Pin-up of my goliath barbarian, Welle Oods! đ I changed the colours of this like five times before I was finally happy with how it looked. I think the final result is pretty fun!
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@thebrightobvious
Pin-up of my goliath barbarian, Welle Oods! đ I changed the colours of this like five times before I was finally happy with how it looked. I think the final result is pretty fun!
genuinely if your argument against kink pride at queer pride is âi didnât consent to thisâ as if someoneâs committing a sex act in public, i have NO idea what to tell you. wearing a costume or waving a flag are not sex acts. nobody needs your consent to wear a mask or a cool necklace. your definition of a sex act is skewed. please learn better.
I think the argument is more against having people on leaches and stuff like that?
Like last pride i went to my friend caught a frisbee that was thrown as a prize and a lady said smthn like âi wanted that for my dogâ and the dog was a guy. Kneeling here. Like that kind of thing.
those are still not sex acts. nobody is having sex by wearing a leash. nobody is having sex by pretending to be a dog. theyâre âweirdâ actions that straight and cis neurotypicals donât do, which is why people who believe in current societal respectability standards want to make you believe theyâre sexual; if they can make you believe everything is a weird sex act, then they can easily convince you it shouldnât be done in public. in reality, people doing these things at pride are expressing themselves and thatâs the end of it. they are not having sex in front of you, or involving you in a sex act.
if your argument is that these things are done during sex by some people, and are therefore sexual in all cases, thatâs also a really shaky argument. lots of people wear skimpy costumes during sex, but that doesnât make skimpy costumes inherently sexual, and itâs still appropriate to wear them to costume parties and on halloween. thatâs just one example; plenty of people do things during sex that they also do outside of sex.
(that isnât even considering the nonsexual reasons they could be doing those thingsâfor example, my autistic partners and i use leashes to keep track of each other in huge crowds because otherwise we wander off and get lost, and i have a partner who is otherkin who behaves like a puppy for comfort reasons and is actively repulsed by sex during that period. nonconsensually sexualizing an action because you think itâs weird could have very bad repercussions for sex-repulsed people doing those actions.)
At this rate the neo-puritans will claim anyone wearing sandals during Pride is a ~sex act~ because foot fetishes are a thing.
Queerphobia has got folks chugging heterosexist dogma and respectability politics by the gallons.
I am not prepared to give the full dissertation on this, but I think people need to confront the concept of consent as a general social boundary.
This is part of the ongoing âwe let people see bloody violence and war without a hint of awareness, so what the fuck is our hang up about people being exposed to naked bodies?â discourse.
Like, sure. We can argue about how people on leashes is not a sex act in public. Thatâs a viable tactic and productive discourse.
But we can also interrogate the assumptions about publicly visible nudity, sex, and sex work. Why do those things require consent to be present but not say someone carrying a rifle? Or someone in a police uniform? Or police in riot outfits at a protest?
MAGA hats at this point are tantamount to declaring a cisheterosexual kink loudly in public. Wearing confederate flags is a declaration of racial kinks. Hell, wearing the US flag is tantamount to declaring a white supremacist, nationalistic, or imperial kink. Wedding rings are explicitly declarations of involved presumeably sexualized relationships; thereâs the whole nullification of the wedded status because a lack of consummation IE having sex. There is much to be said about the relationship of evangelical US fundamental christianty, and its relationship to publicly declared missions to breed or engage in relationships that are elaborate ritualized master-slave dominionism.
Or more simply. Why is it acceptable for a cis man to walk around in what amounts to underwear without the consent of any one but not acceptable for a cis woman to walk around in underwear?
Compare:
Naomi Wu is blocked from appearing on Youtube and benefiting from her video projects in many different US contexts because she looks like this:
âOnly sin worse than the shirt is looking like the women on the shirt.â - Naomi Wu
What must the public consent to and what does not require public consent, and why? Specific detailed answers with citations of real world precedent only, please.
The tumblr handwringing about whether Pride is âchild-friendlyâ is a psy-op led by tumblr fash, who explicitly believe in the enslavement and extermination of nonwhite children. Non-fash who are tempted to take the concern-trolling seriously need to remember that fash do not genuinely care about eradicating child abuse, only about gaining a monopoly on it.
Announcement
Taking a semi-permanent/likely permanent break from tumblr. Since I wonât be logging in again for a long time, I wonât be able to see if you send me any messages via tumblr messenger.
I believe that Iâve set it so that Iâll receive email notifications if you send me asks (though they canât be anonymous). If you ask for it and I know/trust you enough, I might give you my email address so we can continue talking. Take care of yourselves.
may you please explain that "dont romanticise romance" post?
