Emre is everything

Britt. Emre enthusiast.

[thebelchers]

Bob’s Burgers, Christmas in the Car (S04E08)

[milf-zone]

This is a good time to remember that any of your friends/family that get annoyed or defensive when you bring up racism (specifically against black Americans) are racist.

There's really no gray area. They're fucking racist

[unexplained-events]

Another thing to remember is that if you don’t speak out against the dehumanization and killing of black people, not only are you racist, but you are complicit. 

[givemearmstopraywith]

BAIL FUNDS FOR PROTESTERS

ATLANTA

LOUISVILLE

HOUSTON

BROOKLYN

please reblog if you have links for bail funds in other cities or other resources!

[rumman]

OMAHA

DALLAS

RICHMOND

BALTIMORE

CHARLOTTE

DETROIT/and here

OAKLAND/SAN JOSE

NATIONAL BAIL FUND DIRECTORY

[verifiedaccount]

Here’s a spreadsheet of links for bail and organizing funds by state and city put together by @emmaholland_ on twitter

[rapeculturerealities]

How to Safely and Ethically Film Police Misconduct

Know your rights.

While people are inclined to whip out their phones and film when they see something alarming happening, those videos are not always recorded in a way that can be used as evidence in a legal proceeding or to support advocacy tactics.

At the human rights organization WITNESS, where I work as the senior U.S. program coordinator, we’ve learned that video has a greater chance of making an impact when it’s filmed ethically and strategically, and released in coordination with advocacy and legal efforts. Using the camera in your pocket can be a valuable way to ensure the world bears witness to abusive policing and systemic racism, help hold authorities accountable, and advocate for the real safety of our communities.

[flowerytale]

Franz Kafka, from a letter to Felice Bauer (March 31, 1913)

[closet-keys]

Thoughts on Parasite. Lots of spoilers. (stream of consciousness, in no particular order, not building to anything) 

Symbolism & Plans Vs Food & Survival. This was such an interesting motif through the film. At the start, one of your protagonists is gifted that rock, and the mother comments that a better gift would have been food. Then later, the mother and sister are planning to make a peace offering to the other poor family by way of bringing down food, but they are interrupted. Instead, the boy decides to bring down the rock. Him bringing the rock instead of food was the ultimate mistake. The rock symbolizes the idea and plan of class mobility, but in the face of someone struggling for survival, it’s nothing but a taunting of someone’s place. What does an encouragement towards aspirational wealth even look like to someone who has lost literally everything? It’s no surprise the rock was used attempt to kill him. The protagonist family began in the first half of the film with lots of plans, trying to get their sliver of upward mobility via everyone getting jobs. At the end, the son is still planning, aspiring to one day save enough money to buy the house, to release his dad from this prison by elevating themselves within capitalism. But the final shot and the lyrics to the ending song reveal the truth: it will never happen. They cannot escape capitalism, they cannot escape poverty, they will never be upwardly mobile. All they can do is survive, and not all of them can.

Fetishization of Poverty- Revulsion & Arousal For a movie with no explicit sexual violence or rape, this movie surprised me in its dealing with the violence of fetishization. The way that the rich couple fetishized poverty was handled so disturbingly well. Their revulsion at the poor woman’s underwear, the idea of drugs, and the smell of the subway– all of it was simultaneously erotic to them. When we see them having sex, they begin to be aroused at smelling the poor family, the husband says he would get off on the wife wearing the poor woman’s underwear they found in the car, and the wife begins roleplay saying “buy me drugs! buy me drugs!” in her imitation of poverty. Their disgust at poverty in their everyday lives manifests in ruthlessly firing people for these things, while at the same time becoming the taboo backdrop to their sexuality. The violence of oppression becomes fetishized because sexual violence is about power, and therefore even power effectively hidden from their conscious minds by the system of capitalism still emerges through fetishistic violence.

