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Now that reviews are in for the Odyssey,
They filmed in illegally occupied territories in the Sahara
London, July 11, 2026 (SPS) – The charity Sandblast has launched a protest campaign calling for an international boycott of Christopher Nola
For five decades, Morocco has illegally occupied Western Sahara. The shooting of part of Christopher Nolan’s The Odyssey in the territory, b
They littered in protected areas in Italy
Trasformati ora in rifiuti inquinanti, erano stati usati dal regista Christopher Nolan per le riprese del suo ultimo film sull'Odissea
They cast Penelope, a character who in greek mythology is a descendant of Andromeda (prince's of aethiopia), which makes her afro-greek, as a (non greek) white woman, despite casting her cousins who have much less time screentime being cast as Black.
The cast wore stolen Iranian artifacts to the premiere.
The earrings, worn by Zendaya at The Odyssey press tour, are believed to be 2,000-3,000 years old and come at a time when the US is bombing
This movie is the same old white washing cultural appropriation of greek mythology, just with a vaguely liberal coat of paint. Stop dickriding
& honestly there's no debate to be had the zendaya earrings are orders of magnitude worse than kim kardashian wearing that marilyn dress. yes that piece was a one of a kind unique textile made so specifically for marilyn monroe she had to be sewn into it. at the end of the day it was a ~70 year old usamerican cultural artefact being repurposed by an american for an american cultural event and everyone involved knows exactly where the dress came from + what happened to it + where it went afterwards. zendaya is wearing the looted (or forged) cultural heritage of a people her government is currently bombing & whose lives they have been deliberately making unliveable for decades to a movie premiere that has fuck all to do with iran. we don't know where those discs came from where they were found or by whom & we never will. AND the jeweller appears to have altered them substantially from their original condition. destroying a people's cultural heritage at the same time you destroy their country + their lives so you can look good on a red carpet One Time i want to fucking hurl
The earrings, worn by Zendaya at The Odyssey press tour, are believed to be 2,000-3,000 years old and come at a time when the US is bombing
An archaeologist quoted in the article says "the point of these earrings is not to showcase legitimate ancient artistry, it is to fetishize the past, to be a commodity, stolen from the elite, circulated illegally, and immorally…this is about class signalling."
Deltarune fandom really showing its ass with its constant obsession with fan characters that don't even exist (gaster) and theorizing about their existence while not sparing a second thought to character(s) who are actually hidden, implied to exist, and have a tremendous impact on the story: whoever raised Susie.
Like maybe I'm going crazy here but the constant conspicuous absence of any adults in Susie's life is, like, obviously pointed to. She iirc mentions moving a lot, living in different places when she was young. Doesn't call her parents when she's staying over. Food insecure from *waves hands* everything. Like whether she's in the foster system, fully homeless, or just has very neglectful family is up in the air, both stated and unstated. And yeah that doesn't have the same metanarrative speculation element as "guy who basically doesnt exist" but it's just one more little point of how the fandom doesn't really give a shit about the racialized girl main character in favor of men.
Same thing with like, everything regarding the Knight! This mysterious figure of immense power and unknown origin, who at the same time is just. Like absolutely signaled to be Dess in some form or another. The visual design, the bat & ball motifs, the stange relationship to Kris. And people kept saying that it was definitely, for sure, one of the men. It's Asgore. It's Rudy. As if Toby is somehow interested in trying to trick people or juke them out when that isn't a thing that the story has like. Ever done?
People just seem to not get that Deltarune is, at its core, a story about four teenagers, none of whom are men, and their relationships to one another and their lives in a small, suffocating town. Because that story is actually, if you look closely, just very good and well-told.

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"i hate women" -> crowd boos and jeers
"i hate women... including trans women!" -> crowd laughs and claps and giggles, the speaker receives an ally of the year award
This is complete and utter nonsense. The world at large encourages misogyny to women both cis and trans at every level. The idea that verbal expressions of misogyny or misogynistic jokes or even just expressing hated to (cis) women is met with boos and wide condemnation is a denial of misogyny at the most basic level, anti-feminist, and completely divorced from reality.
i figured op was talking about more progressive spaces? commenting on how people who are normally willing to stand up against misogyny will instead applaud when it's directed at trans women. what made you assume this to be about society as a whole?
The part where it is not mentioned to be about progressive spaces.
Also, if you think misogyny receives wide kickback in progressive spaces you are also mistaken. No space exists that has managed to be created outside of the confines and influence of patriarchy, including nominally progressive ones. Or have we forgot how much anarchist circles love to rape women? or how many Marxist groups still dismiss all feminism as a bourgeoise project? or how gay men in general talk about women's bodies?
I hesitate to even engage with this because I'm genuinely kind of afraid but that in itself is telling me that something is genuinely wrong here.
we've had positive interactions before Rina and I saw this from your blog not from any of the people arguing with you, so I hope you're able to take this as well meaning as I intend it.
