vilife

The Red Sponge: Spongebob’s Role in Enforcing an Oppressive, Capitalistic Society

Every millennial who grew up watching “Spongebob Squarepants” has come to the same horrifying conclusion: you have turned into Squidward. No matter how buoyant, how cheerful, how optimistic you were as a child, there comes a point where you begin to identify with Squidward more than any other character in the show.

You could explain this phenomenon with the disillusionment and cynicism of growing up, or the burdens of being a teenager in a post-John Hughes society. There is, however, an even simpler answer. Spongebob is an allegory for Karl Marx’s The Communist Manifesto. The show revolves around Spongebob, the hardworking proletariat, accepting a low-level fry cook job and enduring Mr. Krabs’ exploitation with a grin on his face.

The face of compliance

It’s not hard to draw the parallels between Mr. Krabs and the bourgeoisie. He’s a cheapskate who underpays and overworks his employees for his own personal gain. Mr. Krabs famously ripped off his own arms (claws?) to retrieve a dime that fell down the drain. He took his workers on a boating trip to retrieve his millionth dollar from the jaws of a giant clam. He has zero regard for his employees’ safety and almost routinely puts them in danger for his own benefit.  Mr. Krabs’ daughter, Pearl is an extension of the bourgeoisie archetype. She’s vain, self-centered, and largely unaware of others’ misfortune. She lives in a bubble, obsessed with clothes, makeup, and celebrities — because she has the leisure for such frivolities.

Remember when Pearl gentrified The Krusty Krab

Speaking of living in a bubble, Sandy is not exempt from analysis. Sandy is quite literally shielded away from the rest of the world. She represents the intellectual elite, using her privilege and higher education to jeopardize working class jobs and further the industrial revolution. Her endeavors into space mirror the Cold War-era “Space Race,” capitalism versus communism. Her voyage ends on the moon, just like the U.S.’s did. On top of her scientific record, Sandy is independent and self-sufficient, exemplifying capitalistic ideals of individualism.

If Sandy is the intellectual elite, then Patrick Star is just the opposite. Patrick represents the bourgeois caricature of the working class that capitalists want you to buy into. He is ignorant, undereducated, and lazy. He lives under a rock, likely because he can’t afford anything else — although he doesn’t seem to mind. Patrick appears to deserve his poverty because he does nothing but sleep, yet he also seems at peace with his lot. This idea of the happy, unproductive bum simultaneously vilifies and justifies the proletariat. “See, they’re poor because they just don’t work hard enough! In fact, they like being poor!” Patrick Star is arguably one of the most offensive cartoon depictions of this generation.

Blatant vilification of blue-collar workers

Spongebob, on the other hand, represents the ideal proletariat. Spongebob is hardworking, humble, and endlessly optimistic. He’s a lot like us before we realized the inherent evils of a capitalistic society. Day in and day out, Spongebob gleefully works a minimum-wage job flipping burgers with no hope of promotion. He’s a cog in Mr. Krabs’ greasy machine, but he doesn’t even realize it. He just continues to skip to work every day, chanting “I’m ready!”. Ready for what, Spongebob? Ready for the bourgeoisie Kool-aid he’s been absorbing through his poriferous sponge body.

Spongebob is the ideal worker, and as children, we aspired to be just like him. The very first episode of Spongebob showed him getting his first job as fry cook. According to the show, the very best achievement you could receive is being gainfully employed. Not only employed, but tirelessly productive and efficient to maximize your manager’s profits. Spongebob famously served busloads of anchovies at a never-before-seen pace. It wasn’t enough that Spongebob could perform his job well; he had to go above and beyond his duty in order to seem valuable. These are the principles we instilled in the youth of today. What went wrong?

Back, finally, to Squidward. Squidward isn’t like Spongebob or Patrick. He isn’t satisfied in his low-level employment. What Squidward seeks is artistic satisfaction and world renown. He covets the success of his employer without achieving the work ethic necessary for someone of his class to ascend. Squidward has realized that the cards have been stacked against him at every turn, and resigns himself bitterly to the clutches of capitalism. If Squidward were less jaded, he could be the catalyst to prompt full-scale class warfare, perhaps ending in a communist utopia. Unfortunately, Squidward’s defeatist personality and egoism prevents him from implementing social change.

Mfw I realized I will never dismantle oppressive power structures that infiltrate our economic landscape

That is why we are all Squidward. We’ve uncovered the limits of capitalism and realized that hard work may not always pay off. We’ve begun to notice the oppressive economic and social structure that infiltrates our everyday life. We yearn for something higher, but feel that change is out of our reach. We become bitter, combative, self-deprecative, and cynical. There’s a reason Squidward is the unhappiest character on “Spongebob.” Not only for faults of his own, but for his own rotten luck. The show subliminally punishes Squidward for his views, hoping to prod viewers back towards Spongebob’s blithe, unfounded optimism.

