its important to me as a detrans woman to be vocal about it. its important to me as a detrans women who initially only had radfems to talk to about detransition, because i couldnt find a single trans inclusive detrans person for over a year, to make sure other people know they have options.

radfems arent your aly if you're questioning your gender. they dont have your best interest at heart. they dont care about helping you explore who you are, theyre only interested in sucking you in to be another transmisogynistic pawn for their violent ideology.

if you're trans/nonbinary now, but are wondering if it isnt right for you, know that you have options. you can talk to me. there are people who have not done a 180 into bigotry who are here to support you.

please reblog, do not just like, this post.

i dont have a large platform. i want this to get spread. i want to remove terfs from the forefront of detrans/reidentification awareness & support. they cannot continue to be the first contact for questioning people.

i am begging you, yes you personally, to please reblog this, and comment or reply in the tags if you're a safe, trans-inclusive detransitioned or reidentified person to approach.

“You can’t judge historical figures by modern morals!” you can, actually. i do it all the time and it’s super easy 

“But everyone during that time–” okay i’ll judge them too. i have enough disdain to span centuries.

“Why don’t you guys just get the fuck over it ” - Becky voice .

“Why are you resisting ? Be peaceful .”

Don’t ever let this post die . *Good history Twitter pg to follow *

“It was a long time ago get over it” Jim voice.. Cough, only 54 years ago for Kenya 🇰🇪, 55 years for Jamaica, 70 years ago for India, 50 years ago Aboriginal people weren’t counted as people, they were under the Flora and Fauna Act…

Not to mention the aboriginal stolen generation where children were literally taken from their families and given to white families to “assimilate” them and it’s still terrible the gap between white Australians and indigenous Australians.

Because we dont talk enough about this in the UK, especially not in schools. It is, at best, glossed over if mentioned at all. 

They’ve never told the Jews to get over it.

Saying America perfected Britain’s Racism sure does try and take some blame off of them. Sorry but the UK and America are hand in hand with their racism. Plain and simple.

Hell the UK invented America so

my spicy take of the day is generic medication brands shouldnt exist. the name brand medications should be price capped every single time. I don’t care.

these name brand medications are not always identical to the generic and many of those inactive ingredients only present in name brand make a huge difference.

we shouldnt have to create a shittier version of a medication that works. the medication that works should be the one readily availible to everyone. pretending generics are just as good /every time/ ignores that this practice shouldnt fucking exist in the first place.

for a few examples:

i am allergic to the offbrand benadryls, i dont know why or how but i am, yet they are less than 1/3rd of the price which puts me in a terrible position.

many generic insulins end up killing people because they are not made the same as brands people get used to and this isnt readily apparent when they turn to the cheaper brands in a pinch.

these cheaper and worse quality medications are a tier of waste that should not exist. poor people should not be subject to worse healthcare and these companies do not need more money.

medicine shouldnt be a capitalist endeavor at all im sick of everyone pretending this is an acceptable practice.

if you think it’s fair that capitalists price poor people out of the ability to get good quality medications so capitalists can make more money i dont think you have disabled people like me in your best interest.

generic brands create a false sense of security that pretends everyone is getting the same care when they actually arent getting the same care.

these name brands should instead be forced down to a reasonable price and covered by a true healthcare system.

even healthcare systems will seek out a generic over the namebrand which isnt always equal or good which many doctors already know.

eliminate the ability to create a generic and force these companies to comply with reality. force their prices low or you do not seek equal care for all.

yall look at this shit ad*be is tryna pull now on ppl who have outdated software:

(note for context: i’m all for piracy, but in this case my copy of CS6 was downloaded years ago when they were giving it away to students. i got it totally legally.)

so here is what NOT to do if you’re a loyal fan of adobe who has the cash to shell out for a newer and shittier version of the product you already paid for.

1) DON’T use your search bar to find and open the Run app

2) DON’T type in services.msc

3) DON’T find Adobe Genuine Software Integrity Services and right-click to get a dropdown menu, and don’t select ‘properties’

4) if you happen to click properties, DON’T use the startup type dropdown to locate the option to disable the program. be sure you DON’T click apply to finalize that change. 

