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FR!!! I also think it's important to mention that as a trans girl, I see a lot of other white trans girls appropriating asian culture because they associate it with femininity, which genuinely pmo as a wasian girl (i am more white than asian and am very white passing, so I can't fully provide input on this). This definitely ties into the larger point of the video, bcs I have not seen other people call out these issues and they are usually ignored, and when they are brought up people are just blatantly ignorant ("if i can't see it it doesn't exist"). even i don't feel like I've noticed the issue this person is talking about, but I am not in transmasc spaces so of course I wouldn't see it. I doubt this person has noticed transfem asian appropriation, but I have since I am in largely transfem spaces. but either way, this problem definitely exists in both spaces, and it definitely still needs to be addressed.
I saw a very useful video about this similar phenomenon even in cis white people. They said in the video white men emulate black men because they think it's more "masculine," and and white women emulate east asian women because they perceive them as "more feminine/cute/etc."
This ALSO ties into white trans men and nonbinary emulating east asian men because they perceive east asian maleness as a "more feminine" version of masculinity and therefore "more achievable/idealized."
i have my own gripes with this in regards to how other white trans men fetishize east asian men and how they might write erotic RPF or fanart, which in a vacuum might be whatever, but there's this undercurrent of "being east asian (or appearing east asian) is an automatic pass for me to fetishize you and make objectifying comments about you" which i personally have experienced firsthand and. aaauuuughghhhh i wish ppl would be more Aware of how their tastes in RPF or whatever (fantasies about celebrities who might never see it) affects how they interact with REAL PEOPLE they might actually talk to FACE-TO-FACE??? especially when it's rooted in racism like this
the perception of blackness as "more masculine" and east asians as "more feminine" is absolutely unacceptable and we should address it more.
adults love seeing a small child or teenager who is so visibly anxious and uncertain of themselves and quiet so they can tell them "HEY!! 👹 YOU BETTER GET SOME CONFIDENCE RIGHT NOW! 🗣 AND SPEAK UP! 🤬 YEAH YOU! 👊 SHY KID 💥 EVERYONE LOOK AT THIS SHY KID 👈 WHO I'M GOING TO FIX 🙏 WITH THE POWER OF LOUD !!! 😤 YOU'D BEST BELIEVE IT! 😱 NOW SHOUT, SHY KID!!! 🤯 SHOUT AT ME!!! 👽 HUUAAHH&HHH 🗯 NOW TEAR ASUNDER THE HUSK OF YOUR FORMER SELF ☠️ YEAH RIGHT NOW 👇 WHY DON'T YOU FEEL CONFIDENT 💣 I AM GIVING YOU THE CURE" and the shy kid has to pretend like this isn't the millionth time they've had this exact conversation
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i loved the opening in ithaca, unabashedly (and i love THAT the film opens in ithaca, being who i am). travis scott as the bard is captivating. penelope's entrance was literally showstopping, as she also does in the poem.
anne hathaway was the strongest performance by far. don't think there was a penelope scene that didn't hit for me. the use of the screen in the great hall and the loom as shields showed her isolation and opacity while letting her also be present for the action.
eumaeus & eurylochus are the standouts of the supporting cast.
the scenery looked a lot better than i feared from the trailers; circe's island was my favorite set/location.
i liked the pacing, broadly speaking. i saw it with two people with no background knowledge and neither were bored ot thought it dragged, for the length. any feature film even at 3 hours was always going to be a brutal struggle for adapting epic poetry; it's not the medium i think is best suited. but for what it was, the choices of what to cut, abridge, and include largely feels correct to me.
i got jumpscared once by clytemnestra and once by scylla and that was crazy
my personal favorite moment(s) of the film: stringing and plucking the bow to make it sing. the sound design on that alone was worth the imax ticket, but man, to find a way to call back to that... from the first scene i knew how they were gonna do the climax and it hurt my fucking feelings!!!!
the bad and the ugly:
whether by natural inclination or direction, matt damon plays odysseus as an everyman, and the thing about everymen is they can't have strong personalities. the range goes from "kind of despondent" to "even more despondent," in the words of one of my companions my (who, again, went in blind). he's bland as hell. the most fun i had with him was in the palace as a beggar and his face was covered. the lead is the film's most significant problem, and that's not something i can forgive.
like it's to the point that when he wants to hear the sirens, it feels out of character
the costume design is exactly as bad as it looked in the trailers. mostly i can ignore this because it's really not my bag, but in some cases (the trojan armor, notably) it inhibits the messaging
and, to a lesser extent, the monster character design. the laistrygonian giants truly should have been cut for time anyway. goofy ass
i will join the popular stance against a cyclops encounter with no "nobody," but for me it's not so much about that exchange, iconic as it is, as the loss of all humanizing traits of polyphemus. it doesn't sit right with me to treat him as a mindless monster encounter instead of a chance to probe odysseus' xenohobia.
