Turning 40. Fandom, anti- racism, communism, and other liberation content. Queer as fuck. I'll answer just about anything respectful and never mind chatting if you need to talk. I talk too much and I really don't care anymore. Aging is awesome.
Our universe, if it were a biological creature, would barely be out of the womb.
And so, like, I think it's kind of fabulous to have been born so early. Maybe there will be much better times to live and this is a primal mess. But in billions of years, it will be an entirely different sky. Possibly constant light if it's infinite. Possibly dead patches. Possibly any number of things.
This is the only time in the life of the universe that these stars, this specific collections of stars and lights and dust, will exist together in the shape they are.
As much as I enjoy hopping into already in progress events, I much prefer to show up in time for the previews.
And being aware of the age of the universe and just the little bit we know about it feels a lot like buzz and excitement of watching a concert being set up. Of talking to the roadies and maybe seeing the singers in a casual mood before things start. All of the potential of something mostly formed and about to take off into something bigger.
I just wish humans got enough time to watch more of the show.
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And if I said Megamind through its three subversions of Superman shows a deeper understanding that the point of Superman is that he was loved and taught to love by good, present parents, and because of that he is able to return that love to a world even if it doesn't always accept it, and he is not corrupted by his power, than many other films either subverting or playing the superman story straight.
Megamind has three Superman subversions. One is obviously Megamind himself. He was not raised loved by the world, but rather was loved by those hated by the world. Because he was still raised with love, he does care about other people, hence his character development. But because he didn't receive wider love growing up, his own is misplaced at first.
Metro Man was not loved growing up in a way that mattered. His adopted father was clearly very absent, and while we don't know much about his family, their relationship seems superficial. Because of this, his sense of duty to the world is also superficial, hence his boredom.
Hal wasn't raised with power. He gained it and was shown how to use it by a 'space dad' who only taught him power and not love. Hence, he sees it only as a grasping means to an end.
All three of these subversions, in their negative space, create the silhouette of the superhero that they are parodying. That silhouette is of a space child that came to earth and was cared for very deeply by the world, and taught love through his experience of love, and because of that holds fast to his duty to the world. Which is Superman.
As a transracial adoptee (Native/Mexican to white Mormons) i have trouble putting to words the amount of harm having ~liberal white parents~ did to me. It is very very rare for me to go, yeah, okay, I support a transracial adoption. All of these experiences are absolutely believable to me.
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Grace and Rocky, giving a tour of the Hail Mary to fascinated Eridian scientists and diplomats.
Pointing at things and explaining what they are and how the ship works, lots of awed and appreciative noises are made.
Until one of the visiting Eridians points out a specific item. “And that?”
It’s a strange, circular thing, a xenonite disk mounted upright on some sort of pivot so it can spin freely, but around the edges it has… spokes? Pegs? Sticking out of it, that hit against a stiff flap that would slow down the spinning.
It is also separated into sections decorated with crude etchings of a human and an Eridian.
“Ah,” Graces says.
“That,” Rocky says.
“That’s. Um.” Grace seems somewhat embarrassed. “That’s the sacrifice wheel.”
The Eridian visitors clearly do not know what to make of that. “We think we misunderstood Savior Grace’s word,” they say, apparently hoping this is a vocabulary mix-up. “Explain (question, polite)?”
“Didn’t misunderstand,” says Rocky, sounding very sheepish. “That is sacrifice wheel.”
“So. While we were on our way to Erid, we might have gotten… anxious about each other’s well-being,” Grace says, which everyone is already very aware is a wild understatement. “And, well, you heard what happened at Tau Ceti, and after. There were a lot of unexpected dangers for the whole trip that required a lot of, at least, attempted self-sacrifice to solve. We ended up almost dying for each other several times. And we had an argument about what we’d do if another crisis like that came up. And we couldn't agree.”
“Grace argued that Grace already was unlikely to survive long-term on Erid, so he should be the one to do any potential deadly but necessary maneuvers to make sure I was able to bring taumoeba back,” Rocky says.
“Which made sense.”
“Did not make sense! Grace already sacrificed so much for me and for Erid, wouldn’t be fair to make you do it again—“ Rocky cuts himself off with a huff. They have obviously had this conversation before. “So sacrifice wheel was compromise.”
