what do we think about the casting for ganondorf for the zelda movie?
I don't really feel anything about it, in my honest opinion. I suppose I will toss them one itsy bitsy flower for not casting a white guy, but you understand that now this opens another can of worms, that can of worms being that we now have a big picture hollywood movie that casts a man from the desert as "inherently evil" versus the heroes who are two young blond folks.
However, my biggest issue with this movie will forever rest with Avi Arad, the director. If you follow me anon you must be aware that I support freedom for Palestine and do not tolerate zionism. Avid Arad is not only a staunch zionist, but has been on the record as a staunch support of Benjamin Netanyahu and has actively spoken out against a ceasefire in Gaza. He is also proud of his service in the IDF, and participated in the Six Day War which resulted in the expulsion of 300K+ Palestinians from their homes. I hope you can understand why I am livid that of all people Nintendo could have chosen to be a director, they chose him, especially given the sort of storyline LoZ follows. This movie is not real to me, and nothing this man touches, especially when it comes to Ganondorf, is real to me.
Correction: Arad is a co-producer (with three other guys including Miyamoto and the actual director, Wes Ball, who is the Maze Runner guy). Doubt that makes anyone feel any better about his involvement, but worth being accurate here.
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So I'm listening to a Thirteenth Doctor and Yaz Big Finish story called The Violet Hour, and it's set in 1920s Britain during the post-war post-flu rise of spiritualism. It's about two sisters: Esther and Miriam Shein.
The whole time, I'm waiting for it. These girls are Jewish. These girls are Jewish. There is no way they're not. And I wait and wait and wait and then there is one single line about someone's memory being a blessing. That's it.
The producer of this run of Thirteenth Doctor stories is an Israeli ex-pat named Noga Flaishon. When she was announced as producer, people found her social media posts grieving 10/7 and advocating for the return of the hostages and immediately called for a boycott of the series.
I hope one day she helps produce the Jewish story Doctor Who has never written but so desperately needs.
Ok, so can someone explain to me why Toko/Zutoph kinda exploded as a ship after the ATLA movie leaked? Like, not in a "I don't get why people are shipping this" way, because I've been shipping Zutoph since the early 2010s; but in a "why now?" way.
Because, I dunno, I just watched it and felt like there was basically no shipping fuel there? And I'm kinda baffled that it seemed to spark something for a lotta people.
An Archive of Our Own, a project of the Organization for Transformative Works
Chapters: 1/1
Fandom: Deltarune (Video Game)
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Relationships: Flowery & Ralsei (Deltarune), Ralsei & Seth the Flower (Deltarune), Kris/Ralsei/Susie (Deltarune)
Characters: Ralsei (Deltarune), Flowery (Deltarune), Kris (Deltarune), Susie (Deltarune), Seth the Flower (Deltarune)
Additional Tags: Trans Female Character, Trans Female Ralsei (Deltarune), Deltarune Chapter Five Spoilers, the shipping is really light they aren't even there yet, noelle's also in there but she's not relevant for this, Deleted Scenes, Ralsei-centric (Deltarune), POV Ralsei (Deltarune)
Summary:
A yellow hand shoots towards his face, a single finger placed against his mouth with a "shsh". He falls quiet. In the distance, he can barely make out a deep voice calling out Flowery's name.
Flowery sighs, "Sorry, newbuddy. Can't let you ruin the magic for ol' Gorey. I'll make sure your friends can get you later, though."
"Huh?"
With a wink, Flowery crouches down, getting a grip on Ralsei's leg and back, then scoops him up into his arms, almost like a princess very princely carry. That same kaleidoscopic shift happens again, too fast for Ralsei to even begin to react, and suddenly they're in front of a wardrobe.
He's unceremoniously stuffed inside the wardrobe.
The Prince of Darkness watches the flowers' dream.