i have long noted that no one is interested in portraying agamemnon as a human being, but never before to THIS extent, oh my god. he kept making me laugh which was not the intended effect
helen and clytemnestra not actually having much screentime was a letdown for me, since that was what i was looking forward to most.
since they bothered to cast mia goth you might think melantho would have anything to do, but you would be wrong.
slavery is generally glossed over. antinous makes one reference to slaves having no choice but to be loyal to who's in power; that's truly it. as usual (with the return 2024, for instance, which has much stronger theming) i thought the message would have hit harder if the hanged women were included
if i had a nickel for every time someone cut all the sex from my beloved sex object i would have 2 nickels
inconsistent diction. every time telemachus said "mom" or "dad" it broke my immersion
the interesting, what's missing, and whether it worked for me:
the ambiguity of the gods, particularly athena (and her various disguises in the poem): i would not characterize it as a "fakeout" as some people have. there are still undeniable supernatural elements in the film; whether you read athena as odysseus' hallucination, how he perceives her, or how she chooses to present to him is left up to you. worked for me, but would have worked even better if he had killed that trojan girl himself
replacing the phaeacians and the lotus-eaters with calypso: poor nausikaa, i miss her. but i thought pairing calypso and the lotus, odysseus piecing together the story while literally picking up the pieces of his broken wreckage, was a strong choice to streamline the narrative
along with that, the way his departure from calypso is framed as a surrender of control felt powerful in that moment, after all the useless striving against fate. people made fun of the "defy the gods" tagline but once again, if one cares to actually see the movie, the point being made is that odysseus can't.
circe: loved the setup, enjoyed swapping out a palace for a more folklorish witch's hut, absolutely ate up the body horror. but i think the thumbprint of madeline miller's circe is there in how she's portrayed as vulnerable rather than a woman in a position of power, as i would argue she is in the odyssey, and i think that's a weird choice to make when you're stripping the sexual violence that is in the narrative out (the hanged women).
i could take or leave crow pasiphae but it doesn't actively offend me
the underworld, sinon, and antinous: rolling together elpenor and achilles into sinon, and using him as a representative of common soldiers who died at troy, was not a move i predicted. it works to tie the story of the horse back into the narrative, while also giving antinous more depth and history. i also loved the visuals of tiresias, the muck, and the tide of dead soldiers almost dragging odysseus down with them. however: i think his mother's ghost could have been included here without losing anything.
i'm not sure why both odysseus' parents were cut, actually. it doesn't streamline all that much.
odysseus' return being interrupted with an action sequence where he rescues telemachus at pylos: mixed feelings. my first feeling was that it would undercut the impact of the violence odysseus does in the hall not much later, but i'm not sure that it did. mentor's death was an interesting note and callback to the body odysseus had to leave behind in the cyclops' cave. did enjoy it as father-son shenanigans, but missed opportunity for odysseus' first interaction with telemachus to be witnessing another man greeting him as a father, which is, you know, more thematic and impactful.
totally copied the return's homework by having odysseus recognized because he does pet argos before the dog dies. not sure how i feel about it as the moment of recognition between him and telemachus but i think i liked it? neither actor was really Giving but it was like. serviceable
i will say again that i loved anne hathaway as penelope. my only complaint is that they sanded down her ambiguity (i suspect to make her more sympathetic, which i object to on principle). having her, for instance, vocally state (in private) that she hates the suitors, or odysseus flat-out saying he doesn't have to test penelope's loyalty, he just has to prove his identity to her, is the coward's way out of the mind games. in the poem it's very much both. she is way more ready to believe it's odysseus. and yes maybe i did tear up when he plucked the bow and she realized but is that and the athena brooch (the brooch is based on something in the odyssey) as clever, iconic, or indicative of her character as the tree bed? i submit to you that it is not
spinning odysseus' foretold quest and departure from ithaca as going into exile after violating xenia: less ambiguous than the poem's ending in many ways. but i am kind of a sucker for it, especially after my stomach plummeting when they played it like he was going to die. and idk. penelope goes with him. am i supposed to say i don't allow that. me. ME?