Their efforts were to no avail. Millions of millennials are finding themselves disillusioned, realizing all along that Squidward was the reasonable one. He had a right to protest Mr. Krabs’ vile working conditions, and his sarcasm was merely a coping mechanism for the injustices placed against him. Squidward is the dissatisfied proletariat, and we identify with him more than ever. The difference is, we have the energy and collective power to succeed where he could not. Together, we can rise up and defeat the bourgeoisie, establishing an egalitarian society that does not prey on the lower classes. In the words of Spongebob, “I’m ready.” Are you?

Why the shows treatment of Yin Fen bothers me

*spoilers for if you are not up to date with either the show or infernal devices*

In the show you are introduced to yin fen as if it were any other recreational drug. Izzy gets hooked on it and displays the typical drug addict symptoms: cravings, fever, jitteriness, ect.  She is shown to be addicted to it, she is willing to do anything to get more of it; she is shown to be a very typical, unflatteringly painted, drug addict.

This completely destroys and undermines Jem Carstairs’ entire character arc.

It is immediately established in Clockwork Angel that Jem is not a drug addict in the common sense. Yin fen is not a metaphor for meth or cocaine or any other recreational drug. It is a metaphor for the wasting, cureless diseases of the day, such as consumption or typhoid or something:

A hero […] who was condemned to die young of a fatal demonic illness, no matter how desperate the efforts were to save him, just as in reality victims of consumption sickened and died without penicillin(Forward of Clockwork Princess, pg. 4) 

Clare states it clearly herself, yin fen is not a recreational drug like the show made it to be.

By giving Izzy this plotline, they have ruined any chance of Jem’s arc making any sense at all. People would see that Jem is addicted to yin fen and not be able to understand why he can’t just kick the habit. It wouldn’t make any sense that the drug is killing him, turning his hair and eyes silver and paling his skin, because this very obviously not what happens to Izzy. Izzy isn’t dying, she just feels like she is. 

It is made very clear that Jem hates what yin fen has done to him. He hates that he must rely on it, he despises how it has stolen his life from him. And while he compares it to the Opium in China and himself to the addicts(thus offering a compelling metaphor about colonialism and racism):

The British bring opium into China by the ton. They have made a nation of addicts out of us. In Chinese we call it ‘foreign mud’ or ‘black smoke’. In some ways Shanghai, my city, is built on opium. It wouldn’t exist as it does without it. The city is full of dens where hollow-eyed men starve to death because all they want is the drug, more of the drug. They’ll give anything for it. I used to despise men like that. I couldn’t understand how they were so weak.

[…]

There was one thing they couldn’t fix, though. I had become addicted to the substance the demon had poisoned me with. My body was dependent on it the way an opium addict’s body is dependent on the drug.

(Clockwork Angel, ch. 15, pg. 339-340)

He also makes it very clear that the drug is more of an bastardized medicine:

After weeks of experimentation they decided that nothing could be done: I could not live without the drug. The drug itself meant a slow death, but to take me off it would mean a very quick one.

The yin fen is what keeps Jem alive, and he despises that. He wants to burn bright like Will does, he wants to live to grow old with Tessa(though not for her but that’s another rant). This why he throws it in the fire in Clockwork Princess, why he was taking less of it. He loathes relying on it. 

This is not the case with Izzy. Izzy, like most drug addicts, craves how good the yin fen makes her feel. She actively wants more of it. It is not a unavoidable and cruel medicine, it is a recreational drug. 

But the worst aspect of this is that it plays right into the negative and degrading view the other Shadowhunters have of Jem and further causes and creates Jem’s greatest fear. 

The books works extremely hard to make it very clear that Jem Carstairs is not a drug addict. It is consistently referred to as his illness, the other characters work hard to combat this kind of thinking in the novels themselves. This plays into the vilification of the Lightwoods especially, with Gabriel constantly saying awful and derogatory things about Jem:

“You’re a decent Shadowhunter, James,” [Gabriel] said, “and a gentleman. You have your–disability, but no one blames you for that.”

(Clockwork Angel, ch. 9, pg. 206)

“I think,” Gabriel said, “that perhaps you might consider whether jokes about opium are either amusing or tasteful, given the…situation of your friend Carstairs.”

Will froze. Still in the same tone of voice, he said, “You mean his disability?

Gabriel blinked. “What?”

“That’s what you called it. Back at the Institute. His ‘disability’.” Will tossed the bloody cloth aside. “And you wonder why we aren’t friends.”

(Clockwork Angel, Ch. 11, pg. 269)

Not only this, but the scenes during and after Jem retrieves Will from the Drug Den, are extremely telling.

When Jem drags Will out of the den, the reader sees him lose his temper for the first time:

“You did not have to come and fetch me like some child. I was having quite a pleasant time.” 

