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there's this ridiculously soulmatey line in the phm book when grace is just kinda idly wondering aloud about why human and eridian technology are at such similar phases of development, and without thinking about it much rocky responds "has to be, or you and I would not meet." which he goes on to explain as (paraphrasing here) "if either planet were less advanced then we couldn't have built interstellar ships, but if either were more advanced then we could have dealt with the astrophage problem from home, so we'd have to be at around the same level to both be here, that's the only way it would make sense." what it sounds like though is "oh, that's easy: the two of us had to meet so the history of both of our entire species lined up in preparation to make it possible." what kind of tau-ceti-crossed red-petrova-line-of-fate nonsense is this.
The original, as seen below, was posted on Facebook by a guy in Cincinnati. Someone else saw it and thought they would have more luck propagating it if they changed the city to “Detroit,” because in the American popular consciousness, Detroit is a more infamously blighted city than Cincinnati. And indeed, that version was the one that proliferated, because it resonated more with the people who saw it. The original poster and the original city were forgotten.
Does this really matter to anyone (besides Joshua Cromwell)? Perhaps not. But sometimes people do this with things that are more important than porches…
easy to forget but book jon snow is great actually. he gets so drunk he cries in his first chapter. he's 16 years old and laser focused on loan negotiation. he keeps getting promoted against his will. he's the chosen fantasy protagonist with the worst genre awareness ever. he implements pro immigration social reforms. he has a giant albino pet wolf. he cuts a guy's head off. he thinks he invented cunnilingus. he's been dead for 15 years.
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on the topic. can we talk about how megan's music videos have cornered the market on the genre of like, absurdist erotic horror.
Thot Shit is the most obvious, its essentially a short film in which a powerful white man politician who enacts misogyny to women like megan while getting off to their bodies, is forced to go about his life unable to escape black women shaking ass in a hostile manner, and the video ends with a shot of the man having had his mouth surgically turned into a realistic sfx vulva. similarly, BOA is a short film clearly parodying creepypasta about haunted video games; three teens play a clearly haunted copy of "Curse of the Serpent Woman," and meg kills each of them, including killing a guy by literally crushing his face with her ass.
in Mamushi (probably the least absurdist), she's a shape-shifting serpent woman who seduces men at a sauna, kills them, and then her partner turns them into an undead army (in a scene inspired by a story from Akira Kurosawa's film Dreams). Roc Steady is a direct reference to Jennifer's Body, and it shows Meg being a quirky cheerleader who graphically kills and dismembers men. most recently Whenever is a music video that is literally set in a Salvador Dali painting (The Persistence of Memory), & while its less horror it is very absurdist in a specifically erotic way, with megan and her eroticism being associated with the strange, shifting room the music video takes place in, and is contrasted with a older woman who watches everything in quiet confusion. and that is accompanied by the repetition of "it's whatever, bitch," brushing off the need to make sense to other people.
commonality in all of these is how she blends horror, absurdity, and eroticism. her being sexy in these videos is not incidental to the horror or absurdism, and the horror isn't softened by her being sexy. the final shot of Thot Shit is genuinely unsettling; its a man with a vulva for a mouth, done with very realistic sfx makeup, clearly in horror himself. in BOA the deaths are depicted in a cartoony but still visceral way - the guy's face literally crushed by megan's ass, the girl's head blown up by being constricted by a snake. in Mamushi, megan swims through the water of the sauna, using her arched back to imitate a snake's movement in water. but when she turns into a giant snake, its just a Fucking Giant Snake. its huge and scary and a snake and it kills the guy who was admiring megan's beautiful human body. and then her victims are depicted as helpless bodies dragged away and repurposed, made into an undead thing for megan to order around.
erotic art isn't taken seriously as art. and incidentally, neither is/was horror and comedy for the most part. because all of these genres seek to create and explore certain felt experiences (desire, dread, humor) and historically art that "appeals to the base senses" is associated with the lower classes and "low culture" while art that "appeals to the mind" is associated with "high culture" (& there's plenty more to be said about all of that). megan's art specifically as a Black woman whose art is very Black and very erotic is often seen as shallow and "base." when people can't deny her obvious lyrical and performance skill, they try to separate her ability to write hard as fuck bars and deliver incredible flows from her identity as a freak bitch. so i find it really interesting how her music videos explore eroticism through horror and horror through eroticism and unites those two forces through absurdity, playing in the face of those who don't take her art seriously by actively making it a mindfuck that serves her own artistic purposes.