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“i have to listen to my body’s needs” secret boss fight written by person who has chronic and disabling wrist pain which has fundamentally changed his relationship to his hobbies and his job <- i care it as someone who has also had chronic pain in my wrist/hand for 5 years
another thing i tend to think about with this. i also just think in chapter 5 there's a theme of care and dependency. the flowers have extreme guilt over being taken care of by asgore. flowery conceptualizes himself as weak and useless. in the dark world, his fantasy, he tries to return the care given to him to asgore to "make up for" asgore taking care of him when he should've died decades ago. it's an extreme example, but i also resonate with his feeling.
when your body or mind puts you in a situation where your reliance on other people becomes really explicit, you're trained by the world to see that as shameful or to see yourself as deficient. your efforts to ignore your needs just to avoid "being a burden," will leave you worse off. you punish yourself because of deeply internalized ableism.
regardless, even by virtue of being a living thing on this planet, you are already designed to need others. you have to listen to your body's needs even against a society that teaches you you shouldn't. you have to be okay with the fact that you have needs. sometimes your needs are different or are greater than the person next to you, and all you can do is listen to your body and turn to others when you need them. you're still a person when you need people.
when toby says this:
it's interesting to me how much he uses the language of deltarune to express this feeling. your hopes and dreams slipping away, and bitterness growing is literally the explanation we get for shadow crystals (and so wept the fallen star, making rivers with its tears. then, slowly, from the bitter water, something grew. it looked like glass). this is also the crushing feeling when you lose a sense of control when you're in pain, when you can't do things the way you want, the way you used to. but when you find yourself still able to fly, you do so because you've adapted. you've listened to your body. you've learned that listening to your body means changing the pace, letting yourself be cared for, letting yourself be helped.
as far as toby's said it, having to expand his team has made deltarune a better game. chapter 5 is so expansive because so many people helped to make it. Pink's fight has sprite work from guest artists, music with Camellia, bullets programmed by Toby's team. She is, to me, a love letter to Deltarune's development process as a whole and how it has shaped Toby, and a reflection of the kinds of thoughts Toby has shared with us about developing Deltarune alongside pain. I also think it's a beautiful follow-up to Gerson's themes of storytelling and authorship (letting go of "perfection" + accepting the contributions of others = both about rescinding control and embracing perseverance). Pink is also so much more than this, but I've been thinking about this a lot.
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Gave Dark Gallifrey: Missy a relisten (in part to refresh myself on it to perhaps write a small fic around it), and finding myself with a lotta scattered thoughts about the whole thing.
Spoilers under the cut (listen to it if you haven't! It's fairly independent from any broader Dark Gallifrey audio and definitely Missy's best Big Finish showing to date):
I like the Opus Toolie concept a lot—weird universe where advanced tech isn't enabled so you got some mix of weird supernatural and less advanced tech together enabling things like automatons. Said supernatural being specifically psychic energy (with how that has always been very relevant to the Master) had a lotta potential, and is used fairly well
But this bridges into my main gripe: we needed an extra part of it between 2 and 3. A five year time jump is significant, especially with Missy's regeneration at the start of the 3rd. She's changed a lot, and we don't even quite know what prompted her regeneration. I would have liked to see more of this planet/its characters/tech/political situation. Perhaps we will in a later Dark Gallifrey part (which it mildly feels hinted at towards the end), but for now, a bit sad on that
The Queen is great. Paksie Vernon mixing the Alisa performance with a bit of imitation of Gomez's Missy (including her shifting between accents) does a lot of work to making her fun. Especially since this is a more emotional, vulnerable, and contemplative take on her later. Once again, hope she gets to reprise this role at some point.
Not entirely clear to me whether the Doctor and Missy of the normal universe actually remember their time on Opus Toolie—Seven and Missy's discussion on the mechanics of the time severance seem to imply they'd forget, but Missy clear does at the end. Of course, she has a much fuller picture of what happened (and none of the reflection that the Queen did)... but interesting nonetheless if both of them retain memories on this that mismatch.
I think this is the first time we've really seen Missy show much emotion about the Time War. The War Master sets are fascinating in how it shows how he copes (his first set making the point that the Master, when sane, wants to control the universe and in fact will work to prevent its chaotic destruction)—so to see something of anger at blaming the Doctor at it is fascinating.