Jem looked back at him. “God damn you,” he said, and hit Will across the face, sending him spinning. Will didn’t lose his footing, but fetched up against the side of the carriage, his hand to his cheek. His mouth was bleeding. He looked at Jem with total astonishment.

(Clockwork Prince, ch. 9, pg. 195)

In this moment, Jem is so blindingly angry at Will, even Tessa observes herself how this was so utterly unlike him, because he feels as if Will is mocking Jem and his addiction by going and getting high on a drug when Jem is literally dependent and dying because of the yin fen.

“There’s no cure,” […] “I will die, and you know it, Tess. Probably within the next year. I am dying, and I have no family in the world, and the one person I trusted more than any other made sport of what is killing me.”

[…]

“He knows what it means to me,” he said. “To see him even toy with what has destroyed my life–”

(Clockwork Angel, ch. 9, pg. 200)

Because Jem has to battle against the label of a drug addict everyday, and his biggest fear is that he is just a addict, that that’s all anyone sees. He hates that label. Which, as seen, is openly talked about in the books. This is such a big deal that Will actually apologizes for it:

“I went to that den because I could not stop thinking about my family, and I wanted–I needed–to stop thinking,” said Will. “It did not cross my mind that it would look like I was making a mockery out of your sickness. I suppose I am asking your forgiveness for my lack of consideration.”

(Clockwork Prince, ch. 11, pg. 247)

Even though Will makes a point to never apologize about anything so that others will hate him. He apologizes to Jem for this thoughtlessness because he realizes how royally he messed up. 

All of this is totally disregarded in Izzy’s storyline. People entering into TID after watching the show will be confused and not understand how Jem is sick and dying and is not really a drug addict at all. In short, they will enter into the novels with a prejudice and misunderstanding of Jem, and see him just like the other Shadowhunter’s do: a weak drug addict.

tl;dr: the show totally ruins and misconstrues and mocks Jem’s character arc by giving Izzy such a typical(and utterly incorrect) recreational drug addict storyline and I am furious about it.

how fucked up is it that Steven, a child, “turns himself in” to the planet-killing, tyrannical empire that systematically oppressed and devalued his family and is still spitefully hellbent on destroying his home because he genuinely feels like “someone has to pay” for what his mother did–namely, rebelling against said empire and assassinating one of its tyrants to liberate the Earth, its people, and her fellow gems?

and no, Steven’s decision wasn’t purely motivated by his desire/need to save his human Beach City friends. Steven only begins resisting Topaz and Aquamarine once he realizes that Lars is still onboard the ship. when Topaz offers them the escape pod and Lars urges him to get in, Steven refuses–because someone has to pay for what his mother did.

sure, Steven may believe–naively–that if he gives himself up to the Diamonds, they may leave Earth, humanity, and the Crystal Gems alone, so his sacrifice not only rescues the Beach City citizens in the short term, but also saves the Earth in the long term. 

Steven is wrong about that. 

it’s highly unlikely that the Diamonds will be satisfied with Rose Quartz’s gem on a platter alone–if they would be, why do they resort to the overkill of using the cluster to destroy the entire planet after the corruption-causing weapon decimated the Crystal Gems? why not just go back in, find Rose, capture her, take her back to Homeworld to face the Diamonds’ wrath, and finish colonizing the planet? yeah, the Diamonds want to destroy Rose, but that wouldn’t satisfy them. they want to make her suffer, erase every trace of her and what she loved, fought for, and represented. only Blue Diamond’s grief and sentimentality–her insistence that the things and beings Rose fought to liberate originally belonged, and thus will always belong, to Pink Diamond–motivates her and Yellow Diamond to send Topaz and Aquamarine to kidnap humans to be kept in the Zoo as mementos and keepsakes against their wills.

but Steven’s stated rationale–“someone has to pay for what my mom did”–underscores his genuine convictions that what Rose did was wrong, that Pink Diamond deserves some sort of “justice,” and that the Diamonds have the right to administer that “justice.” Steven, after all, has expressed his resentment toward Rose for her decision to assassinate Pink Diamond.

and that’s what is profoundly fucked up. that Steven has been told (albeit in meager detail) and in some cases knows from firsthand experience that the Diamonds are murderous, repressive tyrants that want to commit (the latest in what’s likely to be a long series of) genocide(s) against the Earth and were personally responsible for causing countless gems, including his loved ones, Garnet and Pearl and even Lapis, great harm…but he still believes that what Rose did in retaliation was wrong.

however much Steven criticizes Garnet and Pearl for keeping the truth about Rose and Pink Diamond from him, he knows enough about who and what the Diamonds are to know better.

