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painted with acrylic gouache and every shade of green paint marker i got lying around :^) painted on the mat frame too and it came out better than i thought!
“I would eat his heart in the marketplace” is legit the most savage line I have ever heard, I’d like to personally thank Shakespeare for putting into words that feeling of rage and protectiveness women get when some fuckboy hurts another woman
Okay first off, I will always reblog this post, but secondly, I went to Shakespeare in the Park tonight to see this and all the women cheered *so loudly* when Beatrice said this line, and the guy in front of me looked around all shocked and a little scared and said “… oh wow” and it was ICONIQUE
#love that murderbot gets to be a surly foster teen who refuses to ever pull down the hood of its security hoodie#many such cases etc etc#love that for it#like it’s very clearly on discord during the meetings in the principals office (station security) (@maz737)
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Kelly Link said she tells her students to list two things before they start writing:
- what are the books that would make you the happiest to be compared to
- what are the story elements that keep you reading even when the book straight up isn’t good
Because you’re aiming for the first one. But during the process you will be writing something that isn’t great, probably. So what elements would it need to keep you going even if it isn’t great.
I like that a lot. I was like I’m gonna make a list now. But in my head the list was just like
I like The Odyssey well enough, but I love movies. And it's zero percent surprising that Tumblr would love Emily Wilson's LBR piece, because it's just premiere posting. Her prose fucking crushes, so many lines are absolutely killer. But I do just need to mention that it's really not film criticism. It's hardly speaking to or about the movie at all, and when it is, it's predominantly her positing that because she is not interested in what it's saying, then it's not saying anything.
I mean if you just want to take, "There are no sex scenes, and all the food looks horrible." This line makes me laugh every time I see it, it rules. And it has nothing to do with Christopher Nolan's The Odyssey (2026).
Presumably it's coming from the same complaint well as the majority of Wilson's piece: that while the Homeric poem is a celebration of fucking around and feasting, this movie is not. But in just saying, "it's not this" and nothing more, she's not discussing or even acknowledging how sex and food are actually used in this retelling. Both are tied together in what has been widely praised among audiences as one of the most indelible sequences: Samantha Morton's scene as the witch Circe. In it, the threat of sexual violence and act of eating are linked in a commentary on warmongering rapaciousness writ large, as a part of Nolan's intently laid out thesis of the Trojan horse as a kind of atomic bomb xenia violation whose nuclear winter the whole Mediterranean is now living under. And yes the food does look horrible, because it's horror food! It's difficult to describe in words, but it's like the stew Odysseus's men are eating is turning into gristly tentacles in their mouths, the sounds of their eating ghastly and so disgusting, while Morton transforms them through....something I will not even try to describe, I've just never seen anything quite like it onscreen. Largely practical effects too, astonishing.
Not a bit of that is in that line, of course. Great line, but isn't about the movie, it's about the author.
And honestly, the author is a bit out on a limb with much of how she has actually interpreted The Odyssey (film) itself, must also be said! And not just by me, or by film critics naturally, but also other classics scholars:
Emily Wilson used baffling arguments to flay Christopher Nolan’s adaptation of Homer’s poem.
I mean when early on she summarily defined the work of cinema as "light and noise" and moved on, it was pretty clear that Wilson just doesn't have a ton of respect or feeling for epic scale movies in general. Which is fine! Everyone has types of art that they don't jibe with. But you don't go to the person who's not keen on dance for a good assessment of the new ballet, negative or positive.
And if one of the things someone claims about a movie is that casting actors of color flattened all of those roles into the stereotypical "Black best friend," but not by anything that can be seen in the script or their performances, so seemingly suggesting 'we', to use her skeptical punctuation motif, should read them that way merely because they aren't white, worth a pause to consider that while haterism can be a rush to read (or write), it can also mask any number of deeply iffy assertions that could definitely stand to be questioned!
Okay truly I posted this going, Tom Holland’s non-alcoholic beer me strength…"wading in"..., but have gotten such an engaged response! People interested in a discussion about what good film criticism can do and is for is so exciting and heartening for me! I am certainly not a professional film critic, but I love reading and listening to it, because as you may have heard, I love movies.
