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drsilverfish · 6 years ago

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The Riddle of the Sphinx: 14x12 Prophet and Loss

First, thanks to @verobatto-angelxhunter @gneisscastiel @magnificent-winged-beast @emblue-sparks @mrsaquaman187 for inviting me to guest this week, as part of their ongoing SPN #Metafest project @metafest

along with several other guests: @bluephoenixrises @poorreputation @agusvedder @amwritingmeta @savannadarkbaby @prairiedust and

@norahastuff

I’m going to guest meta about the Riddle of the Sphinx.

Here is creepy Tony Alvarez drowning his first victim.

Despite an opening dose of Bucklemming torture-porn (ugh - although tbf there was a narrative point, as the drowned girl was a mirror for Dean, just like the slain first-born son and the dude who almost got barbecued were - more on that later...)... So, yeah, despite that, I was thrilled to see this in the visual narrative architecture - the Sphinx Machine Shop, where Tony does his mangled prophecy induced killing.

The Sphinx, as you know, is a fearsome part-woman, part winged-lion beastie, in Greek mythology, who was famous for guarding the entrance to Thebes and asking travellers to solve the answer to a riddle in order to gain safe passage to the city. If they failed, she devoured them.

She is tied in mythology not just to puzzles and their solutions, but to fate...

Here is the Sphynx of Naxos, from the Temple of Apollo at Delphi (560 BCE)

Image from https://en.wikipedia.org/wiki/Sphinx_of_Naxos

The Temple of Delphi was the site of the Oracle of Delphi, who was the High Priestess Pythia (a transferrable role) famous for her prophesies, which came to her in trance-states, supposedly from the God Apollo.

You see the link to SPN’s own Prophet role here....

The Sphinx also, famously, appears in Sophocles’ play Oedipus Rex, which became the basis for Freud’s also famous (and relevant a bit later) “Oedipus complex”. Sophocles didn’t invent the myth, but his telling is its most famous rendition.

Despite his other misfortunes, Oedipus doesn’t get devoured by the Sphinx, because he solves her riddle, a popular rendition of which is:

“What goes on four legs, on two legs, on three, and the more legs it goes on, the weaker it be?”

The answer, is - a human (baby, adult, old person with a stick).

Oedipus’ story is a classic story about fate, just like Appointment in Samara (re-worked in an SPN episode, 6x11, but originally an old Mesopotamian tale) which @mittensmorgul and I were talking about just recently, in relation to themes of fate vs free will in SPN (specifically in relation to the role played by Death - see here for the discussion:

http://drsilverfish.tumblr.com/post/182454009599/mittensmorgul-drsilverfish-mittensmorgul )

Oedipus’ story is a (f-d up) family drama - rather relevant to our very own Family Winchester [no, NOT because this is all about either of the boys wanting to sleep with Mary Winchester - thanks Dr. Freud - although, come to think of it, Dean did say she was hot in 4x03 In The Beginning :-)]

14x13 Lebanon promo shot

When baby Oedipus is born, his father King Laius receives a prophecy that his son will grow up to kill him, and so, he sends a shepherd to expose the baby on the mountainside to die, before that can happen. The shepherd however, not being an asshole, saves the baby, and raises him secretly as his own.

Oedipus grows up, and he eventually learns from the Oracle at Delphi herself (see above) that he is fated to kill his father and marry his mother. Believing the shepherd and his wife are his true mother and father, whom he loves, he leaves his home in the mountains for the city of Thebes, determined to defy the prophecy.

On the way, he meets a quarrelsome old man on the road, they fight, and Oedipus kills him:

When he gets to Thebes, he finds the King has been slain, by persons unknown, and the town is at the mercy of the Sphinx. Oedipus, by guessing the Sphinx’s riddle, obtains safety for the town and is, in gratitude, appointed King himself and given the widowed Queen, Jocasta’s, hand in marriage.

All is well for a bit, until a plague descends on Thebes, and Oedipus is told that to save the city, he must avenge King Laius’ death. So, he goes sleuthing, with the extremely relucant help of his seer Tiresius, and to his horror, discovers that he is the one who killed the King (that old dude on the road to Thebes all those years ago), that he is the King’s true son, and has, therefore, killed his father and, in marrying Queen Jocasta, married his mother and committed incest, fulfilling the prophecy he set out to escape from. He promptly blinds himself in horror. Poor ancient Greek dude.

The Chorus laments the power of fate

O heavy hand of fate! Who now more desolate, Whose tale more sad than thine, whose lot more dire? O Oedipus, discrowned head, Thy cradle was thy marriage bed;

http://www.gutenberg.org/files/31/31-h/31-h.htm - Project Gutenberg translation of Oedipus Rex.

A reference to the story of Oedipus and the Sphinx is extremely pregnant right now in the SPN narrative, for two reasons:

1) Fate vs Free Will

2) The Ghost of John Winchester

1) Fate vs Free Will

Dean thinks his interpretation of the book Billie handed him in 14x10 Nihilism - apparently the only death of his in which AU!Michael doesn’t take over his meat-suit and burn the world - means he has to sink himself to the bottom of the ocean, in the Ma’lak (angel) box and that’s “fate”.

Like Oedipus, there is no escape.

However, 14x12 tells us two things. Firstly, by analogy - the prophecy is wrong. Alvarez thinks he is carrying out the prophetic Word of God TM by recreating a twisted version of the Plagues of Egypt sent by God in Exodus:

1) The slaughter of a first-born son

2) Drowning in the Red Sea

3) Fire out of Heaven

(all of which are mirrors for what Dean thinks is his “fate” right now: death of a first born son; being drowned forever at the bottom of the ocean in the Ma’lak box; being consumed by the AU Archangel Michael’s Heavenly grace/fire).

But it’s a garbled message, received as a result of Prophet Donatello’s comatose scramblings.

Secondly, screw prophecy - against the odds, Dr. Sexy of the Lord (yeah - you know Dean thought it) is able to revive Donatello, thus preventing further scramblings (aka wrong prophesies).

CASTIEL: “Dean - if there is a spark, a hope, then I have to try.... you taught me that!”

I loved that line, with its resonance all the way back, like a skein of blue grace, to the Apocalypse Mark One, when Dean convinced Castiel, in Zacharia’s (also due to return in 14x13 Lebanon) “green room” in 4x22 Lucifer Rising, to disobey Heaven for the sake of humanity (Yes, Dean, an angel did fall for you...).

In other words, just as the Winchesters beat their “fate” to be “angel condoms” for Michael and Lucifer last time around, by “tearing up the script” and “making it up as they go” (4x22 Lucifer Rising) thanks to the help of rebel angel Castiel, so they can do so again.

2) The Ghost of John Winchester

In the SPN world’s worst kept spoiler, we know John will return next week in 14x13 Lebanon. We’ve been meta’ing about the ghost of John Winchester haunting the SPN narrative for... forever.

Here is some meta of mine on the subject from S12:

http://drsilverfish.tumblr.com/post/158388550099/john-winchesters-ghost-and-the-haunting-of-s12

John is explicitly recalled, during the brothers’ (beautifully rendered) car conversation in 14x12:

DEAN: “You ever think about when we were kids?”

SAM: “Maybe, yeah, sure, sometimes, why?”

DEAN: “I know I wasn’t always the greatest brother to you.”

SAM: “Dean, you were the one who was always there for me. The only one. I mean, you practically raised me.”

DEAN: “I know things got dicey, you know with Dad, the way he was... and I just.... I didn’t always look out for you the way that I should of. I mean, I had my own stuff, y’know, and in order to keep the peace, it probably looked like I took his side quite a bit. Sometimes, when I was away, you know it wasn’t cos I just ran out, right? Dad would, he would send me away, when I really pissed him off. I think you knew that.”

SAM: “Man I left that behind a long time ago, I had to.”

