised enough money to save the family homestead. Like asking for a loan.
Conservative critics often seem unable to comprehend the basics of theme or characterization. One tried-and-true theme is that of the underdog battling some powerful entity–for example, the family farmers in Places of the Heart taking on The Bank, or the spunky legal assistant battling the giant chemical corporation poisoning a small town in Erin Brockovich. Conservatives would have us turn these themes on their head, so that we would root for the poor beleaguered chemical company that was only trying to maximize shareholder value like any true blue American company is expected to do.
Williamson offers an alternative movie pitch: Two brothers walk into a financial institution with an oil-lease document and say, “Hello, there, Mr. Banker! I’m about to have a passive income of $600,000 a year and would like a $40,000 loan to pay off the lien on my property until that first monthly check comes in. Would you like to be my banker?”
Perhaps this is why there are few conservative screenwriters in Hollywood. They think a man with a line of equity walking into a bank and getting a loan would make riveting drama.
This is not say conservative film critics hate every film. They love most Clint Eastwood movies. They love the Left Behind series. Not long ago National Review put out its own list of “greatest conservative films.” Among them, the amateurish B-movie Red Dawn, about the Soviet Union invading the US. Many of the films on the list have nothing to do with conservatism. A Simple Plan? It is hard to see what conservatives like about a greedy guy getting away with countless murders–unless they simply have a hard on for greedy guys. Braveheart? Why because of Mel “fucking Jews” Gibson? Team America: World Police. Conservatives don’t seem to realize this film was satire. Ghostbusters? Groundhog Day? Okay, fun films, but they are about as conservative as Bernie Sanders and far from the greatest anything.
It’s not all doom and gloom for the conservative film critic. Clint Eastwood still has a few movies left in him before he shuffles muttering and drooling into the sunset. As does Mel Gibson. And now that Steven Bannon has vacated the West Wing we will likely be treated to more documentaries about Hillary Clinton and Sarah Palin. But in the end it’s more fun to pan a great film than to praise a mediocre one. Besides, the base doesn’t tune into FOX News and Rush Limbaugh for good news or good reviews. It tunes in to feel angry. That’s why it reads conservative film reviews that begin “Man, is this movie stupid.”
They get off on it.
but also right tarantino’s movies are all movies-about-movies and so what I think inglorious basterds is really about is how the contemporary american understanding of wwii has been shaped by movies like casablanca, bridge on the river kwai, the thin red line, the dirty dozen, the great escape, saving private ryan, schindler’s list & every movie steven spielberg has ever made, star wars, etc. that wwii has come to be a placeholder in hollywood for universal stories of good versus evil, and nazis have become a type of movie monster alongside vampires and serial killers. and in general americans tend to think of wwii very differently from europeans bc it affected us so differently; I think in general americans (at least non-jewish americans) tend to see wwii as a triumph of good over evil rather than a catastrophically destructive historical event. idk part of me is into the Punch A Nazi meme but part of me wonders how much it’s a product of genuine fear and anger at the current rise of fascist ideologies in the west and how much it’s an expression of a generation of kids raised on movies that have taught us to see wwii as a kind of american individualist superhero-versus-supervillain narrative rather than a complex and historically specific event.
idk shit about Star Wars cuz I’m not a nerd but this is literally the most pathetic backstory they could’ve possibly given him. Like if you want someone to feel sympathy for the major villain in your series…maybe go more in depth than “my stupid parents cared more about saving millions of people instead of me :((( they have to DIE now”
i’m not gonna finish reading this post because nothing it could possibly say is going to top this analogy
what u think making a dnd party is like: character sheets, backstory discussion, serious planning
what making a dnd party is actually like:
In 2012, Louis C.K. appeared on “The Daily Show” and said that “comedians and feminists are natural enemies” because “feminists can’t take a joke.” Jon Stewart nodded vigorously and agreed. Today, Stewart is being fawned over for acknowledging, in response to Louis C.K.’s fall, that “comedy on its best day is not a great environment for women.” A friend, the comedian Zahra Noorbakhsh, texted me: Ten years from now a man will win awards for his documentary about all this. If you believe us now only because your peers are facing professional ruin, that deserves its own reckoning. I’ll wait.