trying to tie in the bronze age collapse: maybe i'm just too used to reading the odyssey as mythical rather than historical, but this was not successful with me. i did like the emphasis on xenia, including that odysseus' ability to "come home" has been shattered by his own violations of hospitality laws. i just don't think that really worked as "the reason civilization is collapsing and what if the real sea peoples were the pirates we created along the way"
i also don't think you can entirely successfully bring home (haha) the theme of odysseus' displacement while also reveling in the violence, as a film. in a way i think nolan tries to lure the audience in with spectacle, then to deconstruct it by returning, at last, to the horror of the sack of troy. but we dive right into the violence again with the suitors, and i don't know that we're any less invested in odysseus' coolness this. i think it will be interesting (for more people than just me) to compare this to the return, which wants more or less the same arc for odysseus, but executes it more consistently and with more economical storytelling. so did this work for me? i... i don't know. at some point i'm going to write a substack essay about it, probably.
there's enough in this film that i believe it will inspire people to read the poem, and if they have the tenacity to stick with it, i think they won't have a wrong idea of what it is and be put off. (i use the word tenacity because i think people make too much out of how hard it is to read the odyssey; i think it is and should be accessible, but it is still a story removed from us by time and culture and style, so it does ask you to put in some work.)
I hate how often some (typically abled) people will go “well, if you can’t [get a specific support], then what?” when it comes to disabilities. As if it’s a “gotcha” moment. And then act like you’re exaggerating when you answer that question honestly.
Disabled people often die from a lack of support. A lot of disability aids are not a luxury, but a basic need in order to live.
“Well what happens if—” people die. People hurt themselves. People hurt others. Disabled people don’t magically become abled if our needs aren’t met.
If a bedbound quadriplegic is caught in a housefire, and there’s nobody there to save them, they’ll probably die. They won’t magically become able-bodied out of sheer will.
If a nonspeaking/nonverbal autistic is denied access to alternative methods of communication, they’ll suffer in silence. They won’t spontaneously become capable of speech.
Disabled people are disabled all the time. Our disabilities don’t go away just because they’re inconvenient, or if we’re in danger.
[image description: screenshot of writing formatted as a question and answer exchange. headline of piece is: The Proposal to Raise Every Boy as a Girl. (author not listed)
Q. You want to raise every boy as a girl?
Yes.
Q. Why?
A boy will learn to hate girls as long as he is raised in such a way where he is treated as better, and superior to, his girl peers, whenever he is cruel to girls. So, instead, we raise boys as girls.
Q. What if they say they are not a girl, and want to be acknowledged as boy?
Then you know they are a boy, so you must make sure to understand them as boy, and not a girl.
Q. What does it mean to be 'raised as a girl'?
That's up for you to decide. The only difference is that you should not raise boys any differently than you raise girls, since you raise every boy as a girl.
Q. Girls and boys are raised in specific ways for specific purposes, so it does not make sense to raise boys as girls.
If you raise every boy as a girl, then there is no being which is not raised as a girl, so anyone raised as a girl necessarily must learn to do anything and everything to grow up, without restrictions on tasks, labours, or interests.
Q. But boys and girls are different.
All two girls are different, and raising girls in one specific way destroys this individuality in favour of moulding girls to serve the same master. Still, the girls resist to live life on their own terms. If girls can be raised such that they know they can do anything they want, including not being girls, so too will boys raised as girls.
Q. Why not raise every girl as a boy?
Because if a girl does not exist among boys, then the girl is made.
Q. Why not raise girls and boys as themselves?
The self must be made in a world where girls and boys can first and foremost be themselves. One step towards this goal is to raise every boy as a girl.
Q. The way people raise girls is cruel, so why would you raise boys with that cruelty?
If you raise girls with cruelty, then you should stop being cruel to girls.
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to be honest i think there’s a large number of people who conflate the very real and widespread phenomenon that women tend to be written off as just mothers or love interests in order to diminish their importance in a given story with the fact that a huge reason they’re sent to narrative purgatory in this way is BECAUSE the labels of “mother” and “girlfriend/wife” are systematically devalued and seen as inherently inferior because they’re terms that have been associated with ownership and/or control over women. like the amount of people who’ve told me that a certain female character is uninteresting or badly written because she happened to have a kid or be a man’s girlfriend or sister just to find out she was actually fleshed out very well and carried significant narrative importance frustrates me soo bad. there’s a huge problem with how those roles (specifically “wife” and “mother”) are systematically devalued and yet also perpetuated as the only viable options for women to achieve their societal roles in the patriarchy but acknowledging the devaluation of those labels to begin with is an important discussion in itself.
Is it ok to ask why you dislike the new odyssey? (From seeing the trailer itself, I do agree that it’s not accurate to the myth in some things)
1) calling it inaccurate to the myth is an UNDERSTATEMENT dear anon.