5) DO NOT do the same thing in order to also disable Adobe Genuine Software Monitor 

if you do all of these things, this WILL disable adobe’s ability to monitor the software, and you will be forced to continue using the same older software that you already paid for instead of having to sign up for a newer, shittier version and pay more for it. so if you have lots of cash to spare and are cool with putting it the pockets of racketeering capitalists, definitely don’t do any of these things. 

however, you SHOULD reblog this to spread the word, as we certainly want to make sure lots of people know what NOT to do :)

I’M SORRY MA'AM. I KNOW YOU’RE UPSET.

Pretend to be upset.

OP how could you

I hope none of my friends who use Adobe programs find this, follow your detailed instructions, and spread the word. That would be devastating!

PLEASE HELP

I posted this before, but the GFM has stalled. My brother and his girlfriend’s cat Jude needs surgery and soon or their cat will die. They’ve already lost one kitty this year to old age. Please please help them save this one. You can donate here: https://www.gofundme.com/f/6vbsm3-surgery-for-jude?utm_source=customer&utm_campaign=p_cp+share-sheet&utm_medium=copy_link

People in their twenties be like. My interest include drugs. Drinking. Tv series. Uber eat. causing and then resolving Interpersonal issues

he’s literally rigging the election and next to nothing’s being done about it what the actual fucking living hell

HE’S LITERALLY TARGETING USPS IN BLUE AREAS WHERE HE LOST THE LAST ELECTION

If you feel unsafe about voting in person (because, y’know, we’re in the middle of a goddam pandemic) but now fear the USPS will be unable to deliver a “mail-in” ballot in a timely fashion….

1. Request a mail-in ballot.

2. Do not mail it.

3. Google your supervisor of elections to see where you can drop off your mail-in ballot. It’s usually NOT THE POLLING PLACE.

All states allow this! Here is what you’re accomplishing by doing this:

1. Your ballot gets in on time no matter what happens to the USPS.

2. You don’t have to worry about standing in long lines and risking infection. You’re just stopping by to drop it off.

3. You voted! Hooray! I have no doubt Trump and his supporters are doing to try to call into question the legitimacy of mail-in voting (which is more enthusiastically embraced by Democratic supporters, especially now.)

Also, when you drop it off, find out how to track it online to make sure it is verified. California, Oregon, Washington, and Colorado have systems that can track your ballot just like tracking a package from Amazon.

All CA vote centers (which are open for weeks to a month before election day) have ballot drop-off boxes too! Many government buildings have them as well, so there’s no need to wait until election day when it’s crowded to drop them off. The list of drop-off sites is always posted on each county’s voter info website.

This is important! This election is crucial! Get out and vote! We! Cannot! Afford! To! Get! Complacent! This year, every vote matters!

follow @the-future-now

wow!

disabled women of color are capable and deserve to be recognized and respected

Translation: “I am fucking tired of the soviet car industry” *the standard effect of touching a soviet car* *laughs in russian*

I can’t get over the sheer poetry of how the car falls apart - the perfect chain reaction escalating as it travels round.

Honestly as a blind person I’m so tired of seeing fictional blind characters who don’t use white canes or other guides. “They have special powers so they know what’s around them” or “they’re confident enough to not need a guide” are common tropes, and I’m tired.

Are people scared that using a white cane will make their blind character seem weak? They can’t use a cane because they’re so special that they already know what’s around them, and other blind people who use guides are inferior because they’re not special?

I’m tired. Give your blind characters white canes and other guides. Let them hold onto their friends, let them have guide dogs. Don’t make white cane users feel ostracized for not being “strong enough” to go without.

Another thing that pisses me off is when a sighted character comes up with the fantasy equivalent of braille and teaches it to the blind character. Braille was invented by Louis Braille, a blind man, in 1824. The blind character should be the one coming up with it.

Tldr I’m blind and tired of sighted people lol

🔪 Sighted People MUST Reblog This 🔪

A good boy taking a well deserved nap

A napping Platypus?

PERRY THE NAPPING PLATYPUS!

Friendly reminder that there are 750 Quileute. Seven Hundred and Fifty. Think. For reference- how big was your middle school? (around that, maybe?) I think we tend not to understand how personal their inclusion in Twilight was. Smeyer took advantage of them. She's rich off of them and their culture. She exploited and misrepresented them. Seven hundred and fifty people. She could look each one of them in the eye and apologize in one afternoon and instead, she sits on 125 million dollars as if her hands are tied.

