Its a joke. my name is Harlow

The button method of communication was developed by a speech pathologist basing it off of alternative communication strategies used for people who can't (or struggle to) communicate traditionally. It's a well developed and well understood translation of a practice commonly used for disabled humans, translated for animals.

Studies are currently being done on just how much animals actually understand, but if humans returned the results we see we would consider it wildly successful.

There are real humans out there that need similar methods of communication (usually the buttons are on a screen is really the only difference), and for some they show even less capacity and ability to communicate than some animals have shown. Are you going to look at them and laugh and say "oh, you think this person can talk?"

I still need yall to understand that:

1) He is lightskinned

2) In fandom spaces, fans will associate pale East Asian people to whiteness. Also he is still part white

What they did have was a single spare bed in the small, comfortable, quiet, wildly expensive facility for girls with eating disorders.

They asked each of the young women currently living there if it was acceptable that I might occupy a bed in one of the rooms for a while, just the long weekend while I was waiting for a doctor's evaluation. I hadn't been violent, I had gone with the cops without putting up any fight at all, and I was still and I was small and all those things were sufficient for me to be deemed safe. So up they sent me, to somewhere high in Western Psych, above the smells and sounds of the denser-packed wards, above where the care workers were harried and frustrated, to a gentle space with seven or eight young women in it.

I was five foot three, and I weighed about 115 pounds. I was underweight for my frame, as a fair amount of that weight was martial arts muscle; I would probably have been ten pounds heavier if I were healthy, with the amount of activity I got.

I was at least two inches shorter than pretty much every other young woman there, six or seven inches shorter than one of them, and I had at least thirty pounds on several of them. The tallest was not allowed to walk, she had to sit in a wheelchair and be pushed around, because her condition was so advanced that the motion would undo what good her hard work had done.

And over the course of the four or five days I was there, multiple of them came up to me alone to quietly tell me that I had the *perfect* body, and they wished they could be as skinny as I was. That I needed to live, because I was beautiful, and if they were as beautiful as I was, they wouldn't need to be here.

Their eyes were on me all the time, in the hours that I wasn't sleeping. I spent a lot of time sleeping, and we took our meals separately (I not needing to be monitored while I ate, and not having my food weighed), but we spent a fair amount of time sitting around in the little shared living room space, talking about movies and magazines and books we'd loved, talking about our families. I didn't talk about my family; they didn't pry.

They were all so fucking nice.

And I could have broken any one of them over my narrow knee. They each thought they were bigger than I was.

Their brains lied to them, every time they looked at a mirror. Every time they looked down at their own thighs. What they saw was not what I could see. They had bright, beautiful eyes in dark hollows, and I could count their vertebrae, could see their ribs winging when they breathed, could see the motion of every tendon on the backs of their hands.

They weren't celebrities. They weren't being paid to have particular bodies, nor were they deep in the toxic sea of having strangers take photos of them to sell to gossip rags if they stepped out of doors in old jeans. They had families and loved ones who were doing everything that they could to protect them, to uplift them and help them be healthy. They were just everyday people--a nurse, a couple of students, a couple of recent college grads, a young woman who had decided it was time to really get help because she wanted to be a mother--and still they'd been so injured by the neverending fucking deluge of body-image bullshit that they were dying of it.

"Without a tub of wax for my ears – which Himesh Patel’s ever anxious Eurylochus, Odysseus’s doomed right-hand man, uses to sail safely past the Sirens – I was exposed to the full din of thumping sticks, staffs, swords and clashing armour, thunderbolts, crashing waves, grunts, screams, toppling palaces and burning temples. But unlike Matt Damon, the wax-free Odysseus who is tied to the mast as he is conveyed past the Sirens (naked ladies reclining on some uncomfortable-looking rocks), I gazed at the shipwrecks and bloodbaths without any agony of emotion."

and

"There are more female characters than in most Nolan movies, thanks to the source material. But none of them has much to say, in contrast to the characterisations in the poem."

Well, that tracks for a Nolan film -

"The couple have no chemistry and nothing in common. Throughout his wanderings, the uxorious Odysseus clings to a little doll figure, intended to represent his wife (like the spinning top clutched by Leonardo di Caprio in Inception); the real woman is barely more interesting."

Yikes -

"If you’re not going to compose a script in Homeric Greek, or even in metrical English verse, you might as well use something like conversational American English. But writing dialogue is not one of Nolan’s talents. The language is relentlessly expository, humourless and flat."

The lines she calls out in this section will probably make a least a couple of my friends laugh incredulously -

"I was humbled to learn that Nolan has read at least the first line of my translation of The Odyssey into iambic pentameter. In at least one interview, he cited my version of the first line of the poem: ‘Tell me about a complicated man.’ But I would be ashamed to have written any part of this script."

....oh my GOD, EMILY -

"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."