"I'm Dorothy Gale from Kansas"
DEAR READER
★
KIROKAZE
macklin celebrini has autism
Cosmic Funnies
hello vonnie
blake kathryn
tumblr dot com
Jules of Nature
Peter Solarz
RMH
occasionally subtle
NASA
JVL
cherry valley forever
Product Placement
Lint Roller? I Barely Know Her
roma★
taylor price
seen from United States
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@charlyslibrary
Guilty of buying a notebook and claiming it will change my life, make me more organised, I’ll write a novel inside it, I will keep a daily journal. Reality is I will get too nervous to taint the pages with my poor handwriting
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I really can and will blame the 9-5 for everything. "We're in a loneliness epidemic" well, we have to spend a third of our day interacting with people in a professional way that makes forming real friendships difficult and then we're peopled out by the time we're done. "People are eating more and more unhealthily" people have to spend more than a third of their day doing work related tasks and they don't want to spend their tiny amount of free time making food. "People aren't involved in their local communities" after spending more than a third of their day doing work related things people are tired and also all those community events take place during normal working hours. "People need to get more hobbies" after spending more than a third of their day working, people are TIRED and don't want to do anything that takes yet more energy. "Literacy is dying" to maintain your critical thinking skills you need to read/watch things that make you think and after spending more than a third of your day doing work related stuff you are TIRED and don't want to expend even more brainnpower. "People need to get outside more" People. Are. TIRED. Because they have to spend all of their time working or preparing for work or recovering from work or doing all the chores they couldn't stay on top of because of work. I can blame fucking anything on having to work, it is truly the root of all fucking evil.
Hey OP, love your scalding take here; don't forget about commutes.
Once you factor in commute times (which even for short distances can be grotesquely inflated due to the fact that so many people are all commuting at the same time, but that's a different conversation) many people are actually devoting upwards of 10-12 hours a day on "work related tasks."
Big Guy and Rusty (and Masculinity and the American Myth)
I've been watching/listening to Big Guy and Rusty while I'm working lately and wanted to share some thoughts.
Rusty is a next-generation robot powered by genuine artificial intelligence, built to behave like a human child, while his partner, the Big Guy, is believed by Rusty and the public to be an advanced AI as well. In reality, the Big Guy is piloted by a human named Dwayne Hunter, whose role and identity is kept a secret.
Rusty's inventor, Dr. Slate, believes that the reality of Big Guy would break Rusty, so Dwayne has to hide it. A lot of the show's tension comes from that secret. Dwayne has to maintain the illusion of the perfect mechanical hero for Rusty's sake and public faith. He performs strength, certainty, and competence through the Big Guy persona, an idealized masculine self that can't falter or feel.
This also means that, although Dwayne and Dr. Slate are Rusty's parental figures, Dwayne is shut out from having a closer relationship with Rusty. Dr. Slate, as the maternal figure, can build an authentic emotional relationship with Rusty. She's allowed tenderness and empathy. Dwayne's role demands emotional invisibility.
I think some of this is about the small fictions that sustain childhood. Parents often uphold comforting illusions so that children can feel safe enough to grow. As Terry Pratchett wrote in Hogfather, "Humans need fantasy to be human... to be the place where the falling angel meets the rising ape." In the same way, Rusty needs to believe in the fantasy of the Big Guy in order to become the kind of hero who can defend humanity... or symbolically uphold the American ideal.
Dwayne's predicament is an allegory for American masculinity under late capitalism and the military-industrial complex. Men like Dwayne are valued for their utility (their reliability, strength, and silence), not for their humanity. He's the ideological expectation placed on all men in a system that glorifies control and punishes vulnerability.
The show situates Rusty's coming-of-age within a world steeped in propaganda and corporate militarism. The two most powerful institutions are the US Military and Quark Industries, a weapons manufacturer that created Rusty. The future of America depends on this uneasy reliance, a reflection of the real-world military-industrial complex. Quark's CEO is cowardly and greedy, but his resources are indispensable. The message seems to be that, despite the corruption, the system must be believed in order for civilization to survive.
The Big Guy himself is pure propaganda. He spouts phrases like "Sweet Betsy Ross!" and embodies patriotic virtue to a degree that verges on parody. The audience knows he's a lie, but the show's moral logic insists that accepting the lie is the only way to protect humanity.
Rusty's childlike devotion to Big Guy mirrors how citizens are encouraged to trust national myths, and to believe the machine of power is benevolent and selfless.
In "Patriot Games", for example, the Big Guy is sent back in time and accidentally helps the British win the Revolutionary War. In the altered timeline, America never exists, and Earth is conquered by alien invaders. The message seems clear: without the American myth, humanity is doomed. But the irony is that in both timelines America is under invasion, either by literal aliens or colonial powers.
In this way the show unconsciously reproduces the imperial logic its critiquing: only the right kind of domination (American rather than British) can preserve freedom. The alien invasion becomes a metaphor for foreign tyranny, but the show doesn't interrogate how America itself functions as a colonizing force. The aliens merely replace the "others" of cold war and post-cold war ideology. A convenient enemy to justify endless mobilization.
The show also frames its ideology through the lens of boyhood. In "World of Hurt", Rusty compares himself to Pinocchio, insisting that he doesn't want to become a "real boy." Real boys have pain receptors, and pain would prevent him from fighting the bad guys. To be "good" (brave, strong, useful), one must suppress one's capacity to feel. The "real boy" is paradoxically less heroic in the system's logic, because he bleeds and doubts.
Rusty's strength lies in his inability to feel, just as Dwayne's heroism depends on his ability to conceal. Both are bound by the same logic that defines manhood as performance and repression. Militarized ideals of manhood alienate the self from its own humanity.
Dwayne's situation is almost archetypal: the armored hero. The armor protects the body but it also isolates the soul. The Big Guy is a mask of masculinity. A literal embodiment of a script that says men must be machines of reliability. You could even link it to what bell hooks called "the will to dominate" that distorts men's emotional life. Men are conditioned to prove love through protection, not vulnerability.
When (and if) Rusty ever learns the truth, his entire model of reality and heroism will have to shift. This is a coming-of-age trauma that happens to many children when they realize their parents are flawed figures. Dwayne is trapped in a myth for Rusty's sake, and he can't evolve beyond it without shattering the illusion that sustains Rusty's growth.
Ultimately, I think that the Big Guy and Rusty is about the machinery of belief. How nations, parents, and children build their worlds out of necessary illusions.
I don’t know why I don’t hear more people talk about this show. I feel like it was such a thought out cartoon. It really did challenge societal norms (gender, identity, the use of propaganda and narrative pushing). It’s one of my go to rewatches
A cat lovers journal
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You don’t understand the grip these notebooks have on me. I’m a sucker for a pretty notebook, but to be able to pair my love of notebooks with my love of certain art pieces.
Don’t blink, whatever you do don’t blink!
Have you heard about the National Film and Sci Fi museum in good old Milton Keynes? Personally I’d say it’s worth the roundabouts.
I’ve linked my top incase you like it!
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Books that double as art
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Drop your prettiest book on your bookshelf (cover wise because we all know sometimes the inside can get ugly)
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Who said being an adult has to be boring. I say being an adult means spending fun on fun things that bring a sense of whimsy from your childhood.
Finally my collection is complete! I think these may just be the pride of my bookcase. I devoured the first novel now to find the time for the next two
Harper Collins Painted Editions
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Pride and Prejudice
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The Harper Collins Painted editions have my soul
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THE ADDAMS FAMILY
1991, dir. Barry Sonnenfeld
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Date night sorted for the foreseeable future