AU!Michael, I’ve been arguing since the start of the season, is a mirror for Dean’s self-repression and for John Winchester. See:

http://drsilverfish.tumblr.com/post/179463975289/shirtlesssammy-14x03the-scar-meta-writers

John was one of the major causes of Dean’s self-repression, as illustrated in the convo above, where it’s clear Dean had to grow up too fast to become a substitute-parent to Sam, where he was often obedient to their father to “keep the peace”, and where he was also often, unreasonably, punished by his father in the process (such as, as we already know, when he was sent to Sonny’s after stealing food for Sam in 9x07 Bad Boys).

According to psychoanalysis, we always internalise psychological constructs of our parents - Freud calls them imagos. So the Riddle of the Sphinx, for Dean, is how to kill (or rather, lay to rest) the ghost of his father (whom AU! Michael is a mirror for) and with it, the self-repression which has wounded him so much, psychically, since childhood, without letting it kill him too.

Nick, of course (general shudder) also serves as a John Winchester mirror in the episode - his obsessive revenge quest for the slaughter of his wife (aka mirror Mary Winchester) by Abraxas, led to something she never wanted - damage to innocents along the way (aka mirror innocents, Sam and Dean).

To Conclude

The answer to the Sphinx’s riddle, the one that helped Oedipus avoid being devoured by her was.... humanity.

Light Sphinx, 2015-2016, Mixed media (inc. foam, hand stitched fabrics, LEDs, beads, synthetic hair), 74 x 32 x 54 cm by Tarryn Gill

https://tarryngill.com/Light-Sphinx-Shadow-Sphinx-2015-16

Dean IS the symbolic representation of humanity (which is why Amara was so fascinated by him, and let’s not forget Metatron’s words about Castiel in 9x22 Stairway to Heaven - “He’s in love with.... humanity”).

Our first-born Winchester son just has to believe what this episode showed him - prophecy can be wrong.

His “fate” - to die, to drown forever, to be consumed by holy grace/fire, to remain trapped by the ghost of his father, by his own self-repression, by AU!Michael, by the Ma’lak box (aka, in subtext, the closet) is NOT the “Word of God”.

And killing one’s father doesn’t (as it did for Oedipus) have to mean damnation, if, the way one does it, is symbolically, by laying his ghost to rest in one’s heart and mind (hello upcoming SPN 300 14x13 Lebanon).

Freud believed the resolution of the Oedipus complex (for boys) was identification with the father (and no, we don’t have to concur with Dr. Freud). Dean has actually been on an oppositve journey, to get out from under his father’s shadow.

The Jungian solution, which the S14 narrative is offering to the metaphorical Riddle of the Sphinx, is, to turn around and embrace the Shadow-self (the parts of oneself one has repressed) and in so doing, to evolve - to become more fully human.

So, a final salute to Jerry Wanek and team, and the ever wonderful SPN set dressing narrative, for The Sphinx Machine shop!

NB:

You can read my Jungian Meta series here, if you’re interested:

http://drsilverfish.tumblr.com/post/180906003584/the-shadow-14x08

http://drsilverfish.tumblr.com/post/181122764984/14x09-the-spear-jungian-decoder-ring-edition

http://drsilverfish.tumblr.com/post/182299438269/jung-and-deans-journey-towards-self-integration

And if, you want to read more of my SPN meta in general, go visit my blog and look under the “Meta” sidebar tag: http://drsilverfish.tumblr.com/tagged/Meta

Plus, if you want to read lots of other people’s fabulous SPN meta, go check out the “SPN Meta” sidebar tag: http://drsilverfish.tumblr.com/tagged/SPN%20Meta

Thanks for having me @metafest !

DrSphinx out.

#Supernatural #SPN meta #Metafest #14x12 #Prophet and Loss #Winchester Family Dynamics #Dean vs repression #Fate vs Free Will #Set dressing narrative #Jerry Wanek #SPN spoilers #Meta

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samanthasroberts · 6 years ago

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Welcome to the land that no country wants | Jack Shenker

The long read: In 2014, an American dad claimed a tiny parcel of African land to make his daughter a princess. But Jack Shenker had got there first and learned that states and borders are volatile and delicate things

Bir Tawil is the last truly unclaimed land on earth: a tiny sliver of Africa ruled by no state, inhabited by no permanent residents and governed by no laws. To get there, you have two choices.

The first is to fly to the Sudanese capital Khartoum, charter a jeep, and follow the Shendi road hundreds of miles up to Abu Hamed, a settlement that dates back to the ancient kingdom of Kush. Today it serves as the regions final permanent human outpost before the vast Nubian desert, twice the size of mainland Britain and almost completely barren, begins unfolding to the north.

There are some artisanal gold miners in the desert, conjuring specks of hope out of the ground, a few armed gangs, which often prey upon the prospectors, and a small number of military units who carry out patrols in the area and attempt, with limited success, to keep the peace. You need to drive past all of them, out to the point where the occasional scattered shrub or palm tree has long since disappeared and given way to a seemingly endless, flat horizon of sand and rock out to the point where there are no longer any landmarks by which to measure the passing of your journey.

Out here, dry winds often blow in from the Arabian peninsula, whipping up sheets of dust that plunge visibility down to near-zero. After a day like this, then a night, and then another day, you will finally cross into Bir Tawil, an 800-square-mile cartographical oddity nestled within the border that separates Egypt and Sudan. Both nations have renounced any claim to it, and no other government has any jurisdiction over it.

The second option is to approach from Egypt, setting off from the countrys southernmost city of Aswan, down through the arid expanse that lies between Lake Nasser to the west and the Red Sea to the east. Much of it has been declared a restricted zone by the Egyptian army, and no one can get near the border without first obtaining their permission.

In June 2014, a 38-year-old farmer from Virginia named Jeremiah Heaton did exactly that. After obtaining the necessary paperwork from the Egyptian military authorities, he started out on a treacherous 14-hour expedition through remote canyons and jagged mountains, eventually wending his way into the no mans land of Bir Tawil and triumphantly planting a flag.

Heatons six-year-old daughter, Emily, had once asked her father if she could ever be a real princess; after discovering the existence of Bir Tawil on the internet, his birthday present to her that year was to trek there and turn her wish into a reality. So be it proclaimed, Heaton wrote on his Facebook page, that Bir Tawil shall be forever known as the Kingdom of North Sudan. The Kingdom is established as a sovereign monarchy with myself as the head of state; with Emily becoming an actual princess.

Heatons social media posts were picked up by a local paper in Virginia, the Bristol Herald-Courier, and quickly became the stuff of feel-good clickbait around the world. CNN, Time, Newsweek and hundreds of other global media outlets pounced on the story. Heaton responded by launching a global crowdfunding appeal aimed at securing $250,000 in an effort at getting his new state up and running.

Heaton knew his actions would provoke awe, mirth and confusion, and that many would question his sanity. But what he was not prepared for was an angry backlash by observers who regarded him not as a devoted father or a heroic pioneer but rather as a 21st-century imperialist. After all, the portrayal of land as unclaimed or undeveloped was central to centuries of ruthless conquest. The same callous, dehumanising logic that has been used to legitimise European colonialism not just in Africa but in the Americas, Australia, and elsewhere is on full display here, noted one commentator. Are white people still allowed to do this kind of stuff? asked another.

Any new idea thats this big and bold always meets with some sort of ridicule, or is questioned in terms of its legitimacy, Heaton told me last year over the telephone. In his version of the story, Heatons conquest of Bir Tawil was not about colonialism, but rather familial love and ambitious dreams: apart from making Emily royalty, he hopes to turn his newly founded nation which lies within one of the most inhospitable regions on the planet and contains no fixed population, no coastline, no surface water and no arable soil into a cutting-edge agriculture and technology research hub that will ultimately benefit all humanity.