Why Men Aren’t Funny - The New York Times (via brutereason)
Just a little reminder (because aparently this is necessary again) that if your mockery of nazis involves mocking their body size, income level, virginity, kinks, genital size, lack of masculinity, living with their parents, etc. You are hurting comrades with the same body size etc. and I will block your pathetic ass.
Loooool “don’t kinkshame nazis!” “Don’t insult the masculinity of nazis bc it’ll make other men feel bad about their masculinity!!!” oh my fucking goooooood this is goofy anarchists are the most
DONT KINKSHAME HITLER lol..why are yall so fucking embarrassing on here.
What have we become
My defense of violent resistance to literal Nazis (the increasingly trope-like “punch a Nazi in the face” line) has hinged on the idea that it is possible for this response to be specific to Nazis – that it is a specific response to specific circumstances and not a template for a universal response to all political conflict. This, of course, was naive. What we see happening instead is what was inevitable: an emboldened body of largely white males declaring any opponent to be “no better than fash” and therefore deserving of violence. What has always been true remains true: when men espouse violence, no matter how seemingly righteous, women are always the first to lose.
I made a post a few months back saying that punch a nazi would inevitably lead to men punching “feminazis”. Libfems made fun of me, said I was okay with nazis. Not true, I just know how men work.
concept: an austen-inspired tabletop rpg where there are five classes
single man in possession of a large fortune who is in want of a wife
young woman with low connections who must marry so that she can secure her future
cad whose main goal is to convince someone to elope with him
wealthy, scheming woman whose goal is to ruin the happiness of the aforementioned young woman
tiresome & vulgar elderly busybody (can be either a man or a woman)
I’m gonna split this out a little farther, because I feel like we’re blurring the lines between classes and stats. First you should pick your Austen class:
Bachelor/Bachelorette
Cad / Floozy
Husband/Wife
Matriarch/Patriarch
Busybody
Then you roll for your stats across the 6 basic Abilities:
Money
Intelligence
Connections
Manners
Looks
Snark
PbtA(usten)
Like, the whole Ted Cruz getting caught liking porn on twitter thing is hilarious to some people (and in a you-got-caught-being-hypocritical way it’s sort of funny to me as well) but the only thing I can think of is how porn-saturated our culture is now. The majority of top tweets aren’t condemning this. No one is saying how gross this makes him. The main reaction I’m seeing is people laughing with him, not really at him. Like in an “oh man I’ve been there” kind of way. And it really really grosses me out thinking that these are the type of men who watch pornography- the ones that write our laws and govern our country. Even if it was an intern or something that did it, it doesn’t change the fact that there are tons of male politicians that DO watch porn all the time. There’s no reason to assume that’s it’s tame vanilla stuff either when the vast majority of porn today is degrading, humiliating, and misogynistic. Men who jack off to exploited women make laws restricting women’s bodily autonomy. This shouldn’t be funny, this should be a wake up call.
“Men who jack off to exploited women make laws restricting women’s bodily autonomy.” It goes hand in hand.
Posted for all you “support ethical porn and make it safer” types. The sex industry doesn’t want your reform ideas.
someone in the reblogs on this is essentially saying the “real” reason people want this law taken down is because the rising popularity of porn featuring 18-20 year olds and this way they can cast 21+ and have it be easier to pretend and if you don’t think that’s a load of bullshit/still extremely problematic as hell you’ve got blinders on
The idea of “we want to be able to let people pretend they’re watching younger people” is disgusting and enables various horrific sexual fetishes. Let’s all stop pretending the rising popularity conveniently ends at 18. Let’s be honest, it’s younger than that and when the porn industry has to admit “hey this person is actually 22″ it may ruin the illusion but we all know the real problem is they know if they don’t have to keep records of ages they can “accidentally” have younger and younger “models”