The Bailey Sisters 💙💜
Ft. Fig the fox

seen from Nepal
seen from Germany
seen from United States

seen from United States

seen from Germany

seen from Netherlands
seen from Malaysia

seen from Malaysia

seen from United States

seen from United States

seen from China

seen from India
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seen from Uzbekistan
seen from United States
seen from T1
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seen from Netherlands
The Bailey Sisters 💙💜
Ft. Fig the fox
Throughout his incendiary career as a filmmaker, observer, provocateur, and theorist of the modern world, Godard fastidiously documented the deaths of cinema. There was its failure to represent the horrors of the Holocaust (“six million people were killed or gassed, principally Jews; and the cinema was not there”4); its incapacity to metabolise a phenomenon of politically radical cinema in the wake of 1968’s so-called cultural revolution; and, later, the catastrophic advent of television (a medium Godard despised and adored at once). In these terms, cinema’s latest failure to reckon with and manifest solidarity with Palestinian lives en masse as Israel continues its project of ethnic cleansing, a genocide livestreamable even on our smallest screens, represents an unfathomable rupture in the history of film. Despite the ubiquity of the moving image in relation to Israel’s genocide, whether as propaganda, surveillance footage, or self-taped videos by Gazans requesting survival resources from idly scrolling viewers, there has been no major collective movement in the Western film industry to act. There has also been no significant movement among film critics and practitioners to platform insurgent Palestinian filmmaking and reconsider the relationship between the moving image, state power, and resistance.5 A fate worse than death, cinema is mummified in a skin of its own complacence. As Godard pointed out during his 1978 lecture series Introduction to a True History of Cinema and Television, the phrase to be critical holds a double meaning: to evaluate and to challenge, but also to be urgent, dire.6 Like many of Godard’s statements, this entendre is both banal and profound. It cuts through any notion of film-criticism-as-luxury-product, an activity best performed in relative peace. The current escalation of Israel’s genocide in Gaza is a critical juncture which marks blatant cultural as well as humanitarian crises—including a crisis for the moving image. This context demands a decisive intensification of critique and inquiry regarding the past, present, and future of the medium.
– Indigo Bailey, Closing the Curtains
Rainbow High Littles: Indigo Bailey, Pt. 1
All right y'all, I said we'd do this so let's go. I was originally going to make this all one entry, but I decided to break off the hair discussion as a separate post, since this one was already way too long before I even got to that point XD Will link Pt. 2 once it's published.
Krystal Jr.: What the heck are we doing all the way over here? Krystal Sr.: We need to collect a delivery to take back to Rainbow Heights--a sister! KJ: I thought I was your sister? KS: No, you're a younger version of me from an alternate point in our shared timeline. We just say you're my sister so it's less confusing for everyone else. KJ: If I'm you from the past and we're both in the same place, shouldn't that create some sort of temporal paradox where you cease to exist? KS: The normal laws of physics don't apply in the doll universe, dear. It's best not to think on it too much. KJ: Okaaaaaaaaaay. But this one is NOT us, right? KS: …Probably not? Indigo: ((Maybe stop talking and let me out, please?))
Sooooooooo yeah, Indigo. Where to begin? For starters, I think the vitriol that's being dumped on these poor Littles is completely out of proportion to what they actually are--tiny dolls meant for small hands to play with. There's absolutely nothing wrong with that. I can see how they would be less appealing to adult collectors used to a more sophisticated product from this brand, but I personally will do my best to judge her by her own merits.
First impressions: I think she's cute! I pulled a few of her braids back with a rubber band to make her face more visible, but otherwise straight out of the box she's good to go.
Krystal Jr.: Are we a family? Are we clones? Honestly folks, it's anyone's guess. Indigo: Is she always this snarky? Krystal Sr.: Don't worry sweetie, it's just her being a tween, we grow out of it eventually. I: We? KS: It's complicated.
More detailed discussion of clothes & accessories under the cut--
Rainbow High Littles: Indigo Bailey, Pt. 2
Hey folks, sorry it took longer than expected to get this posted (health complications, not serious just time consuming), but as promised here is the continuation of my RH Littles review (Pt.1 is here). Still feeling a bit drained from *stuff* so I'm going to keep this one fairly short and to the point...right after Krystal Jr. has finished banishing that slime daemon back to its own dimension...
...And now with that out of the way--Hair talk! (sorry for the lack of banter in this one, I'm too tired to script dialog today)
Indigo has arrived. There's a lot to say. We're going to get into it. But maybe not until tomorrow. Watch this space for a photo-heavy review with a serious discussion of hair fibers and a whole lot of other nonsense besides.
rainbowhighmagic @ Instagram
The fact the only one of the littles I actually want is the only one I’ve never found in the stores by me😭
Indigo come hoooome.