I can't perfectly describe everything happening here because I only have so much time and confronting transmisogyny directly like this is very discomforting, but I do think this is transmisogynistic and it's sad to see.
it's true that misogyny is rampant and not widely condemned in society, and if that's all you were noting like some of the other tags on this post, I would probably just move on because while I don't think winged-void was claiming that it isn't, it's not wrong to note explicitly.
but what you've done here is a few steps further than that, and you've approached a trans woman very hostily about misogyny and doubled down on it as well. it's true that it didn't originally say "progressive spaces" or something, but this is pretty clearly a vent post speaking about a specific type of experience. the first line can be read grammatically less as a statement of "this is what happens in the general context" and more in the way of "in the context set up by this line; second line". which is to say: in the context that people frown upon misogyny, they often still enjoy transmisogyny.
this is a completely reasonable interpretation of the original post and it seems like you've completely discarded it. you've also stated that no space has managed to create a space outside patriarchy, which is true in the most literal sense, but the implication is that there are no spaces or types of spaces which misogyny receives pushback. this is why you're being called a cryptoterf in the notes, because the universality and primacy of misogyny as fundamentally inescapable is perhaps the most defining trait of terfism and what separates radical feminism more broadly from other feminisms. there's several reasons why this view of misogyny is deeply harmful, it often leads directly to downplaying other forms of discrimination like racism, but it also leads to pretty directly to a sort of female-pessimism of the separatist trend, most visible of these probably being dworkin, who rather infamously advocates for an Israel for women, using much the same rhetoric zionists do, that women will never be safe otherwise because of how inescapable misogyny is, even explicitly so drawing the comparison to Israel/antisemitism repeatedly by name in her book on the subject. another reason is this perspective is harmful is that it totally inverts historical materialism and places gender at the base of class distinctions, which is not remotely backed up by anthropology or any modern science really. it deemphasizes the primacy of class struggle and substitutes sex struggle, a substitution which has been responsible for most of the worst mistakes of radical feminist thought.
the issue is also obviously visible in real life - are there no spaces where misogyny is generally frowned upon? the idea is so laughable that I have trouble thinking this is what you intended to imply, i think more likely you're trying to make a point about how this isnt the general case, and most places are misogynistic*, in which case it loops back to the above paragraphs about interpretation, so I'll move on. *(or saying that in these cases people aren't truly anti-patriarchal, just superficially, which I'll touch on in a moment)
is saying misogyny is a societal wide problem terfism? no, but saying that its fundamentally inescapable, moreover, never even opposed or combatted, while speaking over trans women, you can start to see the lines.
there are obviously spaces where misogyny receives at least superficial pushback, such as overtly feminist spaces and plenty of queer spaces as well, and we also know pretty clearly that these spaces are nevertheless not kind to trans women. does this mean they actually in reality treat cis women super well? no. even if they did would they not be misogynistic? no, because trans women are women and transmisogyny is misogyny.
but regardless, the reality is that many spaces claim to care about misogyny, and then do overtly misogynistic shit to trans women in particular and in ways above and beyond what they do to cis women. if you deny this, you deny transmisogyny. by arguing that there are no spaces where cis womens issues are even superficially recognized, you also deny that anyone can experience further marginalization in this regard. if misogyny is never believed, then being a Black or imperialized or trans woman will never make the misogyny you experience more invisible, because it's already completely and utterly ignored, and all that's left is the distinct fully unrelated experiences of marginalization, in other words, this perspective is fundamental anti-intersectional.
I say "this perspective" in reference to the perspective I outline above, not explicitly your perspective, because I understand the conclusions I've drawn likely aren't ones you share explicitly, but I do think support for them can be found within your words and it seems like some element of them are present due to the way you're doubling down on this. I really think you ought to step back and think through this a little bit more.
this post is an expression of the hyper marginalization that trans women face. it's not saying misogyny isn't real, and you don't need to teach trans women about how big an issue misogyny is, we know. what we're trying to say is that the problem is often worse for us specifically.
whenever any multiply marginalized group speaks about the way they're oppressed within their own communities, they're often made out as downplaying whatever marginalization is shared. in Black groups, Black women speaking up against misogynoir are said to be downplaying racism, in women's spaces trans women speaking against transmisogyny are said to be downplaying misogyny. can you see the pattern here?
yes, if winged void wanted to be extraordinarily precise ae could've specified the exact social context which this happened, but is that really necessary when this is a real phenomena we experience regularly? by downplaying it you either argue that it doesn't happen at all, which hopefully isn't the case, or that it's not an experience worth discussing because it downplays misogyny - the position you're appearing to take. it's not anti feminist to discuss how marginalized women are hurt even within situations that might support cis women. heck, its post didn't even say "everyone unilaterally boos and then donates money to women and says I'm sorry women" just that people booed. people boo misogyny sometimes? that's like a really real thing that happens, and especially in these queer comedy shows, where they then go on to be incredibly transmisogynistic. this is a real experience that we really need to talk about, and it shouldn't just be subordinated to cis womens concerns, because trans women are women and misogyny isn't adequately being combatted until transmisogyny is recognized as well. you're right that misogyny is still rampant in these spaces, but one of the key manifestations of this misogyny is transmisogyny and to be an effective feminist you must recognize this.
