oh that I had been writ down an ass

killer ultra pro max

doctor armstrong attwn

even if you say these people DID deserve to die, the manner of their deaths is a power fantasy come to life. in spite of its commentary on the ineffectiveness of the justice system, and then there were none isn’t a cathartic story of killers being brought to justice. it’s just as much a critique on the the power that the justice system has over individual lives— a massacre committed by a man who has been taught by the system that he has the right to play god, to decide who is deserving, to decide who gets to live and die. that’s how i read it, anyway.

blorbos from blorbo island

Mr Swales my beloved

I hate it here

@dionrevel PLEASE share the link.

[I actually do have a job, I am just a big fan of lists and graphs and flow charts etc.]

❤️YES NO

devastating

dunno if anyone's done this one before but anyway

#ταβοηθήματάμου

Sex workers are thrown under the bus, shown only as thieves who fleece men in the woods at night, while queer sexuality is relegated to a few scenes with Allie’s roommate (a woefully underused Quintessa Swindell) and a handful of pans past blurry same-sex extras making out in the background. “This night is for the straights,” Swindell’s character says to Allie, before saying that queer people have worked around straight laws for centuries.  This is supposed to be a nod to queer resilience, but largely comes off as straightwashing the history of anti-LGBTQ legislation in this country that led towards raids of queer clubs and incarceration of queer people in the not-too-distant past (let alone the current barrage of anti-Trans and LGBTQ legislation currently in the works and on the books). It’s also ignorant of the long and fraught fight for the normalization of age-of-consent laws, which, by the way, did not happen in all states in this very country until 2003. Yes, that’s not even thirty years ago.  By the end, our intrepid protagonists have not had sex with anyone, because this is a film about Romance with a Capital R (and I guess sex is not part of romance!) and for that very same reason they ultimately embrace the fascist state of things. They aren’t the only ones who refuse to fight back. No one in this cursed film is protesting this mandate beyond “repeal” signs in various windows and some creative graffiti (...) (...) If we are supposed to believe that the film is making some subversive statement about the state of sex and bodily autonomy in this country, it cannot end with its leads embracing their chains. That’s just warmed-over conservatism running around in sheep’s clothing.

the premise could have been interesting as a serious dystopian story, especially taking that history into account, but it wasn't written that way at all. this movie should never have been a fucking romcom making light of the violence the united states (and many other countries) has enacted on any kinds of sexual relationships it deems undesirable.