Side blog: @hello-robin-goodfellow Right-wingers (or the centrists who trust then in the name of "freedom of speech"), sexists, racists, ableists and queer fobics: do not interact.
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(for people who don’t know kathleen stock is an infamous British terf who triggered a whole “free speech” university row over her views)
this is what people mean when they say that transphobia and ableism are interlinked. because *of course* the same person who refuses to believe people when they assert their gender also refuses to believe them when they assert a disability. because who knows their bodies better than a random british upper-class white woman!
and at the end of the day it really boils down to this vindictive need to police and bully strangers because 1. why do you care about someone saying they’re a woman, dressing like a woman etc. and 2. why do you care about someone using a walking stick if they don’t 100% need it? the answer is, neither of those things affect your life, and you shouldn’t.
golly its almost like there was some kind of virus going around recently that gave a bunch of people lifelong disabilities. does anyone remember anything like that?
I think you should have added Anthony Perkins as Norman Bates
And does King Kong count? Yep, he's the king and possibly originator of all the giant monster movies, but I wouldn't describe him as a horror icon. He seems that he belongs more to the 1930's, jungle adventure genre.
So @themousefromfantasyland he WAS going to be on the performance Rushmore,but rplaced him with Curry
Norman Bates I Cannnot personally put on the villains Rushmore cause Ive seen the sequels,which are good,but the direction they take his charcter is a redemtive one
I wanted each monster to represent a difffrent technique
The concept of The Producers was an initial experiment in the 1960s that has been updated, examined and deconstructed in a different film from 2000: Spike Lee's Bamboozled, which expands the scheme's reach from the Broadway stage to the medium of television, where instead of the Nazi propaganda film, what is brought back to television is the Minstrel show.
Damon Wayans stars as screen writer Pierre Delacroix, who, frustrated with all his ideas being shut down by the white executives he works to, but under a contract that stops him from quitting, decides to create a scheme where he will bring back a Minstrel Variety Show that he is sure will be a failure that will result in him being fired, but instead the show becomes a comercial hit of the network...
Now, whereas The Producers only had the perspective of the audience that found their Springtime for Hitler Show funny, and the Producers themselves frustrated with their scheme going wrong, with the occasional comic relief of the excentric Broadway cast members, Bamboozled has to navigate perspectives of Pierre and his assistant Sloan (Jada Pinkett Smith), white executives, screenwriters and Public Relations manager who are quick to defend themselves with the justification "Is Satire", the actors Manray and Womack (Savion Glover and Tommy Davidson) who having survived living on the street at first welcome the steady paid job on television but from the beggining struggle with compromising their dignity by portraying these racist caricatures, often crying every time they put on black face make-up before forcing a smile and saying "Show Time", and different layman and socio politically literate members of the audience who divide between uncritically enjoying the show, and protesting the harm it does.
What makes Bamboozled be a more effective update of The Producers was that while, in the Producers both the "real life" and the Broadway play were over the top comedy, Bamboozled is set behind the scenes of a comedy Show, but is not actually a comedy film, instead presenting the world outside the show as serious and somber with the characters commenting on the harm the Minstrel Show does, slowly building to a tragic ending.
Whereas The Producers came from a more naive, and at a certain places, relatively privileged point of view that making bigotry ridiculous trough robs it of its power, Bamboozled lays the harsh truth that "No, making bigotry funny under the satire justificatioj only gives it more visibility, but it doesn’t rob its power... it keeps being strong."
I don't know if you people know this, but the Brazilian government struck Discord's ability to have live streams for a while.
It seems that the First Lady outright wants Discord banned saying it doesn't do enough to protect children. This happened after a 13 year old killed herself after being encouraged by a Discord channel.
But as critics are saying, the stream wasn't even aired on Discord. It was an Instagram live that was also aired on Discord, but Discord became the main scapegoat, especially around frightened parents, and the discourse around it is so toxic.
Like, yeah, we need more government regulation, and children need to be more protected online, but what the government is proposing is almost akin to government surveillance.
Over all the world we are seeing more and more intense regulations that not only fail at their goal to take away social media companies impunity, but take away more and more people's rights to anonymity, and freedom of speech and freedom of expression.
Why do I have to give my iD to social media companies? Why do basic terms like murder, suicide, genocide, have to be constantly censored, even we talking about seriously topics? Why is nudity and sex content constantly censored even in sites that at least in theory shouldn't be available for minors? Why do I need to constantly censor myself just because of the vague hope that a child may be in places where they don't belong?
And I hate how this discourse is exposing people who aren't Left wing, just opportunists supporters of the current administration.
Right now the Brazilian government and its supporters are going "If you are against this, you are just a fascist and a right wing supporter" or that "Don't you care for children's safety", and honestly, this is such a disgusting way to silence opposition to a stupid idea.