“Yeah,” Grace says. He spins it to demonstrate; it whirls around in a blur and a rattle of the flap hitting the pegs, then eventually slows down, and stops—pointing at the segment depicting a very bad but very clear image of an Eridian. “Rocky made the wheel, I spin the wheel, and whoever it lands on, that’s who gets to sacrifice themself to save the other and the other person does not get to argue. This way, we wouldn’t waste time debating who does the self-sacrifice and who survives, it’s just a plain fifty-fifty chance. Or, eighteen-eighteen chance in base six. But the point is it could be either of us and we would have to accept the outcome.”
Rocky started fidgeting while Grace was explaining. When Grace finishes, proud of the equitable solution they came up with to allow them to die for each other fairly, Rocky says, “Now that we are back and we don’t need sacrifice wheel anymore… I have confession to make. About the wheel.”
“What about the wheel?”
Rocky doesn’t answer. Grace frowns, first confused, then suspicious, and spins the wheel again.
It lands on Rocky again.
He spins the wheel again, and again, and again, and it lands on Rocky every single time.
“Rocky!”
“I weighted the wheel,” Rocky admits.
“Rocky the whole point was that it was equal, that was why we even made it—“
“Never was necessary so doesn’t matter anymore!”
“But you WOULD have!”
“And you never noticed because you were hungry and cranky and distracted and so would have done bad job on heroic self-sacrifice anyway!”
“I would not! I would have done fine!”
(The Eridian scientists and diplomats are still here watching this btw. Slowly dawning on them that 1) these two are extremely not normal about each other 2) if Erid ever does another space mission they NEED to send a therapist aboard because this is what happens when they don’t)
NASA advertising "do you want to be an astronaut" to tumblr users surely means something. What have you found out there, NASA? What have you found that you believe tumblr users, specifically, are best equipped to handle?
project hail mary was about as book accurate as it could've possibly been but i think that everyone that made it was on some crazy soulmatism crack cocaine with grace and rocky ... that forehead touch towards the end when they reunited ... who's idea was it for rocky's handprint to be a permanent burn on grace's arm. i just want to talk to them for a minute
Happy pride month everyone always remember that the sinkhole has an ecosystem large enough to house not only insects but likely several species of small birds or mammals
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We gotta do something about ecoableism, guys, I can't keep seeing people confidently assure everyone that their ideal world is one where disabled people with specific needs don't get to be alive.
The most insidious thing about eugenics is that society is so ableist the majority of people do actually think eugenics would work and disabled people are better off dead, they just tack on an assumption that while yes eugenics works it's still bad because disabled people dying for being disabled is morally wrong. But they never actually think it's scientifically or medically wrong. We're just civilized enough we've decided to politely pretend the science isn't right because social justice.
It's like how a bunch of celebs were big on body positivity and fat liberation...until Ozempic dropped and it turns out no, none of them ever believed any of that! They just pretended to bcs up until now healthy, long term weight loss was impossible so they had no choice but to cope by learning to love themselves no matter how they looked...but now that it's here we can go back to the truth! Being fat is ugly and gross and unhealthy and you should starve yourself and take experimental meds right now so you can be skinny which is what ALL humans are clearly supposed to be!! Yeah that body positivity stuff was fun, but come on. We know you actually just wanna be skinny and think being fat is a fate worse than death.
That's what it feels like to me. Every single time. Honestly in a lot of other areas too, one of the big issues with the left is that they really do seem to think that Republicans are right about how things work and should work but we just pretend otherwise because it's the right thing to do and it reduces suffering. Which seems fine, but you cannot be an effective leftist like this. You do actually have to deconstruct your beliefs and biases and world systems, you can't go around like "well yeah we aren't gonna kill disabled people that's eugenics and it's wrong" when you clearly don't actually think it's wrong. You think eugenics would work but implementing it would be uncivilized, and it shows. You have to actually understand that racism and ableism and all other forms of bigotry are not just cruel, but entirely incorrect.
Idk if this makes sense but yeah. We gotta do something about this.
This is also how you get people being like "I'm not an ableist! I love disabled people!" after making a joke about Trump wearing diapers or not being able to walk down a ramp. They don't think ableism is wrong, they just think it's right but impolite, so only okay aimed at those who deserve to be insulted.
