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i am a human being.

@purple-summering / purple-summering.tumblr.com

tori. 28. she/her/hers.
"be proud of your place in the cosmos. It is small, and yet– it is."
currently: our flag means death • black sails • league of their own

End OTW Racism: A Call To Action

A fan protest against the lack of action from the OTW on addressing issues of harassment and racism on AO3 and within the organization

This is a Call To Action for Fans of Color and Allies

AO3 has acknowledged that they have a harassment & racism problem that its parent organization, the Organization for Transformative Works (OTW), needs to address. Currently, people can use AO3 to harass others through fanworks, comments, and tags. Just a few examples include: racist Untamed “spitefic” that used anti-Indigenous slurs and was written specifically to lash out at fans of color; a Transformer fic that used its Black-coded character to reenact George Floyd’s murder in July 2020; someone naming a fandom scholar who criticized their Nazi omegaverse fic in the tags of the fic specifically to incite harassment to the scholar; writers using racial slurs against commenters who pointed out racism in their hockey fic; and so much more.

In June 2020, after the murder of George Floyd, the OTW committed to addressing these issues. It has been nearly three years and they have not yet implemented any of the changes they promised, other than a blocking/muting tool that was already in development before 2020. We need to hold the OTW accountable to their own promises. (See the section further down on “Why Are We Doing This” for even more detail.)

As fans, together, we are powerful. We are organizing to protest the lack of action on promises made by the Organization for Transformative works to deal with issues of racism and harassment on their platform, Archive of Our Own.

We call on fans to do any or all of the following actions any time between May 17 to 31, 2023 to send a message to AO3 and OTW that we will hold them to their promises.

On AO3

  • Change the title of ten (or more!) of your most recent or most popular fanworks to include ‘End Racism in the OTW’ in the beginning, and provide a link to this post in your summary or first/top creator’s note
  • Post a new fanwork any time between May 17th to 31st with “End Racism in the OTW” either as the title or at the beginning of the title. The fanwork does not have to be long - it can be a 100-word fic, a quick sketch, a podfic of a ficlet, a 20-second vid/edit, a short piece of meta, etc. In the summary or first/top creator’s note, provide a link to this post
  • If updating any WIPs with a new chapter, add ‘End Racism in the OTW’ to the title and provide a link back to this post in your summary or first/top author’s note
  • Update your AO3 icon using the profile pic graphic in our Social Media Toolkit
  • Plan to maintain these changes until May 31, 2023, or longer if you wish
  • Send a message to the OTW asking for an update on their 2020 commitments!
  • For Readers: leave encouraging comments on fanworks with the "End Racism in the OTW" title to show your support of this initiative.

On tumblr

  • Reblog this Call to Action with the tag #End OTW Racism
  • Update your profile pics and banners using the graphics in our Social Media Toolkit
  • Follow this account for updates and signal boost our posts

On Twitter

  • Follow @/EndOTWRacism (remove the backslash) and signal boost our pinned tweet
  • Update your profile pics and banners using our graphics, and change your display name to include #EndOTWRacism
  • Use sample tweets and graphics from our Social Media Toolkit to tweet about your fanworks, and use the hashtag #EndOTWRacism

What Do We Want?

Since their June 2020 statement, OTW has been working on updating their Terms of Service (TOS) to address racist and bigoted harassment, but with little transparency and only the vaguest of updates. It has been three years since their commitment to this update - we want to see the results of their work implemented in the next 6-12 months. Their TOS updates and complementary policies should include:

  • Harassment policies that can be regularly updated to address both on-site harassment and off-site coordinated harassment of AO3 users, with updated protocols for the Policy & Abuse Team to ensure consistent and informed resolutions of abuse claims
  • A content policy on abusive (extremely racist and extremely bigoted) content; by abusive, we are talking about fanworks that are intentionally used to spread hate and harassment, not those that accidentally invoke racist or other bigoted stereotypes

These points are not particularly new and are not our own innovation; please refer to Stitch's article written over two years ago, asking for several of these very things.

OTW has also already committed to various process-based actions for longer-term works towards centering antiracism, including hiring a Diversity Consultant. The last update that OTW published said that the consultant would be hired within the next five years (after already having had three years to work on it since their original commitment). That is not soon enough. We want to see the following process-based actions implemented:

  • Hiring a Diversity Consultant within the next 3-6 months
  • Committing to a policy of transparency on this topic, with quarterly updates on the progress of these projects including challenges and their plan for overcoming those challenges. These quarterly updates should be published on OTW News page and newsletters, not solely discussed in Board meetings

Why Are We Doing This?