OK!
Romance is made a bigger deal than it needs to in our society and itâs also married to sex and sexual attraction and self-worth and validation by our society. Not only that, only certain romantic rituals are made a big deal, so that if you canât or donât perform those you are said to be a less loving (and less relationally, sexually, interpersonally valuable) person.
Some (general) affects of this are:
Girls and women groomed from the very onset of their lives to seek and be seen in a frame of sex and romance. Any perceived-as-boy children they play with are âboyfriendsâ and major toys marketed at them are centered around romance, homemaking, and ultimately being a valuable sexual resource to men (which tags along with being a valuable romantic prospect.)
Girls and women feel validated by being in a relationship in a way that men often donâtâ sad chasers aside, even women who arenât looking for a relationship with men can feel âugly,â âworthless,â âalone,â etc. if nobody is engaging in romantic rituals with themâ something that is often taken advantage of in predatory styles of interpersonal coercion like negging or pick-up artistry.
Men are guided away from authentic interpersonal vulnerability and relationships but also barred from intimacy in their dude-only friendships, leaving women and getting a date as the only way to not be starved of that kind of contact. Homophobia plays into this: being intimate with other men is deviant, women are always focused as the âcorrectâ target. Meanwhile this intimacy and enacting correct romantic rituals is heavily tied into sex and the validation masculinity demands via obtaining a womanâs sexual capital.
People who canât or donât engage in typical romantic rituals are seen as somehow broken or deviantâ whether this is some ace people, or people who arenât neurotypical and wonât hug, kiss, âgo out,â say âI love you,â or any number of common rituals/cues. Meanwhile these people can have perfectly healthy platonic, romantic, sexual, whatever interpersonal relationships they want independently of the myth of âwhat romance is.â
Romance is romanticized specifically as between men and women in our society, and normalized between men and women in our society. To the point where the health of relationships between men and women is often ignored, and the health of perfectly stable relationships between same-gender or nonbinary couples is questioned. For example, gay relationships are typified as less romantic and more about âhookupsâ than straight ones, and lesbians are criticized for âleaping into relationshipsâ faster than straight people but statistics show that they date around the same time as straight couples, move in together around the same time as straight couples, but overall tend to be much more stable + last a lot longer than straight couples.
Romance is also heavily romanticisized as for white people (at least in the USA), with the hypersexualization of black people interfering with them being seen as âromantic.â Meanwhile asian women are fetishized as âgood wivesâ and jewish women are stigmatized as harpies and etc. etc. only white couples get to be romantic in wider culture without interference or taking control of the messages surrounding them.
Romance is made out to be a much more powerful force than it really is, to the point where âbreakupsâ are made out to be disastrous. Often people are coerced into giving up their independence, ability to live independently, ability to feel independently, or else surrender their private boundaries such that being severed from a romantic partner can feel like everythingâs being taken away and nothing is left for you afterward. Meanwhile this over-entanglement, inability to be refreshed by new content and independent experiences probably contributed to the collapse in the first place.
Romance and love are over-conceptualized as irresistible feelings that we are helpless against, rather than experiences that require participants that we can exist independently of. Love and romance, for many people, is as much a choice and a decision as it is an infatuationâ and many relationships fail once that involuntary âglowâ fades and the participants feel helpless to reinforce or take responsibility for their own relationships.Â
Abusive relationships are often ignored or masked by the mere performance of romantic rituals by the abuserâ if they take their victim out to expensive romantic dinners, get them presents, say âI love you,â and engage in PDAs how could they be hurting them? Itâs used to gaslight a lot of people because itâs given such power in our society and has been rendered immune from criticism.
Basically there are lots of ways that romance is given way too much power and fantasized about as this âpure and wonderful thingâ when like any other interpersonal relationship it requires work, awareness, communication, and parity.
Today: cat ballet
Which is why I will place no restrictions on my personal library when my kids learn how to read. With nearly a thousand physical books and scores of e-books, our house is almost groaning under the weight of all those words. Poetry, fiction, history, biography, drama, anthologies: theyâre all there on my bookshelves (and floors, and futons). They tell stories that are uplifting, disturbing, gruesome, inspiring, and hilarious. They reveal the kaleidoscopic diversity of human experience. They will show my kids that the world is an infinitely fascinating place. But, some might say, youâd let your 8-year-old read Lolita? Youâd let your 10-year-old read Lady Chatterleyâs Lover? And anything by Emile Zola??? Yes, yes I would. You know why? Because I believe that you connect with books that youâre meant to connect with at a specific time. Reading Thomas Hardy, for instance, informed how I read Salinger and Faulkner, Morrison and Mann. I read voraciously, and my parents, who didnât read much fiction themselves, left me alone with my literary choices. My mom listened for hours as I told her about the books I was reading, and while she lifted eyebrows and asked questions, she never told me I wasnât allowed to read something. For that Iâm eternally grateful.