2) Nolan FUNDAMENTALLY misunderstands what the Odyssey is about and why it is such a significant text to greek and western culture as a whole. The slogan of the movie is: One man who defies the gods. THAT IS THE POLAR OPPOSITE OF WHAT THE ODYSSEY IS ABOUT!!!!! THE ODYSSEY AND GREEK MYTHOLOGY AS A WHOLE ARE LESSONS ON WHY YOU SHOULD NEVER DEFY THE GODS! The whole fucking reason why Odysseus is lost for a decade at sea is because he BROKE THE LAWS OF XENIA, the laws of the Zeus. The reason why Telemachus cannot simply throw out the suitors? XENIA! The Odyssey is there to teach the readers about Xenia.
3) no greek actors in sight anywhere. Imagine if Nolan made an adaptation of journey to the west and hired only white actors from the east coast.
4) The movie was filmed in the illegally occupied western Sahara, thus supporting settlements and colonialism
5) the movie looks like ASS. No colours, no interesting settings and everything is drowned in lights. And the costumes look like they are bought from the dollar store and spray painted. The entire movie looks like a 13 year old edgelord’s definition of “coolness”
6) the same way Nolan fundamentally misunderstands the point of the Odyssey, he also fundamentally misunderstands greek culture and history. WHY IS TELEMACHUS WEARING PANTS?!? WHY IS ANYONE WEARING PANTS?! Why does Odysseus’ boat look like a viking ship? Why does the suit of armour look roman???? WHERE IS THE BRONZE?! The COLOUR?! And this is not a “whoops we were off by a few hundred years in some artistic styles”. This is a “WE WERE OFF CENTURIES! Mycenean greece and the Roman Republic are 1200 years apart. 1200 YEARS!! At that point you might as well give Odysseus a jetpack. It’s like if i made a movie adaptation of Frankenstein, still set in the 1800s, and made Victor wear jeans and sneakers. It is THAT level of inaccurate. Pretty much the only historical accurate part in this movie is one of the suitors gay flirting with Telemachus as a way to assert dominance. Which yeah, is something the greeks did, using homosexuality as a way to dominate other men.
7) WHO THE FUCK THOUGHT IT WAS A GOOD IDEA TO LET AGAMEMNON AURA FARM? Agamemnon! AGA-FUCKING-MEMNON!!!! AURA FARMING?????????
8) Nolan is so preoccupied with being a pretentious fuckass that he lets this get in the way of his own art’s quality.
9) bro took out the whole “nobody blinded me” scene. You know… the story that just so HAPPENS TO BE THE CATACLYSM FOR THE WHOLE STORY!
10) it just fully gets rid of the gods. Poseidon? Never appears. Zeus? Never appears. Again Nolan is a pretentious asshole who tries to turn the Odyssey, again a book about the laws of the gods and why you need to respect them, into an atheist redditors wet dream. And i am saying this as a staunch cold hard atheist myself. Imagine if someone made a movie based on the new testament and just COMPLETELY left out God, the angels, the immaculate conception or that Jesus is the messiah.
11) After Nolan was done shooting the movie, instead of safely getting rid of all the equipment and stage props, HE JUST DUMPED IT ALL INTO THE OCEAN!
12) Zendaya (and I think some of the other actors but I’m not sure) wore ancient bronze discs that were stolen from an archeological dig and turned into Earrings to the premier of this movie. This whole movie LITERALLY supports art theft and the theft of ancient cultural artefacts by doing this. And as an archeologist specialised in ancient roman and greek history: I AM PISSED!!!!!!!!
I could go on for much much much much longer but these are some of my main points why I hate this movie with the same intensity that AM (from I have no mouth and I must scream) hates humans.
and if i said nolan's odyssey starring no greek actors and with no recognizable aspects of greek culture or involvement by greeks, is the direct legacy of white supremacist colonialism that treated ancient greece as not just the pinnacle of ancient culture, but of an artificially created "european" culture, which white western europeans and their settler descendants, as the new pinnacle of culture, were the sole spiritual inheritors of.
^^^ PEOPLE ARE STILL THERE. There's a metro station across the street from the colosseum where i found a hair in my pizza slice. We drove by ruins of an amphitheater next to a motorway in greece once. It's literally just real places where real people live and have lived. It's not mythical perfect lands that once existed. I went to Itacha in 2023 and there was not enough parking space.
goddd it's been so hard disliking this production for Normal People Reasons basically since it was announced, and seeing people constantly hating it for bullshit reasons. like no I do not have a problem with Elliot Page or Lupita Nyong'o in this movie beyond the fact that they are hollywood a-listers like Everyone Else In The Cast.