Fuck Discord. Fuck social media companies. We need more regulations, of course, but this hysteric, government overreach, this insane censorship it's absurd.
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In the past few days, US media have been reporting that billionaire Elon Musk will step back from his leading role in President Donald Trump’s administration.
This is after his highly publicised stint as unofficial head of the nongovernmental agency DOGE (Department of Government Efficiency) and various political initiatives – most recently, his campaign for the election of a conservative judge to a vacated Supreme Court seat in the state of Wisconsin – backfired.
How and when Musk will make his exit remains to be seen, but one thing is for sure: He will leave behind lasting damage that goes way beyond the disruptive work of his invention, DOGE.
Through his behaviour online and offline, Musk has introduced incredibly toxic and cynical politics from the obscure fringes of the internet into the chambers of power in the world’s foremost superpower.
His Nazi gesture at an event following Trump’s inauguration on January 20 was a perfect illustration. Musk immediately weighed in on the accusation that he made a Nazi salute with a mix of denial and humour, making a slew of Nazi-themed jokes on his X account.
Doing something outrageous and then denying the obvious is a clear case of “trolling” – a favourite practice in fringe internet spaces where toxic and cynical political views dominate.
Among them is an infamous website called 4chan, which Musk is believed to frequent. Just at the start of this year, he decided to change his X account name to “Kekius Maximus” and his profile picture to a Pepe the Frog image – memes taken straight from 4chan. He has also openly referred to the site on his X account.
Although many have heard of the website 4chan, there is still very little public understanding of what it is and how it is connected to the rise of the far right in the US.
Simply put, it is a website where people can share text and image messages anonymously with no registration or login for users. It is a space for discussions, humour and the creation of an online community. Founded in 2003, 4chan reached 8.2 million visitors monthly in 2010 and 22 million in 2021.
Due to the anonymous cover afforded by the website’s structure, users feel confident to express problematic and fringe political views usually mixed with a veil of humour. This irony-laden form of political expression has come to define the website. Often you would see racist, sexist and/or homophobic slurs posed as jokes. Anyone who calls these out is mocked even further for their naivety or sincerity.
The disclaimer under the main forum on 4Chan, /b/, states: “The stories and information posted here are artistic works of fiction and falsehood. Only a fool would take anything posted here as fact.”
This is exactly why journalists and commentators who took Musk’s denial of his Nazi salute at face value completely missed the point. To those far-right fans of Musk, the appeal of his actions was in fact reinforced by the very denial, by the fact that he did a fascist gesture so brazenly and then “got away with it”.
Musk engaged in a transgressive act against what he describes as the “woke mind virus” or more traditionally “PC [political correctness] culture”. By adding humour to the equation, Musk and his fans were able to further obfuscate and derail any serious discussion about the implications of normalising Nazi symbols.
All of this is the primary function of “trolling”. Posed as merely a form of play, a way of pushing people’s buttons “for the lolz” (laughs), far-right actors are able to use this technique to shift the Overton window – or the range of acceptable terms or opinions – to the right.
Immediately after Musk’s salute, far-right figures such as Nick Fuentes and Andrew Tate, mimicked the same salute and used the same distancing excuses that Musk employed. These are people who have gained tremendous amounts of social and political capital through online subcultures.
However, it is not only the far right that employs memes and other expressions developed online to further its political goals. In fact, some may argue that these subcultures emerged as a response to what is described as the “memefication” of politics.
In her book Kill All Normies: Online Culture Wars from 4chan and Tumblr to Trump and the Alt-Right, Angela Nagle traces the origins of these subcultures to the US election cycle of 2008. Many will remember the “Hope” posters of Barack Obama’s presidential election campaign, which went viral across the internet. To Nagle, this was a crucial turning point in the use of memes, which at that point were a fresh and exciting new medium, in US politics.
Despite the rhetoric of hope and change, the Obama administration did not deliver on its vague, utopian promises. This mismatch between the messaging and the reality spurred online debates that promoted mistrust as a healthy response to the insincerity of the political class.
Thereafter, on 4chan and other platforms, anyone who expressed strong support for any one party, cause or movement became the object of ridicule. This essentially formed a type of cynical, nihilistic view of the world and our place in it.
Fast forward to the 2024 election cycle, these dynamics were very much present again. Kamala Harris’s campaign relied on a rebranding of the Obama campaign and used the same empty memes, instead of focusing on policy or anything else rooted in reality. Not only did she rely heavily on celebrity endorsements, but also had her X account banner written with the same font and colour as the “brat” meme, a trend inspired by pop star Charli XCX’s Brat album cover.