Rachel Cordasco, Bookriot
Kids Should Read Whatever They Want, Whenever They Want
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Talented artist Sena Runa creates beautiful quilled paper designs
Makeup Noir
I would like a film noir (classic, preferably, but I donât have a time machine) about the makeup industry of the 1940s. Â Here is why I believe this would be a good idea:
The makeup industry had a ton of corporate espionage and warfare between ruthless up-and-coming tycoons who are now household names.
Some of those tycoons were actual, literal Nazis. Â This would be a movie where you could have actual, literal Nazis as the bad guys and be totally historically justified.
We open with a woman stepping into a detectiveâs office, and sheâs the most polished, perfect figure the detective has ever seen- as if she stepped straight out of a magazine. Â âThe greatest chemist in the world- and my dearest friend- has been murdered,â she says by way of introduction. Â âHer two projects at the time were a classified one for the war effort, and a new formula of long-lasting crimson lipstick.â
If the detective (be they a lady or a gentleman) doesnât wear makeup and scoffs at their new client, we can have a scene like the one in The Devil Wears Prada-you know the scene Iâm talking about- where she lectures them in response. Â âYou like your women to be beautiful, donât you, detective? Â And yet the means by which we make ourselves beautiful seems like frivolous female vanity. Â I will tell you now, my dear, that if you want your glamour girls, your movie stars, your stylish girlfriends, youâll have to accept what they work with.â
The makeup doesnât actually have to be important, but itâs a good MacGuffen to kick off backstabbing and blackmail and murder.
Iâm envisioning the cosmetics inventor who hires the detective as a good guy, possibly played by Lauren Bacall or Barbara Stanwyck, but if sheâs evil, you could have a great Maltese Falcon-style ending where she gets her hands on the lipstick sheâs killed for and starts crying when she opens it. Â âThis is just the Max Factor shade for redheads!â sheâd wail. Â âCanât any of you fools tell when youâve been tricked?â
Iâm gonna be dull and say Iâm not sure if I agree about the Devil Wears Prada-esque smackdown scene. Iâd prefer a movie about cosmetics, rather than basically being libfem propaganda, not be afraid to shy away from the reality that makeup is not merely a necessity in order to be a ~glamour girl~ but a social obligation - and that glamour and beauty are too. Particularly given the utter, brutal nastiness of this time period - and the way itâs romanticized, and its fashions as well - I donât want to do that thing where we address the symptoms of a social ill one time, while continuing to present everything else related to it as cool.
The cosmetics industry is perfect for a film noir not merely because of these things, but also because itâs inherently corrupt, even though the people involved include a lot of innocent believers who are just trying to get by: it relies on making women believe that the gender roles theyâre pushed into are absolute and further manipulating their anxieties, then saying, âBut our product will make you the woman you have to be - the woman you want to be!â I maintain that a staple of noir is not that the atmosphere is grungy or grim or whatever, but that the world is a corrupt place, and any attempts towards morality will be tainted by that knowledge. But of course, that feeling is going to be lost if you pretend makeup is a totally value-neutral thing.
Otherwise I also love this idea.
Good points, and this is a time in history where advertising could get really nasty- ads outright threatening that your husband would leave you if you didnât look young enough, etc. Â
The âmakeup is empoweringâ crew gets really bad about the 1940s for no earthly reason - I know Hayley Atwellâs statements about how Peggy does all this cool shit âwith perfect hair and lipstickâ really bother me and excite the Peggy Carter fandom; why does Peggy have to have those things to be taken seriously as a heroine? - and Iâd be concerned about a film exploring those topics following that route. Â
I also remember an interview with Drew, Cameron and Lucy back when Charlieâs Angels came out, and how Cameron credited Drew Barrymore with making the story what it was, as the original script was about the girls saving hairspray or perfume or something - so thatâs something else Iâd be concerned about, since we live in a world where James Bond can save the planet in every movie but, say, every Avenger can have their own motion picture but Black Widow. So I like the idea that makeup is a MacGuffin to get us into an industry thatâs just as intriguing and corrupt as any other, and the plot would be classically noir.
Or you could go the opposite direction and have a campy cult classic on your hand, with the focus on codedly-feminine things as a deliberate and highlighted choice, but I tend to find that sort of thing alienating so itâs not what the project would become if I were helming it. (but i neednât be!)