After all, Heaton reasoned, no country wanted this forgotten corner of the world, and no individual before him had ever laid claim to it. What harm was to be caused by some wellintentioned, starry-eyed eccentric completing such a challenge, and why should it not be him?

Jeremiah Heaton makes his claim to Bir Tawil in 2014. Photograph: Facebook

There were two problems with Heatons argument. First, territories and borders can be delicate and volatile things, and tampering with them is rarely without unforeseen consequences. As Heaton learned from the public response to his self-declared kingdom, there is no neutral or harmless way to claim a state, no matter how far away from anywhere else it appears to be. Second, Heaton was not the first well-intentioned, starry-eyed eccentric to travel all the way to Bir Tawil and plant a flag. Someone else got there first, and that someone was me.

Like all great adventure stories, this one began with lukewarm beer and the internet. It was the summer of 2010, and the days in Cairo where I was living and working as a journalist were long and hot. My friend Omars balcony provided a shaded refuge filled with wicker chairs and reliably stable wireless broadband. It was up there, midway through a muggy evenings web pottering, that we first encountered Bir Tawil.

Omar was an Egyptian-British filmmaker armed with a battery of finely tuned Werner Herzog impressions and a crisp black beard that I was secretly quite jealous of. The pair of us knew nothing beyond a single fact, gleaned from a blog devoted to arcane maps: barely 500 miles away from where we sat, there apparently existed a patch of land over which no country on earth asserted any sovereignty. Within five minutes I had booked the flights. Omar opened two more beers.

Places beyond the scope of everyday authority have always fired the imagination. They appear to offer us an escape when all you can see of somewhere is its outlines, it is easy to start fantasising about the void within. No mans lands are our El Dorados, says Noam Leshem, a Durham University geographer who recently travelled 6,000 miles through a series of so-called dead spaces, from the former frontlines of the Balkans war to the UN buffer zone in Cyprus, along with his colleague Alasdair Pinkerton of Royal Holloway. The pair intended to conclude their journey at Bir Tawil, but never made it. There is something alluring about a place beyond the control of the state, Leshem adds, and also something highly deceptive. In reality, nowhere is unplugged from the complex political and historical dynamics of the world around it, and as Omar and I were to discover no visitors can hope to short-circuit them.

Six months later, in January 2011, we touched down at Khartoum International airport with a pair of sleeping bags, five energy bars, and an embarrassingly small stock of knowledge about our final destination. To an extent, the ignorance was deliberate. For one thing, we planned to shoot a film about our travels, and Omar had persuaded me the secret to good film-making was to begin work utterly unprepared. Omar according to Omar was a cinematic auteur; the kind of maverick who could breeze into a desolate wasteland with no vehicle, no route, and no contacts and produce an award-winning documentary from the mayhem. One does not lumber an auteur, he explained, with printed itineraries, booked accommodation or emergency phone numbers. Mindful of my own aspirations to auteurism, this reasoning struck me as convincing.

There was something else, too, that made us refrain from proper planning. As the date of our departure for Sudan drew closer, Omar and I had taken to discussing our plans for Bir Tawil in increasingly grandiose terms. Deep down, I think, we both knew that the notion of claiming the territory and harnessing it for some grand ideological cause was preposterous. But what if it wasnt? What if our own little tabula rasa could be the start of something bigger, transforming a forgotten relic of colonial map-making into a progressive force that would defeat contemporary injustices across the world?

The mechanics of how this might actually work remained a little hazy. Yet just occasionally, at more contemplative junctures, it did occur to us that in the process of planting a flag in Bir Tawil as part of some ill-defined critique of arbitrary borders and imperial violence, there was a risk we could appear to the untrained eye very similar to the imperialists who had perpetrated such violence in the first place. It was a resemblance we were keen to avoid. Undertaking this journey in a state of deep ignorance, we told ourselves, would help mitigate against pomposity. Without any basic knowledge, we would be forced to travel as humble innocents, relying solely on guidance from the communities we passed through.

As the two of us cleared customs, we broke into smiles and congratulated each other. The auteurs had landed, and what is more they had Important Things To Say about borders and states and sovereignty and empires. We set off in search of some local currency, and warmed to our theme. By the time we found an ATM, we were referring to Bir Tawil as so much more than a conceptual exposition. Under our benevolent stewardship, we assured each other, it could surely become some sort of launchpad for radical new ideas, a haven for subversives all over the planet.

It was at that point that the auteurs realised their bank cards did not work in Sudan, and that there were no international money transfer services they could use to wire themselves some cash.

This setback represented the first consequence of our failure to do any preparatory research. The nagging sense that our maverick approach to reaching Bir Tawil may not have been the wisest way forward gained momentum with consequence number two, which was that to solve the money problem we had to persuade a friend of a friend of a friend of an Egyptian business acquaintance to do an illicit currency trade for us on the outskirts of Khartoum. Consequence number three namely that, given our lack of knowledge about where we could and could not legally film in the capital, after a few days we inadvertently attracted the attention of an undercover state security agent while carrying around $2,000 worth of used Sudanese banknotes in an old rucksack, and were arrested transformed suspicion into certainty.

The route to Bir Tawil

On the date Omar and I were incarcerated, millions of citizens in South Sudan were heading to the polls to decide between continued unity with the north or secession and a new, independent state of their own. We sat silently in a nondescript office block just off Gamaa Avenue the citys main diplomatic thoroughfare while a group of men in black suits and dark sunglasses scrolled through files on Omars video camera. Armed soldiers, unsmiling, stood guard at the door. Through the rooms single window, open but barred, the sound of nearby traffic could be heard. The images on the screen depicted me and Omar gadding about town on the days following our arrival; me and Omar unfurling huge rolls of yellowing paper at the governments survey department; me and Omar scrawling indecipherable patterns on sheets of paper in an effort to design the new Bir Tawili flag; me and Omar squabbling over fabric colours at the Omdurman market where we had gone to stitch together the aforementioned flag. With each new picture, a man who appeared to be the senior officer raised his eyes to meet ours, shook his head, and sighed.

In an attempt to lighten the mood, I pointed out to Omar how apposite it was that at the very moment in which votes were being cast in the south, possibly redrawing the regions borders for ever, we had been placed under lock and key in a military intelligence unit almost a thousand miles to the north for attempting to do the same. Omar, concerned about the fate of both his camera and the contents of the rucksack, declined to respond. I predicted that in the not too distant future, when we had made it to Bir Tawil, we would look back on this moment and laugh. Omar glared.

In the end, our captivity lasted under an hour. The senior officer concluded, perceptively, that, whatever we were attempting to do, we were far too incompetent to do it properly, or to cause too much trouble along the way. Upon our release, we set about obtaining a jeep that could take us to Bir Tawil. Every reputable travel agent we approached turned us down point-blank, citing the prevalence of bandit attacks in the desert. Thankfully, we were able to locate a disreputable travel agent, a large man with a taste for loud polo shirts who went by the name of Obai. Obai was actually not a travel agent at all, but rather a big-game hunter with a lucrative sideline in ambiguously licensed pick-up trucks. In exchange for most of our used banknotes, he offered to provide us with a jeep, a satellite phone, two tanks of water, and his nephew Gedo, who happened to be looking for work as a driver. In the absence of any alternative offers, we gratefully accepted.

Unlike Obai, who was a font of swashbuckling anecdotes and improbable tales of derring-do, Gedo turned out to be a more taciturn soul. He was a civil engineer who had previously done construction work on the colossal Merowe dam in northern Sudan, Africas largest hydropower project. On the day of our departure, he turned up wearing a baseball cap with Parental Advisory: Explicit Lyrics emblazoned across the front, and carrying a loaded gun. As we waved goodbye to Obai and began weaving our way through the capitals rush hour traffic, Omar and I set about explaining to Gedo the intricacies of our plan to transform Bir Tawil into an open-source state that would disrupt existing patterns of global power and privilege no mean feat, given that we didnt understand any of the intricacies ourselves. Gedo responded to this as he responded to everything: with a sage nod and a deliberate stroke of his stubble.