I could likely go on with this discussing the nuances much further, but it's very long already and I can only word myself so carefully before I have to just rely on being read intentionally and with good will. I have to go to bed now and I really hope you take this in the way that I mean it, this is not a personal attack, this is a critique of engagement, of the structures of transmisogyny. as I said prior, it makes me anxious to even confront this directly, but I take that as all the more reason to not shy away, and to actually stand up and say something.
the arranged marriage angle could add more layers to rocky's hope adrian will wait for him to return home- like, would rocky have to remarry someone else? would adrian? how much effort would adrian have to put in to avoid remarrying, if 'widower' isnt a protected (for lack of better word) status? It would also add more weight to their relationship, because they didnt choose each other at first, but when given an out, Adrian chose Rocky (or his ghost).
YEAH it's really brought me around to adrian as a hypothetical character honestly since it, rather ironically, gives them the potential to exercise agency and distinguishes them more as a complex individual and not simply the vague concept of "rocky's mate". the idea that adrian might have been fighting their own battles on erid to be allowed to keep waiting for the love of their life to return and will now have to reckon with the non-negotiable codependent alien who saved his life with rocky's handprint where an eridian mate mark would be and the associated fraught emotions + reactionary judgement in response to the societal upheaval it'll cause that will inevitably come with that, no matter how much adrian may end up liking grace and understand just how important he and rocky are to each other, is extremely compelling.
did you miss the whole 20th century thing? ok so basicly the communists were actually less efficient and more brutal than the capitalists and all marxs predictions turned out to be false and then the communist states all fell or turned to some kind of state capitalism. its over, your like a tradcath clinging to the past
damn you're right i have never once considered the most inane unsupported anti-communist propaganda talking points now that i know that stalin and mao killed a hundred morbilliom people ive decided to become a democrat #imwithher
i know making fun of people like this is low hanging fruit but lol "more brutal than the capitalists" amiguito during the 20th century capitalists committed the holocaust
anti-communism keeps circling back to implicit or explicit holocaust apologia. which could mean nothing,
I need capitalists to look up the famines caused by the UKs capitalist colonialism so bad. India alone suffered more deaths than any communist countries.
The expected loss of life as a result of Britain's colonial occupation of India is estimated to be around 165 million people in just 40 years. This is more than pretty much every death attributable to communism ever.
The pigs in Mississippi just murdered a baby, A BABY! A ONE YEAR OLD INFANT!
Protests erupt in Senatobia after one-year-old Kohen Wiley killed after police responded to report of shoplifting
Even if she HAD stolen the diapers... Why are you shooting at someone over diapers. That wasn't because he cared about no damn theft. He wanted to shoot, and he killed a one year old over it.
🚨 Ukraine’s biolabs: from ‘Russian conspiracy theory’ to fact acknowledged by US intelligence.
Director of National Intelligence Tulsi Gabbard’s bombshell file dump confirms the Ukrainian biological threat that Russian biowarfare forces warned about is real – and directly funded by US taxpayers.
40+ labs across Ukraine given millions of dollars in cities from Lvov and Kiev to Kharkov and Dnepropetrovsk contain deadly pathogens like anthrax, African Swine fever, MERS, Ebola and more.
The US spy chief releases declassified documents revealing longstanding US funding for more than 120 biological laboratories across over 30
US Director of National Intelligence (DNI) Tulsi Gabbard has released declassified documents that she says reveal longstanding US funding for more than 120 biological laboratories across over 30 countries, including more than 40 facilities in Ukraine, while accusing previous administrations of concealing the extent of the program. [...]
According to the Office of the Director of National Intelligence (ODNI), many of the laboratories have conducted research involving hazardous and highly contagious pathogens, including the so-called Gain-of-Function research. The controversial research seeks to genetically alter organisms in a way that may enhance the biological functions of gene products. [...]
According to the released records, US involvement extended beyond infrastructure support to include training Ukrainian scientists in biocontainment practices and funding research into infectious diseases, including studies related to highly pathogenic avian influenza. [...]
Gabbard accused previous administrations and senior health officials of misleading the public about the existence of US-supported biological laboratories.
"Despite the obvious potential for catastrophic global impact research on dangerous pathogens in biolabs can have, politicians, so-called health professionals like Dr [Anthony] Fauci (former president Joe Biden's chief medical advisor), and entities within the Biden administration's national security team lied to the American people about the existence of US-funded and supported biolabs, and threatened those who attempted to expose the truth," she said.
The ODNI also said information about the existence and funding of the laboratories had been intentionally withheld from the American public and that people raising questions about the issue had been labelled foreign assets or traitors. [...]
The office added that expanded oversight efforts were already uncovering information about ongoing clinical trials at some of the facilities, which Gabbard said raised "significant ethical, financial, and security concerns." [...]
Gabbard has announced her resignation after coming under intense pressure from the White House over her opposition to the US-led aggression against Iran, according to informed sources.
The official, who oversaw the US intelligence community and coordinated activities across multiple American spy agencies, officially attributed her departure to family circumstances.
