you lil shit

i mean

any of these

could easily fit the profile

But if you asked, “Would you let the statue of liberty burn in order to save your child? your spouse? someone you loved a great deal?” the tune abruptly changes. At the very least, there’s a hesitation. Even if they deny it, I’m willing to bet that gun to their head, the answer would be “yes.”  

The basic problem here is that people have a hard time seeing outside their own sphere of influence, and empathizing beyond the few people who are right in front of them. You’ve got your immediate family, whom you love; your friends, your acquaintances, maybe to a certain degree the people who share a status with you (your religion, your race, etc.)–but beyond that? People aren’t real. They’re theoretical. 

But a national monument? That’s real. It stands for something. The value of a non-realized anonymous life that exists completely outside your sphere of influence is clearly worth less than something that represents freedom and prosperity to a whole nation, right?

People who think like this lack the compassion to realize that everyone is in someone’s immediate sphere of influence–that everyone is someone’s lover, or brother, or parent. Everyone means the world to someone. And it’s the absolute height of selfishness to assume that their lives don’t have value just because they don’t mean the world to you. 

an example: so, as the nazis began war against france, the staff of the louvre began crating up and shipping out the artworks. it was vital to them (for many reasons) that the nazis not get their hands on the collections, and hitler’s desire for them was known, so they dispersed the objects to the four winds; one of the curators personally traveled with la gioconda, mona lisa herself, in an unmarked crate, moving at least five times from location to location to avoid detection.

they even removed and hid the nike of samothrace, “winged victory,” which is both delicate, having been pieced back together from fragments, and incredibly heavy, weighing over three metric tons.

the curators who hid these artworks risked death to ensure that they wouldn’t fall into nazi hands. and yes, they are just paintings, just statues. but when i think about the idea of hitler capturing and standing smugly beside the nike of samothrace, a statue widely beloved as a symbol of liberty, i completely understand why someone would risk their life to prevent that. if my life was all that stood between a fascist dictator and a masterpiece that inspired millions, i would be willing to risk it. my belief in the power and necessity of art would demand i do so.

if, however, a nazi held a gun to some kid’s head (any kid!) and asked me which crate the mona lisa was in, they could have it in a heartbeat. no problem! i wouldn’t even have to think about it. being willing to risk my own life on principle doesn’t mean i’m willing to see others endangered for those same principles.

and that is exactly where the conservative hard-right falls right the fuck down. they are, typically, entirely willing to watch others suffer for their own principles. they are perfectly okay with seeing children in cages because of their supposed belief in law and order. they are perfectly willing to let women die from pregnancy complications because of their anti-abortion beliefs. they are alright with poverty and disease on general principle because they hold the free-market sacrosanct. and i guess from their own example they would save the statue of liberty and let human beings burn instead.

but speaking as a leftist (i’m more comfortable with socialist tbh), my principles are not abstract things that i hold aside from life, apart or above my place as a human being in a society. my beliefs arise from being a person amidst people. i don’t love art for art’s sake alone, actually! i don’t love objects because they are objects: i love them because they are artifacts of our humanity, because they communicate and connect us, because they embody love and curiosity and fear and feeling. i love art because i love people. i want universal health care because i want to see people universally cared for. i want universal basic income because people’s safety and dignity should not be determined by their economic productivity to an employer. i am anti-war and pro-choice for the same reason: i value people’s lives but also their autonomy and right to self-determination. my beliefs are not abstractions. i could never value a type of economic system that i saw hurting people, no matter how much “growth” it produced. i could never love “law and order” more than i love a child, any child, i saw trapped in a cage.

GOP is all about money and themselves. There are very few of them with any convictions whatsoever. Almost every thing you see a Fox News pundit and go whine about is just a distraction and a means to keep their own voters fumingly angry over nothing. They went out of their way to spread misinformation that ‘illegals are mostly criminals and traffickers,’ and scare the shit out of ignorant whities, as per usual. As since the dawn of America. 

She’s working at the hospital since Rhona came to town,

Hide away, hide away, Miss Rhona’s come to town,

Hide away, hide away, she’s come to take us down.

Miss Rona’s at the doorstep, I’ll keep 6 feet away,

But Grandma needs the paper, I’ll take her some today,

Hide away, hide away, Miss Rhona’s come to stay,

Hide away, hide away, I’ll keep 6 feet away.

But Grandma needs the paper, I’ll take her some today,

And here’s a note from Rhona, she wanted me to say,

Hide away, hide away, keep 6 feet away,

three four, three four

no more toilet paper left

Like, that’s the straight-up text of the film, and it’s not especially subtle about it.*

I’m not saying gay people can’t be villains, but the whole point of Jareth is that his attraction toward Sarah is sick, and her rejection of him represents a triumph of good over evil – it’s very much a film born of the Stranger Danger narrative that was all over popular media in the 1980s. I’m sure it’s possible to do a same-gender version of that without falling down the slippery slope of Unfortunate Implications, but it doesn’t feel like that concern is even on the radar in a lot of these proposals.

CW: Long meta, rape mention, frank discussion of Problematic Teenage Fantasy Boyfriends

Labyrinth is pretty clearly a Symbolic Coming-Of-Age Story ™ about the Role Of Fantasy in the life of a Young Woman, right? it’s about how you need to have a healthy relationship with fantasy. you can’t let it push away the people you love, you can’t let it control you or blind you to what’s there. but it can help you make lasting friends, and when you need it most- for any reason at all- it’s there.   

it’s pretty much text that everything in Labyrinth is part of Sarah’s imaginary world. Everything in the Labyrinth is either something she sought out and loves- her plushies and statuettes, her music boxes and books- or some part of herself, some want or fear or dream, given form. 