She could give every Quileute $50,000 each and still have $87,500,000 left over.

Heaven and Hell: or my experience being a person of color in Disney’s Hyperion Theater

by Cooper Howell

Heaven and Hell: or my experience being a person of color in Disney’s Hyperion Theater. #holdingtheateraccountable Im just gonna go ahead and be straight up. This is pretty scary to share. HEAVEN: Once upon a time Liesl Tommy cast me as Prince Hans in Frozen: Live at the Hyperion. And I was gooped. GOOPED. There was nothing in my prior history that gave any indication this was possible. Up until then every role I played had to do with my race. Every. Single. One. And even ones where it didn’t (Shakespeare or classical pieces mostly) I was always made aware that the novelty of me being a poc in that role that gave me the part. So much did I not expect to get this part that when I got the callback I rolled my eyes and didn’t take the actual callback seriously. I mean, there was a zero percent chance that Disney would ever let me play a Prince, especially when the dude in the movie is a ginger. But then I got it. And immediately everything I thought was possible about my career changed. My whole life I’ve never inwardly felt black. I’ve never inwardly felt white. I’ve always felt like I was Cooper, you know, on the inside. But whether it was every single white human in Utah reminding me that I was “the whitest person they ever knew/saw” (which DIDNT mean how white my skin was. It was how white I ACTED) or Mr. Johnson, my 7th grade drama teacher, telling me that he “wanted to put Velcro on the ceiling to see if I’d stick” or Mr. Smith, my high school drama teacher, saying “finally we can do black shows” as soon as I entered high school and then not casting me in roles because of the “optics” of it, or even my best friend in high school Tanner Harmon who called me “blackie”, I was always reminded that I was an other. So imagine getting paid good money to put on that $10,000 costume and waltzing out to 4000 people a day to play a really amazing part. A fantastic, evil, complicated, person who sings a killer duet and then grabs the show by the throat with a vicious about-face monologue… and not once was my race ever mentioned cuz it didnt matter. What was being prized was Cooper, my talent, not my skin color that I never asked for. Heaven. Liesl MADE SURE, almost overly sure, that the poc’s in the cast felt equal. The kingdom of Arendelle, after all, is a make believe place. It can be whatever. From having Disney executives come and tell us that they were happy to have us there, to side conversations with John Lasseter, we were made to feel overly welcome playing the parts we were playing. She encouraged us to dive deeper into the script of a cartoon that I didnt really think much of until I was in it. We were encouraged to ask why. We felt seen as talent and not commodities. There were, of course, detractors. Gosh, I remember people at a party of cast members from “Mickey and the Magical Map” another show at Disneyland which features a princess and the frog number and many of those casts mates angrily claiming that “if that black girl Tiana Okoye can play Elsa than I should be able to play Princess Tiana” and then looking at me to confirm that was okay to say, not realizing that a) she’s one of my best friends, b) that I’m in the show with her also playing a role that wasn’t created to be a poc, c) how racist that sounded, and d) why there’s a difference there and why that wouldn’t make sense. On Liesls final night I came up to her and said “I don’t know why you did it but thank you so much for casting ME in this part” to which she replied “you mean why would I cast a handsome, talented person in this role?” And I stuttered something like “well, I mean, I’m black. You know…” to which she tilted her head to her side and said “no. I don’t know why. Tell me why that matters.” And I had no answer. Seeing that I had no answer she smiled. That was the answer. There was no reason. On the spot my outlook about myself changed. Windows into what I thought was possible for me opened. ————————————– HELL: And then Liesl went back to NYC and she was replaced by a man named Roger Castellano as show director. Rogers task, he told us on the first day, was to “change the show”. We were not told what needed to be changed or even why, but that changes were on the horizon. You’ve got to understand: to a full cast of actors who had just spent more than three months dissecting a 60 page Disney script with a Tony nominated director like it was Shakespeare, we were initially emotionally/mentally/spiritually resistant to changes. But then it became clear that the spirit of collaboration was over, and the show changes were to be given without the same care, consideration, and thematic explanation of why they were being made. Everyones initial reaction was to push back, but when people who questioned their notes or their changes started getting days removed their schedule or being replaced entirely by a new actor, the Hyperion theater became a place where no one was allowed to speak out. Injustices were happening left and right and no one felt they could do anything for fear of losing their livelihood. And that’s when the Frozen: Live at the Hyperion became a living hell. In my first note session with Roger he pulled me into a room with Domonique Paton, my best friend and incredible costar who played princess Anna in the show I was in. She just so happens to also be black. Almost all of Prince Hans’s scenes in the show are with her character and so most of my notes would be primarily based on those interactions with her. Earlier in the day I performed with a different (white) actress but it was the show with Domonique that I had a note session about. Imagine my surprise and dismay when, with how Liesl set up the show experience, we were told this: “WHEN THE TWO OF YOU PERFORM THE SHOW TOGETHER ITS TOO… URBAN.” Urban. What else could that have meant, do you think? He could have said maybe “too contemporary” emphasizing that we were maybe too modern in our speech patterns or movements. We weren’t. He could have said “too lax” or “too loose” meaning that maybe we were being unprofessional and goofy up there because we’re really good friends. We were not. The best me and Ms. Paton could think of was a 8 count moment of improv dance that me and Domonique decided to use as a synchronized moment of unity. It happened to fall on the line “our mental synchronization can have but one explanation” and thought, with the freedom that Christopher (the original choreographer) had given us, was appropriate, especially considering everyone behind us was doing the robot. As in the 80s robot. But he didnt clarify. He just said “WHEN THE TWO OF YOU PERFORM THE SHOW TOGETHER IT’S TOO… URBAN” And when asked what he meant he smiled with a little shrug and said “you can figure that out. You’re smart.” And thats how I became Black Hans and Domonique became Black Anna. My every moment onstage afterwards became about the optics of being a poc in that show. It was if I was suddenly made aware that I was LUCKY enough to be there and under any normal circumstances, or this new directors circumstances, me getting this part would have never happened. But the message was clear. It was especially clear when me and Domonique Paton shows together durastically decreased and made even more clear when the vast majority of the new hires were not people of color. But no one said anything. And made even MORE clear when, over the next few weeks, both Domonique and I got COPIOUS notes, ten times that of our coworkers that played the same parts. It was almost a game. In fact we did turn it into a game, seeing who would get the least amount of notes from him in a day. Our costars would even joke about it onstage with us, during the ballroom scene, and jokingly whisper “The shows been up 15 minutes. How many do you think you got today?” But no one said anything. And the notes were about all kinds of things. How we held our hand. If our inflections went up or down on a word. Which side of a couch we leaned on… which was fine! When you’re an actor, thats the gig… until we started comparing our notes with the actors that played our same parts and none of them, NONE, would get the same notes. Our notes would be outrageously longer, the note sessions sometimes lasting 10/15 minutes. Others would get the “Oh hey, try doing this or that next time, okay bye” walk-by notes. Sometimes I would sneak into the audience and watch as some of the other Han’s, some of whom changed lines, changed entire intentions of scenes, some of whom adding in all types of vocalizations and cackles and dance moves and what have you, and would receive ZERO notes. But I was watching them to see what was wrong with me. What was my performance missing? What am I actually doing to feel this singled out. And then I realized that the thing that was wrong with me was that I was a different color than the 5 other white Hans’s they cast. And then I started getting notes about my penis. Most of the time these “penis sessions”, as I called them, were given in private rooms without another stage manager present. It was incredibly unpleasant and unprofessional. In fairness, those Prince Hans pants are TIGHT! And yes, Mr. Howell is indeed a party in the front and a party in the back, but so were a lot of those fellas. And thats where I put my foot down. If Disney was going to provide me with a costume it is not my responsibility to fix their problem, especially when other of my (white) costars had been given a dance belt for the same thing. But they never got penis notes. Private session notes about what their penis looked like in that show. Over and over again I was told to fix it, to not make it (my dick) so apparent, and that “if my daughter were younger I wouldn’t want her to come to a show you were performing at" all the more insulting considering his daughter, a cast member in the show, was a friend of mine and the loveliest person. He started demanding that I buy a dance belt. It was “my fault”, “my responsibility” …and thats where I took my stand. And then it really became hell. Penis sessions were now done out in the open. Once, he screamed at me, in the green room in front of all of my costars during lunch, about how incredible unprofessional I was, about how he was tired of seeing my dick, and that if I didnt go buy myself one I didnt deserve to be there anymore. Followed by a huge litany of notes. That doesnt compare to some of what Domonique went through and I invite her to share them if she’s willing. During this time I went to every stage manager in the building and told them about being singling out and about my penis. They all told me to write a complaint report and it would go to some place called “HR”. Which I did. Numerously. More months passed. Nothing from “HR”. Multiple cast members who witnessed my note sessions encouraged me to go to the HR themselves. I didnt honestly know what an HR was. As soon as it was explained to me by my allies even what an HR was I went to the head of HR at Disneyland herself and waited outside of her door. I asked her if she got any of my HR reports and she told me that she had received no HR reports from the Hyperion. Ever. And then asked me to fill out a HR form. As we went over it, she asked me some questions, and then set up a second meeting. On the second meeting she said that in order for my report to be given credence I would need witnesses to give their testimony. The witnesses, in fact the very people that told me to go to HR in the first place, said no. They didnt want to lose their jobs. In retrospect that might be the thing that hurt the most but, whatever… anyway, I was told ““well… without testimonies we’ll do an investigation and we’ll call you when we’ve completed it.” I never received a phone call. With absolutely zero protection from the stage managers from both the sexual harassment or my obvious racial targeting I (and others) were experiencing, not to mention that HR reports were doing nothing, aka not being forwarded, I thought about quitting. And when a white stage manager made a show mistake and laughed it off to the cast by saying an entirely offensive lynching joke, I quit. I didnt matter to Disney. How I felt and what I was being put through didnt matter. I was a commodity. My departure was unceremonious. Bizarre. 100% un-magical. I hung up my costume one last time and it was given to a new Hans, one who looked very much like me oddly, and stepped out of the theater. The park was playing “every wish your heart desires will come to you” and I remember laughing at how dead that song felt. The director has since moved on but still works as a musical theater director in Southern California. This one time 4 years ago I got to feel something other than my color for the first and only time in my professional career. It lasted from about March 2016 to July 2016 and never again since. I will never forget in those early days looking at all the beautiful princesses I got to woo and thinking “wow. I’m a prince right now.” Im sure that sounds stupid. But it didn’t feel stupid. And a Disney prince! Yeah, a shitty prince kinda… I mean, he’s a sociopath… BUT still a Prince! Especially special was being able to look in Dominique’s eyes and I could see the same glimmer of “can you believe we get to do this right now” reflected back. We never knew it was in the cards for us. My race always has and will always be part of my career equation and a determining factor of its projection. It will always be a determining factor in how im treated, by creatives, by people, by the those in authority over me, including the government and the police. #wasitmyskin