According to fox entertainment this is who we should be afraid of. I didn't know who Francesca Hong was 10 minutes ago but thankfully now I'm aware of this monster and her monsterous policies
Sharing because not enough people are talking about her in wisconsin and her ideas are so much more than this.
She has plans not just to represent indigenous people, but to cement spots for indigenous people to represent themselves.
So, Wisconsin is behind in a lot of ways, one of the most obvious being cannabis legalization. It is a state SURROUNDED by states benefiting from legalized cannabis and the revenue it brings. I have many disabled friends and family who dont have the money for road trip vacations, but still have to make the time and money to drive to one of the surrounding legal states to buy what amounts to essential medicine. With this change, not only would people not have to take their money out of Wisconsin to buy, the money would be going back into the community, one, to pay Wisconsin workers providing the medicine, and two, to expand who gets access to the basic necessity of internet access. The same people who cant leave home to get cannabis for their chronic pain/disability struggle with accessibility because much of Wisconsin is rural areas that doesn't get access to quality internet. When you cant leave home, the internet is how you get to your appointments, its how you get your groceries, its how you stay connected to your community and receive essential news and safety alerts.
My local town has made efforts to expand internet access to rural households, but the money just isnt there to get it to everyone. When cable for high speed internet was put in on my county road, it turned to the nearby suburb of wealthy housing units that had been put in a year or two ago, just before my house, skipping my and my neighbors houses completely(my house having been there for over a hundred years). We put up with the road closures as they crawled closer and closer to our end of the road, just for it to turn into the rich housing units that were already able to access satellite internet thanks to their flatter geography and cleared out trees, and were still largely unoccupied.
Some of us called our local representatives to ask if we would get access too, others waited for one of the other companies to reach us. And another company did start putting in cable from the other direction! But not enough to get to us. It stopped just a mile and a half from my home. We were left out again. This time, more of us called our representatives, but we were told the funding was all used up. We just weren't getting access. I know enough of my neighbors to know what a loss that is. Most of us our poor, many of us are disabled. That access would have made a huge difference to our quality of life and saved us so much money. (Excuse me if this got a bit into tangent territory, this still bothers me a lot)
Francesca Hong is the only candidate with a practical, actionable plan to expand accessibility for rural areas, improve the economy, and create representation for our indigenous community. Its all well and good to say hashtag land back and talk about how poor people and rural households deserve access to basic infrastructure needs, but its another thing to have a plan to create those changes. We need to vote in people who have those plans and will act on them.
Those shockingly high “illiteracy” statistics that go around aren’t saying that like 22% of Canadians or 21% of Americans or whatever literally can’t read.
That’s the number of people at level 1 literacy or below. Level 1 literacy is like grade school level. Able to read labels and straightforward instructions and whatnot.
Which is like. Still higher than the ideal for sure, but it’s not like a fifth of adults literally can’t read. They’re just kinda bad at it.
Those rates are also at like 18% in the UK and around 14% in Australia which is better for sure but it’s also not like this is a problem unique to North America.
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I get in theory why people complain about het ships or whatever, I get wanting to watch queer media I really do, but I guess where y’all lose me is like. I saw some asshole on a post about Sinners complaining it was “hetslop”—this person was specifically doing so while also claiming Remmick was a queer character and thus they were justified in caring more about him than the Black protagonists. which is a whole other disgusting can of worms that has been well addressed by others at this point. but even in the absence of that part of the argument, like, no, i actually don’t think that a hunger for queer stories is an especially good excuse to deride and dismiss a piece of landmark Black filmmaking, especially as a non-Black person. I have a post that’s been going around encouraging folks to engage with more Native stories and characters, and I had someone come onto that post saying in the tags that they’d need these stories to be queer in order to care. and I just think that, you know, sucks! like obviously as a queer Native I also want to see more of those stories too. but idk how else to put it other than to say that Black people and people of color shouldn’t have to be like you in order for you to care about our narratives and experiences. and I think some of y’all are using this disdain for heterosexuality as a cover for your unexamined racial biases. it’s not okay to be racist to people just because those people happen to be straight, and you continue to be white before you are queer.
on an even more basic level than that, also, I simply just think some of y’all NEED to learn how to interact with media and storytelling without ships and fandom in mind. like if not being able to write fic about two men kissing is genuinely going to be a dealbreaker for you I think that’s actually something you need to work on within yourself because at that point I think you’re no longer really interacting with art and themes and narrative so much as just kind of playing with toys. which is, like, fine I guess. have fun. but it wouldn’t kill you to disengage from that from time to time. especially if would allow you to actually appreciate rich and deeply moving cultural stories from communities of color that you desperately need to learn how to see as human