Im here to protect you, he told us solemnly, as we swung north on to the highway and left Khartoum behind us. Also, Ive never been on a holiday before, and this one sounds fun.

Bir Tawils unusual status wedged between the borders of two countries and yet claimed by neither is a byproduct of colonial machinations in north-east Africa, during an era of British control over Egypt and Egyptian influence on Sudan.

In 1899, government representatives from London and Cairo the latter nominally independent, but in reality the servants of a British protectorate put pen to paper on an agreement which established the shared dominion of Anglo-Egyptian Sudan. The treaty specified that, following 18 years of intense fighting between Egyptian and British forces on the one side and Mahdist rebels in Sudan on the other, Sudan would now become a British colony in all but name. Its northern border with Egypt was to run along the 22nd parallel, cutting a straight line through the Nubian desert right out to the ocean.

Three years later, however, another document was drawn up by the British. This one noted that a mountain named Bartazuga, just south of the 22nd parallel, was home to the nomadic Ababda tribe, which was considered to have stronger links with Egypt than Sudan. The document stipulated that henceforth this area should be administered by Egypt. Meanwhile, a much-larger triangle of land north of the 22nd parallel, named Halaib, abutting the Red Sea, was assigned to the Beja people who are largely based in Sudan for grazing, and thus now came under Sudans jurisdiction. And that was that, for the next few decades at least. World wars came and went, regimes rose and fell, and those imaginary lines in the sand gathered dust in bureaucratic archives, of little concern to anyone on the ground.

Disputes only started in earnest when Sudan finally achieved independence in 1956. The new postcolonial government in Khartoum immediately declared that its national borders matched the tweaked boundaries stipulated in the second proclamation, making the Halaib triangle Sudanese. Egypt demurred, insisting that the latter document was concerned only with areas of temporary administrative jurisdiction and that sovereignty had been established in the earlier treaty. Under this logic, the real border stayed straight and the Halaib triangle remained Egyptian.

By the early 1990s, when a Canadian oil firm signalled its intention to begin exploration in Halaib and the prospect of substantial mineral wealth being found in the region gained momentum, the disagreement was no longer academic. Egypt sent military forces to reclaim Halaib from Sudan, and despite fierce protests from Khartoum which still considers Halaib to be Sudanese and even tried to organise voting there during the 2010 Sudanese general election it has remained under Cairos control ever since.

Our world is littered with contested borders. The geographers Alexander Diener and Joshua Hagen refer to the dashed lines on atlases as the scars of history. Compared with other divisions between countries that seem so solid and timeless when scored on a map, these squiggles enclaves, misshapen lumps and odd protrusions are a reminder of how messy and malleable the process of drawing up borders has always been.

What makes this particular border conflict unique, though, is not the tussle over the Halaib triangle itself, but rather the impact it has had on the smaller patch of land just south of the 22nd parallel around Bartazuga mountain, the area known as Bir Tawil.

Egypt and Sudans rival claims on Halaib both rest on documents that appear to assign responsibility for Bir Tawil to the other country. As a result, neither wants to assert any sovereignty over Bir Tawil, for to do so would be to renounce their rights to the larger and more lucrative territory. On Egyptian maps, Bir Tawil is shown as belonging to Sudan. On Sudanese maps, it appears as part of Egypt. In practice, Bir Tawil is widely believed to have the legal status of terra nullius nobodys land and there is nothing else quite like it on the planet.

Omar and I were not, it must be acknowledged, the first to discover this anomaly. If the internet is to be believed, Bir Tawil has in fact been claimed many times over by keyboard emperors whose virtual principalities and warring microstates exist only online. The Kingdom of the State of Bir Tawil boasts a national anthem by the late British jazz musician Acker Bilk. The Emirate of Bir Tawil traces its claim over the territory to, among other sources, the Quran, the British monarchy, the 1933 Montevideo Convention and the 1856 US Guano Islands Act. There is a Grand Dukedom of Bir Tawil, an Empire of Bir Tawil, a United Arab Republic of Bir Tawil and a United Lunar Emirate of Bir Tawil. The last of these has a homepage featuring a citizen application form, several self-help mantras, and stock photos of people doing yoga in a park.

From our rarefied vantage point at the back of Obais Toyota Hilux, it was easy to look down with disdain upon these cyber-squatting chancers. None of them had ever actually set foot in Bir Tawil, rendering their claims to sovereignty worthless. Few had truly grappled with Bir Tawils complex backstory, or of the bloodshed it was built upon (tens of thousands of Sudanese fighters and civilians died as a result of the Egyptian and British military assaults that ended in the establishment of Sudans northern borders and thus, ultimately, the creation of Bir Tawil). Granted, Omar and I knew little of the backstory either, but at least we had actually got to Sudan and were making, by our own estimation, a decent fist of finding out. We ate our energy bars, listened attentively to tales of Gedos love life, and scanned the road for clues. The first arrived nearly 200 miles north-east of Khartoum, about a third of the way up towards Bir Tawil, when we came across a city of iron and fire oozing kerosene into the desert. This was Atbara: home of Sudans railway system, and the engine room of its modern-day creation story.

Until very recently, the long history of Sudan has not been one of a single country or people: many different tribes, religions and political factions have competed for power and resources, across territories and borders that bear no relation to those marking out the states limits today. A lack of rigid, recognisable boundaries was used to help justify Europes violent scramble to occupy and annex land throughout Africa in the 19th century. Often, the first step taken by western colonisers was to map and border the territory they were seizing. Charting of land was usually a prelude to military invasion and resource extraction; during the British conquest of Sudan, Atbara was crucial to both.

Sudans contemporary railway system began life as a battering ram for the British to attack Khartoum. Trains carried not only weapons and troops but everyday provisions too, specified by Winston Churchill as the letters, newspapers, sausages, jam, whisky, soda water, and cigarettes which enable the Briton to conquer the world without discomfort. Atbara was the site where key rail lines intersected, and its importance grew rapidly after Londons grip on Sudan had been formalised in the 1899 Anglo-Egyptian treaty.

Everything that mattered, from cotton to gum, came through here, as did all the rolling stock needed to move and export it, Mohamed Ederes, a local railway storekeeper, told us. He walked us through his warehouse, down corridors stacked high with box after box of metal train parts and past giant leather-bound catalogues stuffed with handwritten notes. From here, he declared proudly, you reached the world.

Atbaras colonial origins are still etched into its modern-day layout. One half of the town, originally the preserve of expatriates, is low-rise and leafy; on the other side of the tracks, where native workers were made to live, accommodation is denser and taller. But just as Atbara was a vehicle for colonialism, so too was it the place in which a distinct sense of Sudanese nationhood began to develop.

As Sudans economy grew in the early 20th century, so did the railway industry, bringing thousands of migrant workers from disparate social and ethnic groups to the city. By the second world war, Atbara was famous not only for its carriage depots and loading sidings, but also for the nationalist literature and labour militancy of those who worked within them. Poets as well as workers leaders emerged out of the nascent trade union movement in the late 1940s, which held devastating strikes and helped shake the foundations of British rule. The same train lines that had once borne Churchills sausages and soda water were now deployed to deliver workers solidarity packages all over the country, during industrial action that ultimately brought the colonial economy to a halt. Within a decade, Sudan secured independence.

The next morning, as we drove on, Gedo grew quieter and the signs of human habitation became sparser. At Karima, a small town 150 miles further north, we came across a fleet of abandoned Nile steamers stranded on the river bank; below stairs there were metal plaques bearing the name of shipwrights from Portsmouth, Southampton and Glasgow, each companys handiwork now succumbing slowly to the elements. We clambered through cobwebbed cabins and across rotting sun decks, and then decided to scale the nearby Jebel Barkal Holy Mountain in Arabic where eagles tracked us warily from the sky. Omar maintained a running commentary on our progress, delivered as a flawless Herzog parody, and it proved so painful for all in earshot that the eagles began to dive-bomb us. We set off running, taking refuge among the mountains scattered ruins.

