Claire Keane
❣ Chile in a Photography ❣
"I'm Dorothy Gale from Kansas"
RMH
occasionally subtle
ojovivo
#extradirty
izzy's playlists!
Sade Olutola
Misplaced Lens Cap
trying on a metaphor
NASA
h
JBB: An Artblog!
Andulka
hello vonnie
Show & Tell
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@ds9au
the word “sabotage” is p much short for “fucking shit up with a wooden shoe”
what
fucking shit up with a wooden shoe
oh my god
well wooden shoe look at that
I’M FUCKING CRYING AT THAT PUN BE MY FRIEND PLEASE
reblog if you already learned this from Star Trek VI
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Star Trek TNG but Beverly Crusher runs the entire ship
One of the most common complaints about Star Trek I saw growing up was “why don’t they use the holodeck more? If you were living in that time period and you could just make anything you wanted anytime you wanted and live out fantasies forever, why aren’t more people addicted to the holodeck?”
And then generative ai was created.
And now I get it. I get why nobody on Star Trek spends all their free time in the holodeck. I get why all the crew are putting on stage plays, and holding music recitals, and building models, and playing poker. I get why everyone was so skeptical and mean to the Doctor on Voyager. I get why the ONE TIME we see someone obsessed with the holodeck it infringes on people’s likeness rights and permissions.
Because fundamentally at the end of the day we are human beings and we ENJOY working with our hands and making REAL human connections. A person who learns to play an instrument is always going to be viewed as an artist over someone who asks the computer to generate music for them.
Even as recent as Lower Decks they were making fun of the fact that the crew were putting on amateurish plays and holding music recitals. But after living with Ai for so long and seeing how detrimental it’s been to the world… I’d much rather watch my friends put on a stage play than “participate” in a holodeck movie.
What’s most amazing about this is that it was completely unintentional. I do not for one second think that the writers of the time in the 90’s were really thinking about the larger issues that generative ai and chatGTP would cause. How could they? Text to speech back then was still robotic as heck. More likely they wrote that stuff in because it was cheaper to film on sets the owned than try to build, film, or rent out different locations each week.
That’s the down to earth logistical real reason Data is reciting poems about his cat or Riker is in a play put on in ten forward. It’s just cheaper to do that than to build a whole new set or move production to a new location.
Yet at the end of the day, I think that unintentionally speaks to a very human need that ai is making more and more prevalent to us day in and day out.
And that’s the fact nobody wants to deal with generative SLOP.
sparkle on! it's wednesday! don't forget to be yourself
yIghon! DaH qaS ghItlhjaj! DI'onmeylIj tlhIn DachIw 'e' yIlIjQo'
He just sits his ass down on all those buttons that could or could not be firing lasers into space
If we can’t invent a touchscreen that recognizes an ass-dial by the 24th century, we really have no business being in space at all.
Happy 10th anniversary to by far the most viral reblog I ever made. I still see screengrabs of this on my own facebook dash like, once a month.
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“One day there was an anonymous present sitting on my doorstep—Volume One of Capital by Karl Marx, in a brown paper bag. A joke? Serious? And who had sent it? I never found out. Late that night, naked in bed, I leafed through it. The beginning was impenetrable, I couldn’t understand it, but when I came to the part about the lives of the workers—the coal miners, the child laborers—I could feel myself suddenly breathing more slowly. How angry he was. Page after page. Then I turned back to an earlier section, and I came to a phrase that I’d heard before, a strange, upsetting, sort of ugly phrase: this was the section on “commodity fetishism,” “the fetishism of commodities.” I wanted to understand that weird-sounding phrase, but I could tell that, to understand it, your whole life would probably have to change. His explanation was very elusive. He used the example that people say, “Twenty yards of linen are worth two pounds.” People say that about every thing that it has a certain value. This is worth that. This coat, this sweater, this cup of coffee: each thing worth some quantity of money, or some number of other things—one coat, worth three sweaters, or so much money—as if that coat, suddenly appearing on the earth, contained somewhere inside itself an amount of value, like an inner soul, as if the coat were a fetish, a physical object that contains a living spirit. But what really determines the value of a coat? The coat’s price comes from its history, the history of all the people involved in making it and selling it and all the particular relationships they had. And if we buy the coat, we, too, form relationships with all those people, and yet we hide those relationships from our own awareness by pretending we live in a world where coats have no history but just fall down from heaven with prices marked inside. “I like this coat,” we say, “It’s not expensive,” as if that were a fact about the coat and not the end of a story about all the people who made it and sold it, “I like the pictures in this magazine.”A naked woman leans over a fence. A man buys a magazine and stares at her picture. The destinies of these two are linked. The man has paid the woman to take off her clothes, to lean over the fence. The photograph contains its history—the moment the woman unbuttoned her shirt, how she felt, what the photographer said. The price of the magazine is a code that describes the relationships between all these people—the woman, the man, the publisher, the photographer—who commanded, who obeyed. The cup of coffee contains the history of the peasants who picked the beans, how some of them fainted in the heat of the sun, some were beaten, some were kicked.For two days I could see the fetishism of commodities everywhere around me. It was a strange feeling. Then on the third day I lost it, it was gone, I couldn’t see it anymore.”