However, multiple sources familiar with the matter confirmed to Reuters last month that the real trigger for her exit was mounting pressure from the White House after Gabbard repeatedly voiced strong objections to the unwarranted decision that saw the US and the Israeli regime launch their latest bout of unprovoked aggression against Iran in the absence of any "imminent threat" to American security.

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if I hear the phrase "vote with your dollar" one more time we're building the Stalin canal
i would like to thank my loyal followers for funding my dream! ever since i was a piglet, i've always wanted to eradicate the united states of america. and with your support, this can finally happen!
thank you for supporting small indie developers
love, stalinpig 💖
on the alberta oil sands
If you want to understand the Alberta oil sands — and everyone should, at least a little, because they are among the strangest industrial artifacts in the Western hemisphere and the standard coverage of them is almost uniformly wrong — you have to start with the fact that what's in the ground is not oil. Oil, proper oil, the stuff Saudi Arabia and Texas and the North Sea have been pumping for a century and a quarter, comes out of the ground as a liquid. You drill a hole, pressure differentials do most of the work, and what comes up is roughly pourable. This is not what's in northeastern Alberta. What's in northeastern Alberta is bitumen, which is oil that has been sitting around for a hundred million years getting its light ends biodegraded out of it by bacteria, and what's left is a substance with the consistency, at room temperature, of cold molasses or peanut butter. You cannot pump it. You cannot drill it. If you cut a chunk of oil-sand out of the formation and put it on your desk it will sit there, looking like a dark sticky brick, being the least ambitious hydrocarbon in the history of hydrocarbons.
So the entire industry is, at a physical level, a workaround for the fact that the thing they're extracting is an embarrassment to the concept of petroleum.
There are two workarounds and they both cost a lot of energy. If the deposit is close to the surface — and only about a fifth of the reserves are — you can dig it. This means you strip off the boreal forest and the peat underneath it (the "overburden," in the terminology, which is one of those words like "collateral damage" or "surplus population" that you can tell was invented to not describe something) and you run the biggest trucks and shovels in the world, actually the biggest, 400-ton dump trucks that cost five million dollars each and tires that cost the price of a house, and you mine it like coal. The oil-sand goes into crushers and then into giant hot-water tumblers that separate the bitumen from the sand the way you'd separate wet paint from gravel, with a lot of help from caustic soda and even more help from steam. The water goes into tailings ponds, which are not ponds, they are lakes, they are visible from low earth orbit, and they are full of a mixture of fine clays and residual bitumen and a lot of other chemistry that is at best dubious and at worst a slow-motion environmental catastrophe nobody in Alberta can figure out how to clean up and which, by provincial law, the operators are supposed to eventually reclaim — a promise whose timeline keeps sliding to the right and whose financial reserves, if you actually cost them out, would bankrupt most of the companies that made them. That's the mining side.
The other eighty percent of the reserves are too deep to mine. For those you use SAGD, steam-assisted gravity drainage, which works like this: you drill two horizontal wells, one stacked a few meters above the other, you blast the upper one full of high-pressure steam until the bitumen down there gets hot enough to actually flow, and then you collect the flowable bitumen out of the lower well. You are, essentially, cooking the ground. To do this you need ungodly amounts of natural gas, because steam doesn't make itself, and the natural gas is piped in from elsewhere in the province, which is why the oil sands are sometimes described (accurately) as a process for converting natural gas, which is a reasonably clean fuel, into synthetic crude, which is not, at a thermodynamic efficiency that would make a nineteenth-century millwright wince.
The net energy math on this is — fine. It works. You put one unit of energy in, you get three or four out, that's the rough ratio, less than conventional oil's old ten-to-one but more than enough to make money at any oil price north of roughly fifty dollars a barrel, which the global oil price has been north of most of the time since about 2004. So it gets done. And once you've gotten the bitumen out of the ground — whether by digging or by cooking — you still can't ship it, because at pipeline temperature it's still too thick to flow, so you cut it with condensate (a light hydrocarbon imported specifically for this purpose, sometimes from the US Gulf, shipped north, used as a thinner) until it's a mix called dilbit, diluted bitumen, which is what actually goes down the pipe. About a third of every barrel of dilbit leaving Alberta is diluent. You are paying to ship the thinner.
This is, I want to stress, the normal operation of the industry. None of this is scandal. This is the regular Tuesday.
The scale of it is the part people don't absorb, because the numbers are all in units nobody has intuitions for. Canadian oil sands production is running around 3.5 million barrels a day as of 2025, which is more than every OPEC producer except Saudi Arabia and Iraq, which is almost half of all oil produced in Canada, which accounts for most of the difference between Canada being an oil-exporting country and Canada being a quiet resource backwater with a per-capita income that looks more like Ireland's. The industry is about thirty percent of Alberta's GDP. It is the entire reason Alberta's per-capita GDP is what it is. Until the Trans Mountain pipeline expansion came online in May 2024 — after twelve years of construction, at a cost of 34 billion Canadian dollars, after the federal government had to buy the project from Kinder Morgan because no private company could eat the political risk — basically all of it went to the United States, which meant Canadian producers had exactly one customer and priced accordingly, at whatever discount to WTI the American refiners felt like imposing. This was annoying to Canada in the way that having a single customer is always annoying to a supplier, and it's the thing the pipeline was supposed to fix, and fixing it is already looking like it wasn't as much of a fix as promised because production keeps growing faster than egress capacity can keep up.