Copied in its entirety here from Cooper Howell’s public Facebook post: https://www.facebook.com/photo.php?fbid=10163696376095054&set=a.10151302685610054&type=3&theater

I was a usher/ house manager at this theater and Cooper was one of the nicest people, and actor who always took the time to connect with the ushers which was rare at Hype. It hurts my heart to know he went through this. We all need to be better.

Okay, so when quarantine’s not in effect, I sometimes work at the Hyperion Theater, though in the Attractions side of things. This makes me an usher, not an actor, and so I never knew the performers or crew very well except as their respective roles.

This story breaks my heart – because I remember watching both Cooper and Domonique as Hans and Anna. I always loved the enthusiasm they brought to their roles: the level of commitment and energy they put into making their Hans and Anna stand out, so that they weren’t just copies of Santino and Kristen’s interpretations of the characters in the original film. I loved Cooper and Domonique’s chemistry when they ended up on stage together, and I also enjoyed them individually. Cooper was so good at accenting a kind of innocently charming, but stiff formality in Hans when he first meets Anna (when he didn’t know what would most impress her), and then slowly devolving into a more casual, suave air to match Anna’s when he gets a better fix on her. His dancing and singing were also both exceptional. Domonique was easily the funniest Anna I’ve ever seen – without fail, she always made me laugh, even though I’d seen the show a good hundred times, and her vocal range was incredible. I’d noticed how I saw less and less of Cooper and Domonique over time, but I’d sort of just assumed they were performing other roles elsewhere. I feel terrible knowing that such talented performers experienced something like this.

Lost woods + “In The Woods Somewhere” by Hozier