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irlwakko · 2 years ago

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What’s the Franklin + Franklin strip history?? :0

Ooh yay!! Thank you for asking!!

CWs: Light discussion of racism and segregation, as well as outdated language around race.

In 1968, a teacher (Harriet Glickman) wrote to Charles Schulz to implore him to add a black character to Peanuts. Schulz replied and said he'd wanted to add a black character for a while, but was afraid of coming off as patronizing in doing so.

[ID: A letter written by Harriet Glickman to Charles Schulz on April 15, 1968. The letter reads as follows:

"Dear Mr. Schulz,

Since the death of Martin Luther King, I've been asking myself what I can do to help change those conditions in our society which led to the assassination and which contribute to the vast sea of misunderstanding, fear, hate, and violence.

As a suburban housewife; the mother of three children and a deeply concerned and active citizen, I am well aware of the very long and torturous road ahead. I believe that it will be another generation before the kind of open friendship, trust and mobility will be an accepted part of our lives.

In thinking over the areas of the mass media which are of tremendous importance in shaping the unconscious attitudes of our kids, I felt that something could be done through our comic strips and even in that violent jungle of horrors known as Children's Television.

You need no reassurances from me that Peanuts is one of the most adored, well-read and quoted parts of our literate society. In our family, teen-age Kathy has posters and sweat shirts... pencil holders and autograph books. Paul, who's ten and our Charlie Brown Little Leaguer... has memorized every paper back book... has stationary, calendars, wall hangings and a Snoopy pillow. Three and a half year old Simon has his own Snoopy which lives, loves, eats, paints, digs, and sleeps with him. My husband and I keep pertinent Peanuts cartoons on desks and bulletin boards as guards against pomposity. You see... we are a totally Peanuts-oriented family.

It occurred to me today that the introduction of Negro children into the group of Schulz characters could happen with a minimum of impact. The gentleness of the kids... even Lucy, is a perfect setting. The baseball games, kite-flying... yes, even the Psychiatric Service cum Lemonade Stand would accommodate the idea smoothly.

Sitting alone in California suburbia makes it all seem so easy and logical. I'm sure one doesn't make radical change in so important an institution without a lot of shock waves from syndicates, clients, etc. You have, however, a stature and reputation which can withstand a great deal.

Lastly; should you consider this suggestion, I hope that the result will be more than one black child... Let them be as adorable as the others... but please... allow them a Lucy!

Sincerely,"

The image cuts off before the signature. /end ID]

[ID: A letter written by Charles Schulz in response to Harriet Glickman. It is written on Peanuts stationary with a drawing of Charlie Brown looking sad with his kite wrapped around Snoopy's doghouse. The letter reads as follows:

"Dear Mrs. Glickman,

Thank you very much for your kind letter. I appreciate your suggestion about introducing a Negro child into the comic strip, but I am faced with the same problem that other cartoonists are who wish to comply with your suggestion. We would all like very much to be able to do this, but each of us is afraid that it would look like we were patronizing our Negro friends.

I don't know what the solution is.

Best regards.

Sincerely yours, Charles M. Schulz" /end ID]

Glickman asked for permission to show Schulz's letter to her black friends, and Schulz agreed, saying he would be anxious to hear their feedback and suggestions. After hearing back from Glickman and her friends, Schulz decided to introduce Franklin later that year. He followed Glickman's friends' recommendations, introducing Franklin without fanfare or any acknowledgement of his skin color, simply showing a black child and a white child interacting and becoming friends.

[ID: Two Peanuts comic strips in black-and-white. In the first, Franklin hands Charlie Brown a beach ball, and then the two walk over to a lopsided sandcastle, with the following dialogue:

Franklin: Is this your beach ball? Charlie Brown: Hey! Yeah! Thank you very much! Franklin: I was swimming out there, and it came floating by... Charlie Brown: My silly sister threw it into the water. Franklin: I see you're making a sand castle... it looks kind of crooked. Charlie Brown: I guess maybe it is... where I come from, I'm not famous for doing things right.

In the second, Franklin and Charlie Brown begin rebuilding the sand castle, collecting sand and water in buckets, with the following dialogue:

Charlie Brown: Is your whole family here at the beach, Franklin? Franklin: No, my dad is over in Vietnam. Charlie Brown: My dad's a barber... he was in a war, too, but I don't know which one. Franklin: Do you like baseball, Charlie Brown? Charlie Brown: My problem is I like baseball too much. Franklin: Are you a good player? Charlie Brown: I have some friends who would regard that as a great topic for a panel discussion. /end ID]

The two are shown befriending each other on a desegregated beach and build a sandcastle (which is the scene shown in the ornament from this post).

Franklin's inclusion made him the first black character in a nationally syndicated comic strip, and later strips showing him attending school and sitting in front of Peppermint Patty also marked the first appearance of a desegregated school in a nationally syndicated comic strip!

Since then, he's also featured in several TV specials, The Peanuts Movie, and a few Peanuts-related video games as a supporting character, and a meet-and-greet character in Planet Snoopy!