now, this is either some disastrous, myopic, neoliberal Avatar: The Last Airbender-style “two wrongs don’t make a right”/“don’t fight fire with fire” guiding ideology that hamfistedly ignores the material realities of power imbalances and scale (see: that series’s handling of Jet and Hama, two rebels whose methods of resisting militarized, imperialistic colonialism was deemed outright “wrong” without the nuance and grace that went into exploring the characters, like Zuko/Azula/Iroh, who were their violently imperialistic colonizers)…

…or it’s the dawning of Steven’s consciousness of power and scale: that the harm Rose caused by assassinating Pink Diamond is in no way comparable to the scale of harm, suffering, and death that the Diamonds have inflicted and continue to inflict; that stopping Pink Diamond from committing genocide by assassinating her was, in an uncomfortable yet primordial truth, justified.

at bottom, it is certainly true that each singular life is inherently valuable. but when one being wields nearly absolute power over countless others and chooses to use that power to inflict harm, suffering, and death, that truth is–to put it lightly–complicated and problematized. 

should Steven try to reason or negotiate with the Diamonds to get them to recognize the harm they’ve caused, stop inflicting any more harm, abdicate their positions, and face punishment? of course. peaceful negotiation is infinitely preferable to deposing them by force or killing them.

but one incredibly crucial truth that almost always gets overlooked is that–in the real world–liberators like Rose Quartz commit revolutionary violence in response to the brutal, everyday violence of oppressive systems like Diamond-ruled Homeworld. to question whether Rose was “right” or “justified” in shattering Pink Diamond without first asking and dwelling in the question, “what led Rose to make the extreme decision of taking Pink Diamond’s life?” is to ignore the experiences of the victims of the Diamonds’ constant violence: all non-Diamond gems and all life on Earth. 

that Rose and the Crystal Gems resorted to violence speaks to the urgency of what was at stake (i.e., the Diamonds were destroying the Earth and all its life, as well as shattering defiant, defective, or mistaken gems left and right; they couldn’t afford to wait any longer for the Diamonds to listen or realize that they were wrong). 

of course it would have been better if Rose could have convinced Pink Diamond to stop being a murderous, genocidal tyrant; but murderous, genocidal tyrants like the Diamonds seldom listen, and would probably have shattered Rose, Pearl, Garnet, Bismuth, and all the other Crystal Gems before they did. (plus…yeah. that’s what the Diamonds actually tried and are still trying to do.)

now that he’s going to confront Blue Diamond and Yellow Diamond personally, Steven will hopefully start to recognize these material realities and truths. if he does, then his decision to re-bubble Bismuth–while still horrible and inexcusable; her continued suffering and vilification should never have been reduced as a point in Steven’s arc of ~becoming woke~–may start to be recuperated, assuming he frees her soon afterward (although Rose’s will not be).

I’m not saying that the WANTED arc will either “fix” or “break” the show…but–yeah. the WANTED arc has the potential to either repair or decisively break the show.

anonymous asked:

The crytyping "joke" where they repeat what you say in a mocking tone is literally the same shit I endured from playground bullies in elementary school. They'd gather around in a group and repeat everything I said, even as I was saying "I don't like when you guys do that". Seeing as I was autistic and prone to meltdowns in elementary school, it's obvious that was why they were bullying me. So. Congrats, guys, you're literally stealing tricks from playground bullies now.

I mean if folks really don’t get how its ableist, simply imagine it as an audible situation.

Imagine a person who has a minor stutter that gets worse when they’re upset. So maybe a situation happens when a person uses that to manipulate someone else calling out their bad behavior (racism to be accurate apparently.)

Now imagine the person calling out the racism, seeing this person with a stutter trying to dodge racism, and decides to mock their stutter instead of directly addressing the issue. They just audibly repeat everything they say and all the stutters in a mocking tone.

We wouldn’t tolerate that, right? Cause for one, its not about the racism anymore, its in no way focusing on the problem; instead its making a joke out of the stutter. And anyone watching is going to have their attention diverted from the actual issue to the new hilarious implication that stutters are funny, are something to mock.

When has it ever been ok to mock someone’s disability just because they’re a bad person? Yes, people can use disabilities to manipulate, but that’s a pretty bad vilification of disabled people to create a meme out of mocking disabled people and then act like manipulation is a widespread and common enough problem among all disabled people to justify that behavior.