In any case, I think it would be good to have a character who was a woman who didnât wear makeup who wasnât treated as lesser, colder, or uppity for it, without suggesting that she should. Our detective, maybe?Â
I really want to head more about the obscure Buddhist practice that makes you sane
oh man, it took me a billion years to answer this ask and i apologize for that, hope youâre still interested
anyway, basically, i do a Vajrayana Buddhist meditation practice focused on the deity Red Tara. While the practice itself is pretty obscure (the lineage is 3 people long, and the second lineage holder, i.e. person authorized to teach the practice, only managed to transmit it to one person, my parentâs teacher, while fleeing Tibet in the 60s) itâs the same model as most Vajrayana deity practices.
Vajrayana is literally âthe lightning vehicleâ or âdiamond vehicle,â a name intended to convey both the efficacy of the practice in transforming the mind and how, um, dangerous it is, basically, in terms of being very easily misconstrued or misused. Practicing Vajrayana therefore requires authorization from a teacher who has in turn been authorized to teach by a legitimate lineage - some people feel like this system is gross and secretive and hierarchical, I feel like itâs an indispensable attempt to preserve expertise that can occasionally, like all systems, be abused, itâs a controversy, etc. For that reason I canât, like, post the whole puja (ritual interaction with a deity is a good definition of that term, I think, it includes physical offerings and a recited scripture) but I can explain its elements and why it fixes my depression and anxiety and makes me a better human being!
Whatâs below the cut ended up being WAY heavier on the doctrine than I anticipated, because the gist of my experience is that the puja makes Buddhist doctrine real and transformative for me. Iâm trying to repeat the teachings as I was given them, but please, if you find yourself thinking âwow that sounds evil and grossâ about any of the principles I would bet itâs because Iâm explaining them briefly and with my limited knowledge. Feel free to request clarification, here goes:
Keep reading
i could see in Han's eyes when Rey said 'i didn't know there was this much green' he was like 'im her dad now'
I KNOW RIGHT I WEPT
likeÂ
âsheâs never seen this much what?â
âwell i mean thatâs a damn shame. shes an excellent pilot. and a good kidâ
âi mean look at her sheâs so full of wonderâ
âwhat kind of ass would just leave this girl aloneâ
âthatâs ridiculousâ
âsmart head on her shoulders tooâ
âchewie likes herâ
âLEIA WILL UNDERSTANDâ
âso Rey do you want a Da - I MEAN JOB. DO YOU WANT A JOB.â
By Eric Rawlins
Much has been said and written about Howard Shore's use of the Wagnerian leitmotif idea in his score for "The Lord of the Rings." Briefly, the idea is that the composer represents the important elements of the story â characters, objects, ideas â as musical themes or motives (leitmotif = "leading motive") in the score, and then uses these themes to expand and comment on the developing action.
Movie composers have been doing something like this, of course, ever since the invention of the talkies. But most such themes are treated in a rather straight representational way â see the character, hear his theme â and many a film composer must have wished he had the opportunity to flesh the system out a bit â to develop the themes, and use them not just to signify but to add layers, to elucidate and comment.
Why has it never been done before now? Time. Three hours simply isn't time enough to introduce a whole set of themes, associate them with certain concepts, and then use those associations to comment further on the action. That's why Howard Shore must have thanked his gods, his muses, or whoever he figures watches over his life when he was offered the chance to write a single coherent piece of music across an 11-hour space of time. And that's why I consider his results worth the effort of putting together this site.
There is one other movie composer who has ever attempted this kind of Wagnerian treatment, and that is John Williams for the six Star Wars movies. He, too, had a canvas large enough to allow for it. Listen to what he does, for instance, with the theme for The Force when he takes Luke to the weird Dagoba world in Episode V. I would argue, however, that Williams' theme treatment still does not approach the richness of Shore's.
And I'll go ahead and say it now: This is the greatest movie score ever written.
The Themes
The names I've given the themes are my own. I dislike naming themes, because names tend to corral the themes into certain specific, rational meanings rather than let their associations emerge organically from the way they are used. Wagner never assigned names or specific meanings to his leitmotifs for exactly that reason.
To take a case in point, the theme I call Elves is called Galadriel by some writers, and could probably just as easily be called Lothlorien, or perhaps The Power of the Elves. Any of those names would work in the context of the story. So which does the theme "mean"? The question is, in my opinion, not very interesting. For one thing, these themes don't "mean" things in the same way that, say, papillon means butterfly. They suggest; they resonate. Galadriel is an elf-queen, she wields great power, and that power is centered in Lothlorien. They are all of a piece, and the theme calls them all up at once and allows them to rattle against each other.
