people who are like "but with universal healthcare you'll have to pay taxes!!! Up to 8%!!!" Are so funny. Like as opposed to the 16% of my gross paycheck that goes to private insurance, that won't cover shit unless i call my insurance company, then my doctor, then my pharmacy, then my doctor again because theyre pretty sure insurance got approved then my insurance company because they didn't get the letter, then my doctor again, then the pharmacy again, and then the copay i still am on the hook for.
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Not gonna lie this makes me a bit irritated. Here's the real version of this photo:
Instead of a cutesie reference to film censorship it was an explicit statement of defiance of Maryland's criminalization gay sex, which was not repealed until 2002. This wasn't a guy saying "Oh they can't put what I do in the movies according to a completely voluntary industry code" he was saying "The State of Maryland wants to put me in jail for being gay and having gay sex."
It wasn't a guy being cheeky about sex in an ambiguous, cute way. It was a man stating, in no uncertain terms, that a whole state of the United States considered him a criminal for being homosexual.
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hey kitten. daddy needs to talk to you. your kink blog is great, but you are not highlighting the words correctly. kitten. stop highlighting. this is shit. did you seriously highlight that period. kitten.
Filmmakers have the right to adapt academic output for their medium. Academics have the right to criticise how it's done, and the biases betrayed by the execution. Emily Wilson's review of The Odyssey is an excellent addition to the discourse around this film, and how American industry valorises certain character and narrative arcs. Though Nolan's film is largely accepted as a critique, it still sits neatly in his oeuvre of great, but tortured and ahistorically moral, frontier men.
I especially hope that people take the time to digest her penultimate paragraph:
The most troubling ethical problem with Nolan’s Odyssey concerns the decision to film part of the movie in the occupied territory of Western Sahara, thus normalising the ongoing violence against the indigenous Sahrawi people. It is particularly galling that Nolan used this land simply as a visually striking backdrop for a film that centres, aggrandises and redeems the hero of a territorial war on account of his belated and partial acknowledgment of his own guilt.
— An Uncomplicated Man by Emily Wilson (London Review of Books)
The decision to shoot in Moroccan-occupied Western Sahara, where the Indigenous people can’t tell their stories without fear of imprisonment
The simple act of holding a camera in my homeland of Western Sahara can be a crime. When Sahrawi film-makers and journalists attempt to document everyday life under Moroccan occupation, they can often end up in prison cells. For the Moroccan regime, a camera in the hands of a Sahrawi threatens its official narrative that Western Sahara is part of Morocco.
In contrast, when celebrated international names in the film industry wish to capture an ideal picture for an epic journey, and decide that our land is exotic enough to shoot the desired scenes, they are welcomed, escorted and granted access by the same authorities that usually deny us that right.
This is the bitter and paradoxical reality in Western Sahara, an occupied territory with many material and immaterial riches. While foreign extractors of all kinds freely plunder Western Sahara’s phosphate minerals, sand, fish, and tomatoes, and commodify our winds, sunlight and picturesque desert landscapes, we the Indigenous Sahrawis are becoming a minority in our own homeland, systematically marginalised, silenced and denied access to the land we roamed as nomads for centuries.
The latest episode of this colonial drama stars the Christopher Nolan blockbuster using parts of our occupied territory as a film set. Sahrawis are aghast that scenes from The Odyssey – an adaptation of Homer’s poem immersed in themes of displacement, family separation, betrayal, and the agonising, decades-long struggle to return home – were shot on our lands. The irony would be comical were it not so tragic: we, the Sahrawi people whose land was used to film parts of the Odyssey, have been living our own brutal odyssey for more than 50 years.
— Mohamed Sleiman Labat
Despite the MAGA overreaction to the bold casting choices in what was bound to be a relatively conservative film, it was Donald Trump that made this colonial backdrop possible:
The Odyssey is the first major Hollywood production to shoot scenes in Western Sahara. This would have been unthinkable prior to 2020, when President Donald Trump broke with decades of US foreign policy and recognized Morocco’s illegally established sovereignty over the territory. The decision was part of a quid pro quo in exchange for Morocco’s normalization of ties with Israel. Now Nolan and crew’s four-day shoot in Dakhla illustrates how quickly Hollywood studios have moved to exploit the opportunities created by Trump’s transactional diplomacy. This subsidized occupation cinema is yet another symptom of the breakdown of whatever remained of a rules-based liberal order.
For Moroccan officials, the presence of The Odyssey crew was a propaganda coup. They have made it clear they see it as just the beginning of Dakhla’s development as a base for international film productions. This is despite the fact that the wider Western Sahara remains the site of an ongoing armed conflict between the country’s military and the Sahrawi pro-independence movement, the Polisario Front. Last month, three Polisario fighters were killed in a Moroccan drone attack close to the 2,700-kilometer sand berm that separates Moroccan-controlled territory from the desert areas held by Polisario.
— Odyssey to Africa’s last colony by Eoghan Gilmartin
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because I just posted about it on my personal private social media it’s worth posting here too where there’s a wider reach: it’s that time of year, the end of july, where I (a contracted educator during the academic year) am pinching pennies to make it through the next few months.
I’ve been an editor for a long time, and am happy to peek at whatever you’re looking for extra eyes on— stories, emails, essays, what have you. also happy to help with other menial labor though that’s a trickier gambit when we’re all online like this. shoot me a dm if you have some extra cash and want some hands on deck and we’ll chat! I make stuff too (moodboards, edits) and am happy to chat about that, though it’s important to note I don’t take commissions for fic, as paying for copyrighted fanfic works is against ao3 terms of service!
if you’re feeling generous, I also have a ko-fi under the same name as my tumblr url, and you’re welcome to tip me! that ko-fi was made so I could open up pay-what-you-want donations for folks who played my itch.io game till death do we part, an interactive short story about marriage, autonomy, and choice, but I obviously welcome All Money Ever
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