more people need to consume media how dedicated comics fans consume their media of choice
go up to any comics fan and ask them which writers house they would mail pipe bombs to and they’ll list of at the bare minimum 5 different people. ask them their favorite character and you’ll be greeted with an answer followed by why every comic ever featuring that character has been literally the worst and they refuse to read it again. truly i don’t think there’s another group of people so invested in something that they truly despise to such a great degree.
to people who keep saying that this applies to their respective fandom: you will never experience this
sorry i'm not letting these tags stay hidden via @feyburner
i know you guys haven't watched star wars despite purporting to have many opinions about it on the internet, because everyone and their grandma insists no star wars movie ever had meaningful negative consequences for the heroes until rogue one. like that's how i know you guys simply did not watch the original movies. empire strikes back popularized the format of epic high-crushing low-incredible victory in stories told in a trilogy format specifically because of its meaningful negative consequences for its heroes. chewbacca screams in agonizing grief as han is lowered into the carbon freezing chamber, leia screams LUKE IT'S A TRAP so loudly her voice breaks, luke literally - very visibly and onscreen and in front of us all - throws himself in the abyss because he doesn't care if he dies at that point. the film is - and i cannot stress this enough - literally titled "the empire strikes back." the movie is quite literally called "consequences." you guys are just convinced that the only real consequences in a narrative has to be "killing off the entire cast" which i will proceed to fairly call "unimaginative, i guess"
I see Hollywood is now very into the idea of buying something once and then owning it forever and being able to make infinite copies. Which. Isn’t quite the message they imparted upon me in my childhood. In the spirit of their own long-held stance:
yes that's how bourgeois media tries to trick workers into being against strikes. Any delays are solely due to United Parcels Service incorporated not properly paying their workers.
By not negotiating, the company - hand-in-hand with the bourgeois media trying to make that the sob story - are actually holding medical equipment for ransom.
If you're concerned about medical equipment maybe UPS should stop forcing its preload to go faster than it is safe, leaving open packages all over the place because they say that slows us down, loading tractor trailers not only to the ceiling but to the point where you can't even open them because they're that packed in. UPS is causing this shit, not Teamsters, not the employees.
UPS has never respected things like medical equipment and your packages. They don't care, it's all the bottom line.
This is what the company thinks of everyone’s packages, these are all from average days. This is what the Teamsters want to prevent by making kig conditions materially better for us.
I was quite literally told to stop repairing and taping open boxes by a manager because when you stop unloading a trailer for even ten seconds it “hurts production”.
Anyway, fuck the CEOs and other execs. Support the strikers.
Excellent Point
[ID: an unsourced paragraph of text that reads: Reflecting on it, the reason I think the OceanGate situation has become such a flashpoint for anger is because it's such a perfect microcosm of the problem with everything right now. Decisions are not made based on safety, reasonable caution, or concern for human life. Every decision is instead made from a default assumption of what if the bad thing just DIDN'T happen? We are given pie-in-the-sky promises and sizzle reels and an endless PR hype-cycle for every new innovation and inevitably fails to work, harms people, and them is maybe barely apologized for before the next bad idea comes down the pike. OceanGate's underengineered, undercooked, doomed submarine isn't merely a metaphor for the hubris of the wealthy, it is a scale model of the way the wealthy dictate our reality. All consequences can be ignored, all blowback can be forestalled, let the end-user eat the cost. I am not angry because the submarine was badly made. I am angry because I live in a vastly larger pressure vessel being managed and maintained by the exact same people. /end ID]
my poison ivy hot take is i actually think she would be some kind of weird carnivore rather than a vegetarian because she only really has empathy for plants and sees most people as meat sacks i think she would eat people is what i'm saying. what i'm saying is they should let her do sexy lesbian cannibalism
op i have some excellent news for you
“For some time, Hollywood has marketed family entertainment according to a two-pronged strategy, with cute stuff and kinetic motion for the kids and sly pop-cultural references and tame double entendres for mom and dad. Miyazaki has no interest in such trickery, or in the alternative method, most successfully deployed in Pixar features like Finding Nemo, Toy Story 3 and Inside/Out, of blending silliness with sentimentality.”
“Most films made for children are flashy adventure-comedies. Structurally and tonally, they feel almost exactly like blockbusters made for adults, scrubbed of any potentially offensive material. They aren’t so much made for children as they’re made to be not not for children. It’s perhaps telling that the genre is generally called “Family,” rather than “Children’s.” The films are designed to be pleasing to a broad, age-diverse audience, but they’re not necessarily specially made for young minds.”