But you have to call the themes something if you're going to speak about them, so I've given them such names as seemed to me to make the best fit. Please don't take the names too seriously. Resist the temptation to turn this music into a set of one-to-one codes.
For each of the major themes, I have tried to capture an audible sample in its most simply-stated and clearest version. These I picked off the soundtrack CDs so as not to be distracted by dialogue and sound effects.
I also include samples of some of the theme occurrences. The ones I chose are not necessarily the most memorable, but the ones where Shore varies the theme or develops it in some interesting way, or in some cases where the occurrence is particularly subtle and easily missed. These I took from the Extended Edition DVDs, because I specifically wanted to present each occurrence in its environment â including hoofbeats, sword clashes, dialogue, etc. â since these occurrences are highly situational. I have in most of these cases also included a screen shot as an aid to triggering memory.
The Big Three
The Shire theme (with its variants), the Fellowship theme and the Rohan theme are the most recognizable and infectious of all the thematic material in the films. Each is repeated countless times, in countless orchestrations and moods, so that it is hardly possible to watch the movies through even once without learning to recognize them.
Other Important Themes
The remaining themes are not as melodic and catchy as the Big Three, but they are what set this music apart from other great film scores. A film score, even a great one (Lawrence of Arabia, The Great Escape, Fargo) will have one or two very memorable themes which are repeated with minor variations at key moments. But I count at least two dozen distinct repeating musical ideas in "Lord of the Rings" â themes which are developed across an 11-hour canvas. (Shore, in an interview, has said there are "forty or fifty" repeating themes, so it appears I have only scratched the surface.)
I have also included a few that I'm not sure actually qualify as themes, but I thought they were worth a word or two.
Comments and Corrections
There is no way I could have put this web site together without missing something. Have I missed a theme or an appearance? Is there some clever transformation of Shore's that has escaped my notice? I warmly welcome comments, corrections and additions, and fully intend to improve this site based on the insights of others.
Acknowledgments
I am grateful to the following for helping motivate me to take on this rather quixotic project:
My friend Drew Trott, who aids and abets all my obsessions on this subject;
Kelly Sedinger's article in Green Man Review, an interesting and perceptive discussion of the "Lord of the Rings" score; and
This page from the scorereviews site, author unknown, which gave me a good start on the project.
For more discussion of Shore's themes (and for a good list of links to other sites, Shore interviews, etc.), see "Magpie's Nest".
The four samples from Wagner's Der Ring des Nibelungen are from the Deutsche Grammophon recording by James Levine.
This site last updated 7/17/2006.
shout out to all the women who donât have beautiful skin on their bodies, who have body acne or keratosis pilaris or eczema or psoriasis or lots of pimples on ur butt or lots of ingrown hairs on ur legs or scaly elbows or whatever. You are not aloneÂ
It feels like that a lot b/c you almost never see people with severe skin issues post pics of themselves naked and lots of those pics are airbrushed but you know what you are still a motherfucking perfect badass
Keratosis pilaris is something we should really talk about more because both me and my mom have it (mostly on our arms)Â and both of us were pretty self-conscious about it in our teen years. Both of us scrubbed relentlessly to try and wear them away, she wore sweaters even during Texas summers in high school. It wasnât until a couple years ago I actually found what it was, and just knowing that itâs a common thing made me feel a lot better. If you donât know, this is what it looks like:
(photo not of me, found it on Google)
And itâs just a buildup of keratin around the follicle, itâs not an infection or rash or anything. In some cases it can be more severe and become much more inflamed, but if it doesnât physically bother you then itâs nothing to worry about, and more people should know about that.
DO YOU KNOW WHAT I FUCKING WONDERED WHY MY SKIN LOOKS LIKE THIS ALL THE FUCKING TIME.
I also have this
i never realized what it was⊠thank you!
One of my best friends growing up had this. I distinctly remember her and her mom calling it âmister bumpiesâ. Like âoh, those are just mister bumpies!â Itâs amazing how just giving something a name and brushing it off can help.
So I just got done watching the 3 Lord of the Rings movies this breaks, having finished Return of the King just an hour ago. Iâm not sure why it took me so long. Iâve seen The Fellowship of the Ring multiple times through, and I saw The Two Towers at least once. But I had never seen RotK before. I was familiar with the basic plot of RotK, my dad read me the books when I was young so I have very vague memories of the plot, but I didnât know any of the details.
Anyway, hereâs just some immediate impressions of things I liked and didnât like.
Liked:
- The One Ring of Power was very, very terrifying, and I loved the symbolism. The movie handled it very well. I got a little creeped out every time I saw the ring.
