haver of unlimited opinions

juli (or nick), 24, she/they, lesbian i am before my time and suffer the usual penalties

[dykeselfcest]

recent epidemic of adaptations that take lots of liberties with the source material and also, separately, are bad. but then if you say "this is bad" you get hit with "you're just being a source material purist and you don't understand the vision"...like. well actually I think it rules when people do new and different things with classic works. I just think these particular new and different things suck ass.

[cowboyhatesithere]

Daily gratitude

I don’t have kids

I don’t spend money on nicotine

I don’t gamble my money away on sports

I’m not reliant on a chat bot for all my life functions

My books/CDs/DVDs collection is plentiful

[nicksandslick]

there is nothing more sinister than the modern video essay

[skarchomp]

5-HOUR VIDEO ESSAY "THE THING YOU LIKE SUCKS": i don't agree and can tell you're simply courting controversy in order to work the algorithm. i will not watch the video. blocked.

5-HOUR VIDEO ESSAY "THE THING YOU LIKE RULES": i already knew that. i will not watch the video. blocked.

[smallwhiterat]

Illuminated Internet (2024-2025)

[so-you-read-the-usernames]

Female characters who are the sole voice of reason <<<<<<< Female characters who think of themselves as the sole voice of reason but who are actually just as insane as those around them

[kisssmyshades]

[transfemininomenon]

the phrase really should be "eat your cake and have it too" im with the unabomber on this one

[archivist-goldfish]

Katy O’Brian

[oxidi]

Otto Wagner’s Majolikahaus Vienna, 2025

[pocblr]

WUNMI MOSAKU 📷 New York Magazine (2025)

[dykerikki]

taissa turner 🤝 angel dumott schunard

girlboss who killed that dog

[diosapate]

i need everyone on letterboxd liking this to know that i was being serious and this was my setup

[wlwgif]

Emerald Haywood + outfits

[popoutinshown-wrds]

Filmmakers have the right to adapt academic output for their medium. Academics have the right to criticise how it's done, and the biases betrayed by the execution. Emily Wilson's review of The Odyssey is an excellent addition to the discourse around this film, and how American industry valorises certain character and narrative arcs. Though Nolan's film is largely accepted as a critique, it still sits neatly in his oeuvre of great, but tortured and ahistorically moral, frontier men.

I especially hope that people take the time to digest her penultimate paragraph:

The most troubling ethical problem with Nolan’s Odyssey concerns the decision to film part of the movie in the occupied territory of Western Sahara, thus normalising the ongoing violence against the indigenous Sahrawi people. It is particularly galling that Nolan used this land simply as a visually striking backdrop for a film that centres, aggrandises and redeems the hero of a territorial war on account of his belated and partial acknowledgment of his own guilt.

— An Uncomplicated Man by Emily Wilson (London Review of Books)

Christopher Nolan’s Odyssey used occupied land as a film set. That feels like a betrayal | Mohamed Sleiman Labat

The decision to shoot in Moroccan-occupied Western Sahara, where the Indigenous people can’t tell their stories without fear of imprisonment

The simple act of holding a camera in my homeland of Western Sahara can be a crime. When Sahrawi film-makers and journalists attempt to document everyday life under Moroccan occupation, they can often end up in prison cells. For the Moroccan regime, a camera in the hands of a Sahrawi threatens its official narrative that Western Sahara is part of Morocco.

In contrast, when celebrated international names in the film industry wish to capture an ideal picture for an epic journey, and decide that our land is exotic enough to shoot the desired scenes, they are welcomed, escorted and granted access by the same authorities that usually deny us that right.

This is the bitter and paradoxical reality in Western Sahara, an occupied territory with many material and immaterial riches. While foreign extractors of all kinds freely plunder Western Sahara’s phosphate minerals, sand, fish, and tomatoes, and commodify our winds, sunlight and picturesque desert landscapes, we the Indigenous Sahrawis are becoming a minority in our own homeland, systematically marginalised, silenced and denied access to the land we roamed as nomads for centuries.

The latest episode of this colonial drama stars the Christopher Nolan blockbuster using parts of our occupied territory as a film set. Sahrawis are aghast that scenes from The Odyssey – an adaptation of Homer’s poem immersed in themes of displacement, family separation, betrayal, and the agonising, decades-long struggle to return home – were shot on our lands. The irony would be comical were it not so tragic: we, the Sahrawi people whose land was used to film parts of the Odyssey, have been living our own brutal odyssey for more than 50 years.

— Mohamed Sleiman Labat

Despite the MAGA overreaction to the bold casting choices in what was bound to be a relatively conservative film, it was Donald Trump that made this colonial backdrop possible:

The Odyssey is the first major Hollywood production to shoot scenes in Western Sahara. This would have been unthinkable prior to 2020, when President Donald Trump broke with decades of US foreign policy and recognized Morocco’s illegally established sovereignty over the territory. The decision was part of a quid pro quo in exchange for Morocco’s normalization of ties with Israel. Now Nolan and crew’s four-day shoot in Dakhla illustrates how quickly Hollywood studios have moved to exploit the opportunities created by Trump’s transactional diplomacy. This subsidized occupation cinema is yet another symptom of the breakdown of whatever remained of a rules-based liberal order.

For Moroccan officials, the presence of The Odyssey crew was a propaganda coup. They have made it clear they see it as just the beginning of Dakhla’s development as a base for international film productions. This is despite the fact that the wider Western Sahara remains the site of an ongoing armed conflict between the country’s military and the Sahrawi pro-independence movement, the Polisario Front. Last month, three Polisario fighters were killed in a Moroccan drone attack close to the 2,700-kilometer sand berm that separates Moroccan-controlled territory from the desert areas held by Polisario.

— Odyssey to Africa’s last colony by Eoghan Gilmartin

[nightofthecreeps]

for those who were curious..bill hader ribs edit

[newgenuinedisaster]

the thing about riverdale is there’s no endgame because riverdale is always iterating. it’s a high school drama ouroboros it tells the same story and different stories about the same people over and over and over again smashing them up into different pairs and situations to keep going and going and going. so you say well then isn’t it crazy that jughead and archie never kissed and the answer is actually no. because jughead’s the one writing the stories and he’s too afraid to be in love with his best friend so instead he deified him.