If you can’t call out another person’s bigotry without attacking their weak points and disabilities that splashes back on a bunch of innocent disabled people, you’re a bad person. If you don’t even want to try and listen and want to continue to mindlessly defend your behavior rather than considering how you affect innocent people, you’re even worse.

someone: dceu clark is so dark and broody that’s not what superman is supposed to be

me, internally: clark kent has a far more multifaceted personality than bright and sunshiney and hopeful, and the fact that he can still remain so throughout bvs despite the vilification he constantly encounters takes incredible willpower. plus, he’s still in the middle of character development, like all of the characters in the dceu: he’s still growing and changing. not to mention it’s toxic masculinity to treat his easy expression of his emotions as simple “dark” and “broodiness.” he is a flawed and imperfect character who is still learning, who, despite the negativity he faces, despite the hatred unfairly directed toward him, still keeps and cherishes a tender kindness he has nurtured throughout his life, and which is more precious and more hopeful in light of what he has been through, and i think that’s beautiful.

me, irl: leaves

A letter from Ted Bundy to Carole Boone. Courtesy of Dielenberg’s “A Visual Timeline”:

I’m like a bottled up cyclone, mind spinning with memories, regrets, fears. To anchor me and calm me I conjure up fond memories of the past, but these excursions shortly turn pleasant reverie into deep sadness. I constantly attempt to avoid the reality that I failed miserably in my attempt to become a free man…I am tired of outmanoeuvering the prosecutors and courts. I am tired of playing the news media, of staying calm and smiling for the cameras, or being stared at, of being whispered about, of being suspected and hated. I am tired of knowing what people must think, of being vilifed and dehumanized. Life has always had surprises in store for me. Many of them have been pleasant. Will there be more, and will I be free again? How can I be sure, what can I do to satisfy myself I’ve had my ration of happiness and the rest is all pain?

The world refused the gift of Hitler’s love and genius, and repaid him with the darkest ingratitude. Few of the great Ones have been so mercilessly vilified as he by their worthless contemporaries. Not one has been so utterly misunderstood, so systematically betrayed and, above all, so widely hated.

~ Savitri Devi, ‘Gold in the Furnace’, 1952

anonymous asked:

Loved your statement that Luna's turn in itself makes sense but that the writers ruined everything about it. They needed a villain and it's so sad that they used her for that.

I’ll keep my answer short.

This has become quite the sensitive talk for me, especially because my disappointment is so fresh when it comes to this, but yes… It is more than sad to see that the “last minute” villain turned out to be Luna - a character who had such a promising character construction that felt completely new to this show.

What I am pretty upset about is that her shift into darkness in itself really makes sense, given that her story line always suggested that she would indeed snap at some point (they could’ve have gone for a very complex character arc, or even death that would actually fit her story line and close it up in a way that feels real), but instead the shift adds up to a very disturbing and rushed end result wherein Luna devolves into a mindless monologue and turns into a brutal aggressor Who Must Die. So, you have a compelling character who is weakened and subjected to “last minute vilification” to elicit a cathartic moment from the audience that helps build Octavia’s characterization.

And I’m just sitting here thinking to myself, “Nah, thanks”.

That is one of many reasons why this character-assassination is highly questionable to me - given what we’ve seen of Luna before and how good the turn into darkness could have been - because it is explicitly shown to be the kind of “conflict” that isn’t even conflict anymore. Luna is just bad and Octavia is there to deliver the final blow and show us that she is beyond saving.

Also, when taking the visual depiction of Luna into account (mixed with Octavia’s final line “there are people worth saving, just not you”) it gets even more sloppy, because all those close-ups that feel dark and surreal help with the whole “there is no coming back for Luna: She Has Gone Crazy For Good” portrayal. Again, the audience completely forgets about her and ends up cheering for Octavia instead, being on her side and hoping for Luna’s death.

Trump's love of Putin is why conservatives back him

The Trump Family Administration just announced it’s giving Russia two of its compounds back. Both properties were seized in December as part of a sting on an espionage ring.

Republicans and other Trump supporters don’t seem to mind. They also don’t seem to mind that the Russian government was undermining our own. This is because they were so rabidly opposed to our government too, and they see Putin as sharing their values more than Obama. This isn’t slander or conjecture or some way of pushing a Trump/Russia conspiracy theory, it’s literally what Fox News hosts were saying long before Trump became the front runner for the Republican nomination.

Even while Putin was poisoning or jailing journalists and political opponents, conservatives labeled him “strong,” and admired his style. It wasn’t because they wanted to avoid another Cold War, as many say today, it was – and still is – because he is a violently regressive white Christian traditionalist. His crackdown on “immorality” is admired you these people, when most of us are disgusted and horrified by it.

We are witnessing something old, but with a new international spin, brought on by the reality of changing demographics.

It is the inevitable product of white christian ethnonationalism: an alliance with other “traditionalist” bigots around the world against cultural progress, and incidentally against most Americans.

If Obama, liberals, or Democrats were involved in any policy’s implementation or even its promotion, Trump & this GOP will work to undo it. It clearly doesn’t matter what it is. It could have been proposed by the Heritage Foundation as conservative dogma, and this Party will oppose it on tribal reasons. In fact, that’s happening right now.

This is the culmination of years of vilification and paranoia, reaching the point where American conservatives do not see their adversary as any other nation or system of government, unless that system promotes changing who wields power.