And a lot of girls like Sarah- bookish, daydreamy, intellectually gifted but emotionally immature girls who’ve been steeped in a lot of crap about relationships from the world we live in - have a Fantasy Lover who looks and acts a lot like Jareth. 

He’s Intense and kind of scary– because when you’re at that age, anything to do with romance or sex is intense and scary. He’s passionately, obsessively devoted to you, because it feels good to be needed and a teenager hasn’t got the life experience to realize that IRL that kind of obsessiveness is a red flag. He’s an older man- sometimes much older- so that he knows what he’s doing and can show you what to do, but he’s as pretty and graceful as an age-appropriate crush would be. He’s Flawed and Broody and a bad boy- but it’s blatantly obvious that he has good qualities; he will gladly make a fool of himself dancing just to make a baby smile. 

 And the Fantasy Lover is often… yes… kinda predatory. He’s a vampire, or a werewolf, or a Phantom, or a Goblin King. He comes onto you, not the other way around; he chases you, and you run for a while before falling into his arms and being Ravished. He leads when you dance; he tells you “do everything I say, and I will be your slave”.

But there’s a reason for this. in modern American society- and this was even more true back when Labyrinth was being filmed- women are not supposed to want sex. even having fantasies about having a passionate lover you sought out that you want can get a bit ~taboo~. and if you’re a teenager- especially if you’re a sheltered teenager with no female friends or family, no one to tell you that what you want is okay and normal- it can feel weird and bad and scary to fantasize about, well, initiating consensual sex. you don’t feel like you’re allowed to; Nice Girls don’t. 

so oftentimes, the Fantasy Lover blurs into rape fantasy territory. he knows exactly what you want and he gives it to you, no matter how many times you say no. you deny yourself any agency within the context of your fantasy, but since it’s just a fantasy, you’re having your cake and eating it too– after all, you can stop whenever you like. you still get to be a Nice Girl, a Good Girl- you didn’t do anything wrong, even in your own head- but you get all the poorly-choreographed Imaginary Romance Bodice-Rippin’ you want. 

normally, this is a pretty harmless coping mechanism. the thing is… “denying herself her own agency” is one of Sarah’s big flaws.

 She tends to immediately deny that she made bad decisions, to act like bad things just happen to her because It’s Not Fair, to balk when there’s a problem she can’t immediately solve. heck, selling Toby to the Goblin King in the first place is sort of a backhanded denial-of-agency – she doesn’t want anything bad to happen to Toby even though she resents his existence, oh no no no, it was the Goblin King that stole the baby. 

 And Sarah’s never in any real danger from Jareth. the snake scared her, but it didn’t bite; the poisoned peach would have made her lose her memory and stay in her fantasy world forever, which is something that Sarah knows is bad, but still kinda wants on some level. at their final confrontation, he doesn’t try to kill her, doesn’t try to fight her– because he can’t. 

Jareth is Sarah’s Fantasy Lover. He can’t do anything that Sarah doesn’t want him to. he’s predatory because Sarah wants him to be, because then she doesn’t have to accept that she wants sex and romance; she can pretend it’s just another thing that happens to her. the reason Jareth is so out of control in the text is that Sarah has given away all control. 

the final confrontation in Labyrinth, isn’t Good Versus Evil in the sense that you mean; it isn’t Sarah destroying Jareth forever, or kicking him out of the land. Hell, he shows up at the end in barn owl form, while all the muppets are having a dance party in Sarah’s bedroom– he’s a part of her inner, fantastic world, and has just as much right to be there as Ludo or Hoggle or the little dudes with the ostrich hats. but he’s only a part of that world, and he’s not the part that matters most, or the part that has say.

their final confrontation is Sarah accepting, and taking responsibility for, her inner life. she is the one in charge of her destiny; she wants what she wants, she needs what she needs, and she will take responsibility for both. she doesn’t need Jareth to do things “to” her so she can pretend she doesn’t want them to happen. her will is as strong as Jareth’s, and her kingdom as great.  he has no power over her. 

so like…I get where you’re coming from with recognizing the Unfortunate Implications and all. “Gay people are sexual predators” is still A Thing, and in the real world, yeah, Jareth would be a creepy pedo stalker. assuming our civilization survives and all, I hope that someday people look at Labyrinth the way we look at Baby, It’s Cold Outside and completely miss the point. :V  

…but c’mon. a kid who grows up being told that they don’t really want the things they want– and if they do want those things, they’re Literally Satan– is gonna have so very much more trouble accepting their own sexuality as they get older.  

And then cue dramatic melancholy music while he sits and thinks about how his job is actually meaningless in the face of the fact that it’s prevented him from learning more about the woman he married all those years ago.

There’s a bunch of scenes where they look pensively at each other from the doorway. They start off quarantine sitting on chairs on opposite sides of the living room. As the days progress they move closer and closer. By the end of the movie they’re next to each other on a love seat.

It’s about two upper middle class white heterosexuals. He works at a bank and she runs an etsy shop making tiny idly jewelry. Their neighbor is an Eldery Likable Black Man who offers them sage advice talking over the fence of their backyards. He of course eventually dies of the virus, leaving his two neighbors to learn and grow from the experience- and to treasure what really matters in life.