Doctor of Procrastination

Download signal if you haven't already. Pick a resistance pseudonym. Make a proton email that has no indicators to your real name. Start buying and printing whistles and whistle zines.

Organize your school patrols and foot patrols NOW. Talk to your community and your mercados and your Hmong and Somali grocery stores, ask them what support they need. Get "ICE are not welcome here" signage for businesses and homes. Familiarize yourself with the difference between an administrative warrant and a judicial warrant.

Learn how to take down a SALUTE report. PRACTICE salute reports. Learn, memorize, and embody radio etiquette for rapid response work.

Pick your lane: rapid response or mutual aid-- you can't do both, because rapid response often puts you in direct contact with ICE. They've been taking down plate numbers and leading responders back to their own homes here in the Twin Cities.

Remember that being under siege is a marathon, not a race. Try to remember that while your neighbors are being kidnapped in their underwear, from their own homes.

Meet your neighbors. Attend your city council meetings and demand separation ordinances NOW. Tell your congress people and representatives not to give ICE more money.

Prepare yourself to see high school children being stopped and harassed. 5 year olds being used as bait for their mothers. Old men being dragged out of their houses in underwear and Crocs simply because all of them are not white.

Be flexible, be ready to pivot on a dime as situations change. Be ready to be paranoid. Be ready to be distrusting of every Texas, New York, California, or Illinois license plate. Be ready to be suspicious of EVERY out of state license plate. Dark sedans and SUVs with extremely illegally tinted windows. Unreadable or missing plates.

MN Community Response Resources

ICE Are Not Welcome Here sign

Private Property Sign

Know Your Rights Sign

Judicial Warrant vs Administrative Warrant

SALUTE Report Graphic Rapid Response Patrol Handbook

Legal Observer Basics MSP Whistle Hub

Whistle 3D printing File

Talking to children about ICE actions

OG Whistle Zine in ENGLIGH || SPANISH

MSP whistles which also have zines in Somali, Amharic, Oromo and Mandrin

Hmong Whistle Zine

“ICE NOT WELCOME” signs are great for solidarity and breaking morale, but please make and help pass out signs stating a home or business is private property. Make sure your business has an area explicitly for employees only. What we’ve seen in the last week makes all this seem like sticking a post-it on a viper and none of us know where we’re headed now, but it’s easy to do and could make a difference. It’s made a difference here.

Great thought, but for those unaware, Kate Mulgrew’s gorgeous tux from The Killing Game was 100% a reference to Dietrich’s suit in Blonde Venus (1932) with Cary Grant, a pre-Code film directed by Josef von Sternberg. It’s hard to tell in Killing Game, but Mulgrew’s lapels are also sequined. So is the stripe in the trousers. It is basically a replica of Dietrich’s suit, no question.

Okay, so I have a PhD in queer fashion and media. So this is something I happen to know a lot about. So let me explain a few things.

For starters, You cannot get a more explicitly queer-coded woman than Marlene Dietrich.

Cary Grant (another closeted Queer in Hollywood) is also in Blonde Venus, and although their chemistry is great, their romance is unbelievable because it’s very clear that they are both absolutely queer. Hattie McDaniel appears in this film, another Queer in Hollywood (and the first Black person ever to win an Oscar). In both Blonde Venus and Morocco (1930), Dietrich flirts with both men and women. Dietrich was considered a Drag King in her day. She famously proclaimed, ‘I am a gentleman at heart.’

Dietrich often refused to wear anything but trousers, and openly declared that she had plenty of women lovers. She is an iconic staple for queer sexuality even today. She famously kissed a woman in Morocco whilst wearing a tuxedo- with an audience watching and cheering. She then kisses a man, the audience applauds, and she exits. This scene (below) was added at Dietrich’s own behest. The scene was extremely controversial, and they had to defend it against the censors for months.

This very scene is one of the many reasons The Hays Code was enacted (rules from a super-Catholic man who bribed his way into Hollywood and forced the religious ideologies onto the screen), and this scene was one that The Hays Code often pointed to as ‘immoral’ and ‘perverted’ and ‘sexually explicit.’ You can thank the Hays Code for the split beds Lucy and Ricky had, for rules that a kiss must not last longer than a certain amount of time, that, absolutely, NO queer ANYTHING could be acknowledged to exist. Everything had to be subtext, and that’s why so many old black and white films feel really queer.

But Dietrich openly proclaimed herself queer, dressed in men’s clothing, kissed women on screen- and became a Queer icon not just in fashion, but in sexuality, decadence, and identity. The so-called famous ’Dietrich’s Sewing Circle’ (of which Hattie McDaniel was a member) was essentially every Queer woman in Hollywood who all had affairs with each other. Books have been written on this. Here’s a brief article about one of those books that goes through some of the basics.