Again, that isn’t new; black activists were called “Communists” in 60s not because of their economic theories but because their existence frightened the right wing by threatening change. This is not any different than the weak thinking that has led moronic TV hosts to equate Black Lives Matter with ISIS.

American conservatives have come to see their adversary as any change, whether toward more justice, toward foreign (or no) religion, or toward a darker-skinned population. Their adversary is now, finally, most of America, and they know they are losing by numbers.

Change is still coming, it always does. We must work even harder in the face of conservative fear and violence to ensure that the change we do see is positive, and not the oppressive future that gives the cowardly their comfort, or the collapse they may instead create out of spite.

“Yet everyone insists Rhysand is soulless, wicked. But the male I knew was the most decent of them all. Better than that prick-prince. You don’t lose that quality, no matter the centuries, and Rhys was too smart to do anything but have the vilification of his character be a calculated move. And yet here you are - his mate. The most powerful High Lord in the world lost his mate, and has not yet come to claim her, even when she is defenseless in the woods.” Jurian chuckled. “Perhaps that’s because Rhysand has not lost you at all. But rather unleashed you upon us.”

Jurian, are you ok??? like.. are you literally the president of the Rhys Fanclub????

3

I’ve seen footballers give opposition fans the finger and they might get a fine but they don’t get boo’ed for it. I think that the fact that this was some kind of cultural expression that some people found confronting that was the issue and this is the thing that has mystified me about it all week. Theres been people talking about “Why are people booing Adam Goode’s”? like theres a mystery about it but there’s no mystery about it at all. It’s not as simple as it being about race, it’s about something else it’s about Australia being a generally tolerant society until minorities demonstrate they don’t know there place and at that moment the minute someone in minority position act as though they are not a mere supplicant then we lose our minds and we say “no no no you got to get back in your box”. And that’s why Adam Goodes ruffles feathers. It’s not because he is controversial it’s because he is a provocateur. It’s because he actually says “I’m going to say something and i’m going to do it at a time and place in which the the cover of Australian society doesn’t cope with it very well”. We saw all this when Michael Long took a stand in 1995, and when he took that stand there was an enormous backlash particularly on Talkback radio saying he was somehow victimizing white kids by complaining about racial vilification. On the field Mel Brown said he’d created a weakness in his armour that was going to be exploited. He promptly came out the next week and got 45 touched against the Brisbane Bears. We have seen this before. What happens is the minute an Indigenous man stands up and is something other than compliant that it is them who is creating division and destroying out culture and that is ultimately what we boo. We boo our discomfort

-Waleed Aly on Adam Goodes

Animated Life Lesson #3: Friendship

Friendship (noun): harmony, accord, understanding, rapport

Originally posted by nickelodeon

Miraculous: Tales of Ladybug & Cat Noir is fairly new to television, but it’s already made a big splash.  The story, set in the grand city of Paris, follows Marinette Dupain-Cheng and Adrien Agreste, two teenagers who have the ability to transform into the titular Ladybug and Chat Noir to defeat baddies sent after them by the supervillain Hawkmoth. It may seem like your standard Saturday morning cartoon plot, but it manages to be so much more.  The villains are fun and interesting, with unique abilities and costumes, the fight scenes are creative and visually appealing, and there’s actually a love square between the two leads.  

Yes, this show has upgraded on the dreaded love triangle to a love square, but it actually only contains two people, Marinette and Adrien; the other two ‘people’ are actually their superhero alter-egos, and the resulting relationship drama is less dramatic than it is hopeful and a bit sad.  The two really like each other, yet they don’t know it, thanks to typical teenage embarrassment and the age-old rule that secret identities have to be kept secret.  

Romantic subplots aside, Miraculous has plenty of other great things to offer. There’s a diverse cast of characters, the animation is well done, and the use of actual locations in and around Paris makes the show seem more realistic.  The premise of the akumas and their ability to give powers to people suffering hardship or dealing with conflict is different than the usual powers granted by a chemical spill or other scientific experiment gone wrong.  The resulting villains are therefore just everyday Parisian citizens, and none of them are inherently evil, so their vilification at the hands of Hawkmoth elicits some sympathy.  

The audience is often reminded of this point in the way that Ladybug and Chat Noir interact with the villain of the week; they know the villain is someone who has been taken advantage of, and while they resort to physical interaction if necessary, the pair prefer to distract the villain and take whatever object is holding his or her akuma, thus freeing them from Hawkmoth’s thrall without having to hurt a sort-of innocent victim.

It’s a different take on taking down a villain, even in the world of cartoons.  But for Ladybug and Chat Noir, the villains are often their friends and classmates, and even though our heroes could easily take them down with a straightforward assault, they value their friends and their relationships with them too much to hurt them unnecessarily.  And the pair are clever enough to save the day without resorting to violence, so they don’t have to worry about their friends getting hurt.

