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"I'm Dorothy Gale from Kansas"
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@comebackzinc
honestly sometimes there's no better feeling than rereading a fic you've written and coming out of it going, "yeah that actually this DOES slap. exactly what i wanted to read. fucking nailed it."
The first rule of Star Wars aliens is that every alien you see you on screen is the absolutely most representative member of their species. That spy alien is from a species that makes espionage their calling. That bounty hunter alien is from a species whose single planet-wide religion encourages the tracking of sentient beings. That dumb henchman alien is from an entire species of dumb hanchmen. That drug addict alien? Guess what, their entire species has a natural tendency to get addicted to drugs.
Once when I was in undergrad, someone described something as “problematic” in class and our professor was like, “That’s cool, but ‘problematic’ doesn’t really mean anything. It means that the thing you’re describing has a problem, and in and of itself that’s not bad. Art, especially, should always have problems, or else it’s not interesting and not art, either. It sounds like you’re trying to say that this is bad, but you don’t want to say ‘bad.’ Is that right?”
So from then on whenever one of us called something problematic, he would make us talk it out until we could name the “bad” thing we were hinting at. In this particular class, 7/10 it was some type of oppression, and the remainder was like, “I’m uncomfortable because this is very new/confusing/pushing boundaries that made me feel safe.”
Once we stopped calling things “problematic” and stopping at that, class got way more interesting and... we all had to say, like, “that’s racist” or “that’s misogynistic” or “ew capitalism gross” out loud, which a lot of us had never done in a classroom before. Or we had to be like, “Uhhh... I’m not sure what’s so bad?” and confront our own beliefs and that was maybe even more useful.
Anyway. Whenever I see the word problematic, I can’t help but think of this professor being like, “Good starting point, now let’s get specific.” I think when we have to commit to saying “that’s ___” it requires a lot more careful thought about the truth and impact and complexities of whatever we’re claiming. Sometimes there really is some bullshit afoot, and also sometimes it’s art, and it should be full of problems, because that’s what art is.
#'this is present in the text' is often a good first step #but those second and third ones (naming it; describing its function) are vital (via @elucubrare)
I got permission from this friend to post this because holy fuck I can't stop laughing
you have to be careful reading too many things that are good/smart/well-written bc then you encounter something that isnt and you get confused like ? why didnt they just make this good ? were they stupid
This post keeps making me cry laughingg
Happy Pride Month to all of my fellow aces!! 🖤🩶🤍💜
Dame Archer kicks McDougal’s Scots ass there in the rain at the Washington Midsummer Renaissance Faire - August 11, 2018 - Photo by Douglas Herring
Oh NO.
me, a sheltered noblewoman: Pray who is that brave knight? Dame Archer:*turns around* me: gasp! *instantly in love*
Alicia Archer
my bi heart………
I’VE NEVER SEEN THE ADDED PICS
*dies*
Oh shit.
GAY KNIGHTS
Fellas I’m real gay
@0hheytherebigbadwolf HELP!!
Every June this inevitably winds up back on my dash. And I appreciate that. And I will reblog it. Every time.
Hey, it’s @archerinventive, and the Pride Knights!
when i was a tiny baby queer (aka a 24-year-old), i went to my first pride festival probably three months after i kicked ex-gay therapy to the curb and came out to my parents. being the people they are, my parents came with me. they weren’t really sure about this whole gay thing, but they loved me and wanted me to be safe and happy and wanted to be involved in what was important to me, so they came along. (i also think my mother still might have thought i might get drugged or murdered or beaten by a protester of which there were plenty.)
anyway i wanted a memento of my first pride, you know, and this one vendor was selling keyrings, and i liked it, so i bought one. do you remember those italian charm bracelets that were all the rage like 10-15 years ago? it was a keychain like that, and it had a rainbow rooster, a rainbow cat, and then just a rainbow, and so I bought it.
i run into my mom a couple of vendors over and she goes oh you bought something? what’d you get? so i showed her, and i was like, “I’m not sure why it’s a rooster and a cat. Seems kind of random. But I liked the rainbows.”
and my mom, who was some form of minister’s wife for most of my childhood and teenagerhood, stares at me like she thinks i’m joking.