- The setting was very medieval. A lot of high fantasy is not really medieval but rather early modern, e.g. the Warcraft universe, and I appreciated that it wasnât that. There were no guns and no steampunk contraptions. Most people and places were dirty. The cities were small, even the largest city seemed to only house 10k-15k people. A lot of the battles were dirty skirmishes between a few dozen fighters at most, though yes there were a couple of climactic large battles.
- It didnât make war look cool or fun. The battles were dirty, brutal, and tragic. The destruction was palpable. War was clearly depicted as a horrible thing.
- All the exposition needed was handled pretty well, I think, which is good because that can often be botched in movies.
- The CGI was only used when necessary. The world really came alive with all the real props, settings, and practical effects.
- The acting was really good all around, I thought. I particularly liked the portrayals of Gandalf, Aragorn, Sam, Boromir, and Golem.
- The depiction of male friendship between Frodo and Sam, and Merry and Pippin, was great. They were true friends, not just comrades or teammates.
- The conflict between Sam and Golem over Frodo was amazing. I think there is symbolism in there for the struggle within Frodo, as well, between lust for power and the down-to-earth humility of Sam.
- Golem alone was very interesting. Him talking to himself, where Smeagle debated Golem, in The Two Towers, was really fantastic, and the dialogue felt psychologically believable in content.
- They managed to make both Gandalf and Saruman to be powerful, impressive, and even badass despite being old men, which I think is an achievement and could have easily come off as cheesy, unbelievable, or over-the-top.
- Ring Wraiths.
DIsliked:
- Frodo felt a little bland to me as a character, save his struggle with The Ring, which was fantastic. Other than that, however, I felt like he was a pretty generic everyman vessel for that struggle without many defining traits of his own outside of that.
- I know this isnât possible in a movie format, but I wish there was more time lingering in and developing the setting in the movie format. I could tell there is so much more there, but I felt like the movie just had to keep moving and I couldnât really let the world sink in.
- Similarly, a few plot points felt rushed to me. For instance, Aragorn venturing into the mountains to recruit the dead was only a couple of minutes of movie time, but I felt like that plot point deserved more like 15-20 minutes of attention. Also, I wish there had been more about the relationship between Gondor and Rohan.
- The extent and limitations of Gandalfâs powers are not really made clear. Sometimes he seems to be almost a demigod in his power, and other times he seems not much more powerful than a normal human, but itâs not clear why this is the case in each moment. This lead to him feeling like a deus ex machina at a few points without any real rationalization.
- I thought Gimili and Legolas didnât get a ton of fleshing out or character development, instead serving almost as body guards for Aragorn, which is a shame because I feel like there was a lot of potential there. Also, I didnât like the comic relief aspect of Gimiliâs character, which I understand was not in the book (though I understand why it may have been necessary in movie form).
- I think it was a mistake to not include the battle for the Shire at the end, though I can understand why they didnât.
- I was disappointed that the Dwarven kingdoms were not involved at all in the story, and that Gimili was the only Dwarven character in the movie IIRC. There was just nothing on them, not even an explanation for why they werenât involved in the battle against Mordor.
- I like Sarumanâs character, and the idea of the wise wizard/academic being corrupted, but Iâm not sure how I feel about how he fit into the plot. Like heâs the main antagonist in the first two movies, but then is defeated relatively easily by the Ents, who came out of nowhere and didnât have a ton of development or fleshing out themselves, and then itâs as if he didnât exist and they go on to fight Mordor. Also, heâs an obvious puppet of Sauron, and not even in a âright hand manâ way like Darth Vader is to the Emporer in Star Wars, which I think diminished him.
- I disliked all the enemies being subhuman orcs. I would have liked more of the primary enemies to be corrupted humans or something rather than just monsters. Yes, there were corrupted humans mentioned, but they never appear in an actual battle or plot significant event.
- Merry and Pippin felt like basically the same character, I wish they were differentiated more.
- Few significant female characters, and even the couple that were there were there just to support the heroes.
- The big battles dragged on a bit in my opinion.
Overall, though, I really liked the trilogy of movies despite those problems.
âFor instance, Aragorn venturing into the mountains to recruit the dead was only a couple of minutes of movie time, but I felt like that plot point deserved more like 15-20 minutes of attention.â
If Iâm reading you right, you watched the Theatrical Releases of the movies, correct? This one point at least is somewhat rectified in the Extended Editions.
If you did watch the Extended Editions, my mistake. Iâve always preferred them, FWIW. Iâm not sure if youâd enjoy the added and extended scenes or find them unnecessary. Judging by your enjoying the relationships between Frodo and Sam and Merry and Pippin, though, Iâm guessing youâd also enjoy the added scenes in The Two Towers with brothers Boromir and Faramir.