16 years ago, Astolat famously published her manifesto calling for a fandom Archive of One’s Own. In that time, AO3 has grown to be a central pillar of fandom, likely far outstripping its founders’ original vision. It is more than just an archive now; it is a central hub of the modern fannish experience. AO3 and the OTW must continue to grow and evolve with fandom over time to remain a healthy and functioning pillar of fandom. To that end, there are several areas in which the organization, as it admits itself, is lacking.

In June 2020, in the wake of the George Floyd protests and the uprising of the Black Lives Matter Movement, The OTW published a “This Week in Fandom” referencing the works of Dr. Rukmini Pande and Stitch, among others in which they discussed ‘making change for a better society’ through ‘conversations about race and racism’. In response, Dr. Pande and Stitch submitted a letter to the OTW calling for a more formal public statement than an offhand reference in a News Roundup that only served to call for thoughts and discussion without any indication the organization intended to do anything, policy wise, to address the issues being raised.

Eventually, the organization did remove the references to the works of Dr. Pande and Stitch and then made an official statement on the issue of racism within the organization and AO3. In it, they identified several things they would be prioritizing to combat harassment and benefit users. Some of those have been implemented (notably those that were already under development). However as of this writing, little else has been done especially in regards to:

  • Improving admin tools for the Policy & Abuse team
  • Reassessing the current mandatory archive warnings with the possibility of implementing others
  • And, most importantly, reviewing the Terms of Service (TOS) to allow the Policy & Abuse team to address harassment that is currently not covered by the existing TOS

By their own admission, the current tools and policies of the OTW are not sufficient to deal with issues of harassment and racism.

Several people who were involved in the founding of the OTW, including previous OTW Board members and staff on the original OTW Content Policy Committee, acknowledge that the founding of the OTW in 2008 and early board iterations failed us as a fandom by not doing enough, and by not even considering the way racism is perpetuated in fannish spaces, despite a long history of racism in fandom.

It has been nearly three years since the original commitment by the organization with little visible, measurable progress on these three crucial issues and a complete lack of transparency on where they are in regards to even beginning to deal with these issues. In fact, in Q&As, it was heavily implied by a member of the board that those calling for OTW to deal with issues of racism (which OTW had already acknowledged as a problem!) were not really fans but outside agitators.

This has cast significant doubt on the organization's sincerity and commitment to their stated goals, and on their position as leaders of a central fan tent-pole. Fans of color are not outsiders. They are right here, members of our community, and they are being harassed and targeted and driven out while space and platforms are being given to racists.

We, as fans of color and our allies, find the current state of fandom and current actions (and lack thereof) unacceptable. Fandom is our space, all of ours. We, as a fandom, have a right to a racism-free space and have a duty to our fellow fans to create that space. Unlike so much of the world, this is a space we can control and make better. It is a space we must make better. To read even more about this movement, visit our FAQs.

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Here’s some pictures - they’re so damn pretty!

[ID: Three pictures of a small, robust bodied bird standing on leaf litter on the forest floor. It has a glossy black body and tail, chestnut colored wings, yellow legs, red eyes, and a red beak. End ID]

welcome back 🥺

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How could you not include the scientists reaction to the trail cam footage

Seattle Public Library is doing this awesome program called Books Unbanned that allows teens and young adults (ages 13-26) access to their collection of e-books and e-audiobooks from anywhere in the USA. All you need to do is fill out a simple form and you get their Books Unbanned card. Please share this information far and wide. I know they're not the only ones to have done this, but the more the merrier!

another random epiphany I had on my drive home from the store was that things that are the most obvious often feel the most profound. I was looking at the sunset through my window. I was like “this is beautiful and it changes all the time so every sunset is a little different and also beautiful.” Which led me to think “if you look at the earth from space, the clouds are never pink or blue or yellow or orange, they are just white and grey all the time. In space perhaps the sunsets are not very different or very beautiful.” Which led me to think “the sunsets are only beautiful because i am so small.” Which led me to think “so many things are only beautiful because i am so small, or if not only then they are at least much more beautiful than they might otherwise be, either because my vantage point of smallness allows me to see details that big things wouldn’t see, like when I see the flash of the sun at sunset with my little eyes on this big planet, or because my briefness finds vastness so incredible cuz it’s so much bigger than me, like when I sit under a very very old and very very tall tree.” And this was all somewhat obvious but it didn’t make the feeling of epiphany go away or diminish at all

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Would you look at this masterpiece

Via @alexrybakofficial on TikTok

For context:

The violinist is Alexander Rybak, a Belorussian violinist whose family defected from the USSR to Norway. One of the songs he’s mashing up is his own “Fairytale”, Norway’s entry that won the 2009 Eurovision.