Friendship in general is an important aspect of this show, both because, as I said, many of Marinette and Adrien’s friends are akumatized, meaning the two have to stop their friends from destroying Paris, and because their friendship is integral to their ability to work together

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the anti-vax movement is built on and perpetuates fear, hatred, revulsion and vilification of Autistic people

it is not brave or new or radical to be an antivaxxer, it is not standing up to a scientific conspiracy, it is supporting an industry profiting off of the murder and abuse of Autistic people

just a friendly fucking reminder

anonymous asked:

I noticed that you hate twenty one pilots and you said that lane boy was racist so how exactly is it racist? This is an innocent question btw I literally just want to know I'm not trying to be problematic and I'm not defending them or anything

(okay i have a free period but i’m on mobile so ill try to keep this quick and to the point, even tho i’m not sure that it’s actually physically possible for me to answer something without rambling and writing a huge text block) the first time i heard the lyrics to lane boy they made me pretty uncomfortable, to say the least. tyler is a white-passing (i believe hes part lebanese) artist that could be considered a rapper (even tho i personally don’t consider him one), and rap is a part of black culture. it is a genre that is dominated by black artists, was created by black artists, and has a complex history formed by the actions of black artists. because of the vilification of black people that’s prevalent in our society and the negative connotations associated with the rap genre, it’s often looked down on and dismissed as “not real music” by people that quite frankly dont know shit. worse than that, its seen as dangerous, uncultured, animalistic, etc. now, none of these stereotypes are correct, but that’s how it’s perceived, due to how deep antiblack racism runs.
now where lane boy comes in is that tyler is a white passing artist, as i previously mentioned. he is not black. the genre of rap and it’s history is not “His Territory.” the entirety of lane boy is tyler insinuating if not basically saying outright that he believes he’s taking over the genre, changing things up and bringing something new and sophisticated to the table, which he isn’t. all of what Tyler’s done has been done before. it’s not an uncommon or rare thing for rappers to rap about their mental illnesses, their emotions, their pain. it’s not an uncommon or unprecedented thing for a rapper to wear a bow tie (truth be told i can’t think of one rapper that hasn’t worn a suit/bow tie at least once, most likely dozens of times) or play the piano. some of the elements 21p brings to production might be unorthodox but that’s it. tyler showing contempt for the genre that he appropriates isn’t okay at all

Choi Seung-hyun

I’d like to add my two cents in to the situation concerning Big Bang member T.O.P -Choi Seung-hyun-. 

This whole debacle has been just disgusting. I understand there is a strong taboo and negative outlook on all drugs in many Asian countries, but what I will never understand is how the majority of a nation can come down on one man with such contempt and hostility for engaging in an activity that brought no harm to anyone else and was done on his own time.

I’ve read his apology letter. I was left absolutely infuriated by it. Without context, one would think he’d nearly killed someone while on a narcotics fueled bender. But no, this is an apology letter from a man whose only ‘crime’ was experimenting with marijuana in the privacy of his own home. The way he demeans himself in this letter, the sorrow and despair so blatant in his words, is heartbreaking. Then it gets worse.

Pictures of Choi leaving the police station call in to question of whether or not he is smiling, smirking, or any other variant of such facial expressions brought on a whole new wave of abuse. The media and netizens further drag his name and identity through muck and filth that he is in no way deserving of.

Now Choi Seung-hyun has been hospitalized due to an overdose of prescribed medication meant to help him manage his anxiety. The very thing meant to ease the daily stresses of his life might take him away from this world. A cruel stroke of irony, isn’t it?

Of course the media doesn’t give half a fuck about the truth of reasons or condition. Like all idols/celebrities, the mainstream media seems to only see them fodder for their ratings, their views, and their clicks. Mainstream media strips away their humanity and turns them into products for all to judge and criticize with impunity. There’s no real care or concern for them, either. Once an actor, actress, musician, etc. has burned out and thrown out they just move on to the newest sensation, and there’s no end to the supply of human commodities in the entertainment business. Like a factory, they churn out these young men and women at lightning speed to see how well they do on the market.

Choi Seung-hyun is not a product to be bought and sold and thrown away. Choi Seung-hyun is a human being, and no one on this earth has any right to judge a human being for being a goddamn human being. Well have our triumphs and our missteps. We all make good decisions and bad decisions. No one is perfect. No one should ever be placed on a pedestal, then expected to live up to expectations that are unreasonable and downright impossible.

I’d like us to take a moment to remember the egregious ordeal Kwon Ji-yong was put through for similar reasons. Remember the vilification of Kang Dae-sung over a terrible accident. Now take a moment to think about how the current situation with Choi Seung-hyun could have been them.

I can only hope that the Korean nation takes a step back to really examine itself. I hope that one day they will react with more compassion and empathy to happenings like this, rather than swarm as a hive-mind of hate and judgement. 