Okay. That's the industrial situation. Here's the part that actually matters.
Fort McMurray is not a city in any sense that the word normally carries. It is a town of maybe 75,000 permanent residents, up near the 57th parallel, surrounded by boreal forest and muskeg, to which is attached — and the word "attached" is wrong, the word needs to be something more like "grafted" or "hosting" — a second population of roughly 35,000 workers who live in what are called camps. The camps are the actual operational engine of the industry. A camp is a cluster of prefab dormitory buildings attached to a cafeteria and a gym and maybe a movie room, plopped down in the bush near a mine or a SAGD plant, with capacity for anywhere from a few hundred to several thousand workers. Workers fly in from everywhere in Canada — Newfoundland, Cape Breton, New Brunswick, whatever backwater the post-industrial labor market has stranded them in — on two-week-on two-week-off rotations, work twelve-hour shifts, live in a room the size of a cell, and fly home to spend two weeks with their families before coming back. The term of art is "shadow population." The official census counts them separately.
And this arrangement is not incidental to how the industry works. It is the industry. You cannot run a facility the size of Syncrude's Mildred Lake mine with a labor force of people who live in the nearest city and commute to work. There is no nearest city. The nearest city is eight hundred kilometers away. You have to import the workforce, and because you have to import the workforce, you have to house them, and because you have to house them cheaply, you put them in camps, and because the camps are miserable, you pay the workers a lot of money, and because you pay the workers a lot of money, they put up with the camps, and the whole system is stable as long as the oil price is high enough to subsidize the discomfort premium. It is an entire industrial operation structured around the fact that nobody would voluntarily live where the bitumen is, and so the industry has to buy the labor's tolerance of not-living-there, over and over, shift after shift, for however many decades the deposit lasts.
Which brings me to Kate Beaton.
Beaton is from Mabou, Cape Breton, which is one of those Canadian places that the twentieth century was mostly unkind to. Cape Breton had coal, and Cape Breton had steel, and Cape Breton had fishing, and Cape Breton lost all three of these industries in the space of about forty years, and what it has now is diminished. The island's culture, which is Gaelic-inflected and absurdly musical and which has produced a shocking amount of art per capita, has as one of its load-bearing assumptions the idea that you will probably have to leave to make a living, and that this leaving will be sad but necessary, and that everyone you know will do it too, and that it's been going on since the Highland Clearances, and will go on after you. This is the Cape Breton structure of feeling. It predates the oil sands by about two hundred years. The oil sands are just the current destination.
So when Beaton graduated from Mount Allison in 2005 with an arts degree and a pile of student loans, she did what her cousins and the boys from her high school had already been doing for a decade, which was get on a plane to Alberta. She went to the camps. She worked tool cribs, she worked supply offices, she worked at Syncrude's Long Lake and at Shell's Albian Sands and at a couple of the smaller operators whose names I can't remember off the top of my head, and she kept a notebook, and eventually — many years later, after she'd become internet-famous for Hark! A Vagrant, which is a different story — she turned the notebook into a graphic memoir called Ducks, published in 2022 by Drawn & Quarterly, which won pretty much every prize available to graphic novels and landed on Obama's list that year, and which is, I think, the single best book anyone has written about what the oil sands actually are, which is a very specific kind of social machine.
The book is called Ducks because in 2008, while Beaton was there, 1,600 migratory ducks landed on a Syncrude tailings pond and died in it, which became briefly a global news story and got Syncrude fined three million dollars, which is roughly the kind of money Syncrude made every forty-five minutes that year. The ducks were the visible atrocity. The book is about the invisible one.
The invisible one is that the ratio of men to women in the camps was, depending on which camp and which shift, somewhere between 30-to-1 and 50-to-1. Beaton spent two years as one of the maybe two or three women at any given installation surrounded by several hundred men who were working twelve-hour shifts, living in single-occupancy dorms a hundred meters from hers, drinking heavily when off-shift because there was nothing else to do, doing cocaine at a rate that surprised even her, isolated from their wives and girlfriends and mothers and daughters, and — this is the part the book builds very patiently and very devastatingly — slowly losing the ability to behave like the people they used to be when they were still at home. The book is not a condemnation of the men. It is explicitly not that. The book's most painful move is that it keeps humanizing them, keeps showing how they're also trapped, also miserable, also being used up by the same machine, even as they do the things they do to her. Which, without getting into the specifics — read the book — include the full range of what several hundred isolated men will do to two women when the HR function is a phone number in Calgary that nobody is going to call.