—
Wallace Shawn, The Fever
(To understand it, your whole life would probably have to change.)
I saw Wallace Shawn at the end of this quote and thought surely it’s a different Wallace Shawn surely it’s not the fucking dinosaur from Toy Story this can’t be the fucking Sicilian from the Princess Bride but it is. It’s the same fucking guy I just read an explanation of commodity fetishism written by Mr. Incredible’s tiny boss at the insurance company
I’d completely forgotten that Wallace Shawn played the Grand Nagus, somehow. You’d think the voice would be unmistakable.
Anyway, everyone should still read the full piece this is from!
The Fever
[ID: tumblr tags read: the grand negus has a moment of enlightenment. / end ID]
Phenomenon is a great word. It means "Thingy" but when you don't want to sound stupid
"Thingy (possibly happening?)" Vs. "Thingy (possibly dude?)"
Anomaly is another great one: "thingy (???)"
Currently rewatching some ‘90s Trek. Gonna start replacing anomaly with thingy in my head everytime someone says the former on the show.
DS9, S2E5 "Cardassians" Garak surprised when a boy bites him.
I mean, what did you expect when you're dressed like a 🍉?
Happy 30th Anniversary Star Trek: Deep Space 9!
First aired January 3, 1993
Thinking of Deep Space Nine as "the Dark Star Trek" without digging into what made Deep Space Nine work is so reductive. Like when people discuss Star Trek being "dark" now people bring up "DS9 was Dark and you loved that! Trekkies would hate it now!"
Deep Space Nine didn't work bc it was Dark and it wasn't Dark out of nowhere. Deep Space Nine is intimately tied to TNG in a way no other series is with another (Voyager could've been just as rooted in DS9, but. Y'know. Wasn't). Not only in characters, but that the show is so devoted to exploring deep cuts from TNG: the Bajorans, but also the Ferengi, long dismissed as failed villains, and the Trill, one-off aliens-of-the-week who DS9's writers turned into one of Trek's major species. The central thesis of DS9 isn't that the Trek Universe Is Fucked Up Actually. It's that things get more messy and complicated when Starfleet has to stick around and not dash off to another planet at the end of the episode
DS9 is darker than other Treks, yes, but DS9 is also the warmest, with the most grounded, human characters, not in spite of the fact that two-thirds of the cast are aliens but because of it. The writers treat alien characters as not representatives, but individuals. They treat everyone as individuals, with foibles and flaws, not as perfect, straitlaced future people. DS9's dark episodes are darker than other Treks, but also it's more willing to get silly and emotional. Only DS9 could do the "Sisko confesses to a conspiracy to get the Romulans in the war" episode, but also only DS9 could do the "a holographic lounge singer tries to get Odo and Kira together" episode right after it. Boiling the entire series down to "Deep Space Nine was the Dark Star Trek! Grimdark!" is...just not it
The central thesis of DS9 isn't that the Trek Universe Is Fucked Up Actually. It's that things get more messy and complicated when Starfleet has to stick around and not dash off to another planet at the end of the episode
Emphasizing this because there seem to be a lot of people who have only watched DS9 and are missing the point: they think that DS9 presents the Federation as an evil expansionist imperialist power no different, no morally better, than the Cardassians or the Romulans or even the Borg or the Dominion -- the only difference is that they conquer with bribes of resources and the promise of protection from the other powers. (Nice planet you got there; it’d be a shame if something happened to it...) They seem to think that the Federation is just the 20th/21st-century US/ NATO/ The West with better technology, with the same dishonest self-interest and cultural arrogance, without having learned anything or done any work to live up to its ideals.