If you want just like, One Neat Trick to having much more fun and interesting conversations about art with your friends, I'd say a great thing is to try to avoid value judgments without reasoning. That's what that same oft-quoted section of Emily Wilson's piece is doing, where after non-specifically mentioning "Nolan's trademark jumps and twists" in the opening paragraph, the only other comment she makes on The Odyssey's structure in 4000 words, and again, for a Christopher Nolan movie, is “its narrative structure is gimmicky.” Okay! What is the narrative structure that you found gimmicky? And gimmicky how, or why? Actually getting into what the structure is and what you thought the effect of that was on the story and the viewer is going to be so much more rewarding for everyone, because the people who felt the same way (including the person making the argument!) are gaining insights into why this element didn't work for them, and the people who did not feel the same way can now see where you're coming from, and identify where they're responding to the same filmmaking choices differently.
Because value judgement without reasoning is pretty prescriptivist at the end of the day. Good criticism shouldn’t be telling you what to think, it should be giving you more to think about.
Anyway, some real thoughtful stuff on this post, and I also want to highlight the reply below from @fursasaida, who was making a sort of argument about arguments using the Calypso scenes, if you’re interested in a great example of how to critique a film adaptation on it’s own terms!
These days, lots of public libraries have a "library of things" collection where you can check out kitchen appliances or yard tools or toys, and, as a children's library assistant, the most popular library of things item that I handle regularly is a plastic scepter thingy called like "unicorn princess magic wand". And whenever I check it out I make a big show of looking at the little kid and being like "do you solemnly swear to use your unicorn princess magic powers only for good and never for evil?"
And pretty much without fail, the little kid will get the world's most mischievous grin and go "I'm gonna use it for EVIL!!!"
today’s thought is that i think you could do something with an ocd reading/reimagining of orestes (in the vein of my hamlet ocd theory-headcanon-staging-thing) for the simple reason that sometimes when you have obsessions that is like when there are furies. and when you do compulsions. that is also like when there are furies
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getting lost in boston is fun because I turned around on a street corner three times and some guy yelled "hey stupid! the bus is that way!" very helpful interaction and accurate insult, 10/10 no notes
one time I walked around a building a couple times looking for a bathroom and this guy went "this bitch thinks she's on a merrygoround, where the fuck are you tryna go? bathroom? one floor down to the right behind the door that says bathroom."
My very first time in Boston. I was absolutely miserable, trying to drag my giant suitcase up a lengthy set of stairs in the pouring rain. This guy who had already reached the top looked back at me with the most pure expression of disgust I’ve ever seen in anyone’s eyes, marched back down the stairs, grabbed my suitcase, carried it to the top, left it there for me, and walked away without ever saying a word. I think about him often.
For the people in the notes going "why is Boston like this": a) the insults are a way to show you have no ulterior motives when helping someone (and don't need to be thanked or repaid), and b) Boston was settled by the Irish
also the Italians. mixing Irish and Italian sociocultural attitudes had the effect of multiplying the Sass Levels by the power of infinity, in the sense that you get all of the clever dry wit of the Irish and all of the bitchy gossipy condensation of the Italians rolled into one very stereotypically overly-friendly American package.
also worth noting that who you are to them doesn’t matter. they’ll talk to strangers like that and will also talk to their best friends like that. they’re just Like That.
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I keep getting in trouble for referring to my spouse as 'my woman.' That's who she is to me--wanch ngatharam, and I'm pam nungantam, her man. Apparently that bit of paleo-misogyny loses something in translation for the metro middle-class people I'm attempting to mingle with lately, so I've had to alter my language and start saying 'my spouse.' The problem lies in the cultural baggage that comes with the possessive form in English grammar, and with the language of property law.
In our Aboriginal communities, when people first meet you they will often ask, 'Who own you?' This doesn't signify a property relation--it is all about what groups, pairs and lands you belong to in your relationships, which are governed collectively. Belonging and ownership means something completely different from possession in our world. It means being in relation to family and community and place. Your belongings are not your property, but your connections. This worldview is not very compatible with the political economies, legal systems and marketplaces we must interact with to survive.
Maybe one reason time seems to speed up in adult life is because when your full time job leaves you roughly 5 hours of free time a day plus two days off a week your life turns into a sort of monotony that makes the days blend together and creative pursuits move in slow motion as you can only get to them when other your commitments are done.
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