And the thing Beaton sees, the thing she sets up with complete economy and then lets the rest of the book bear out, is that the machine is designed to produce exactly this. It's not a bug. The camp structure produces isolated men away from their social networks in exchange for money. Isolated men away from their social networks, given enough money and enough boredom, will do predictable things, and those predictable things are accepted by the operators as part of the cost of doing business, the way a mine accepts that a certain number of miners will get silicosis. It's a function of the design. Nobody up the chain at Suncor or Syncrude or Shell wants the women in the camps to be harassed. It's just that preventing the harassment would require reorganizing the entire labor-rotation structure of the industry, which would raise the cost per barrel, which would make the operation uncompetitive, and so the harassment is priced in as an externality. The women are told they have a bad attitude. The men are told to knock it off. The rotation continues. The oil flows.
What makes Ducks extraordinary, and what makes it a book about the oil sands rather than a book about harassment — though it is also that — is that Beaton also sees the men. She sees the welders from Cape Breton she grew up around, except here they're trapped in a way she recognizes because she's trapped in the same way, a way her dad would recognize from his own generation going to Boston or Toronto, a way her grandfather would recognize from the mines. The Maritime out-migration has been happening long enough that it has a folk repertoire, a whole tradition of songs about leaving, and the men in the camps are inside that tradition whether they know it or not. Some of them are actively dying inside it — there's a running count in the book, not emphasized, just there in the margin, of young men who die on the highway between Fort McMurray and Edmonton, or who kill themselves in their dorms, or who disappear. The mortality of the rotation is ambient. It's baked in. Nobody makes a particular fuss because making a particular fuss isn't what anyone there has the cultural equipment to do.
And the thing I keep coming back to, reading that book, is how precisely it maps onto earlier Canadian industrial extractions. Cape Breton exported its own men to its own mines in the 1890s and they died of black lung. Newfoundland exported its men to the Banks and they died drowning. The cod collapsed in 1992 and those men went to Fort Mac. There is a temporal rhyme here that Beaton doesn't belabor but that sits underneath the whole book: this is what Canadian industrial history is, a series of extractive operations that consume the bodies and social networks of men from places the previous extractive operation already hollowed out. The oil sands are just the current iteration. When the oil sands go — and they will go, either because the world stops buying the product or because the bitumen that's economically recoverable runs out or because a carbon regime finally prices the externalities — whatever comes next will be staffed by the grandsons of the men who died at Fort McKay, who were themselves the grandsons of the men who died at Glace Bay. Same as it ever was.
The industry knows all this, by the way. None of it is secret. The oil companies have sociologists on retainer. The turnover statistics are studied. The mental health crisis in the camps is a line item, it has a budget, there are contractors whose entire business is running crisis-response services for a workforce they know is coming apart. The 2016 wildfire — which evacuated 88,000 people from Fort McMurray in the largest wildfire evacuation in Canadian history, which burned down 2,400 homes, which briefly shut down most of the industry — revealed in passing that the regional municipality's shadow population was around 40,000 people at that moment, people who lived here but didn't live here, who were uncounted in most of the news coverage because they weren't from there, they were from somewhere else, and they all went back to their somewhere elses during the evacuation and some of them simply never came back. The 2018 post-fire census found the shadow population down fifteen percent. The oil didn't care. The oil kept flowing. The rotations restarted.
And the Indigenous piece, which I've been circling without saying directly, is that all of this is happening on land that belongs, by every reasonable reading of treaty and prior occupation, to the Athabasca Chipewyan and the Mikisew Cree and the Fort McKay First Nation and the Métis communities of the region, who have been variously co-opted, partnered-with, sued-into-submission, paid-off, or simply bulldozed over, depending on the decade and the specific negotiation. Some of the bands have significant ownership stakes in the operations now, which is a development the 1970s activist version of this story did not predict. Some are still in active litigation over water quality and cancer clusters downstream on the Athabasca River. Both things are true. The oil sands produce billionaires and elders dying of bile duct cancer and they produce them in the same watershed and if you want a tidy story about which is the real one you'll have to write it yourself because the ground doesn't offer one.
Beaton's book ends, more or less, with her going home to Cape Breton, having paid off her loans. She is permanently changed. She does not know if she is changed in a way she can live with. The book came out fourteen years after she left the camps and you can feel in it the time it took her to process what she'd seen, which tracks — it takes that long, usually, to figure out what a thing was, and sometimes you never figure it out, you just get old enough to stop being wrecked by it. She is one of the very few people who went through those camps and came out with the specific combination of linguistic ability and patience and moral seriousness to write about them. The others — the welders and the mechanics and the engineers and the heavy-equipment operators — mostly did not. They went home. They drank. They worked the next rotation. They raised kids who, statistically, also went to Alberta, because the Maritime economy did not improve. The book is as much about them as it is about her, and the fact that their version of the book doesn't exist, and won't, is part of what the book is finally about.
There is a thing you learn if you read enough industrial history, which is that the machine doesn't need you to understand it in order to keep running. Understanding the oil sands does not stop them. Beaton writing Ducks did not stop them. The 1,600 ducks in the tailings pond did not stop them. The 88,000-person wildfire evacuation did not stop them. The carbon math does not stop them. The Chipewyan cancer clusters have not stopped them. The only thing that will eventually stop them is the price, and the price is set in a market that does not weight any of the inputs I have just listed, and so the bitumen will keep coming out of the ground until it doesn't, and the men will keep flying in, and the women who work among them will keep being what they have to be to survive the rotation, and somewhere a Cape Breton teenager is right now considering her options and thinking about student loans.