“What?” i say.
“…it’s a cock and a pussy, Jules,” she says flatly, and that is the story of how i died at the age of 24 while attending my first pride festival.
I love how every June this one gets dug up and passed around again, lmao.
oh no is this what we’re doing now
…relic…
*crumbles and blows away on the wind*
i went at not writing island and saw all of you there
Me on not writing island, looking at you on not writing island knowing we’ll both be here tomorrow.
I'm excited and proud and pissed off, because the box office numbers for Iron Lung are impressive, but also disingenuous.
Gross Income is not the same as Profit.
Sam Raimi's Send Help, going into day 4, sits at 20mil, which is a net negative, 50% behind its 40mil budget.
Avatar, touted as the highest profiting film of all time, made a 237% net profit over its entire run.
The final Hxrry Pxtter movie made a 360% net profit.
Mark Fischbach's Iron Lung has turned a 570% net profit. In three days.
3mil-18mil isn't impressive on its face, next to a $500mil film making $2bn. Raw numbers are raw numbers. but for return on investment, Iron Lung is not only running with the biggest studios in the world -- it's crushing them.
To put it in simple terms, all theatrical releases have to make back AT LEAST twice what they cost to make. I say "at least," because most theatrical movies spend a fuckton on advertising, and several of them spend even more on merchandising.
Iron Lung had basically NO advertising, and a negligible amount of merchandising. For a normal movie, that means that nobody goes to see the movie because they've never heard of it, and the movie can't cover any of the lost box office revenue with merch sales (you CAN have a box office bomb recover its budget with merch sales).
A theatrical release earning back its budget and then some on nothing but word of mouth and a loyal, pre-established fanbase is unprecedented. It doesn't happen. Ever.
THAT'S why Hollywood is pissed. Because to executives, a puny internet personality self-funding a passion project with basically no advertising or merch shouldn't happen. To them, it defies all logic. They've been putting billions upon billions of dollars into advertising, merchandising, celebrity casting, huge sets, expensive CGI, and so much more; and then this "nobody" comes along and succeeds with none of that.
This is true, and it's also worth mentioning that this also defies the traditional model of distribution for movies.
Mark tried to get the movie distributed through traditional means, but got fucked over at every turn. Nobody wanted to distribute this movie. Distributors like to be able to control what is and isn't in theaters. It gives them more confidence in their bottom line and projections for how many people are going to see their movie.
This movie was distributed by the fans to over 4,000 theaters worldwide, had a domestic release around the same size as its biggest competitor that week, and made a significant profit while retaining a 50/50 split with theaters, so the theaters are making more off of that ticket than for a typical movie.
Disney probably doesn't care that Iron Lung made 20 million dollars, plenty of movies do that. They care that seemingly anyone can put a movie into theaters the exact same way they can.
It's fascinating to compare what we can deduce of the SM-8 crew's encounter with the Light (the Research Lead and the Research Assistant, that merged to become the Monster), and Simon's. It's also... kinda funny.
Both the SM-8 crew and Simon went inside the Light-- this tear in reality, this pinhole through which an ignorant God glimpsed their Universe and caused the Quiet Rapture. It's unknown if the God offered the same deal to them as it did to Simon ("I see you." "I see you." "Agreed.") but it's highly likely. Since both the Research Lead and the Research Assistant were there to record the last message on the SM-8 black box after having "went in" and seen the God, it's safe to assume that the God spat them back out alive, just like it did Simon. But one of them had been drinking the blood, and was mutating. Eventually, both women turn into what we see as the Monster, bursting out from the SM-8 and leaving that massive hole in its side.