Ngl I'm glad I figured out how to word this, bcs trying to articulate it as "you don't actually think bigotry is wrong you just think the target should be someone else" always felt incomplete! I now know what I meant was "you don't think bigotry is wrong you just think it's impolite and that's different" that's what I needed. You just think bigotry is being mean to a marginalized person who, crucially, has done nothing to deserve it. The second they do tho? Anything is fair game.
My memory of The Birdcage (1996) is always that it's more dated and more difficult to watch than it actually is. You hear "drag-themed comedy from the 90s based on a musical from the 80s based on a play from the 70s" and you brace yourself just a little, right? But the film has a strong gay perspective, so the fruity fag jokes mostly come off as warmly affectionate. There is a surprising amount of poignancy in Robin Williams' portrayal of Armand, grudgingly agreeing to his beloved son's request that he go back into the closet for an evening ("do me a favor and don't talk to me for a while"). The drag club's staff attempting to redecorate the apartment with stuff straight people might like (a taxidermy moose head, an enormous crucifix, and Playboy magazine) is extremely funny. Albert's histrionics are a point of tension because he does often come off as a stereotypically pathetic/comic figure, but towards the end of the movie he makes it very clear that he's aware of how people see him, and asserts that trying to copy a stoic masculinity he doesn't possess for the sake of social approval would be more pathetic. In the 1983 musical adaptation, they give "Albert" (Albin) the only good song in the whole show, "I Am What I Am", which Gloria Gaynor covered to the delight of gays everywhere. Apparently Nathan Lane wasn't (publicly) out yet in 1996, which is amazing because it means that at one point in this movie you're watching a gay man playing a straight man playing a gay man playing a straight man, in a movie about how it's important to be yourself, an absurdity that does seem to encapsulate the state of gay America in the 90s.
I'm seeing a couple of posts circulating about the gay 90s and this movie. The above is a very good summary, and I think it's worth adding a few other points.
This movie got made because Robin Williams said yes to it (and it's important that Gene Hackman did as well). Williams in the 90s was a mega-star of a type that's not present in the current media environment (maybe Tom Cruise, but I personally think that's echo from his salad days). Even his flops made money on the back end in the video rental market, which also doesn't exist anymore (streaming is different). Hackman was on the other side of his A-list career but still Hollywood nobility if not full royalty.
Playing gay was considered career suicide in the 90s. There had been a number of actors who put lie to that belief stretching back decades, but this was Williams and Hackman (yes, being on screen next to a gay character was enough to get you blacklisted) saying "screw that" and doing it anyway.
Being gay and out was career suicide in the 90s.
Nathan Lane had a really nice gig going for himself. The Lion King put him into the Disney rep company with people like Williams, Bette Midler, and Whoopie Goldberg (check their IMBD list from the 90s--they were making bank at Disney).
Lane didn't come out until several years later (nice summary: https://deadline.com/2024/06/nathan-lane-robin-williams-advice-coming-out-birdcage-1235975010/).
I don't want to imply that this was a Sorkinized moment where everything changed because of one thing, but this was a very important movie that caused real movement in the needle on queer acceptance.
It also proved that there was a market for films with gay characters, which had the knock-on effect of gay filmmakers being able to find distributors of their gay-themed films. Which meant that more people than ever (queer and non-queer) got to see representation on-screen.
During promotion Lane and Williams went on Oprah to talk about the movie. At one point, she asked them if they were afraid of people speculating about their sexuality or getting typecast. Lane froze.
Before filming Lane had expressed to Williams that he wasn't ready to be out. He more than likely would have lost his place with Disney and it just wasn't a good time to be publicly gay.
So when the question was asked, Williams loudly and cheerfully distracted from it. He did a silly impression of Oprah and shifted the conversation. Lane tells the story with the utmost fondness when it comes up. Calls Robin Williams beautiful for having protected him in that moment.
I enjoy the movie on its own merits, but it lives in my heart as a vital Queer Classic because of THAT. Because the star of the movie loved and protected queer people in real life and took a moment to do it on stage in front of a live audience. It speaks to what the environment must have been like on set. A safe place for queer people in an age where teenage boys were still being murdered for being suspected of being gay.
The movie itself is decent queer rep, but it's everything around the making and promoting of it that makes it queer culture.