The Intimacy Line Poor people know all sorts of intimate details of rich people’s lives, but never the reverse. This is one of the realities of class society, but it is made so completely explicit in this movie, and especially the scene where the rich parents are having sex literally right next to the poor family who is hiding under the table. To manage everything, workers must know all kinds of things about their boss’s lives, especially as domestic workers. But the wealthy have literally no idea what daily life is for those that perform the labor that enables their existence.

Skilled Labor Something I appreciated was that the film really demonstrated how workers need to simultaneously have two skill-sets: the skill-set for the job itself, and the skill-set to appear palatable enough to the rich to get a chance to perform the job. While the beginning of the film shows the family as con-artists to some extent, it also shows each of them (especially the parents) being genuinely competent at their work. Them having to work so hard to convince the rich family to hire them isn’t there to show they are impostors who shouldn’t be hired, but to demonstrate that for the working class, labor for a job starts long before even the interview. Survivor’s Guilt During the first half of the film, the protagonist father mentions how grateful he is that they’re all finding work because everywhere else there are 500 people applying for each individual job. At the center of the movie, there is a moment when the family’s on the couch in the mansion where the father expresses guilt over the firing of the other driver. The family reassures him that the man probably found other work (but both they and the audience knows he almost certainly didn’t, especially after being fired). This tension is brought to the surface and broken by the daughter who tells her dad to forget other people and to just focus on his own family. This film really demonstrates the trauma of the way a system where 500 people apply for one job structurally makes the survival of one the death of 499. In this system, if you survive, you must either hold the weight of survivor’s guilt or completely psychologically disconnect with other workers and with their humanity. What does it mean to be made to feel your own survival is immoral? What does it mean to feel that you must dehumanize people just like you to survive? What does that do to you? To Be A Parasite While I appreciate all the wonderful and insightful analysis of the film that highlights the rich family as being the parasites, living off the exploitation of the poor class, something that struck me in watching the film was how deeply critical the film was of the idea of parasitism, of that framework. This film, to me, didn’t ask “who is the parasite?” but instead “what does it mean to be a parasite? what does it mean to be trapped in a system where you must risk your life to feed off others? what does it mean to have to hide from the light? what does it mean to have your very survival be distasteful, your existence be deemed unsanitary and disgusting? what does it mean to be exterminated?” These questions to me are so central to this bone-deep analysis of oppression. In the start of the film, the main poor family is literally sitting in extermination fumes, and by the end of the film, we see poverty as something the rich are scared will run from their walls into the light, something they want to kill to maintain their symbolic cleanliness. The rich father holding his nose in disgust while reaching past a dying girl for his car keys is the pinnacle of this dehumanization in the film.

[salemwitchtrials-deactivated202]

a list of my favourite 2019 reads (in no particular order)

‘view with a grain of sand: selected poems,’ wisława szymborska

‘the complete collected poems of maya angelou’

‘art objects,’ jeanette winterson

‘by grand central station i sat down and wept,’ elizabeth smart 

‘seam,’ tarfia faizullah 

‘play it as it lays,’ joan didion

‘war of the foxes,’ richard siken

‘midwinter day,’ bernadette mayer

‘in the pines,’ alice notley

‘death is not an option,’ suzanne rivecca 

‘the dead and the living,’ sharon olds

‘the melancholy of anatomy,’ shelley jackson

‘edinburgh,’ alexander chee

‘the woman destroyed,’ simone de beauvoir 

‘monster: poems,’ robin morgan

‘how we became human,’ joy harjo

‘ayiti,’ roxane gay 

‘our andromeda,’ brenda shaughnessy

‘second childhood,’ fanny howe

‘the lady in the looking glass,’ virginia woolf

‘the journals of joyce carol oates’

‘mathilda,’ mary shelley

‘flame & shadow,’ sara teasdale

‘go tell it on the mountain,’ james baldwin

‘stag’s leap,’ sharon olds

‘hyperdream,’ hélène cixous

‘devotions,’ mary oliver

‘the center cannot hold,’ elyn r. saks

‘sexing the cherry,’ jeanette winterson

‘the bloody chamber,’ angela carter

‘on earth we’re briefly gorgeous,’ ocean vuong

‘flesh wounds,’ virginia l. blum

‘the journals of joyce carol oates’