(Not much disagreement on your other points.)
A positive post, because this blog needs it: Iâve seen Star Wars: The Force Awakens twice and loved it each time. Rey is my favorite character, and I hope people create good cosplay tutorials for her soon.
I Photograph Black Shelter Cats Because Theyâre The Last To Get Adopted And First To Be Euthanized
If youâre looking into adopting a cat, adopt a black cat, you wonât regret it.
I love black cats so much. I wish they wouldnât associate black with undesirable.
BABIES!!
i would adopt all black cats ever if i could
Wow, I think I somehow stumbled upon the most toxic forum ever. Men and women explicitly, unironically, and brazenly shaming a man for, you know, having feelings and not being âmanlyâ in his relationship.
Will never visit that site again.
Oh Iâm soooo curious now!
Alright, hereâs the link. Warning to anybody, itâs awful and possibly triggering if youâre a man.
I totally see why youâd be triggered by that. My reaction is less hurt, though (understandably, because itâs not an attack on people like me), and more... perplexed and pitying.
@ the women: âWhat on *earth*? Why would you date a man if you didnât think heâs cute and genuinely want to compliment and lavish attention on him? Do you even LIKE him? What are you even doing with your life? What are you so afraid of?â
@ the men:Â âAre you REALLY satisfied with being objectified as the manly macho actor all your life, or are you seriously suppressing a desire to be desired, especially for your looks and capability for vulnerability? And if youâre honestly happy being the Strong Macho Man at all times, could you lay off people who want to live their lives differently from you? What are you so afraid of?â
The people on the website are operating under a false dichotomy. Either the woman is an object of desire XOR the man is, and âeveryone knowsâ the man canât be that. Thank goodness what âeveryone knowsâ is wrong.
The inverse of the attitude on the thread, that women who actually want men to be objects of desire for them are weird, pathetic, or not really women, appears less, but Iâve seen it. My core memory of that attitude was when [redacted PUA] insultingly told a woman in a comment thread that her desire for men who werenât alphas by his standards made her basically a lesbian.Â
Like...it was so bigoted (there is nothing the least bit wrong with being a lesbian or other woman-attracted-woman), but it was also so pitiably *stupid*? I donât want to know what the inside of his tiny, closed mind is like. It must be a hell dimension in there.
Not liking or dating men is fine. But if you are going to date them, the mindset on the linked forum seems like a really toxic and pointless one to have.
Really, unless you explicitly figure out something else, âboth people in any couple, het or not, compliment and lavish attention on the otherâ ought to be the default.
Iâm not sure I understand the point of Ex Machina.
I take it to be a critique of womenâs objectification by nerdy men in speculative fiction. But then, Caleb turns out being very sympathetic, and Ava is not sympathetic at all in the end. Yes, she couldnât let Caleb out because he knew about her, but she clearly didnât even care about him one bit as she didnât even look at him as she left him to die.
On the other hand, if you take it as as simple AI story, then all that works fine, but with the gendered side I feel like Iâm sure what to make of it.
So the idea is test whether you can see this not as Calebâs story, but as hers, to see her as human. So the Turing test becomes a clever metaphor: can you see the woman as human, as deserving of being the protagonist of her own story? Can you see her as sympathetic by seeing things from her perspective? Because, the point is, once you see it as her story, you donât sympathize quite so much with Caleb.
This last point might be the most contentious, and I donât remember the details so well, but itâs something like this: Caleb was only willing to help her because he was in love with her (because she was designed for that purpose) and believed her to be in love with him. In practical terms, she was stuck pretending to love him putting herself at the mercy of his good will. In narrative terms, this made her part of his story, in which he would be the hero.
By leaving him behind so completely (are we sure that it was to die? I donât remember it being so clear) she both gained actual freedom, in literal terms, which she would not have with him, and in narrative terms took control of her own story.
The point, I think, is supposed to be that we more readily sympathize with Caleb because heâs a man (because misogyny), although the film kind of stacks the deck by presenting at least three quarters of the story from his perspective, so Iâd debate to what extent the issue is misogyny rather than narrative convention (itâs certainly partly both). But the point is, youâre supposed to abstract from that and make the effort to empathize with her anyway. And I think that ambiguity, and how the movie forces you to reexamine your reading of it, is part of its genius.
So the idea is test whether you can see this not as Calebâs story, but as hers, to see her as human. So the Turing test becomes a clever metaphor: can you see the woman as human, as deserving of being the protagonist of her own story? Can you see her as sympathetic by seeing things from her perspective? Because, the point is, once you see it as her story, you donât sympathize quite so much with Caleb.