You will not understand DS9 if you don’t understand that it also believes in the ideals of TOS and TNG, but has a more realistic view about how hard it is to maintain and fight for those ideals in a complicated world. It is NOT trying to make the point that the Federation and the vision it stands for are “Fucked Up Actually.”
I think it’s important to remember that DS9 was the first truly serialized Trek. It bridged TV’s transition from mostly episodic shows to longer-form narratives. That kind of storytelling didn’t really exist in TV, before.
I don’t even really think of DS9 as being particularly dark. It’s just that it’s the first Trek that got to follow up on things that would have been one-episode plots on earlier shows. DS9 was able to show us the cost and the consequences of Federation idealism, because it had a structure that made those stories possible to tell.
TOS: the future is a utopia
TNG: the future is a utopia
DS9: the future is a utopia, but not one we got for free. We had to build it, and we have to fight constantly (and not only with weapons) to maintain it. We will have our beautiful garden in the sun where all the children can play in harmony, but we had to build it with our own hands. And if we take it for granted, it will be taken away from us.
Is it darker? Yes, in a way. But in another way, it's much more hopeful and optimistic. The dream of a utopia on earth and among the stars seems more credible in DS9, because it shows exactly how hard it is to have one. This isn't some heaven-like idea where "one day everything will just magically. be better".
It's instead saying "hey: things will be better, things will be great, and we can make them that way. It's within our reach to build this utopia... So pick up a shovel and let's get started."
It's not saying that there won't be problems. Far from it. It's saying that those problems will be minor in comparison to the wonders of this world we've built, and that those problems can be overcome, and it shows us people overcoming them.
Because look: it's easy to write a utopia. Just don't write in any problems! (not that I'm saying that's what TOS/TNG did). And it's almost as easy to look at a utopia and go "it wouldn't work" and write dark subversion that points out how you cynically don't believe that world is possible.
It's harder and more beautiful to look at a utopia and instead say "it's not that easy" and write a story about how that utopia would have to be maintained.
(I'm paraphrasing here but I can't recall who) The future of Star Trek, as seen by DS9, is not a world where there are no problems. It doesn't promise that the future will be perfect. It instead promises that things will be better, no matter how many stepbacks we'll have between now and then, and that when those problems do happen, we will overcome them, together. All of us. Every race on earth, and even aliens with radically different philosophies. We'll find a way to get along and unite and face the horrors side by side.
We will have our heaven, but not one handed to us. We will build it ourselves, brick by brick.
And I think that's a far more uplifting message. Yes, it will be hard. There will be many obstacles. But we will overcome them and emerge into a new, better day.
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Gay people can't just say "I love you", they always got to pull something like this
I'm fine.
"The time has come for violence"
I need more of these two as a couple. As in I need an entire soap opera.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Star Trek Voyager 4E08 - Year of Hell | 5E17 - The Disease
Greasemonkey Janeway with rolled-up sleeves
So, one of my very favourite things about this show is when Kate Mulgrew is covered in dirt, her hair is everywhere, her sleeves are rolled up, and she's just fixing something. Unlike Kirk, Picard and Sisko, Janeway likes getting her hands dirty, and she likes being in the trenches. And she never asks her crew to do something that she would not do.
We make a big deal about her being the first woman captain on Star Trek, but there was never enough attention paid to the fact that B'Elanna was the first woman engineer. And that these two women could Maguyver a ship to run with some dental floss and duct tape.
So I live for the scenes when these women are just turning a wrench and covered in grease and just doing the damned job that the boys can't/won't do.
Andrew Robinson on playing Garak for the first time.
i have showed these gifs to so many people in my life
thank you tumblr user pajamasecrets