‘selected poems of frank o’hara’

‘the dream of a common language,’ adrienne rich

‘on beauty,’ zadie smith

‘the four chambered heart,’ anaïs nin

‘gravity and grace,’ simone weil

‘selected poems of anna akhmatova’

‘collected poems of t.s. eliot’

‘decreation,’ anne carson

‘collected works of susan sontag’

‘collected works of virginia woolf’

‘the woman destroyed,’ simone de beauvoir 

‘garments against women,’ anne boyer

‘the love of a good woman,’ alice munro

‘her body and other parties,’ carmen maria machado

‘the hour of the star,’ clarice lispector

‘good bones,’ margaret atwood

‘collected poems of sylvia plath’

‘selected works of joan didion’

‘devotion,’ patti smith

‘veil and burn,’ laurie clements lambeth

‘grief lessons,’ anne carson

‘the collected poems of audre lorde’

‘erosion,’ jorie graham

‘the empathy exams,’ leslie jamison

‘the beauty myth,’ naomi wolf

‘selected works of sarah kane’

‘waiting,’ marya hornbacher

‘sane,’ marya hornbacher

‘stigmata,’ hélène cixous

‘a field guide to getting lost,’ rebecca solnit

‘keith haring journals’

‘written on the body,’ jeanette winterson

‘night sky with exit wounds,’ ocean vuong

‘crush,’ richard siken

‘haruko / love poems,’ june jordan

‘bluets,’ maggie nelson

‘the collected poems of lucille clifton’ 

‘complete poems of mariannne moore’

‘poems and prose,’ christina rossetti

‘the gentrification of the mind,’ sarah schulman 

‘power politics,’ margaret atwood

‘a girl is a half-formed thing,’ eimear mcbride

‘one secret thing,’ sharon olds

‘the silent woman,’ janet malcom

‘the white book,’ han kang

‘braiding sweetgrass,’ robin wall kimmerer

‘not vanishing,’ chrystos

‘sinners welcome,’ mary karr

‘cat’s eye,’ margaret atwood

‘zami / sister outsider / undersong,’ audre lorde

‘sula,’ toni morrison 

‘we sinful women,’ rukhsana ahmed

‘the house on mango street,’ sandra cisneros 

‘blood and guts in highschool,’ kathy acker

‘unbearable weight,’ susan bordo

‘rhapsody in plain yellow,’ marilyn chin

‘the hunger moon,’ marge piercy 

‘trash,’ dorothy allison 

‘the cocktail party,’ t.s. eliot

‘love lessons,’ alda merini

‘selected poems of marina tsvetaeva’

‘disorder,’ vanesha pravin

‘a strangers mirror,’ marilyn hacker

‘human acts,’ han kang

‘dearest creature,’ amy gerstler

‘when my brother was an aztec,’ natalie diaz

‘second childhood,’ fanny howe

‘when the ghosts come ashore,’ jacqui germain

[pettycentral]

[kiwimidnight]

[thebelchers]

Bob’s Burgers, The Horse Rider-er (S06E17)

[theambassadorposts]

Stay safe, my friends! I am always scared of people coming knocking

Prepare. Visit http://WeHaveRights.US to learn how to handle this & other ICE encounters in multiple languages.

[beepbeepbeepbeep-deactivated202]

It’s canon now, she said so

[thatsbelievable]

Reminder

Somewhere out there is a person with your name, except it’s spelled with a “y” and they just can’t figure out why you don’t spell your name right.

[canibewhatyoulike]

Dancing queen! Years did that!

[aoife136]

Olly Alexander by Steven Lüdtke

[aoife136]

Olly Alexander by Steven Lüdtke

[aoife136]

Olly Alexander by Steven Lüdtke