The liberal political establishment in the US, which has further revealed its deep flaws over the past year and a half with its disregard for the struggles of poor Americans and triumphalist support for Israel’s genocidal war in Gaza, has not learned the lessons of the past decade and a half. Relying on hollow messaging while issues compound for most Americans – from skyrocketing inflation to growing inequality to climate collapse – does not invigorate voters.
Politics is not simply a meme battle. This is a lesson that should also be heeded by the wider public, especially those who re-shared the infamous Musk salute as a form of satire or ridicule. Even though many may have believed they were disparaging him by adding insults or jokes to it, in fact, they helped spread and legitimise the act itself as a spectacle.
It is time to acknowledge that we cannot meme our way out of fascism. The only way to defeat fascist trolls is to refuse to enter the arena, to refuse to play on their terms. That is, to insist on grounding discussions and actions in reality, to reject any of their obfuscations and to build actual (offline) power to resist the rise of the far right.
It is definitely no easy task, especially when the far right has entered the highest chambers of power in the US and has made strong gains in South America and Europe. The marriage of far-right discourse and symbolism matched with an unprecedented capture of wealth by the billionaire class and the rising authoritarianism within these countries has thrown many into hopelessness and despair.
In response to the rise of the likes of Musk, we need a kind of repoliticised hope to combat the intentional despair feeding the far right. We need a sincere hope that is rooted in an acknowledgement that we cannot afford to do nothing and that there is a way to resist through collective action, to build new alternatives and to embrace new visions of the future.
I don't know if I already talked about this, but it pains me how the satire of the Producers would never work today.
Part of the joke of Springtime for Hitler is that it's so ridiculous that no one would take it seriously, and that a fascistic regime was reduced to a powerless joke.
But nowadays Nazis don't take themselves seriously anymore. If anything they even use humor, memes, and jokes to convert new members to their ranking. And it's framed in such a way that if you push back against them, you are accused of being out of touch, or trying to ruin their fun.
It's frustrating how I know that if it were a real show, Springtime For Hitler would become the main propaganda tool of the Alt-Right.
Okay, here's another Cinderella-themed poll to deal with earthquake anxiety.
Where do you feel a Cinderella version or adaptation should start the story at in order for it to really aim at what's important to the story (moments, character dynamics and development, themes and symbols)?
Where should a Cinderella adaptation or version start?
With her parents before she is born
Depicting life with her parents
Depicting life with just her father, but not showing the mother at all
With her meeting her step family for the first time
At the moment of her father's death (only if he dies in that version of course)
With the dynamic with her step family already established
When the invitation to the ball arrives
Other (write in the comments)
Voting ended onAug 12
Different famous adaptations have very different takes on this. The original 1950 Disney version, has some elements of some of these moments but ultimately starts with the dynamic with her step family already established. In the 2015 Disney version, it starts depicting life with her parents. Rodger's and Hammerstein's famously starts with "The prince is giving a ball", a case of the story starting with the invitation to the ball. Ever After never shows her mother, just the relationship with her father. The Ugly Stepsister starts with her meeting the step family for the first time.
This is a tricky question. I actually like the variety of different starting points that the different adaptations give us: they all bring something different and interesting to the story.
I know that you, @therapeuticfairy, prefer for the story to start with Cinderella’s early life before her mother’s death, or at least before her father’s remarriage, so that we see and feel the tragic loss, first of her parents (or at least her mother, if her father is kept alive) and then of her entire identity and life as she knew it. You’ve written that adaptations which start with Cinderella already orphaned and enslaved by her stepfamily feel as if they’re starting in the middle of the story. I definitely appreciate that viewpoint.
But at the same time, IMHO, showing the whole process of Cinderella’s reduction to servitude can be difficult. Make her give in to her stepfamily's demands too easily and she can potentially become too passive to like or root for. Yet show her receiving too much spirit-breaking abuse onscreen and it can become too disturbing for a family-friendly fairy tale. And if her father is a sympathetic character, as he usually is to at least some extent, then how can we believe he would marry the likes of the Stepmother in the first place, and if he doesn't die, how can we believe he would let his daughter be enslaved? Starting with her already in rags is the easier choice for an adaptation, because it lets the audience imagine how it all came to be.
Personally, if I were to adapt the story, I might start with Cinderella already orphaned and in rags, but then feature flashbacks showing bits and pieces of her old life with her parents and of the process by which her stepfamily reduced her to servitude. That way, everything she's lost would get its due, but without having to flesh out every detail.