Fun fact: Franklin's semi-canonical last name is Armstrong, a last name given to him in the 1990s by Charles Schulz after black cartoonist Robb Armstrong. Armstrong had been six when the original Franklin strip came out, and recalled that Franklin's inclusion as an inspiration to his young self.

[ID: A person dressed in a full walk-around costume of Franklin. The costume is clothed in a light green shirt, blue shorts, white socks, and white tennis shoes with red soles and black laces. He is standing in front of the Camp Snoopy Theater and giving two thumbs-up to the camera. /end ID.]

Bonus: After Franklin's initial inclusion, and especially after strips showing him attending a desegregated school, United Feature Syndicate asked Schulz to remove Franklin from future strips due to backlash. Schulz's response was "Let's put it this way: either you print [the strip] exactly as I draw it, or I quit. How's that?" Many people don't know this, but Charles Schulz was often incredibly badass.

(P.S.: This is my first time writing a long-form informational post like this, and also my first time writing image IDs, so please let me know if there's anything I can improve on!)

#peanuts #charlie brown #snoopy #franklin #long post #racism #<- for tws #(since there's some discussion of it/the letters use an outdated term)

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queenharumiura · 5 years ago

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The (harsh) professionals: Ponsol, Kyouya and Izumi

Send me a ship and I will grade it: ||Still accepting|| @tsundere-model

B: It’s really cute (last one for today, sorry mobile tumbling people OTL)

So going off of what was already mentioned in: [x] and [x] I’ll try to make this one a lil shorter (but we know that’s a lie).

So I already mentioned how Kyouya and Ponsol would be. With the addition of Izumi, it probably will change a lil bit.

I’ve read a little bit about the Kyouya and Izumi pair that you both have got going, but I haven’t been there from the very beginning and i’m sure I missed a lot. Still, from what I can see, the two have a relationship built off of them being sweet and caring for the other.

Both caring for each other in their own way. Izumi being like a housewife of sorts, while Kyouya is the dependable and responsible husband? They both respect each other and are loving towards the other. I’m sure Kyouya helps Izumi with his self-confidence issues.

Ponsol and Izumi have their own ship as well and they’re kind of a mess lol. They started out as enemies lol. However, like I mentioned before, Ponsol is rather sensitive to emotional and mental abuse. Seeing Izumi having a panic in the midst of fans was sensitive enough for him to step in and save him. From this, the responsible Izumi saw to it that he thanked Ponsol for it.

The two over the course of their relationship (as neighbors) have learned more about the other as they worked together in a booth, crafting lessons (for a scarf), and also whenever they had their sick episode.

Ponsol was sick, and that’s where Izumi first realized about some of Ponsol’s circumstances, like the way he was treated. Even if he’s the heir, it doesn’t mean he’s treated right by his supposed family. It probably gave him insight on who he was. He also happened to see a ‘cuter’ side of Ponsol given it was his show of craving for any kind of affection deep down.

Being weak to that sort of stuff, Izumi warmed up to Ponsol. I think you know a bit of the drama that went on in the back with Arashi, so I won’t mention that here, but that does have a play in some of this. Very long story short, Ponsol gets over that, and starts to see Izumi who was supportive of him in the meanwhile.

He learns to accept Izumi’s questionable behavior. By that, I mean, Ponsol forever questions why Izumi sticks with him and helps him. It makes no sense to him. What do you get out of it? Do you want him to speak well of you in company meetings or what? He slowly starts to accept that Izumi is just a busy body who likes to care for people.

Also, he may act haughty and confident, but he’s just as broken as Ponsol is in regards to confidence and self-worth. With time, the two would eventually have to be honest with each other and form a relationship. That was our set up.

SO, now in consideration of a 3p. I think it would be interesting. I’m usually not for a 3p since it can get messy, but if done right, it’s nice. I think if Kyouya lacks the ability to want to really give Ponsol a chance, I think that’s where Izumi comes in. He knows about Ponsol’s hurting, and can relate to it. He could be the one that pushes Kyouya into giving him that chance and make him understand why Ponsol is the way that he is.

Both would be the sort to also help Izumi when he’s suffering. They’d make sure he eats well, and takes rest when he needs it. Take care of him when he’s clearly not caring for himself as well as he should due to body images and what not.

Going off on the premise that they both love Izumi, the two would come to understand each other more and there could be a sense of respect there. I can also see some animosity that stems from competitiveness, tbh. Still, I think over time, they could come to approve of each other as ‘rivals.’

From rivals, comes friendship that was born from understanding and respect. I can see Izumi doing a ‘wow they’re both so wonderful, of course they would start to love each other. I’m just a nobody.’ Cue the Ponsol smack.

“Do you know my net worth? You have my affections and yet you try to throw it onto someone else? Check yourself.”