The other song, which is the one playing on the amp, is “Stefania” by the Kalush Orchestra, Ukraine’s entry that won the 2022 Eurovision. The song is about the writer’s own mother, and also about mothers who protect their children from war. Once Russia invaded, the song became a war anthem.

So this isn’t just a gorgeous piece of music. It’s a political piece about unity between people who have been oppressed by the same empire.

Anonymous asked:

Regarding the DnD Orc posts:

What would be a less problematic way of describing a fantasy “race”/“species” that is meant to be “evil” and “vile”, (because maybe they were created by a evil deity to cause havoc etc).

#honestQuestion

you're positing an inherently paradoxical project mate. "how do i construct a fictional Type of Person who is ontologically evil, whose murder is prima facie acceptable or even laudable, while unimpacted by the titanic weight of historical discourses that did the exact same rhetorical work in service of real-world violences?" -- the answer is that you've invented an impossible task!

there is no fantasy of uncomplicated and meritorious ethnic violence that is neatly separable from the historical context those fantasies are produced in. that's just the way it is. genuinely, i feel compelled to ask--not because i want to hear the answer, but because i want you and others to think about this--why is this a fantasy you’re so desperate to salvage?

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re: that posed last question -- why this fantasy? -- i recently read this short essay that uses necropolitical theory to analyze the function of orcs and similar 'evil races' in games and thought it was useful.

A recurring anguish in certain circles of fantasy roleplaying involves the never-ending search for ethical, commendable, heroic murder. This often externalized as an issue of the murdered party, the one fantasized murderer ever the silent passive subject; a quest for an intrinsic quality of the murder victim that makes it A Good. This is phrased and re-phrased in variants of the same question: What would be an acceptable target for my character to kill in a dungeon?
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for a peek into the etiology of ontological essentialism as it pervades TTRPGs I have to recommend Charles W. Mills’ The Wretched of Middle Earth: An Orkish Manifesto as an analysis of how Tolkien was able to establish orcs as ontologically null for the express purpose of being killed en masse. you can, of course, trace a direct path from the mythos Tolkien set up and the widespread practice of constructing entire populations as essentially evil for the sake of gameplay:

For the genocide of the orcs is, of course, part of the climactic victory over Sauron and Mordor. Yet if it were to be suggested to the average reader of the book that it ends with a great crime, the claim would probably meet with complete bewilderment. The killing of the orcs generates no moral concern (either for the Allies or the vast majority of readers and critics) because, of course, the orcs have been successfully depersonized by Tolkien, rendered as ontological zeros. The pen here prepares the way for the sword. Indeed, a case could be made that LTR should be required reading for courses in the literature of genocide, for precisely because of the celebrated “reality” of Middle-Earth, it becomes possible to watch, in synoptic overview, the construction of an epistemology that makes mass murder possible.
How has this been done? To begin with, there is the denial of history and geographical rootedness to the orcs—almost, one could say, the denial of time and space. The density of detail and cross-referencing which give Middle-Earth its solidity and reality are deliberately withheld from the orcs in keeping with their ontological shallowness. Certainly, there are no genealogical tables, no accounts of culture and history, no etymological speculations about their languages, no maps of their territory. The orcs are defined simply by negation, as the antipode to white culture and civilization.

and:

The average reader does not perceive these inconsistencies, does not feel in any way disturbed by the systematic slaughter of the orcs, because, as I have suggested, Tolkien is in many ways simply retelling an old tale. The racially-differentiated structure of LTR’s moral and juridical codes simply reproduces actual historical earthly norms, going back at least to the Crusades, where “the same behavior, considered objectively, was ‘persecution’ when it was perpetrated against, and not when it was perpetrated by, the Christians.” Similarly, the fantastic kill-ratios and body-counts of LTR—the party in Moria killing thirteen orcs at the cost of a scratch to Sam (FR, 422), Boromir single-handedly dispatching twenty orcs before succumbing (TT, 18), Gimli’s grisly orc-killing contest with Legolas, which he eventually wins 42 to 41 (TT, 188)—are made both normatively acceptable and fictionally plausible by the racially-coded non-personhood of the orcs.
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I’ve been contemplating for several days something, and I’ve been trying to distill it into meaning, and put nice little bullet points on how this relates to things that have been bugging me about some common Discourses I’ve been seeing, but at the end, I only really have a story. So here, have a story.

