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To be aware you might be trans but unwilling to do anything about it is to create endlessly bigger boxes within which to contain yourself. When you are a child, that box might encompass only yourself and your parents. By the time you are a gainfully employed adult, that box will contain multitudes, and the thought of disrupting it will grow ever more unthinkable. So you cease to think of yourself as a person on some level; you think not of what you want but what everybody expects from you. You do your best not to make waves, and you apologize, if only implicitly, for existing. You stop being real and start being a construct, and eventually, you decide the construct is just who you are, and you swaddle yourself up in it, and maybe you die there. There is still time until there isn’t.

This reading of TV Glow’s deliberately anticlimactic, noncathartic ending cuts against the transition narrative you typically see in movies and TV, in which a trans person self-accepts, transitions, and lives a happier life. Owen gets trapped in a space where he knows what he must do to live an authentic life but simply refuses to take those steps because, well, burying yourself alive is a terrifying thing to do. The transition narrative posits a trans existence as, effectively, a binary switch between “man” and “woman” that gets flipped one way or another, but to make our lives so binary is to miss how trans existences possess an inherent liminality.

Humans’ lives unfold in a constant state of becoming until death, but trans people are uniquely keyed in to what this means thanks to the simple fact of our identities. You can get lost in that liminality, too, forever trapped in a midnight realm of your own making, stuck between what you believe is true (I am a nice man with a good family and a good job, and I love my life) and what you know, deep in your most terrified heart of hearts, is real (I am a girl suffocating in a box).

And yet if you want to read the film as being about the dangerous allure of nostalgia, you’re not wrong. I Saw the TV Glow totally supports that interpretation, too! But in tempting you with that reading, the film creates a trap for cis viewers that will be all too familiar to trans viewers. Somewhere in the middle of Maddy’s story about The Pink Opaque being real, you will make a choice between “This kid has lost it!” and “No. Go with her, Owen,” and in asking you to make that choice, TV Glow is simulating the act of self-accepting a trans identity.

See, the grimmer read of the film’s ending truly is a nihilistic one. It leaves no hope, no potential for growth, no exit. Yet you must actively choose to read that ending as nihilistic. If you are cis and the end of I Saw the TV Glow left you with a gnawing sense of dissatisfaction, a weird but hard-to-pin-down feeling that something had broken, and a melancholy bordering on horror — congratulations, this movie gave you contact-high gender dysphoria.

In an infinite number of possible universes, there is at least one where I am still living “as a man,” embracing my fictionality, avoiding looking at how much more raw and real I feel when I “pretend” to be a woman. I think about that guy sometimes. I hope he’s okay.

Consider, then, my cis reader, that TV Glow is for both you and me, but it is maybe most of all for him. I hope he sees it. I hope he breaks down crying in the bathroom afterward. I hope he, after so many years locked inside himself, hears the promise of more life through the hiss of TV static.

Emily St. James, “I Saw the TV Glow’s Ending Is Full of Hope, If You Want It to Be,” Vulture. June 4, 2024.

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«A horrifying morning. A blast of cold air jotted me awake to find myself not lying in bed, but standing upright on the roof with icicles stuck to my face, shivering, nearly blue from hypothermia, peering down at the ground far below. Bill brought me here. I know he could have made me jump. But he didn’t. Why? То send a message: that I’m his toy.»

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is this anything

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this was a really fun stream!!! thank u all for sticking with me through the terrible shrimp colors portion

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"His 'funeral' gave me a bittersweet sense of closure. How strange it is to look back on it all now."

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jayvikdivorce.jpeg

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unoriginal joke

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you and me and the devil makes three

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everything we had, everything we did is buried in dust, and this dust is all that's left of us

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there’s actually a really interesting part in one of the novels (think it was the ROTS one) that goes into this in relation to why Obi-wan doesn’t like flying and instead prefers living mounts, like Boga and other space-horse equivalents, due to

1) the connection he can form with the creature via the force, and 2) living beings tend to want to avoid crashing/falling/dying, unlike ships and speeders where they’ll go right into a wall if you steer it there

The most interesting part is comparing that to Anakin, who prefers ships/speeders for exactly that last reason; because he has total control over them, unlike a living being. He struggles to trust the bond/connection fully and fears the loss of control.

between the "if droids could think none of us would be there" line and how his attitude towards artoo, obi-wan is really embodying an old man who reads the evil ai clickbait fearmongering articles in space daily mail & thinks every personal problem faced by The Youth can be boiled down to too much screen time. i dont think that line gets enough attention even bc what a thing to say. and so casually too. obi-wan by that point still shared quarters with anakin (known creator of sentient electric-based lifeforms) and he still believed fully in the concept of our robotic overlords. he was certain that the only thing keeping droids from evil was the lack of intelligence yet unconcerned with the notion. 1) the prejudice had to come from somewhere, theres a "anakins evil toaster" shaped hole in the narrative & im embracing that explanation wholeheartedly and 2) he must have felt so smug when the clone wars started and his problems were indeed suddenly evil droids

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My dreams haven't really been subtle lately.