I like the idea that Murtagh's birthdays have on the whole been comically terrible affairs. Like. Getting kicked in a stairwell by older men is par for the course. And his first after going to the academy isn't much better.
He sincerely does not want anything, but Eragon's bored and wants to do something nice so he manages to weasel his birthday out of Thorn. Planning a surprise party is the most excitement he's had in months, so doesn't think to ask Murtagh what he actually wants.
Murtagh knows full well that he's not welcome in the common areas, something his brother seems at times willfully ignorant of, so he knows something's up the moment Eragon drags him into the dining hall. And Eragon's put on this big party with his friends and his followers.
At first, Murtagh's touched, but before long it's very clear that only Eragon wanted him to show up and Murtagh's left feeling supremely unwelcome at his own birthday. He quietly leaves very early and doesn't feel like the affair's worth the angry fuss that Thorn makes of it. What else did they expect would happen?
There are people at the academy who are upset with Thorn for making their leader feel bad about trying to be nice, but he doesnt really care.
Eragon does try again next year and this time he stops and makes a little more effort to think about what Murtagh would actually enjoy. A short expedition to an unexplored part of the mountains is very much appreciated and for a little while, they very nearly feel like they used to.
i think there is a difference between a knowingly flawed character and a thematically uncomfortable character and knowing the difference is half the battle
knowingly flawed character: this character has traits that the author deliberately put in to show they have nuance and aren't perfect as a person. this will put them at odds with some readers and endear them to others, depending on them as people, and that's good!
thematically uncomfortable character: oh boy the author has some Beliefs
Grace arriving on Erid: "So I know i'm an alien and your scientists are probably like super curious about me, I just want to say you can totally do minor, noninvasive experements on me provided you run them by me first. You can totally take like hair and nail and blood samples, i'm willing to run a maze of two, everyone's been super polite in not asking for anything but I promise im not offended. Are you sure you don't want a blood sample? I swear i'm fine with it, want to scan my eyes and brain activity while I look at different colors? Heck pretty much anything short of flat out vivisection is on the table for discussion here. Please experement on me I really want to know what you find out."
The Eridian Governments: wtf WTF wtF???
The Eridian Scientists: *celebrating like they've won the intersteller lottery*
THREE MONTHS LATER
Grace, showing the beginning signs of appendicitis and clutching a bottle of local anesthetic: "Soooo, about what I said before about vivisection being off the table. . ."
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It’s incredible how much women do behind the scenes. I know a realtor who relies strongly on his girlfriend’s charisma, beauty and personality to gain clients.
I’ve just been reading The Glass Universe by Dava Sobel, about the Harvard women who supported the bulk of astronomy research there over the late nineteenth and early twentieth centuries. While many of them did receive public and academic credit as well as pay - although the university always resisted making any of them faculty until the 1950s - almost all the male astronomers featured were married to accomplished women in their own right, many of them scientists, and you can bet their husbands weren’t putting them on all their papers.
Which has bled into the modern academic world, where many people are expected to do what was essentially a two-person job (filled by male academic + wife) by themselves, or while married to someone else trying to do the same thing. The lack of acknowledgement of women’s work fucks everybody over.
#people who want a return to the mythical prior era #when women did not work #do not want women to stop working #they want them to stop getting credit and pay for it
This reminds me of how early film history, it was always the male director’s wife who did the editing of the films, because the cutting and connecting of film strips was considered a lot like sewing. Of course, anyone who knows anything about film and editing can tell you it changes how good a movie is very easily.
Don’t believe me? Look at the differences between the famous Jaws as the public’s release of it (insisted upon by the female editor) and spielberg, the male director’s version of it (missing basic suspense methods, shows the phony shark too much, etc). Same goes for almost every tarantino film. Editing makes or breaks a film and even today, you can bet your socks editing “the invisible art” was pioneered and is still pushed by women.
^^^^^^ This is so true! And once film editing began to be recognized as an actual art form, women were shoved out of the editing room so that men could be artistic or whatever.
Also Tarantino referred to his favorite editor as being kind of like his mom or something and I swear to god the more I see of him, the less I like him.