About ten years ago, sometime in the eventful 2006-2007 George W. Bush-ruled hellscape of my identity development, I was just starting to figure out how I felt about my conservative upbringing (not great) and whether I was some brand of queer (probably, but too scared to think about what brand for too long). I was working as a server at a popular Italian-inspired sit-down restaurant that was the closest thing my tiny South Carolinian town had to “fancy” at the time but isn’t really fancy at all.

The host brought a party of four men to one of my tables. It was hard to tell their ages, but my guess is they were teenagers or in their early 20s in the 1980s. Mid-40s, at the time. It was standard to ask if anyone at the table was celebrating anything, so I did. They said they were business partners celebrating a great business deal and would like a bottle of wine.

It was a fairly busy night so I didn’t have a LOT of time to spend at their table, but they were nice guys. They were polite and friendly to me, they didn’t hit on me (as most men were prone to do – sometimes even in front of their girlfriends, a story I’ll tell later if anyone wants me to), and they were racking up a hell of a tab that was going to make my managers happy, so I checked on them as often as I could.

Toward the end of their second bottle of wine, as they were finishing their entrees, I stopped at the table and asked if they wanted any more drinks or dessert or coffee. They were well and truly tipsy by now, giggling, leaning back in their chairs – but so, so careful not to touch each other when anyone was near the table.

They’re all on the fence about dessert, so being a good server, I offered to bring out the dessert menu so they could glance it over and make a decision, “Since you’re celebrating.”

“She’s right!” one of the men said, far too emphatically for a conversation on dessert. “It’s your anniversary! You should get dessert!”

It was like a movie. The whole table went absolutely silent. The clank of silverware at the next table sounded supernaturally loud. Dean Martin warbled “That’s Amore” in some distorted alternate universe where the rest of the restaurant went on acting like this one tipsy man hadn’t just shattered their carefully crafted cover story and blurted out in the middle of a tiny, South Carolina town, surrounded by conservatives and rednecks, that they were gay men celebrating a relationship milestone. 

And I didn’t know what I was yet, but I knew I wasn’t an asshole, and I knew these men were family, and I felt their panic like a monster breathing down all our necks. It’s impossible to emphasize how palpably terrified they were, and how justified their terror was, and how much I wanted them to be happy.

So I did the only thing I knew to do. I said, “Congratulations! How many years?”

The man who’d spoken up burst into tears. His partner stood up and wrapped me in the tightest, warmest hug I’ve ever had – and I’ve never liked being touched by strangers, but this was different, and I hugged him back.

“Thank you,” he whispered, halfway to crying himself. “Thank you so much.”

When he finally let go of me and sat back down, they finally got around to telling me they were, in fact, two couples on a double date, and both celebrating anniversaries. Fifteen years for one of them, I think, and a few years off for the other. It’s hard to remember. It was a jumble of tears and laughter and trembling relief for all of us. They got more relaxed. They started holding hands – under the table, out of sight of anyone but me, but happy.

They did get dessert, and I spent more time at their table, letting them tell me stories about how they met and how they started dating and their lives together, and feeling this odd sense of belonging, like I’d just discovered a missing branch of my family.

When they finally left, all four of them took turns standing up and hugging me, and all four of them reached into their wallets to tip me. I tried to wave them off but they insisted, and the first man who’d hugged me handed me forty dollars and said, “Please. You are an angel. Please take this.”

After they left I hid in the bathroom and cried because I couldn’t process all my thoughts and feelings.

Fast forward to three days ago, when my own partner and I showed up to a dinner reservation at a fancy-casual restaurant to celebrate our fifth anniversary. The whole time I was getting ready to leave, there was a worry in the back of my mind. The internet web form had asked if the reservation was celebrating anything in particular, and I’d selected “Anniversary.” I stood in the bathroom blow-drying my hair, wondering what I would do if we showed up, two women, and the host or the server took one look at us and the “Anniversary” designation on our reservation and refused to serve us. It’s not as ubiquitous anymore, but we’re still in the south, and these things still happen. Eight years of progressive leadership is over, and we’ve got another conservative despot in office who’s emboldening assholes everywhere.