I hope that Choi Seung-hyun is not done with this world. I want him to recover. I want him to grow stronger. I want him to be able to carry himself without shame or guilt. I want him to know that the people who support him as an artist and a person, an imperfect but still wonderful human being, far outweigh those who do not.

I don’t understand why in American culture, eating fatty foods (chicken nuggets pizza etc), watching netflix, and hating excersize is romanticized but being fat is hated. like you can’t only approve of people liking things that make people bigger only if they are skinny.
if a skinny person says they love to binge on pizza and netflix it’s cute and even trendy. fat person says the same thing and they’re vilified and looked down on for not improving their health.
I don’t fucking get it.

Dear Shadowhunters: Representation fucking matters

Ok, after hearing that one of my favorite series in the entire world would be on the screen again, of course I was geeked. And soon after I accepted that this wouldn’t be like the books and learned to enjoy the show. But there are some problems that feel the need to let out.
1) Playing on somebody’s triggers is disgusting and should never have been written in. And it was inconsistent with Luke’s character henceforth.
2) We finally have a black girl who I enjoy watching - someone strong, smart and beautiful and she gets written as a villain after some amazing bonding w/ Simon and that pisses me off. The vilification of black women on tv pisses me off.
3) the addiction? Seriously writers?? The first problem is that Aldertree gave them to her - another poc is being tied to addiction and villainy and that frustrates me. He can be a rude, arrogant control freak but did he have to be the one to get his subordinate hooked on drugs and then ask her out on a date?? The second issue is Izzy’s character is supposed to be ridiculously independent and strong- this addiction doesn’t even fit her character. And it frustrates me how her relationship with clary has completely evaporated this season. Girl power matters and the writers are playing all the women against each other. Plus, I liked Raphael and even Rizzy, but throwing them together this way sucks.
4) I love Malec too, but Alec as the savior of the show runs in line with white queer men being the end all and be all of good representation. The fandom frustrates me too just because Malec is so important but there is so much fucked up representation and no one talks about it. The lack of female friendships, the vilification of poc, I’m not a fan of the addiction role given to Latinxs. A FUCKING TRIGGER SCENE IN THE SAME EPISODE AS MALEC CANDIDLY AND HEALTHILY TALKING ABOUT SUICIDE. What the heck???? The writers have shown that they are capable of good representation w/ Malec so why can’t women, poc, and mental illness other than
suicide get proper representation as well!???
5) this is more of a personal problem, but honestly Clary’s acting has gotten so much better and no one gives her credit. Also, Climon imho is cute as hell even if it did take Maia being pushed to the side to get it. And honestly, Jace is such a missed opportunity. The writers fail to reveal the nuances in his character, and layers to his behavior and that also pisses me off. Just because he’s a straight white guy does not mean you have to make him the jackass of the show. Frankly straight white men surprisingly got shitty representation too.

Ok , I’m done. If you disagree, please comment - I love having these discussions. But the moral of the rant is: Representation is important. And just because the show has a healthy relationship between a gay man and a bisexual man does not mean it has gotten it right at all.

I can see Tenten having a really dirty mouth sometimes. And then Neji being all proper as he is would chastise her about being more lady like and give her those “concerned motherly looks” every time she slips up and says ‘fuck’. It’s cute at first but after a while she wants to tell him to 'flip off’ but the replacement word 'flip’ doesn’t hold as much vilification as the swear word itself

…So she mouths it out behind his back after he turns away😂

If nothing else, I hope that after this episode, people will stop vilifying Mary Winchester.

I’ve heard it all. “She abandoned her sons!” (She took a break from living with two strangers who happened to be the grown-up versions of the babies she knew.) “She’s working with a bad group, we know how this ends!” (She does not. She was not around for Sam and Ruby, the Campbells, Cas and Crowley, Dean and Crowley.) “She’s a neglectful parent! At least John never totally abandoned them!” (John left a 10 year old for weeks on end to care for a 6 year old. Mary left her adult children to get her head on straight.)

Mary Winchester was, for all intents and purposes, pummeled forward more than 30 years into the future where she was expected to deal with the loss of her husband and her babies, expected to adapt to 30 years of technology, expected to parent and nurture two grown-ass men, expected to fit the fictional character put up on a pedestal, expected to have context that came from years of highly specific fucking up and subsequent experience. Falling short of these expectations gets her labeled a bad mother. No. Miss me with that.

I hope this episode stops the vilification of Mary Winchester, because I am NOT impressed by the shit the fandom has been producing regarding her.

I do not want to hear SHIT about a “Mary redemption arc” because she does not need to be redeemed. She has been working with the information and context she has, and she has reacted appropriately whenever she encounters red flags. So fuck off with your Mary hate, and get that pedestal away from me. Let her be her own character, not John Winchester’s myth of the perfect wife and mother.