THIS CUPID IS BAD NEWS!

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[image description; five digitally drawn images of fanart of hot rod and starscream from transformers: legend of the microns depicted as humans. hot rod is an androgynous person with curly hair and athletic build, wearing a tank top, leggings that read "cybertron" on the side, arm bands, knee pads, boots, and gloves with the cybertron logo. starscream is a muscular woman with a long braid wearing a tank top, cargo pants, combat boots, wrist tape, and dog tags with the destron logo. in each image they are performing various wrestling moves. in the first image, hot rod performs a choke slam on starscream, whos eyes are wide in shock. hot rods face is obscured. in the second image, starscream performs a suplex on hot rod. starscream's eyes are closed in concentration. in the third image, starscream is on her back and raising her hands in defense as hot rod grips her hair and raises one arm to punch her. starscream's eyes are closed in defense. in the fourth image, starscream attempts to pin hot rod using a cradle maneuver. their face is obscured, and starscream's face is scrunched in effort. in the final image; starscream lays on the ground with her eyes closed and expression soft. hot rod holds their right shoulder and leans into the side of her body, holding her arm with their right hand. their eyes are closed as if mourning. end image description.]

art made by a 10 yo girl, shared by Judy Tuwaletsiwa

Mermaids distill the fantasy that a human might roam underwater, of course, but also that the creaturely domain desires (to be) us. As such, the sirens’ repeated heartbreaks — and offers to self-mutilate! — for our sake encrypt frontier capitalism’s disregard for boundaries, geographic and otherwise. Externalities have a funny way of looping back to bite us, or so climate scientists have insisted ever since they first sounded the alarm on the capitalist mode of exploitation over two decades before the first The Little Mermaid was in development. Nonetheless, as Gumbs lays out in Undrowned, so-called civilization has refused to change course. That Andersen’s mermaid cannot speak, for instance, clearly does not bother the prince. Her muteness resonates in a maritime, aristocratic, early-nineteenth-century scene as more than just subjugated femaleness: it evokes animality, illegibility, non-whiteness. And how convenient it would be, for the prince and his kind, if the subaltern couldn’t speak. Who knows what testimony would flow from that tongue stump otherwise?