It was on my mind the whole fifteen minutes it took to drive there. I didn’t mention it to my partner because I didn’t want to cast a shadow over the occasion. More than that, I didn’t want to jinx us, superstitious bastard that I am.

We walked into the restaurant. I told the hostess we had a reservation, gave her my last name.

She looked at her screen, then looked back at us. She smiled, broadly and genuinely, and said, “Happy anniversary! Your table is right this way.”

Our server greeted us, said, “I heard you were celebrating!”

“It’s our anniversary,” Kellie said, and our server gasped, beaming.

“That’s great! Congratulations! How many years?”

And I finally breathed a sigh of relief, and I thought about those men at that restaurant ten years ago. I hope they’re still safe and happy, and I hope we all get the satisfaction of helping the world keep blooming into something that’s not so unrelentingly terrible all the time.

thinking about how andor refuses to be a character-driven story, thus giving fandom relatively little to work with (though it perseveres, god bless). the characters have agency and arcs but the empire’s necropolitics is such that their lives and deaths don’t belong to them, and the only way to reclaim them is to give them away again, this time to a cause. and so the story itself treats them this way, not as expendable but as terribly undervalued. there’s no time to linger on their deaths, we must go go go. the deaths aren’t dramatized, not because they are an afterthrought but because they are drowned out by the tumult and chaos of resistance. there’s no time to even visually dwell on cause and consequence. the heavy load wasn’t properly secured; he couldn’t swim; she was old and sick. but regardless of whether or not the character consciously meant to leave a legacy, they all do, and it reverberates long after their death: his manifesto, his rousing speech to the prisoners, her speech that lights the fuse of protest.

ive been intrigued by ur recent posts about glass onion, and i was wondering: did you have similar issues with knives out, or do you feel that glass onion's weaknesses are unique to that film?

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i think that knives out suffers from the same liberal sensibilities as glass onion, though glass onion was noticeably more smug and self-important in its conviction of its own political significance. if anything, i think the shift in political logics governing how rian johnson tackles the detective genre between knives out and glass onion makes for a very effective synecdoche of the changing sensibilities of the wealthy american liberal class between 2019 and 2022. knives out is very much a product of the trump era, when american border violence was front and centre of liberal discourses (and broadly understood to be the consequence of a republican presidency rather than a necessary prerequisite to the maintenance of the settler-colonial regime itself). the ethos at the heart of the detective fiction template is one of affirming the necessity and moral integrity of policing and moving the image of policing away from an overtly political register towards one in which crime is predominantly interpersonal, and a contemporary piece that looks to build on the detective genre and grapple with its political accountabilities should reasonably be expected to challenge this notion. certainly there are gestures made to the role that policing plays in upholding border violence in knives out – a significant part of the stakes of the film come from the dangers of police involvement in the case when marta’s mother is undocumented – but at the end, ransom is arrested, marta gets the inheritance, the courts step in to administer justice, and this is presented as a satisfying ending, in keeping with the traditional end to detective fiction. knives out, whilst conscious of systemic violence to some very liberal degree, still closes with the assumption that i think most liberals of 2019 would have taken at face value; that ransom being arrested and marta getting the inheritance was enough, that that in itself was a politically expedient depiction. 