Jebel Barkal was once believed to be the home of Amun, king of gods and god of wind. Fragments of Amuns temple are still visible at the base of the cliffs. Over the past few millennia, Jebel Barkal has been the outermost limit of Egypts Pharaonic kingdoms, the centre of an autonomous Nubian region, and a vassal province of an empire headquartered thousands of miles away in Constantinople. In the modern era of defined borders and seemingly stable nation states, Bir Tawil seems an impossible anomaly. But standing over the jagged crevices of Jebel Barkal, looking out across a region that had been passed between so many different rulers, and formed part of so many different arrangements of power over land, our endpoint started to feel more familiar.

Abandoned Nile steamers stranded on the river bank at Karima. Photograph: Omar Robert Hamilton

The following evening we camped at Abu Hamed, on the very edge of the desert. Beyond the ramshackle cafeterias that have sprung up to serve the artisanal gold-mining community sending shisha smoke and the noise of Egyptian soap operas spiralling up into the night Omar and I saw the outlines of large agricultural reclamation projects, silhouetted in the distance against a starry sky. Since 2008, when global food prices spiked, there has been a boom in what critics call land-grabbing: international investors and sovereign wealth funds snapping up leases on massive tracts of African territory in order to intensify the production of crops for export, and bringing such territory under the control of European, Asian and Gulf nations in the process. Arable land was the first to be targeted, but increasingly desert areas are also being fenced off and sold. Near Abu Hamed, Saudi Arabian companies have been greening the sand blanketing it in soil and water in an effort to make it fertile with worrying consequences for both the environment and local communities, some of whom have long asserted customary rights over the area.

It was not so long ago that the prophets of globalisation proclaimed the impending decline of the nation-state and the rise of a borderless world one modelled on the frictionless transactions of international finance, which pay no heed to state boundaries.

A resurgent populist nationalism and the refugee crisis that has stoked its flames has exposed such claims as premature, and investors depend more than ever on national governments to open up new terrains for speculation and accumulation, and to discipline citizens who dare to stand in the way. But there is no doubt that we now live in a world where the power of capital has profoundly disrupted old ideas about political authority inside national boundaries. All over the planet, the institutions that impact our lives most directly banks, buses, hospitals, schools, farms can now be sold off to the highest bidder and governed by the whims of a transnational financial elite. Where national borders once enclosed populations capable of practising collective sovereignty over their own resources, in the 21st century they look more and more like containers for an inventory of private assets, each waiting to be spliced, diced and traded around the world.

It was at Abu Hamed, while lying awake at night in a sleeping bag, nestled into a shallow depression in the sand, that I realised the closer we were getting to our destination, the more I understood what was so beguiling about it. Now that Bir Tawil was in sight, it had started to appear less like an aberration and more like a question: is there anything natural about how borders and power function in the world today?

In the end, there was no fanfare. On a hazy Tuesday afternoon, 40 hours since we left the road at Abu Hamed, 13 days since we touched down in Khartoum, and six months since the dotted lines of Bir Tawil first appeared before our eyes, Omar gave a shout from the back of the jeep. I checked our GPS coordinates on the satellite phone, and cross-referenced them with the map. Gedo, on being informed that we were now in Bir Tawil and outside of any countrys dominion, promptly took out his gun and fired off a volley of shots. We traipsed up a small hillock and wedged our somewhat forlorn flag into the rocks a yellow desert fox, set against a black circle and bordered by triangles of green and red then sat and gazed out at the horizon, tracing the rise and fall of distant mountains and following the curves of sunken valleys as they criss-crossed each other like veins through the sand. The sky and the ground both looked massive, and unending, and the warm stones around us crumbled in our hands. After a couple of hours, Gedo said that it was getting late, so we climbed back into the jeep and began the long journey home.

Well before our journey had ever begun, we had hoped albeit not particularly fervently that we could do something with it, something that mattered; that by striking out for a place this nebulous we could find a shortcut to social justice, two days drive from the nearest tap or telephone. In 800 square miles of desert, we thought that we could exploit the outlines of the bordered world in order to subvert it.

Jeremiah Heaton, beyond the kingdom for a princess schmaltz and the forthcoming Disney adaptation (he has sold film rights to his story for an undisclosed fee) seems albeit from an almost diametrically opposite philosophical outlook to be convinced of something similar. For him, the fantasy is a libertarian one, offering freedom not from the iniquities of capitalism but from the government interference that inhibits it. Just as we did, he wants to take advantage of a quirk in the system to defy it. When I spoke to Heaton, he told me with genuine enthusiasm that his country (not yet recognised by any other state or international body) would offer the worlds great innovators a place to develop their products unencumbered by taxes and regulation, a place where private enterprise faces no socially prescribed borders of its own. Big companies, he assured me, were scrambling to join his vision.

Jack Shenkers makeshift flag planted in Bir Tawil Photograph: Omar Robert Hamilton

You would be surprised at the outreach that has occurred from the corporate level to me directly, Heaton insisted during our conversation. Its not been an issue of me having to go out and sell myself on this idea. A lot of these large corporations, they see market opportunities in what Im doing. He painted a picture of Bir Tawil one day playing host to daring scientific research, ground-breaking food-production facilities and alternative banking systems that work for the benefit of customers rather than CEOs. I asked him if he understood why some people found his plans, and the assumptions they rested on, highly dubious.

Theres that saying: if you were king for a day, what would you do differently? he replied. Think about that question yourself and apply it to your own country. Thats what Im doing, but on a much bigger scale. This is not colonialism; Im an individual, not a country, I havent taken land that belongs to any other country, and Im not extracting resources other than sunshine and sand. I am just one human being, trying to improve the condition of other human beings. I have the purest intentions in the world to make this planet a better place, and to try and criticise that just because Im a white person sitting on land in the middle of the Nubian desert He trailed off, and was silent for a moment. Well, he concluded, its really juvenile.

But if, by some miracle, Heaton ever did gain global recognition as the legitimate leader of an independent Bir Tawili state, would his pitch to corporations base yourself here to avoid paying taxes and escape the manacles of democratic oversight actually do anything to improve the condition of other human beings? Part of the allure of unclaimed spaces is their radical potential to offer a blank canvas but as Omar and I belatedly realised, nothing, and nowhere, starts from scratch. Any utopia founded on the basis of a concept terra nullius that has wreaked immense historical destruction, is built on rotten foundations.

In truth, no place is a dead zone, stopped in time and ripe for private capture least of all Bir Tawil, which translates as long well in Arabic and was clearly the site of considerable human activity in the past. Although it lacks any permanent dwellings today, this section of desert is still used by members of the Ababda and Bisharin tribes who carry goods, graze crops and make camp within the sands. (Not the least of our failures was that we did not manage to speak to any of the peoples who had passed through Bir Tawil before we arrived.) Their ties to the area may be based on traditional rather than written claims but Bir Tawil is not any more a no mans land than the territory once known as British East Africa, where terra nullius was repeatedly invoked in the early 20th century by both chartered companies andthe Britishgovernment that supported them to justify the appropriation of territory from indigenous people. I cannot admit that wandering tribes have a right to keep other and superior races out of large tracts, exclaimed the British commissioner, Sir Charles Eliot, at the time, merely because they have acquired the habit of straggling over far more land than they can utilise.