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obsessed with this letterboxd review for CHALLENGERS (2024) by rocky/WAYSTIAR

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because they all love and hate each other to varying degrees like patrick loves tennis and tashi and art but art the most and art loves tennis and patrick but he loves tashi the most and tashi loves tennis the most but none of them can have the thing they want most so they use one another to get closer to it and in the aftermath end up resenting each other for what could have been

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I keep rewatching that epilogue scene and, the way Hunter and Omega talk about her joining the Rebellion... You can tell this is not the first time they're having this conversation. And I just can't help but wonder what the previous one(s) must have looked like.

Because something tells me it wasn't peaceful.

I just can't imagine Hunter having any other reaction than an immediate, definitive "absolutely not" the first time he hears about Omega wanting to join the Rebellion. Just like I can't imagine Omega being okay with that reaction.

Were they arguing about it? Were they butting heads and not backing down from their respective points? Because they would. Absolutely, they would.

Did their brothers have conversations with both of them separately? Did Wrecker tell Omega to give Hunter a break because he's old and worried? Did Crosshair convince Hunter that he can't keep a grown woman grounded just because he's scared about her? Did Echo tell him that if this is Omega's calling, he has to let her do her thing?

She tried to sneak off. As if she didn't want to go through this again. As if she thought leaving without a goodbye would be easier on everyone and this way no one can stop her. After all, she made up her mind. She's going. But when she turns the light on and spots Hunter sitting there, she's not even surprised. She nods to herself like of course. Of course he's here.

This literally sounds like they've been over this before. But this time the conversation is surely more peaceful. They both have the other's perspective in their minds now.

This is my choice and I know it scares you but I need you to understand.

I know I won't change your mind but I don't want you to go, I want you to be safe.

This must have been said before as well. Maybe in anger. Maybe in pleading. Or desperation. I wouldn't be surprised if Omega got very frustrated with Hunter for treating her like she's still a kid. Nor would I be shocked if Hunter had trouble articulating his point of view in all his worry and panic. But here, it's a confession. It's very vulnerable. It's the truth Hunter doesn't want to hear and gives a reason why.

Omega is a grown woman now. Skilled, capable, brave. Hunter doesn't doubt that. But to him, she's always going to be his little girl no matter how old she is and I am still speechless at the fact that we actually see him not only struggling with it but also admitting to it.

Back on Pabu, after they escaped Tantiss, Hunter told her: "We've all fought enough battles for one lifetime." And now, years later, Omega echoes this back to him. "You've all fought enough." Almost like she's reading Hunter's mind and knows that if he can't stop her, he's going to want to join her.

The way he wants to reach after her here when she gets up. Like he wants to say wait, no, don't go yet!

But this is her fight, just like she says. She's never been able to sit still, we know that, we've seen that. Just like Echo back in season 2, she can't stand the thought of staying down and doing nothing when there are people out there fighting for freedom. People she can help. She's a skilled pilot now (I can bet she'll become most famous in the Rebellion for her flawless Tech-Turn), she has absorbed everything her brothers have taught her over the years like a sponge and now she wants to use that. After years of living away from the fight, she's finally ready to get back out there and make a difference in the galaxy. Fight for peace because that is her calling.

She's ready, but Hunter is not.

You can tell it's literally tearing him apart to watch her go. That's his baby, the whole reason he's living the life he has now. He gave his blood, sweat and tears so she could grow up safe and happy and away from the Empire's clutches. And now she's going back right into them, willingly.

But she's all grown up. And he has no choice but to let her go do her thing. So he holds her close and I don't doubt sends out a prayer that she comes back to him safe and in one piece. He closes his eyes and commits the feeling to memory because who knows when will be the next time he gets to do this?

And it might be destroying him inside but he's so damn proud. And he knows she's got this. She doesn't need her old man to watch her back anymore.

And yet still this old man, with gray in his hair and beard, this old man whose posture is hunched and who is moving slowly and having difficulty standing up because of his accelerated age, is telling his very grown up and very capable daughter that if she needs him, he's going to pick up his blaster, don the armor and join her in the fight.

Because that's what fathers do.

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“cx-2 is tech truthers were wrong”

WELL I FUCKING SURE HOPE SO