That video of Alex Hirsch reading S&P notes for Gravity Falls conveys a few things to me:
1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.
2) the people who run Disney would be the first to fall in line with a fascist regime.
3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.
4) conservatism, not the left, is and always has been the biggest voice of censorship in American culture.
J. Michael Straczynski, creator of Babylon 5, was before that a producer and writer for a number of cartoons in the late â80s/early â90s (The Real Ghostbusters and the original She-Ra, most notably). After a few years of dealing with the censors and their obsession with finding Satanism (or at least looking for Satanism to further political agendas) he wrote an article about the whole corrupt and bullshit system.
And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?
That one is from his autobiography, Becoming Superman. See also:
(As he goes on to say, heâs never worked in animation againâheâs effectively been blacklisted by the cartoon industry.)
Every time something like this comes up, I remember two stories about making media. The first is about movies, and comes from Quentin âFeet Manâ Tarantino.
When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didnât actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvinâs skull that lodge in Samuel L. Jacksonâs hairpiece). The resultant cuts were actually more permissive than heâd expected, so he cut a little more and submitted it, and it got passed with an R.
The second story is about that artist on Morrowind whose name escapes me (Iâm not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and âworkingâ for another few hours on a second, âtoned-downâ version, and it worked every time.
The reason I bring these up is that the thing that drives censors isnât some extant physical rubrick of what is and isnât acceptable, itâs the idea that they can have absolute power over someone elseâs creative work. Itâs about the social dominance of the interaction.
There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.
Hardison: âYou know, Fermiâs paradox says that itâs improbable for other life forms to exist.â
Eliot: âYeah? Well, Drakeâs equation shows that orbiting around the hundred billion stars in our galaxy thereâs up to ten thousand planets with technological civilization. [smiles at Hardison who gives him a surprised look] You never know when you might have to fight an alien.â
âIâll tell you, the Stargate, I wish you had it because thereâs a lost shot, one we could not do. When we bring the team back together at the beginning of Season Two, we had little moments of what everybody said what they did during the break and Eliotâs was going to be âWhat did you do?â and we were gonna flash to the Stargate with him in the gear: âAll right, but this is the last time.â And then flash back and him going âNoâŚâ But the Stargate was broken! It was thrown away.âÂ
âJohn Rogers to Dean Devlin, DVD commentary for âThe Last Dam JobâÂ
Listen. LISTEN. You can pry âEliot was on a gate teamâ from my cold dead little hands for a whole list of reasons but mainly because nothing would be more hysterical then watching Hardison trying to understand Eliot working at Cheyenne Mountain. Know why?
The cover story for the Stargate Program was that it was doing deep space telemetry for NORAD. Please imagine Hardison trying to wrap his brain around Eliot spending what, four years?, doing deep space telemetry. And Eliot just shrugs because
âI canât have a hobby, Hardison, is that what your saying? Thatâs just stereotyping, man, thatâs wrong.â He keeps it up until theyâre actually in the gate room and then he slaps Hardison on the back and grins.
âIâm just messing with you man, I was fighting aliens. Come meet Tealâc, bet heâll let Parker climb him like a rock wall, itâs fun.â
I was tagged by @ambernotember today and... possibly some other people previously, I have not kept track, sorry.
No pressure tagging @corporatebanana, @geddyqueer, @sad-girl-hours23, @setmeatopthepyre, @trombonechurchill, @wee-fuckin-woo and anyone else that would like to hop on!
Sad Dag Hours under the cut.
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They do wind up crammed next to each other in the van. Tommy by one window, Dag in the middle, and Lars on the other side. Between the gear and everyone elseâs luggage, only Tommyâs suitcase can fit shoved into the back, so Tommy just puts a his backpack in his lap. Itâs a worn purple, the color varied and partially sun bleached, with a few patches sewn to the front. One is a Phorid fly patch thatâs old enough Tommy had to have gotten it from one of their first times playing in North America. Dag tries not to stare at it. It feels impossible, that Tommy was at a Phorid show so long ago, and Dag didnât notice him then.
âSmack me if I drool on you,â Tommy says.
Dag nods in response, so he doesnât do something stupid and admit that he wants to know what Tommyâs spit tastes like.
âFucked up the flight was delayed,â Jan says, climbing into the driverâs seat and peering back at them.
âYeah,â Tommyâs eyes are already barely open. âAirportâs not the worst place to sleep though.â
âWhatâs worse?â Jan asks curiously.
âUnder a bridge,â Tommy says dryly, with a smile thin enough that Dag canât tell if heâs joking or not.
The van lurches into life and Dagâs stomach lurches with it. This is physically the closest to Tommy that Dagâs ever been. Heâs got eyes, he knows Tommyâs a big guy, tall and muscular. But itâs one thing to see it, and another altogether to feel the bulk of Tommy right next to him. Dag can see the flex of Tommyâs bicep in his peripheral vision, as Tommy pulls a rumpled hoodie out of his backpack and balls it up into a makeshift pillow.
Itâs not like Dag is small or anything. Heâs shorter than Tommy sure, and he doesnât lift or whatever else it is that Tommy must do at the gym, but Dagâs still a grown man. Tommyâs justâjust big. Thick. Dagâs mouth feels dry. He focuses at looking through the front windshield, instead of the way that Tommyâs in shorts, the fabric stretched across the breadth of his thighs as he sits.
It's always mental when i see ostensibly liberal US americans wring their hands about convicts being "rewarded" with free healthcare when like
The US prison is extremely profitable for prison owners and the states bc convicts are forced to labour for little or no pay
Like. The punishment for their crimes is to engage in the US government's federal program of legalised slavery. They make license plates or furniture, work construction, fight fires, even get rented out to private and public workplaces
The healthcare isn't humanity. It's property maintenance
âNeither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.â
the 13th amendment did NOT abolish slavery. It simply said that only convicts can be slaves.
people should not be slaves, but people enduring slavery deserve healthcare. Until our slavery-based justice system is replaced with a rehabilitation-based system, convicts deserve healthcare.
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