Jimmy Woo, FBI agent and certified magician.

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祝日 / Permanent Vacation

❣ Chile in a Photography ❣
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"I'm Dorothy Gale from Kansas"

Origami Around
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occasionally subtle

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Alisa U Zemlji Chuda
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@cynicallysweet24
Jimmy Woo, FBI agent and certified magician.
THE MANDALORIAN The Mandalorian // The Rescue
Dad Djarin🥰
Non-performative inclusion and “The Mandalorian”
This post contains minor spoilers. Proceed with caution.
In the season two finale of “The Mandalorian” there is a scene near the beginning of the episode in which a strike team (minus Mando himself) storms onto an Imperial ship, blasts stormtroopers, etc. It’s an extended action sequence. Two of the characters are helmeted.
I was well into the scene before it hit me that all four of the characters on this strike team were women.
The fact that there was this all-female action team wasn’t new. I’ve seen that before. What was new about it was that this was the first time I’d seen a team of women that didn’t feel performative.
Remember that scene in “Avengers: Endgame”, the “she’s not alone” scene where All The Lady Characters Assembled, and you could tell the filmmakers were getting some kind of weird boner of “looooook at how many Strong Female Characters we have, let’s put them all together and have them be Strong Female Characters at the same time” and it felt super gross? That was performative.
I’ve heard and used that term before but I’m not sure I really grokked what it meant until I saw what its absence looked like, in “The Mandalorian.”
It didn’t feel performative because each of those characters had been part of the narrative in their own time over the previous two seasons, with their own agencies and backstories. They were characters in the story as it needed to be told, they weren’t Strong Female Characters introduced for the purpose of being that (in a sexy way, of course). There was never a sense of ticking off the “kickass lady character” boxes. When Cara Dune is introduced, or Fennec Shand, or Bo-Katan, there was never that subtext of “Okay here is our Lady Character, isn’t she such a great Lady Character, look look we’re Doing the Thing you want us to do with having Womens in our Boy Stuff.”
No. It was, here’s a Rebel soldier. Here’s an assassin. Here’s a Mandalorian exile. Here’s a Jedi. Here’s a magistrate. They have functions to perform and stories to tell in this narrative. Those functions and stories happen while these characters are women, not because they are women.
And it’s so, so subtle, the difference. It’s hard to put your finger on how it’s usually done wrong until you see it done right. It’s not just the writing although that’s a big part of it. It’s in how they were filmed, framed, shot, costumed, and lit. It’s in how they were directed, how the camera treated them - i.e. no differently than the male characters. None of these women were sexified, either. Not that they weren’t being portrayed by attractive women, but that wasn’t remotely played up or displayed in how they were styled, costumed, and made up.
Unfortunately now that we’ve all seen how non-performative inclusion of women into a narrative can be done right, everything else is going to seem that much more insufferable.
THIS! I was just gushing about this earlier today. Yet another reason that I love this show! Additionally, the way the male characters interact with the women is different than the norm. Din especially is rather docile: he takes orders from Bo-Katan and has no problem following the lead of someone else. Instead of the typical masculine “I have a plan and I have to be the boss here!” he just…accepts that Bo-Katan and the others are competent fighters who may even know more than him in this scenario, without saying anything about it beyond ensuring that he will be getting his child back.
That’s how you do subversive writing that is actually subversive and not Subversive™. Never once have I felt pandered to. The women are respected, the religion is respected, the familial bonds and the characters that share them are respected (no one is carelessly written, and the women get as much detail and consideration in their backstories and present stories as the men do)–and because of that, I as the viewer feel respected. In a time saturated by mindless media that is made under the assumption that the audience is stupid and apathetic, being respected is a lovely change of pace. The care, nuance, and genuineness of this show is why I love it so, so much.
i’m doing hot girl shit. *rewatches the same show/movie for the 87654th time*
am i doing this right
✨why are you booing me?
you know i’m right✨
But sir, that’s my emotional support comfort show (The Mandalorian, 2020).
Din Djarin + loss
Hey, go on. That’s who you belong with. He’s one of your kind. THE MANDALORIAN | Chapter 16: The Rescue
JANE AUSTEN LOVE CONFESSIONS. Sense and Sensibility (1995) Emma (2020) Persuasion (1995) Northanger Abbey (2007) Pride & Prejudice (2005) Mansfield Park (1999)
“Ride back to the Razor Crest with the child and seal yourself in. When you’re inside, engage ground security protocols. Nothing on this planet will breach those doors.” RIP the Razor Crest (c. 9 ABY, Tython)
me during chapter 8:
me again during chapter 15:
I watch the mandalorian knowing full well that Pedro Pascal is the actor that plays Mando. I know this, and yet, both times he removed his helmet, I was still pleasantly surprised that it was Pedro Pascal under there.
J2 by J2
[x][x][x][x][x][x]
I miss these candid BTS moments so much!
Vintage women being badass. You’re welcome.
Don’t fool yourself into thinking ladies were demure and silent in the past.
I would like more female characters being this open