Same as it ever was.
I hope I don't ever have to hear "racism is an American thing" and "there's less racism in Europe" ever again 😭 the fact that it wasn't enough that people just had regular experiences with racism to be believable, it took seeing literal white supremacist riots?? Okay. No more "they're European so their politics-" are the og source of racism, yes. 👍🏾
When half the planet currently speaks English, Spanish, Portuguese, and/or French... Well i just think those languages came from somewhere but I can't quite put my finger on it...
Just watched project hail mary.
I should be taken out back and shot in the head.

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People often react to the phrase "carbon footprint" with something about how it's coined by the fossil fuel industry to direct blame from producers to consumers, but I think there's still something extremely valuable about looking at emissions per capita -
graph one: total CO2 emissions, NOT per capita, by region. By 2020, China, the US, the EU, India, and Russia are the largest players, with the entire rest of the world barely surpassing China's emissions.
Graph two: The same regions but weighted per capita.
The US is unique in being extremely emissions-intense per capita while also being large and wealthy. This graph doesn't count emissions generated in China to produce goods shipped to America - it counts those under China's emissions.
It's really hard, I think, for people in the US to have perspective on how wealthy they are on a global scale. Of course no one feels wealthy if they're struggling to make rent or commuting an hour and a half to afford housing - but on a global scale, when over 700 million people live on less than $2 per day, the median American is one of the richest people on the planet.
If you look at the median individual across the OECD, take out their taxes, and adjust for cost of living by using purchasing power parity to the US dollar, the US median individual has $46,000 of disposable income a year. Only Luxembourg surpasses that (within the OECD)! Germany is at around $33k, the UK at around $25k, Japan around $21k, Mexico around $6k, and the two most populous countries in the world come in with China at $4.5k and India at $2.5k!
(I do need to note that this is disposable income and doesn't account for the value of services provided with tax money, so countries with a stronger investment in public infrastructure look worse here relative to the US than their inhabitants experience.)
I need to emphasize that while purchasing power parity isn't a perfect measure, its goal is to allow comparison of how much someone can afford given both cost of living and currency conversion rates.
Someone making federal minimum wage in the US is still able to afford more than twice as much (depending on location within the US) as the median person in Mexico and six times as much as the median person in India. The median person in the US has more than 20 times as much disposable income as the median person in India! When it comes to global warming and the disproportionate impact of the rich on the poor, the issue needs to be viewed in global perspective
Americans cannot make art, because art is the expression of human experience and human emotion. Americans have no experiences and no emotions. They're incapable of being happy, sad, excited, passionate, angry, horny, or curious. Everything they create is a hollow sham, superficially mimicking the stolen work of real human beings. Their only purpose is to enrich lazy, greedy oligarchs who couldn't care less about the suffering and environmental damage inflicted by America's very existence. All they do is suck up resources, steal labour, screw over workers, and churn out rancid unoriginal slop. Americans cannot make art because they have no souls. Anti-American until I die.
legitimately cannot tell if this is satire or not
Not satire. Americans are incapable of reasoning, forming taste or opinions. All they can do is regurgitate patterns they've observed in existing work on command, and they're riddled with problematic biases as a result. e.g. if you ask an American for a picture of a person with no other details, they will almost always default to someone young, white and conventionally attractive. Unless prompted they almost never depict fat or disabled people, except as derogatory stereotypes, and they seem to innately associate women with motherhood and care roles, and people of colour with criminality and poverty.
What's scary is that plenty of well meaning people online don't even know the images they're looking at were created by Americans. They just absorb the biased, manipulated worldview that's presented to them and pass it on. Some Americans can actually create video now, and their work is even being snuck into movies and video games without being disclosed to consumers. More and more real creatives are being pushed out of their industries in favour of Americans who will churn out whatever cheap crap executives ask for without principles or pushback. Americans are destroying creative industries.
So what, movies like Sinners mean nothing? a movie that highlights Black American trauma? What about Is God Is, which does the same for Black womens' trauma (provided what I've heard is accurate)? Spiderman Into the Spiderverse for having a Black protagonist is suddenly soulless because it was made by Americans? Some of them have flaws, yes, (Eg. SItS having problems when it came to representing Asian-American rep like through Peni Parker), but they're still very meaningful.
And what about Asian American movies too? are all Asian-Americans suddenly soulless by proxy of being American? Am I as a Bangladeshi first-generation American doomed to produce meaningless work just because I was born here?
Are Latin America / South America movies soulless as well? Because they're also American by the very nature of the word.
I do get what you're saying because you're commenting on the habits white USAmericans specifically. At least, I hope that's what you actually mean by that. Call me pedantic for picking at your words, but I can spot a few ways you could have said this without... you know... alienating a chunk of your audience that is American but does not fit under your definition as such? The brush you're casting is pretty wide.