between 2019 and 2022, the american liberal sentiment around policing underwent a sea change; the 2020 BLM uprisings in the wake of the murder of george floyd introduced a liberal articulation of police abolition to people who would previously have thought of that idea as an extremist commie position. this was ofc watered down to calls to ‘defund the police’ and other such electoralist bullshit, but the idea that the criminal justice system served the interests of capitalists and enforced white supremacy such that Black people were subject to police brutality was now something that had taken root in the liberal psyche. the idea of a metaphysical notion of justice being served when the perpetrator is arrested at the end of the detective story just wouldn’t quite gel with the american liberal in the way it might have in 2019 (though perhaps this imagines american liberals to be more serious about the politics of policing than they are; at the very least, i think rian johnson seems to have been tuned in to this shift in awareness around what policing is and does, and intended to tackle this). hence how, at the end of glass onion, we see benoit blanc acknowledge that his power to deliver ‘justice’ to miles bron is limited to the powers that he answers to, ie. the police and the courts, and that miles’ wealth + the lack of ‘evidence’ that would be afforded legitimacy in a court of law made prosecuting him impossible. stymied by the system’s inability to deliver ‘justice,’ he galvanises helen to – essentially – destroy miles’ property instead. (& in doing so ofc makes prosecution possible; the fuel that bron was developing is proven to be dangerous, his friends redeem themselves in the eye of the narrative by agreeing to testify against him, etc. – the narrative trips over itself a little as it tries to guide the viewer towards a deliverance of ‘justice’ outside of the courts only to bring our focus back there after all.) there’s a new sense that the criminal justice system doesn’t serve the interests of Black people, that it serves the interests of elon musk-types, and that destruction of private property constitutes an understandable response to such a fundamentally unfair system, but it’s not really … developed into a meaningful or original anti-capitalist or anti-racist ethos as much as it just reflects what american liberals have managed to absorb into their worldview. 

anyway, knives out is still broadly v toothless when it comes to ‘saying’ anything about wealth or capitalism or border violence or racism. harlan thrombey, though a wealthy patriarch, is understood to merit a significant degree of sympathy and appreciation from the audience, because 1. he is, putatively, ‘self-made’; all the ‘dislike’ for wealthy people on the part of the audience is channelled towards his children who are presented as spoiled and vacuous and thus undeserving of his inheritance (which, when picked at, is a fundamentally capitalist sentiment that reifies meritocracy); 2. he is intelligent, which goes back to what i criticised about glass onion – so-called ‘intelligence’ and fluency in ‘culture’ is a white supremacist class marker, and failing to interrogate these concepts or ask if a wealthy person with these supposed assets is still a wealthy person complicit in the same violence as the wealthy person who lacks them is a critical failing of an anti-capitalist narrative that near enough collapses it into old money complaining about the uncultured nouveau-riche; 3. he knows marta’s mother is undocumented and wants to protect her from police investigation, which is supposed to endear us to him despite the fact that he had this knowledge and did nothing for her or marta until he himself died, and 4. he participates in what a liberal imaginary might claim constitutes a ‘redistribution of wealth’ in allowing marta to inherit his capital + assets, which in practice only imagines a shift in ownership over the means of production & capital into the hands of marginalised people to constitute an effective counter to racist border violence. (very good post here identifying how marta’s inheritance of the thrombey’s estate plays into the same great replacement logics that the film wants to refute.) marta is seen as a worthy heroine and inheritor of his wealth because she, unlike the thrombey family, ‘deserved’ it – she’s kind, and intelligent, and makes a ‘useful’ social contribution through working as a nurse, and is so driven by an ontological ‘goodness’ that she can’t even tell a lie without vomiting. i appreciate that some of those characteristics are in keeping with what makes for a compelling heroine of the detective genre, but it just makes me wonder — does the film not hang on to a sense of there being ‘deserving’ vs ‘undeserving’ immigrants? would the film have so strongly insisted on marta’s ‘right’ to inherit american wealth and american power had she not been played by a white actress/had she been, say, ‘morally ambiguous’/unemployed/homeless/criminalised? it’s a very palatable narrative, and one that doesn’t really challenge liberal sensibilities or take serious aim at hegemony. 

i do think knives out was at its most compelling when it made the point about how people with wealth and power might well identify themselves at almost any point on the political ‘spectrum,’ but will all unite when it comes to the preservation of capital. unfortunately, this collapses in on itself a little with the suggestion that a concentration of capital of the sort that the thrombeys hold/held is fine as long as it’s in the hands of the ‘right’ person, and rings a little hollow considering … the rest.

i don’t believe the detective genre is inherently, irreparably reactionary – disco elysium, for example, is a work of detective fiction that clearly sets out to interrogate and undermine the reactionary ethos that powers its genre touchstones, and by and large does succeed – but i do think that the fact of the genre having emerged out of the development of modern policing with intent to affirm certain paradigms (the ‘individual’ rather than systemic nature of crime and punishment, the integrity of the law and its enforcement as upholding a metaphysical notion of justice that extends beyond capitalist hegemony, the naturalisation of the modern policing system) is something that contemporary creators have to be prepared to tackle, and i think rian johnson has yet to tackle any of that effectively.

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