Bir Tawil is no terra nullius. But no mans lands or at least ambiguous spaces, where boundaries take odd turns and sovereignty gets scrambled are real and exist among us every day. Some endure at airports, and inside immigration detention centres, and in the pockets of economic deprivation where states have abandoned any responsibility for their citizens. Others no mans lands are carried around by refugees who are yet to be granted asylum, regardless of where they may be having fled failed states or countries which would deny them the rights of citizenship, they occupy a world of legal confusion at best, and outright exclusion at worst.

Perhaps that is why, as we switched off the camera and left Bir Tawil behind us, Omar and I felt a little let down. Or perhaps we shared a sense of anticlimax because we were faintly aware of something rumbling back home in Cairo, where millions of people were about to launch an epic fight against political and economic exclusion not by withdrawing to a no mans land but by confronting state authority head-on, in the streets. A week after our return to Egypt, the country erupted in revolution.

Borders are fluid things; they help define our identities, and yet so often we use our identities to push up against borders and redraw them. For now the boundaries that divide nation states remain, but their purpose is changing and the relationship they have to our own lives, and our own rights, is growing increasingly unstable. If Bir Tawil the preeminent ambiguous space is anything to those who live far from it, it is perhaps a reminder that no particular configuration of power and governance is immutable. As we drove silently, and semi-contentedly, back past the gold-foragers, and the ramshackle cafeteria, and the heavy machinery of the Saudi farm installations Gedo at the wheel, Omar asleep and me staring out at nothing I grasped what I had failed to grasp on that lazy night of beer drinking on Omars balcony. The last truly unclaimed land on earth is really an injunction: not for us to seek out the mythical territory where we can hide from the things that anger us, but to channel that anger instead towards reclaiming territory we already call our own.

Follow the Long Read on Twitter at @gdnlongread, or sign up to the long read weekly email here.

Source: http://allofbeer.com/welcome-to-the-land-that-no-country-wants-jack-shenker/

from All of Beer https://allofbeer.wordpress.com/2019/04/09/welcome-to-the-land-that-no-country-wants-jack-shenker/

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adambstingus · 6 years ago

Text

Welcome to the land that no country wants | Jack Shenker

Bir Tawil is the last truly unclaimed land on earth: a tiny sliver of Africa ruled by no state, inhabited by no permanent residents and governed by no laws. To get there, you have two choices.

Jeremiah Heaton makes his claim to Bir Tawil in 2014. Photograph: Facebook

It was at that point that the auteurs realised their bank cards did not work in Sudan, and that there were no international money transfer services they could use to wire themselves some cash.

The route to Bir Tawil

Im here to protect you, he told us solemnly, as we swung north on to the highway and left Khartoum behind us. Also, Ive never been on a holiday before, and this one sounds fun.

Abandoned Nile steamers stranded on the river bank at Karima. Photograph: Omar Robert Hamilton

Jack Shenkers makeshift flag planted in Bir Tawil Photograph: Omar Robert Hamilton

Follow the Long Read on Twitter at @gdnlongread, or sign up to the long read weekly email here.

from All Of Beer http://allofbeer.com/welcome-to-the-land-that-no-country-wants-jack-shenker/ from All of Beer https://allofbeercom.tumblr.com/post/184057060162

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allofbeercom · 6 years ago

Text

Welcome to the land that no country wants | Jack Shenker

Bir Tawil is the last truly unclaimed land on earth: a tiny sliver of Africa ruled by no state, inhabited by no permanent residents and governed by no laws. To get there, you have two choices.

Jeremiah Heaton makes his claim to Bir Tawil in 2014. Photograph: Facebook

It was at that point that the auteurs realised their bank cards did not work in Sudan, and that there were no international money transfer services they could use to wire themselves some cash.

The route to Bir Tawil

Im here to protect you, he told us solemnly, as we swung north on to the highway and left Khartoum behind us. Also, Ive never been on a holiday before, and this one sounds fun.

Abandoned Nile steamers stranded on the river bank at Karima. Photograph: Omar Robert Hamilton

Jack Shenkers makeshift flag planted in Bir Tawil Photograph: Omar Robert Hamilton

Follow the Long Read on Twitter at @gdnlongread, or sign up to the long read weekly email here.

from All Of Beer http://allofbeer.com/welcome-to-the-land-that-no-country-wants-jack-shenker/

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andseperand · 8 years ago

Text

thoughts

ive been sitting on this post for the better part of a year. i tried to read through it and make edits, but im going to have to post this as is. maybe ill be able to edit it someday. anyway, this is completely composed of spoilers.

tl;dr: i mostly wrote bitterness about “kung food,” “origins part 1,″ and “reflekta.”

these are my thoughts on what ive watched of the first season of miraculous ladybug (i have watched most of every episode except the last three).

i may be confused or misinformed on some points. some of this is not as serious as other parts, and the writing style is disjointed because i didnt write it all in one go. any links are formatted within brackets (as in [text]).

ordered by the order i initially watched (parts of) the episodes in and indicated by villain name somehow (english, korean, french, french translation, etc.).

stormy weather/climatika

why did alya just toss manon like that? she couldve hurt something just being thrown around with her tiny little bones and joints that lack any significant cushioning. not to mention that her neck is completely unsupported. safety, much?

the bubbler/le bulleur

so the record is fully functional but also survived getting smacked off a building on its edge? wow.

copycat/l’imposteur/the imposter

i get that alya is supposed to be that “go-getter” friend who pushes marinette to be brave, but honestly, if she had waited another minute for marinette to be more ready for making a phone call, this wouldve been less of a mess. yeah, i get the “pushing boundaries to build confidence,” but honestly we could have waited for marinette to stop stalking adrien, too.

i gotta say: marinette is truly fearless. my phone is so suspicious. i would not have the confidence to deliberately touch it with my face and risk contact with who knows what has been on it.

the “moral” or whatever of this episode is kind of unclear? steal someones phone and run into issues with security but then also somehow break into it and get what you want anyway? no, thats not okay. its not that funny that marinette legitimately stole someones phone, and she doesnt even get seriously reprimanded for this.

timebreaker/chronogirl

one of the most pressing questions i have for this episode is why no one thought of using pockets or a bag or something to hold this important watch. hand perspiration is pretty bad for a lot of older and newer mechanical objects alike. why is this clearly-important item treated any different? ive considered both the “tikki is in the bag” (doesnt mean it has to be marinettes bag) and the “girl pockets” (marinette designed her own clothes, though) possibilities, and im still stumped.

mister/monsieur/mr./m. pigeon

how did chloe know what the colors were or even what the embroidery pattern looked like from a pencil sketch? it looked like chicken scratch.

lady wifi

im not sure that “dont violate other peoples privacy” was very well stated, seeing as alya was landed with an unfairly harsh punishment due to corrupt politicians. and how did that get resolved, anyway? was she still suspended? was there even supposed to be a moral in this mess?

the pharaoh/le pharaon

the villain is a pharaoh, continuing the ages-long trend of pretending ancient egyptian culture is just ~so interesting~ and that its portrayal isnt exploitative at all. i cant really say much about this, but i dont like those special ancient egypt episodes of anything.

rogercop

a mess

im pretty sure that this was to save animation budget or something, but why was marinette picking up those croissants off the floor and arranging them so nicely as if it really mattered what she did with them besides cleaning up the spill? i guess ill let it slide if shes trained that way as an advertising thing (though advertising doesnt get a free pass by default just because its strange).

the evillustrator/evil artist/le dessinateur

off topic, but could that tablet also erase or create living beings?

dark cupid/le dislocoeur/heartbreaker

this was still technically a kiss without consent? doesnt really feel all that romantic and whatnot. i cant really get behind this as shipping material.

horrificator

side note: i really liked how chloes english voice actor delivered the lines mockingly announcing mylenes “award” in the beginning.

im not a fan of the “you must kiss as part of acting” plot point. it always gives off those peer pressure vibes from other people and opportunistic vibes from main characters who want to actually kiss the other person.