And she kills Seven! Which is such an awesome moment, and great how much it works to kinda break her. Especially with her saying to the other Missy later that even before she hadn't quite wanted to kill her.
Also a couple things I didn't notice the first time around. Firstly, that after dying Missy seems to still be in her original body, simply upgraded with autonomous parts and kept in it by a damaged life crystal (that had turned black, which has some fun imagery it invokes). Due to the shift in her voice, I assumed it was more of her moving entirely into one, but other Missy's comments seem to imply it's still her body.
Original Missy also seems kinda... bad at playing the piano? Despite having seemingly been practicing for five years. Whereas other Missy's small performance at the end seemed a bit more skillfull. Dunno what's up with that, just interesting.
Not entirely certain how to mentally picture The Queen. Alisa is described as being blonde but it's noted that her appearance changes with Missy's entrance (in the same way Tremas is after the Master took over his body, complete with people not quite noticing the differences) and her hair becomes darker. Looking at photos of Vernon (who is Black) I'm imagining her much looking like Vernon with perhaps dirty blonde or a lighter auburn hair tone and a mildly more regal take on Missy's dress sense (which is quite fun). Once again, really would love for her to reappear (and perhaps for them to commit a bit more into her being a new Tremas-style incarnation).
This website is full of white people who pay lip-service to race and colonialisn in order to win arguments with each other.
Was subjected to something annoying and interesting recently.
Yeah, it's weird how I don't talk about transmasculine people's oppression at all---
Oh that's inconvenent. But maybe it's true that I'm constantly pitting transmasculine and transfeminine oppression against each other---
Darn, it's almost like people lie about me without reading a damn word of anything I've written.
But what about "trans women being recognised legally in India"? Oh, you mean the recent amendment to the Trans Act, which defines trans women as either child groomers or self-mutilators? That legal recognition? That's what you're calling a privilege?
You know, if only someone had written about how the "legal recognition" of "third genders" outside the West was actually erasure, transmisogyny, and violence. Then maybe you wouldn't be caught with your head all the way up your ass and know a single fucking thing about the material conditions of trans people from the third world, fancy that.
On a final note:
That'd be cool, wouldn't it? If you actually paid attention to the plight of trans people in the third world, instead of instrumentalising us as a rhetorical tool to bludgeon each other with?
Because actually caring about people from the third world isn't the point, is it? The point is to win arguments with other white people. So you'll pretend to care and be aware of issues third world trans people face, and lie about what trans people from the third world actually believe, all to serve your agenda of winning fights on Tumblr Dot Shit.
The Sisters of Dorley is a satirical drama book series where the central joke is "a forcefem torture basement would still be better trans healthcare than the NHS," not a political manifesto advocating for forcefemming through torture basements. This is easily discovered by simply reading the words in the books in order and understanding the meaning conveyed by those words.
"The NHS is so bad at this that you could get better treatment from a kidnapping ring funded by a weird billionaire pervert who just happens to feel guilty about it" is supposed to be read as an indictment of the NHS, not praising the torture basement method
The book even makes it clear that there was a point in Dorley's recent history where the torture dungeon was actually worse. Back when, get this, it hadn't cracked the code to exclusively working with toxic young men who take to estrogen really well
Oh boy are people moralizing about Dorley without understanding what it is again?
Also important to remember the context of the author writing it:
One of her primary things is riffing on and expanding on older-school forcefem/"tg"/otherwise adjacent plots by deconstructing them from a properly transfem perspective rather than one that objectifies transfemininity
This isn't her first time going "the UK is fucking evil" in her work! The main idea of Glow Worm is that the UK upper class might as well be a buncha heartless vampires! And (where it left off) there's some indication that that awful status quo of an immortal class of rich fucks might actualy change!
Dorley's just kinda a dual nexus of those ideas into a particularly transgressive trope of old "trans" (often not written by trans people!) fiction
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there are three things that need to happen for marriagetoxin to be good when its over, in order of most to least likely
Kinosaki needs to realize the things shes trying to teach to gero about valuing himself and his own wants and needs also apply to her and her wants and needs