I think with this poll being done, once again many people are bringing great points into the conversation. It is true like @princesssarisa says, that the beginning can be tricky to balance right. In that I think that it's very interesting how some adaptations choose to do this. The 1931 Aschenbrodel that resurfaced not that long ago, has her become a servant in her own home the same day that the invitation for the ball arrives. That kind of reminded me of how in season 6 of Once Upon A Time we see that her step family renames her Cinderella literally after the invitation for the ball, also the Marcella Plunkett version has the stepmother marry the father so they can get invited to the ball. Even in The Ugly Stepsister they have the invitation to the ball arrive almost immediately after the father dies and before Cinderella becomes a servant. It's definitely tricky with different runtimes to also determine where the story beats fit.
Ultimately I feel everyone's answer depends on how they approach the Cinderella story and even what you consider the main character's journey to be. If it's more about character development, you'll definitely want the story to start earlier, seeing her relationship with her parents and how they relationship with the step family is built. If it's more of a romance, you'll probably want the beginning to already be established and instead make more time for interactions with the prince. If your approach is more cinematic and about the visuals, it could even start with the invitation arriving like Into the Woods or Rodger's and Hammerstein's. I also like the approach of it starting in the middle and having flashbacks to how the situation came to be like that (prime recent example is Bridgerton).
For example, for me her relationship with her mother (think of Disney's 2015 version) is crucial because it showcases where her system of beliefs and principles might come from. This is very classic of Grimm's adaptations (and also why I like the 2010 Aschenputtel a little bit more over the 2011 version for instance). And someone did mention that the beginning is also determined by analyzing if it's an adaptation of any specific version or not.
These plot variations also create an interesting and important difference between versions:
Just how long Cinderella has to live as a servant.
In some versions, like Disney's animated version, Ever After, or the 2010 Märchenperlen version, she's trapped in that situation for about ten years or so, starting in her childhood.
In others, she's already a young woman when her father remarries, and her servitude is either a few years (e.g. in the 2011 Sechs auf einen Streich version, where she mentions that it's been five years), just one or two years (e.g. in Disney's 2015 live action remake), just a few months (e.g. in The Slipper and the Rose, where her father dies in the winter and the ball takes place the following spring), or even just a few days or a few weeks at most (e.g. in the 1931 German film).
That difference can create a very different impression both of Cinderella’s character and of the story in general.
Butt in but I thought about that for a moment, I think I would like to see the after. Now, I know there some ideas circulating on Tumblr on what happens on "after happily after ever" and usually is "the prince sucks" or "the nobility doesn't accept her" and all dark fantasy we can imagine. Not opposed to them. But my idea would be to see...how she copes on being beloved.
She was mistreated and abused by her wicked step family and...now she is married with a man who loves it. Does love heals all?
If we want to add a dark element here: She sees her step family get due justice... and wonders if this is justice. Does this undo anything in her past?
Again, this is not to be on "the prince is evil". It's just...how she travels life now? Her family is gone. The last family she had, if she can call as such, thought so little of her and she witnesses them being tortured and killed. Is this good?
Maybe she felt vindicated for a moment.
But it passes as she is now ...wondering.
Why she wasn't love?
A fairy loved her enough to grant a wish (Cinderella is not foolish to count on a fae's love but either way, the fairy helped her for reasons Cinderella never will know)
The prince loves her
The kingdom loves her
The royal family loves her (she is not a noble but if a fae helped you....hey, that means something?
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I write these words with a broken heart. To everyone who reads this and ignores it, you may skim this post, but I am living through the hardest moments of my life, and my heart aches with pain.
My husband, Hashim, is deteriorating day by day before my very eyes. Due to a severe head and jaw injury, he has been unable to eat or drink normally for over two weeks and is now solely dependent on intravenous fluids. His weight has dropped to 38 kilograms, and he is suffering from severe malnutrition that is threatening his life.
The doctors gave us one hope: urgent surgery that could save Hashim's life. But we face a painful obstacle: we can't afford the operation and treatment. I stand by him every day, watching him lose strength, and I feel helpless as precious time slips away. We cling to hope with all the hope we have left. 💔
If my words reach you, please do not simply glance over them. I am not asking for the impossible; all I want is a chance to save the life of my children's father. Please donate now and share our story. Give Hashem a new chance at life. Do not let our story go unheard—every second counts. 💔🙏
Hello and thank you for visiting our page. My name is Kristina and I am helping raise funds for Alaa, a single mother in Gaza trying to surv
Hello friends,Please, I am asking for your help and support. My fundraiser is moving very slowly, and my daughter Fatoum is very sick. As you can see in the photos, she has developed a bacterial infection caused by insects and the harsh weather conditions.Her condition is getting worse every day.
We are living through the horrors of war in every possible way. Every day there are innocent children and civilians being killed. My daughter is an orphan. She lost her father in the war, and I do not want to lose her too.
Please, if you can, support and help us. I am only trying to provide the most basic necessities of life for my family and get the care my daughter needs.Any donation, no matter how small, can make a real difference.Please don’t ignore our plea. 🥺😭💔
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