darkblade/le chevalier noir/the black knight

sabrina is honestly super lucky that marinette made her box have a hole big enough for super tiny animated character wrists or else she wouldve been in a world of more pain.

alya had a platform? im so confused about how this election worked. did they do ballots or some sort of “heads down” in-class vote thing?

the/le mime

seeing as people dont lose their memories of being attacked by the villains, i really dont see how tearing down the eiffel tower (even in an animated show where people are not in the structure at the time) is the best way to minimize traumatic experiences. i get that it was supposed to be a “wow” moment for the plot and just visual effects but not the appeal.

kung food

the second i ever laid my eyes on this name i knew it would be bad, i just didnt know how bad because there were just so many ways it couldve gone with that phrase and i didnt know what to expect until i actually watched the episode. more on this in a bit.

there was literally no point to having the famous chef be related to marinette other than contrived circumstances to get adrien into this episode. im using this as a launching off point for talk of other stuff.

why didnt marinettes parents do anything about a relative coming to their house? this really baffles me because they have their daughter meet an effective stranger with no help.

why didnt marinettes parents tell her what languages the relative spoke? honestly, it kind of seems like they just didnt even care if this would cause her extreme anxiety or anything. you would really think they would have at least discussed this as a family because it was made pretty clear that his visit was actually expected. i thought way higher of their characters until it seemed that they pulled this crap move.

i know it was supposed to be all cute and a bonding moment when adrien came over to translate, but it was even more of a disaster. why did they take a car literally around the corner to get to the hotel? why didnt the chef go directly to the hotel if it was so close? was that adriens car? who was in charge of organizing this event and making sure the contestants didnt end up in the wrong place? how in the world did the chef even get to the bakery? because of the close proximity of the hotel to the bakery, it doesnt make sense that he would go to the bakery instead from an airport or something? unless he was supposed to meet his relatives? which, in this case, was not facilitated at all? so many questions are raised.

i dont speak nor understand mandarin, but im pretty sure adriens wasnt good enough for him to actually be complimented for it. then again, its nothing new to see white people getting complimented for deigning to learn a ~foreign language~ while i get interrogated about my lack of “authenticity” for not speaking “my native tongue,” so i guess the writers were just being realistic.

he bowed...funny story, at least one time i went to a restaurant with other visibly asian people and the apparently-white waiter kept making this weird head bobbing motion every time they left the table and what im saying here is that i know adrien has presumably been learning about culture stuff, but i also know firsthand that creators really love to shove bowing into media whenever asian people show up. (that waiter did give us extra mints, so i guess that was nice.)

sarcasm alert: i love when ~asian~ people have ~asian~ accents. its not like this is a tired gimmick that i dont need to see literally everywhere i turn (oh, wait! according to the english version, it is! hooray for me! this is probably the most exciting thing that has ever happened to me ever! im not being sarcastic at all! or overly sarcastic to the point where im sarcastically putting in that everything ive written in this paragraph is sarcastic because im just so mad! or maybe it definitely is! it probably is all sarcasm!) [bonus sarcasm here]

the chefs english/default dub language fluency was either inconsistent or this was just a straight-up rude portrayal of a nonnative speaker of a language, because adrien didnt seem to wait five seconds (for the chef to even consider the question about what he was cooking) before talking to the chef (and naturally, being a polite person, the chef listened to what adrien was saying), and i feel like it was only for the sake of adrien being ~useful~ because right after that, he talks to the chef in english/whatever language? dont think i didnt notice that his english speaking got “better” after becoming a villain. you know, if they hadnt faked the accent in the first place, they wouldnt have had to hastily cover for the fact that their voice actor couldnt even execute it well.

im sure adrien and marinette tag-teaming to argue with chloe and her racist comments was supposed to be this whole “wow look at that team” deal, but it felt like adrien was shoehorned into this mess sloppily. woohoo for the white boy defending marinette because she cant do it herself or something! i do appreciate when white people help stand up for me, but in this context, it feels off.

i have such a big problem with the “pep talk” adrien gives marinette when she thinks the chef doesnt like her. first thing, white boy explaining things about a person of color to a person of color, and the two people are actually literally related? i think the bouquet misunderstanding was really bizarre, and when did adrien have time to gain all this extensive exposition? the interview when they first arrived was short, and i dont think that both adrien and the chef would be so rude as to exclude marinette from their conversation in the car on the way over. this just comes off as a way to have adrien ~encouraging~ marinette, and its not a very good one.

this supposedly super prestigious competition literally has no security to make sure no one is mucking around behind the scenes, let alone ensure that the contestants arent up to any funny business. because why not. and no cameras around either, because cooking-based television programs never show any cooking, just the tasting and subsequent subjugation by a villain (this is a sarcastic sentence). even if this is supposed to be a featured dish and thus one they dont want to showcase the recipe behind, they could still have those little soundbites interspersed with candid panorama shots (can you tell i have no idea what any of these words mean?). im just going to have to chalk this one up to animation budget and move on.

i know this was just a sort of (intendedly funny) visual thing, but i highly doubt that the objects chloe put in the soup could just go unnoticed, especially since i presume a chef would thoroughly stir (and taste) their cooking, and the soup didnt appear to have properties of decomposing things touching it. otherwise that tasting session would probably have turned out a little messier (i am completely kidding here).

why is the chef being upset about being sabotaged made into a ~cultural~ thing? why is a white boy telling marinette about her ~own~ culture? sheesh, its like you cant just be upset because your shot at a world title was ruined on live television and you have confirmation that you were deliberately sabotaged. yes, chloe did it because shes petty and racist, but the results of her actions could upset anyone! its not just because the chef is chinese! what is the point of saying that? its a pointless throwaway comment! why dont you just find some other way to get the chef alone so he can be become a villain that isnt a) nonsensical and b) making sweeping generalizations about people? (granted, i cant speak to the validity of anything said about cultures, but i sure can comment on why saying such things about them isnt okay regardless).

“kung food” oh my god. this is such a piece of crap name. it is racist. you can literally try to argue against this until youve gone far beyond oxygen deprivation and in a grave but itll still be racist by the time youre done. aside from the pharaoh, there arent a bunch of ~ethnic~ names (not that it would be okay for that to be the case anyway) running around, and yet we get one with this specific villain whose ethnic and national origin is talked to death? okay.

and ive seen this pointed out, but the villain appearance seems to have a kind of anime-inspired design, which is honestly a good laugh because who was just talking about not conflating china and japan again? weeaboos and sinaboos are often in the same boat.

okay, not related, but adrien just had to taste a suspicious substance off the floor. why. there are so many ways to figure out what a substance is before putting it in your mouth. or you could just not do that at all. before this point, they did not appear to suspect a food-related villain, so this couldve ended badly.

another side note: i dont know how that receipt retained its integrity long enough for ladybug to wrap the villain up after dipping it in the soup. do the magical items just have super special properties like extra toughness that allows them to defy the reality of paper receipts? i wonder how many of the things ive talked about in this post have been me marveling at the sturdiness of lucky charm items.

of course this turns into an ~accountability~ lesson for marinette. and chloe doesnt get reprimanded? yeah, she got booted off a panel she didnt even want to be on and no one actually clearly articulated to her that the things she said were absolutely unacceptable? then again, this is a “diversity episode,” so i dont know why my standards are so high.

wow, marinette really needed to have adrien encourage her before going to take a picture with her great-uncle? im going to be generous and allow that she wanted to make sure he would be okay with her ditching him for her much cooler great-uncle because she didnt want him to feel bad about how not-cool he is in comparison. there, you see what i mean about making up story elements? (though im really not much of a writer, oops.)

im so over people making fun of how others dress as a joke. before i realized that i am autistic and reflected back on my life, i didnt realize that i gravitate toward clothing i find comfortable rather than fashionable, and ive always gotten negative comments, ill-intended or otherwise. so i really didnt appreciate marinettes jab at chloe, even if it was to defend herself. it was just unnecessary.