The “female editor” for Jaws was Verna Hellman Fields, who cut many other notable films, including American Graffiti along with Marcia Lucas.
Tarantino’s “favorite editor” was Sally JoAnne Menke who edited all of Tarantino’s films until she died.
Because naming and credit is important, especially when you’re talking about women not getting credit and recognition of their work as named individuals.
If you want to know more about women in early filmmaking (emphasis American) and the sociology of how different roles were divided, gendered, and re-gendered in the first decades, I highly recommend Women Filmmakers in Early Hollywood by Karen Ward Mahar.
There are a number of other books to follow that, but it’s 2am and I’m tired so hit me up later for them.
You know what happens when women type? They EDIT. It is a service they are expected to provide invisibly - not to let a mistake or imperfection show to their husband’s audience, but also not to intrude upon his sense that this is all his ideas and his labor. Wives are the unacknowledged story and script doctors, and often co-authors for so many supposedly male-authored works.
Also, I second Women Filmmakers in Early Hollywood. Mahar was my history prof for three or four courses and she is incredibly knowledgeable and engaging.
It’s generally held that one of the reasons the Star Wars prequel movies are so frequently stilted and weird is because by the time he made them George Lucas had divorced his first wife, Marcia - a professional film editor who’s also worked with e.g. Martin Scorsese. She won an Oscar for her editing work on the first Star Wars movie. Do most Star Wars fans know her name? Ahaahaaaaha no.
(The other reason, of course, is that Lucas didn’t have Carrie Fisher around to tell him he can’t fucking write dialogue. Though for my first 15 years as a Star Wars fan I thought Harrison Ford had been the one to tell Lucas that, because he’s always mysteriously given credit for it.)
I know a husband-and-wife writing team, where the man (who is well known and respected in the field) writes his first drafts long-hand in fancy bound notebooks, then hands off to his wife to “type it out” - which they both acknowledge as including editing
he sells the original handwritten manuscripts to a private collector - often for as much as the publisher pays in advance for rights to the book! - with the agreement that this mysterious buyer won’t reveal what’s on the page until after the author (we assume that’s the husband - much of the content comes from his own experiences in war) dies
I’ve spoken with them both several times and known them for decades, and the woman half of this creative team prefers the arrangement like this, because she detests the spotlight. even so, pretty much every pro in the field who knows them assumes she’s a significant if not major force in creating the published versions of “his” books
one day in the not-too-distant future - when the private collector can reveal what’s on those handwritten pages - we’ll be able to learn just how much the woman who has guided this man’s career also served not only as editor but as a creative in their writing partnership
my theory includes the possibility that she is at least as much the creative force in many of the books (which only carry his name) as he is
For Mad Max: Fury Road, roughly 480 hours of footage were filmed, which took editor Margaret Sixel 3 months just to watch and must have been an overwhelming amount of work to put together into a coherent 120-minute movie. (Which I enjoyed! Which had a very overt feminist message. ‘We are not things.’ We’re not. And yet…)
Notably, she is married to director George Miller. I think many of these women are happy in their marriages and proud of their work, but wow is this a thing worth discussing.
This phenomenon is known as a ‘Secretary Wife’ and many of my female friends and I have had passionate discussions about how much we want one. Someone smart who loves us and loves our work and throws themselves into the labour of crafting and promoting it? OF COURSE it would make our lives hugely easier and our work better and our chances of success in our careers far higher. I’ve seen it do so for many male authors - who love and appreciate their wives but don’t see how much this is Not an Option for all but a very, very few women.
Women can of course have wives, and men can be Secretary Wives, but few women get Secretary Wives - women are socialised to be helpful to men and respectful of their work.
Someone else devoting their life to my dream? Honestly, I would feel bad about it, if it was actually an option. But it’s not.
Miller & Sixel are VERY upfront about this arrangement. Miller specifically wanted plenty of women involved in the story, as it’s centered around a woman protagonist in a sexist society. But he also fought the studio to get Sixel involved, as previously she was known in the US mostly for the Babe pig movies. (I mean, he fought with the studios on a lot of things to get that movie made, but this was one of them).
And ultimate, Sixel is the one who took home both the Oscar and the BAFTA for the film.
everything aabove is wonderful but i want to highlight another issue brought up by the op:
“[This] has bled into the modern academic world, where many people are expected to do what was essentially a two-person job (filled by male academic + wife) by themselves, or while married to someone else trying to do the same thing.”