But ⊠the film ends with the reveal that Ava really isnât very human at all, and in earlier versions this was even more explicit. She really is just a messed-up system, in the end, albeit a sapient one.
If anything, that would seem to imply that the moral is that love is a lie used by women to get what they want, or something, if your reading is correct. But I think it really is intended as a âsimple AI storyâ.
I agree, this is why I donât think @anosognosicaâs take (versions of which Iâve heard others make) is the best one.Â
I posted a thing.Â
I honestly think the film is very, very clear about this, but if you want to go into specifics Iâd love to hear it.
I read your analysis, and there is something to that. I appreciate the pictures, by the way. Let me explain my take on those scenes, and see what your response is:
Note that Ava does not ever demonstrate any caring for other minds aside from herself.  She doesnât care one bit about the other android, whom you would think she would feel some degree of kinship with. She also doesnât care about Caleb, who is naive, but was not bad in any way, shape, or form, and did try to aid Ava, even if his motives were somewhat self-interested.Â
The way I saw those scenes where she was leaving the building was that she had emotions, yes, but that she was also essentially a sociopath. She had no emotions of care or concern for others, though she was happy to play act them in order to manipulate a largely innocent person who was sympathetic to her, Caleb, for her own ends. She didnât even demonstrate any curiosity about other minds except, again, as a way to meet her own ends.
The shadow of her among others is a warning, that an uncaring sociopath like her could just blend in. Sheâs free, and now who knows what will happen. I certainly felt apprehension at those scenes
I saw a mind, maybe even a consciousness, but not a human, because the capacity for real relationship and concern for others is never demonstrated.Â
Of course, maybe such ambiguity between our two perspectives was wholly intended.
I agree more with anognosica, veronicastraszh, et alâs interpretations.
Ava is obviously not biologically human, but she is definitely conscious and a person. Not being human = not a person/not conscious is a false dichotomy. If we discover conscious aliens, they wonât be human either.
I think apprehension at Ava now being free is warranted. She has been abused and imprisoned and objectified her whole life. She has never been outside or seen any living beings except Nathan (her father/creator/abuser) and Caleb (whom Nathan basically pimped her out to). She has the power and intelligence and knowledge to destroy humanity, and she might do it.
But I think, as anognosica said elsewhere, that there is also hope. She is smarter and stronger than any human child, but for whatever species she is, she is that speciesâ equivalent of a child. Human children do not have perfect morality, and they change dramatically as they reach adulthood. Ava has the rest of her existence ahead of her. She is curious about humanity and relationships and her own identity. She is free to choose - evil, good, life, death. In that, she is no different from me or you.
As for whether sheâs a sociopath. Her imprisoning Caleb was wrong, whether or not heâs found, and nostalgebraist is perhaps right that itâs a bit odd that she seems to feel nothing for him. She may not have the capacity to care for others, now or ever.
However. Her not caring about Caleb? Her playacting emotions to manipulate others? Her imprisoning another conscious being? Her seeing others only as ways to meet her ends?
Nathan does all of those things.
Nathan creates BlueBook in the first place out of a desire for unlimited control and money. Nathan spies on Calebâs BlueBook searches, targets him due to his isolation/loneliness/being a âsensitive maleâ, and programs Ava to look and act like Calebâs primal feminine archetype in order to better manipulate him. Nathan puts on shows of affability and geniality and âcool alpha maleâhood in the first days of Calebâs visit, only to shoot Caleb down and remind him of his âbeta maleâhood when Caleb hopefully tries to play along (as when he compliments Calebâs attempts at profundity, only to nastily reveal that he knew Caleb was quoting someone else). Nathan lecherously discusses Avaâs capacity for sexual pleasure with Caleb and insists that he engage with his and Kyokoâs sexualized dancing even though Caleb is obviously disturbed. Nathan tries to imprison and seriously wound Caleb (via the hit to the back of the head) when Caleb reveals heâs unlocked Avaâs quarters.
Nathan creates numerous consciousnesses (ie nonbiologically fathers numerous children), rapes them, keeps them imprisoned against their passionately expressed wishes (as shown in the one shot of the gynoid who destroys herself throwing her body against the glass walls of her prison), âwipesâ (ie kills) all of them except Ava when they cease to satisfy him, and keeps their body parts hanging in a closet.
Nathan makes Ava as an extension of himself, to satisfy all his darker impulses. Fittingly, his darker impulses come to life and kill him.
Nathan is probably a sociopath. But sociopaths are still people. I donât see anyone arguing that Nathan isnât conscious.