i want to talk about the whole ~chinese representation~ thing in this show. yeah, i know marinette is one of the very few chinese and mixed main characters out there (and there are barely any that are both), but im going to be super honest about this: i dont think shes all that great. i am a big fan of her and this show, but that doesnt make it infallible. the fact that adrien of all people is telling her about her own culture is a huge failing in itself. i dont know everything about my own cultures, but its not cool to have a literal outsider being shown to be the expert on someones culture and be the one to guide them through that. theres barely any portrayal of sino stuff in the show as is, and i hate the way this is only shown as a kind of special episode topic. i would be way more fine with this if this wasnt basically the sole instance of discussion of marinettes heritage. and no, the fact that her mother wears stereotypical clothing doesnt count. at all.

okay, this has been a huge issue for me before and after this point, but it was in this episode that it was made abundantly clear just what we are dealing with. i know that it is completely possible, genetically speaking, for a mixed chinese and white person to have blue eyes. its also completely possible for a chinese person to have gray eyes even without being mixed (i say this because i dont know if her mother is monoracial). however, if you only have two confirmed recurring characters of chinese descent, and their eye colors are ~special~ colors...well, thats kind of iffy there. why is it that the minor chinese character has stereotypical eyes? theyre basically just expanded pupils for all intents and purposes, which is not the problem, because its possible to have irises that are so dark as to make figuring out whether they have a distinguishable brown tint to them really hard. anyway, i suppose i dont want to talk about things ahead in the season, but why is it that the background asian characters get the stereotypical eyes but the main characters who are asian get the special eye colors? (that was a rhetorical question. i know exactly why.)

im pretty that at some point in the creation of this villain name, someone patted themself on the back for being so ~clever~ like “haha kung food geddit? its like kung fu but with food because im actually not that creative and more racist than i would like to openly admit.” okay, i know im being a bit harsh. but its really annoying when one of the few things people “know” about sino people is that kung fu exists. and honestly, i kind of suspected this, but ive seen other people say that the villain more resembles a villain from anime, so...thats kind of disrespectful there...

the/le gamer

i really disliked marinettes combo move names. they all had ~asian~ words like lotus, jade, oriental, etc.

animan

i find the sniffing scene to be kind of creepy. personal space much?

the city has really high quality buses. i cant believe the bus didnt end up backfiring on their plan because if i know anything about buses its that the ones ive seen are probably way older and more decrepit than me.

antibug

how do the earrings work in this setting? as far as i can tell, it would make sense for chloe to have pierced ears and a pair of ladybug imitation earrings that she could put it, but how is it possible that ladybug was able to just pull the earrings off? because that could be a really, really messy situation if they are actually piercings with backings and everything, but is there an explanation for this? magnets, clips, anything?

the puppeteer/le marionnettiste

can that glowing bright red effect that comes from her yo-yo and the power cord being swung around just for the viewers, or can it actually be seen in-universe? or is that a null point because both items are generated by ladybugs magic?

reflekta

this show really didnt need any “haha look a ~guy~ in a dress” jokes. and honestly, this was ill handled (though arguably, its very existence was ill handled). first of all, im not the best judge of this kind of thing, but to me, ladybug felt out of character while mocking chat noir? honestly, marinette doesnt strike me as the type of person to find that kind of situation funny in the first place, so the premise doesnt really hold up in my opinion. i know marinette can make mistakes, but youd really think she would be more open to not thinking this way because she knows what its like to be bullied for other things. moving on... [though, to reiterate]

the way this was not addressed? at all? yeah, ladybug apologized for that one comment at the beginning of their conversation, but then she continued to make jokes at chat noirs expense, and it just wasnt as funny as it was probably intended to be?

i know the whole thing about ambiguous chronology, but there is no reason ladybug wouldnt take chat noirs opinion into account when planning for things anyway. it felt like that part was written specifically so he could “prove” his worth to the rest of the episode and ensure that, yes, he is still allowed to be in it after being turned into a reflekta lookalike, and the whole thing smacks of trying to write out of a corner...that was written into in the first place. if it hadnt gone the route it did with the mocking of appearances, i dont think it would have had to be as convoluted as it ended up being.

i personally dont care for high heels, but i dont get the kind of “fashion cracks” that were being made about them. like yes, high heels can be hard to move in? yeah, it isnt fun being turned into the appearance of someone who isnt you against your will? i just dont understand this gag.

guitar villain

did ladybug really honestly just full-on spray someone in the face with the contents of an aerosol can? im aware that the point was that the hair was in front of his face, but what if some had gotten into guitar villains eyes? dang, what if someone tries to emulate this in real life? ouch.

digital/numeric

kind of done with the spotlight on stalking behavior this show has.

marinette still shows no fear of suspicious screens. she continues to use parts of her face to touch one multiple times, never mind that she literally flings her yoyo all over the place.

stoneheart/coeur de pierre i

did marinette have pierced ears in the first place? shes not shown taking any earrings out, and we dont get that clear a view of her earlobes anyway. that might be deliberate for modeling budget and all.

master fu has brown eyes. so thats like four ~chinese~ characters that are in this show, and the main character and her mother have the special eye colors, and the minor character who is somewhat important to the plotline has non-black eyes, and the minor one-episode character has the black eyes. what a shining example of diversity (no).

anyway this is a good point to say that some things are just not for you. there are things that you just cant be a part of no matter how much you want to be because it just doesnt work that way. and the mess that is the miraculous “mythology” is definitely an example of this. i myself have very little knowledge of anything sino, but i sure as heck can spot that this...”history” thing is so off.

at this point i should probably mention i really dislike master fu as a character in general. just as a single point, apparently hes based off the teacher character in karate kid? i saw somewhere that the creator said he basically made marinette mixed because he was dating an asian person when he was thinking about the show and that marinette is basically his idea of their mixed kid? and back to the eye color thing (again), ive even seen someone with green eyes and blue hair suggest to him that they could be the child of marinette and adrien, and he said theyre like his grandchild? (im not really inclined to try to dig up an iron-clad, indisputably genuine source for this right now, but if youre honestly searching for completely serious, well-researched information in a really good quality post, this is not the post you are looking for.) i have no idea where i was even going with this paragraph.

stoneheart/coeur de pierre ii

why is marinette so invested in her crush on adrien? this couldve been a sweet crush, but no, she has to make it so creepy? leading up to this episode, i really didnt know what to expect because i really thought there would be some sort of explanation for just how extreme the lengths marinette goes to are, but from what i can tell, shes just being super invasive? the ambiguous timeline doesnt really help with this, nor does the fact that the origins episodes were aired at the end of the season. whatever characterization was supposed to be inferred from this feels choppy and unnecessary.

simon says/jackady/jacques a dit

i dont really blame her, but ladybug totally could have reduced the level of adrien distractedness going on here. shes previously shown signs of compartmentalizing ladybug and even having to face the fact that it isnt worth using up her power over adrien, but gosh golly, what gives?

princess/princesse fragrance

ive seen criticisms of how ladybug was written to be overly competent in this episode, which i think is fair since it keeps happening, and its so late in the season by this point that its gotten tired.

volpina

i try not to be too judgmental, but frankly, adrien is not that great of a prize.

anyway, from what i can tell about this episode, i think that there was too much on marinettes flaws, which i really think is a bit much to have in the last chronological episode of a season. its already been established that she makes mistakes with her decisions, but i just thought her unequal prioritization of adrien was too much. it just seemed contrived to squeeze in scenes that the creators wanted to animate regardless of overall context in the show, which is really unfortunate because of how the show becomes a little less chronologically ambiguous at this point.

#lt #kung food #this is a 'kung food' hate blog #wall of text #really long post with low readability #racism text mention (a lot of it)#transmisogyny text mention

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