Okay, Queer Fashion Film Academic, what’s your point?

The point is that by wearing a duplicate of a Dietrich suit- one where she openly flirted with women, no less–Janeway is 100% coded as queer in The Killing Game.

Especially with that tuxedo scene and the way she’s talking to Seven. In fact, most of the scenes in those episodes where she is talking to Seven, you will notice that Mulgrew plays Janeway with a bite- her eyes linger on Seven just a bit longer, her body language is just a bit more open and fierce than usual.

Even in Paris, for a woman to wear what Mulgrew/Janeway is clearly coding herself as a Queer person through that specific outfit. She is wearing a giant billboard that says I AM QUEER.

By putting Kate Mulgrew in a replica of a Dietrich 1940s tuxedo, Janeway is visually coded as queer through replication and imitation of one of the most Queer icons in cinematic history. That suit is too famous, too iconic, too specifically loaded with subtext and text of queerness through Dietrich.

I am convinced that the costume department 100% knew what they were doing, and part of me wonders if Kate Mulgrew herself had pushed for that suit. Why? Because Kate Mulgrew herself was the one who pushed for Janeway to have a same-sex relationship. According to Screenrant, anyway):

Above quote from this article.

(Anyway, regardless of whether Screenrant is correct or not, the point still stands without that.)

Watch Blonde Venus. Watch Morocco. Then, watch Kate Mulgrew in The Killing Game. She imitates Dietrich’s body-language, her mannerisms, the smirk, in that opening scene. There is no question- Janeway has been possessed by Dietrich’s characters.

Funnily enough, for the rest of those two episodes, Kate Mulgrew is also very clearly imitating another Queer woman through her voice intonation and mannerisms, general fashion and hairstyles: Katharine Hepburn.

Because of her absurd visual and voice similarity to Katharine Hepburn (another Queer in Dietrich’s sewing circle), Mulgrew once played Hepburn in Tea at Five.

Like Dietrich (bisexual), Hepburn was very clearly Queer coded. Evidence suggests that she was a lesbian and that her relationship with Tracy was set up by the studios, but it is possible that she was bisexual as well. Like Dietrich, she was also famous in Hollywood for her male-coded attire, though she preferred regular suits to Dietrich’s tuxedos.

She, like Dietrich, had the same problem whenever they teamed up with Cary Grant- watch Philadelphia Story and tell me that the real ending of that movie is not Hepburn’s character, Grant’s character and Stewart’s character all ending up in a thruple together. The movie makes no sense if that’s not the real ending.

Hepburn wore trousers on film sets and this upset the studio so much they literally stole her trousers, trying to force her into a skirt. Hepburn just walked around in her knickers, refusing to wear the skirt. Eventually, the studio gave her back the trousers.

Okay, I’m going off tangent. Here’s your takeaway:

Kate Mulgrew, (because she’s an absurdly amazing talent), is very heavily is influenced in mannerism, voice, accent and appearance by two of the most Queer-Coded women in cinematic history in The Killing Game. Through fashion and performance, she embodies Dietrich’s Blonde Venus and Morocco characters, and through appearance, voice and body language, she gives that image an additional layer of of Hepburn’s fierce, Queer persona.

Conclusion: Arguably throughout all of Voyager, but specifically In The Killing Game, Kathryn Janeway is visibly Queered.

By the way, although she never got credit for it, the person who wrote Blonde Venus was Dietrich herself. Both she and von Sternberg were suspended for several months because the movie was considered too salacious by the Hays code, and it caused production problems for over a year.

The BFI has a great write-up on Dietrich’s queerness and fashion, you can read it here: https://www.bfi.org.uk/features/my-best-girlfriend-queer-dietrich-screen

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ao3 doesn't need an app. it works more than fine without an app. the reason ao3 can allow dark and taboo fics, the reason it can allow the most disgusting and shockingly vile fics, and be completely against censorship is because it doesn't need appstore's approval. it stands on its own as a non-profit organization with functioning site and a team of lawyers protecting its platform, its users, and every single fanwork on its platform.

everybody say thank you ao3

Architecture of return, escape (The British Museum) 2022 Pigment and acrylic on deer hide, 36 x 55 in. (91.4 x 139.7 cm) Nicholas Galanin Born 1979, Tlingit/Unangax̂

Yuriful Week - Day 3

By their glares combined, they will not have to socialize with anyone but each other.

strapped.