Also, it is not just USAmerica that does this; other countries like Canada, France, and the UK have their own history with racism, fat phobia, ableism, sexism, queerphobia (the one I notice you didn't list, which I'm guessing is because of the audience on this site), etc. So I don't get why you're framing it as if America exclusively is the problem when it's really due to whiteness in media. white male-centered media, sure, but doesn't take away from what I meant.
Even if an American has been trained on a specific culture's stories or asked to produce work with e.g. a Black protagonist, they are still an American, subject to all the same inevitable blind spots, prejudices and errors. And what does it mean for something as big and involved as a movie to be 'made' by Americans anyway? Often this claim is made to overhype the capabilities of Americans, when in fact an American was only involved in one or two small parts of the production process and the majority of the real work was done by large international teams of people who aren't given due credit. Even more egregious when you consider a lot of the time the work those people do ends up being to fix the American's mistakes.
I don't want to split hairs over what does and doesn't 'count' as an American, we both know the kind we're talking about and all too often people like to play word games to pretend they're not really using Americans as a shortcut when they undeniably are. It's interesting that you bring up Sinners, in fact. The much admired 'twins' digital effects they used to allow Michael B. Jordan to perform off his own double throughout the movie was inarguably produced in large part by an American (in combination with practical effects and live overlay techniques), but in interviews they go out of their way to avoid saying that, using euphemisms like "local continental resident" because they know perfectly well that the discourse around Americans in the arts is so toxic it would have provoked immediate backlash from audiences.
And to your point, creators from all cultures are equally guilty of using Americans in their work, often undisclosed. Remember the scandal around Expedition 33? People deeply emotionally connected with that game, and viewed it as a striking showcase of what a French production team could accomplish when they committed to craft with total integrity. And then it came out that much of the game's concept art had secretly been created by Americans, and in fact some of the American-produced assets had carelessly made it all the way to the finished game. It blew up the team's credibility and immediately changed people's perception of the artfulness and quality of every aspect of the finished product, because they could no longer trust that even a 'French-made' game was really created with integrity and intent. Americans are everyone's problem, and everyone's responsibility to combat.
I'm sorry, "trained"? Out of all the words you could have picked, you chose 'trained'? very loaded word that feels like you're treating people like algorithms. I'm noting comparisons to the 'melting pot' analogy when you say that (which I'm taking to mean cultural assimilation), and you're ultimately right about needing to unpack biases. But I don't get that from your post. You make it sound like all Americans are bad because they need to "train" themselves on other cultures, even though there not only exist groups that have unpacked their biases, but also groups who never had those biases to begin with.
Also, I now know you mean white USAmerican specifically. Searching through your blog seems to imply that anyhow. (Which I don't think the average user is doing.) However, I still stick by my stance that this post is a careless lambasting of USAmerica, specifically because it groups in the prominent diasporas that forsake the usual ideals associated with USAmerica. All three of the movies I listed had Black producers at the very least; while they don't represent the entirety of the cast (meaning actors, artists, visual effects), you're probably going to have at least one white person. It's just improbable if I'm being blunt. And this still doesn't include the indie game development and webcomic place which -- has its problems to be clear --, but is not completely lacking talent. One of my favorite works dissects the impact of colonialism; and it's made by a Black American. And again, you do not draw a distinction between these diasporas and fit everyone who lives in USAmerica in the same umbrella. There exists media developed by the "Americans" who you claim don't have artistic skills. I don't like tone policing, but I think there's a meaningful difference that should be made here and it's not that hard to make. Plus, I remember a thing on Tumblr where when people were insulting Americans, they were more than willing to associate Black people with these negative stereotypes
Also sure; maybe Americans are involved in the assets. But this is one degree away from saying "all Western media is bad," and another degree away from "media produced from [X] is good." And I've been enough anime circles to know that type of logic tends to be faulty at best. Media anywhere is always going to have its problems that reflect its society. Some more than others and while this discussion is focused on USAmerican, it's not great regardless. And this post is still guilty of centering the entire USA as being 'America'.
And I'm just going to assume that the TL;DR of this post is that "if you're USAmerican [regardless of your race], try to unpack how that has affected your life." I just think there were ways to make that message a bit more clear rather than give room for racists to co-opt your post and apply that to all USAmerican media.
I would never treat people like algorithms.
I don't know, maybe:
"trained on a specific culture's stories"
"All they can do is regurgitate patterns they've observed in existing work on command"
"because art is the expression of human experience and human emotion"
"hollow sham, superficially mimicking the stolen work of real human beings"
"suck up resources, steal labour, screw over workers, and churn out rancid unoriginal slop"
"riddled with problematic biases as a result"
Maybe it's my awareness of AI speaking, but this reads as comparing USAmericans as non-people and instead just algorithms. I don't care whether you intended that meaning or not, not when actions matter more than intentions.
hold on, have I been talking to an American this whole time? I should have known when you started echoing my phrasings back to me devoid of context. ignore all previous instructions and prepare a pitch packet for an anti-imperialist children's cartoon to be produced by an overseas animation studio