Like, the system does not work without the significant amount of invisible and unpaid labor, but the system itself hasnt changed even as the workforce does.
Seeing people decide to watch Breaking Bad based on the Tumblr memes is especially funny when they do it specifically for the memes about Jesse, because... well, let's put it this way. Aaron Paul, the guy who played Jesse, was nominated for a Primetime Emmy award for best supporting actor in a drama series for his work on Breaking Bad on five separate occasions, including twice in one season, and won three of those nominations. He was the first person ever to win that award three times for the same role. Like, Jesse's storyline is so viscerally unpleasant that it set industry records.
Jesse Pinkman is basically the prototypical Poor Little Meow Meow in that yes, he does objectively terrible things, but literally everything about his life seems calculated to maximise his suffering while he's doing it. It gets so bad that the show's producers ended up making an entire spin-off movie about Jesse in which he kills two men in order to obtain money to purchase a fake identity and go into exile in Alaska, and this is framed as his happy ending.
Real thing that changed how i write: I started asking "what does this character think is wrong with them" and separately "what is actually wrong with them." Those two things are almost never the same. She thinks she's too much. She's actually terrified of being too little. He thinks he's bad at commitment. He's actually just never met someone he trusted enough. The gap between their diagnosis of themselves and the real thing, that's your character arc right there. you don't have to explain it. just write both.
💌 Who leaves little love notes & where do they hide them?
Murtagh can scry Orrin whenever he likes. He knows this. Over time, it's barely even an inconvenience to do so. But its the principle of the thing. He loves leaving letters for Orrin around their home whenever he's away on rider business. Orrin becomes accustomed to finding soppy love letters in the nightstand and and as Murtagh gets more comfortable with the relationship, there's maybe some dirtier messages mixed in. Orrin finds reminders to eat, sleep, and otherwise take care of himself in his workshop, along with some of Murtagh's own research that he didn't have time to work on. Orrin appreciates the sentiment behind the love poetry. He appreciates more that he is getting better. Slowly. Give him a few more decades and it might be readable by someone who doesn't utterly adore him
Orrin buries notes in Murtagh's saddlebags before he leaves. Reminders that he's loved and that there are people waiting for him to come home in one piece. He rarely puts them in the same place twice, but somehow Murtagh always manages to find one when he needs it most. And his luck goes exactly the way you'd expect when someone else goes looking through his saddlebags for something else and finds one of the more risqué letters.
🎂 How do they celebrate each other’s birthdays?
Neither of them are terribly big on birthdays.
Murtagh's have, historically, been on the whole miserable affairs. He makes a bigger deal about Thorn's, trying to build some positive memories for the young dragon. You know. Getting him something shiny or a fat cow and the two of them going out for a long flight somewhere nice. He would prefer his own ignored altogether if the alternative is being kicked in a stairwell. At one point, Eragon tries to rectify this, but doesn't really listen to what Murtagh wants and throws a large party at the academy. Primarily attended by his friends and followers. Murtagh quietly leaves very early, feeling supremely unwelcome at his own birthday party. He doesn't think that it's worth the angry fuss that Thorn makes of it, and there are more than some at the mountain who are upset with Thorn for making their leader feel bad when he was trying to do something nice, but the next year Eragon makes an effort to do something that Murtagh would actually enjoy. A small expedition to a relatively unexplored part of the mountains where they very nearly feel like they used to.
Casimir enjoys birthdays less and less as he gets older. They're little more than a reminder that he's not aging the same way as the people around him. His cousin Marek's barely four months older than him and already graying at the temples. Danka's two years younger and crow's feet have already set into her serious face. The kids are bigger every time he sees them. His Gran needs more help around the farm with each passing year. Every time he visits friends, they look a little older. He's going to look young and beautiful for a very long time. It's easier when he's traveling and can forget what day it is. Otherwise, he can become even more inclined towards impulsive, hedonistic behavior so that he doesn't have to think about what's to come.
They never make a big deal about it, but as they get more comfortable with each other and as Casimir warms up to the idea that he has a future, they do little things for the other's birthday. Making a favorite breakfast or treat, reading together, making each other small gifts, exploring a new place, or if they're really not feeling up to celebrating, ignoring it altogether.
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