“My Neighbor Totoro, on the other hand, is a genuine children’s film, attuned to child psychology. Satsuki and Mei move and speak like children: they run and romp, giggle and yell. The sibling dynamic is sensitively rendered: Satsuki is eager to impress her parents but sometimes succumbs to silliness, while Mei is Satsuki’s shadow and echo (with an independent streak). But perhaps most uniquely, My Neighbor Totoro follows children’s goals and concerns. Its protagonists aren’t given a mission or a call to adventure - in the absence of a larger drama, they create their own, as children in stable environments do. They play.”
“Consider the sequence just before Mei first encounters Totoro. Satsuki has left for school, and Dad is working from home, so Mei dons a hat and a shoulder bag and tells her father that she’s “off to run some errands” - The film is hers for the next ten minutes, with very little dialogue. She’s seized by ideas, and then abandons them; her goals switch from moment to moment. First she wants to play “flower shop” with her dad, but then she becomes distracted by a pool full of tadpoles. Then, of course, she needs a bucket to catch tadpoles in - but the bucket has a hole in it. And on it goes, but we’re never bored, because Mei is never bored.”
“[…] You can only ride a ride so many times before the thrill wears off. But a child can never exhaust the possibilities of a park or a neighborhood or a forest, and Totoro exists in this mode. The film is made up of travel and transit and exploration, set against lush, evocative landscapes that seem to extend far beyond the frame. We enter the film driving along a dirt road past houses and rice paddies; we follow Mei as she clambers through a thicket and into the forest; we walk home from school with the girls, ducking into a shrine to take shelter from the rain; we run past endless green fields with Satsuki as she searches for Mei. The psychic center of Totoro’s world is an impossibly giant camphor tree covered in moss. The girls climb over it, bow to it as a forest-guardian, and at one point fly high above it, with the help of Totoro. Much like Totoro himself, the tree is enormous and initially intimidating, but ultimately a source of shelter and inspiration.”
“My Neighbor Totoro has a story, but it’s the kind of story that a child might make up, or that a parent might tell as a bedtime story, prodded along by the refrain, “And then what happened?” This kind of whimsicality is actually baked into Miyazaki’s process: he begins animating his films before they’re fully written. Totoro has chase scenes and fantastical creatures, but these are flights of fancy rooted in a familiar world. A big part of being a kid is watching and waiting, and Miyazaki understands this. When Mei catches a glimpse of a small Totoro running under her house, she crouches down and stares into the gap, waiting. Miyazaki holds on this image: we wait with her. Magical things happen, but most of life happens in between those things—and there is a kind of gentle magic, for a child, in seeing those in-betweens brought to life truthfully on screen.”
A.O. Scott and Lauren Wilford on “My Neighbor Totoro”, 2017.
every time this shows up on my blog, I’m rescheduling it to show up again at a later date so I can keep remembering how important a child’s perspective is.
seeing reddit refugees repeatedly hit their post limits and comment their thoughts on every reblog is kind of refreshing. site migration be damned these guys know how to blog
Reddit users on Tumblr:
personally i think there should have been at least one episode where sokka collects aang and zuko and is like, “looks like we’re running low on supplies. time for a GUYS-ONLY field trip. three days of hunting and fishing and polishing our swords. y’know, manly warrior stuff. (aang, sotto voce: actually sokka i’m a vegetarian as you know–) you girls have fun sitting around braiding your hair and talking about your crushes” and then the entire episode is just zuko and sokka lying around by a river, plucking blades of grass and staring up at the stars confiding in each other their deepest feelings and most secret insecurities while aang braids flower crowns, and whenever the screen cuts back to katara and toph and suki, they’re fighting and screaming and hacking away at river pirates and evil spirits and legions of assassins and hired mercenaries with swords. you know, as girls do.
and when the boys finally drag themselves back to camp (they stayed up way too late discussing what true leadership really means and whether or not power always corrupts) they find suki and toph and katara lounging around with black eyes and fresh bruises and bloodstained weapons and sokka shrieks, “what were you guys DOING while we were gone???” and karata just shugs innocently and says in her sweetest voice, “oh, you know. just girly things”
they are absolutely still wearing the crowns and they don’t have a single fish to show for their efforts
i did it