So far so good, it doesn't seem that different. The blood was mutating Simon into a similar monster, trying to merge him with his ship; either ingested or simply having touched skin or eyes, the blood's effect is inescapable. But at the end of the movie, as the Monster tries to stop Simon from propagating knowledge of the Light, she yells "Why you, Simon? What did it see in you?". And, well, what does make Simon special?
Simon didn't give a fuck about the Light, and if I were the God, I'd honestly be a little offended.
When luring Simon towards the Light, the Monster says "A tiny glimpse of answers greater than our infinite. It burst our mind like a tick." Meanwhile, Simon is returned from his encounter with the God, and other than an understandable breakdown and doubting reality, he says nothing about the Light. The most we hear from him that's along the lines of wondering about what happened is "I might have died." And then it's right back to a purely survival focused mindset. Unlike the SM-8 crew, there's no rambling about having seen the answer to everything, something meant only for them, the promise of salvation. Simon hears the radio once more and instantly tries to reason, figure out if Ava's voice is a trick or not. Hell, even before the Monster led him to the Light, Simon doesn't really care about it. He doesn't want to get into a conversation about God, absently indulging who he assumes are survivors on the radio. He is only focused on himself: "Even if your miracle could solve all their problems, they would just... send me down again." He doesn't even say our problems!
The way I see it, the main difference between the Monster and Simon's encounter with the God is that Simon's mind didn't "burst like a tick". He doesn't ever mention the Light after seeing it, not once-- not even at the end, when the Monster constantly talks about it, when the Monster explicitly tells him "It wants you to do this!". All he does is rebel against her ("What do you know?" and "You think I'll just give you what you want?"). Simon maintains individuality where the Monster lost hers, and it's probably because the SM-8 crew were not able to hold their end of the bargain. The God saw them, but they were not able to withstand seeing it back. However, Simon did. Another potential difference is that the God returned Simon and his sub to coordinates that left him in the range of the COI tow ship radio, with his own radio fixed (after having been at the Light's 116520 coordinates, the sub is then at 462241, and not as deep as before). Couldn't the God have done the same for the women on the SM-8? It's certain the COI would've hung around and tried to find them, if the SM-8 contained such important technology.
I guess the lesson is: one needs a very strong "Fuck God, what about me?" sort of attitude when facing cosmic horrors. Clearly even the God respected that. Notably, it is the Monster and the blood ocean that constantly use "we"; the God says "I". By fulfilling his end of the bargain -- being perceived, and then perceiving in return -- Simon remains an individual, and shapes his own fate. The God "understands all that is, and all that will be", and Simon too ends up seeing glimpses of a future distorted self, missing an arm. Simon pats the sub as if it's a person, tells it "Sorry" when he punches it in anger, sternly tells it "I am trusting you on this" when navigating... and the ship becomes alive, where the SM-8 did not. The God said "Butcher" when seeing Simon, and Simon delivers on that perception ("Fine, you want the Butcher? Come on! Fucking die!"), struggling until the end and actively trying to kill the Monster-- not his fellow man, despite how potentially deserved leaving behind the black box would've been. Simon voices the belief that "when we die, our bodies become the soil", so his body becomes soil for the Last Tree, instead of another monster in the blood ocean. All along, collectives forcefully claimed him against their will, but Simon wants to be free and make his own choices. Hence, he does not become assimilated.
I do think that the way the charm with the tree seed bursts with light at the end, just as Simon's eye glows too, is a manifestation of his deal with the God. After all, what does it mean for an entity that shapes reality by its very perception to understand you? To see you, and because you saw it back, to recognize you as something akin to itself?
Overlock Stitch by @clothes_reetzy
Damn, that's useful
Painted Tree Rat Callistomys pictus
A rodent from the state of Bahia, Brazil. The painted tree-rat is found in the Atlantic forest. It also occurs in cocoa plantations where some native trees remain. As far as known, it is nocturnal.
Endangered
image by Oberdan Nunes