I honestly don’t really see much of an issue on Kyouya’s end, as he’s the sort to rise up to the situation and fight. Ponsol, I think, would be insecure around Kyouya because he’s more morally upstanding. He’s a better person who is less of a jerk than Ponsol is. Ofc Izumi would prefer Kyouya. He may even slowly start to push those two together.

From here it could go multiple ways, but on the topic of 3p, we’ll go down the route of, Izumi wanting to stubbornly stick to Ponsol, or Ponsol stubbornly wanting to prove himself for Izumi. I think Shugarl probably had to kick him into gear like, don’t be stupid, you damn brat. You clearly love him, so go for it, else you’ll regret it.

Whichever the case, I’d assume that Izumi struggles to choose between the two because they both mean a lot to him and he doesn’t want to risk losing the other. Seeing as the other two don’t hate the other, I can see them making that executive decision:

“I don’t hate you, and you don’t hate me. We can work together just fine.” “Agreed. Are we in agreement to make this work in a civil manner?” “Yes, I’ve already drafted the contract. We will both be civil to the other, and not purposefully try to oust the other at the expense of Izumi’s feelings.”

So I can see this more of it being a two people loving one person kinda 3p ship. Inevitably you’ll still have the worried thoughts of ‘what if they’ll love each other and throw me away’ or ‘Izumi will soon grow tired of me and throw me away’.

I’m sure that with a lot of heart to heart talks, they’ll grow to trust in their relationship. Who is to say? Maybe Ponsol and Kyouya will grow to like each other too when they have more of a deeper understanding with the other. Heart to heart talks are good for that.

If that were to happen, it would be interesting to see. I can see that they still prioritize Izumi in regards to romance, but they won’t completely disregard the other like, “hey, I didn’t forget about you. Here is a vday gift for you too, so don’t sulk about it.” (lol)

Truly, Kyouya and Ponsol both love to work together to spoil Izumi lbr. Izumi of course wants to do his best to return the favor and spoil them as well by taking good care of them-- otherwise he’d feel useless, i’m guessing.

If a lot of plot development and character development happened and all 3 mutually loved each other, it would be an interesting show of personalities, and helping each other through life and pain. Healing and protection. The two rich guys spoiling Izumi, while also trying to impress the other. Battle of the alphas.

Honestly I see it as their rich boi way of flirting with the other, in some dumb way. Like you see this? Are you impressed? I know, I thought of a romantic idea, are you jealous? Well, my idea is just as grand. Look at how detailed my planning is, be in awe of my skills.

Kek, it would be a silly sort of ship, i’m sure lol It sounds so childish and almost petty and that’s 1000% Ponsol’s fault, i’m sure.

#friendlyneighbourhoodscientist #meme answered #answered ask #thanks for the ask!#Neo speaks #((Alright that's the last one for today ;;;;;;;;;;;;;;;;;;; ))

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dweemeister · 4 years ago

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The Big City (1963, India)

By the mid-1960s, Satyajit Ray had proven himself to be one of India’s best filmmakers. He had earned the acclaim of audiences, critics, and filmmakers for the Apu trilogy (1955-1959), The Music Room (1958), and Devi (1960). But no matter the filmmakers or where they come from, a succession of films that do not connect can leave one scrapping for work. This is where Ray found himself in the early 1960s after a handful of works that could not match the lofty standard of his first films. So Ray turned, for the first time, to his native Calcutta (located in West Bengal, where Bengali is the official language; some of Ray’s previous films were partially set in Calcutta) and contemporary times for inspiration and incorporated his interest in featuring women as the center of his films. The result was The Big City – also known by its original Bengali title, Mahanagar – which reinvigorated Ray’s creative output.

Like many of Ray’s films, The Big City paints how individuals reckon with the constant cultural changes that come to their doorsteps or workplaces. But unlike the aging zamindar walled away from the world in The Music Room, The Big City depicts a modern struggle for gender equality that persists in India and the world over – a situation defying time and place. Ray’s achievement here signaled to viewers that he has more to say outside the impending march of modernity and dehumanizing urban demands on those from rural areas.

Housewife Arati (Madhabi Mukherjee) is concerned about the financial situation of her family. Living in a cramped apartment, her husband Subrata (Anil Chatterjee) and only son Pintu (Prasenjit Sarkar) are facilely supportive when she states her intentions to find a job; citing tradition, father- and mother-in-law Priyogopal (Haren Chatterjee; no relation to Anil) and Sarojini (Sefalika Devi) voice their opposition. Despite these gaggle of voices under one roof, Arati nevertheless finds and excels as a door-to-door saleswoman. In her early days of employment, Subrata is resentful of his wife, but he swallows his pride when he is laid off from his job at the bank after a bank run. With Arati now the sole worker, she will soon contend with workplace drama between her new Anglo-Indian friend and coworker Edith (Vicky Redwood) and her boss, Himangshu (Haradhan Banerjee) – the later of whom promises to help Subrata find a job.

What a simple story this is, with Ray’s screenplay adapted from Narendranath Mitra’s short story “Abataranika”. I write that not in disparagement, but awe. Few filmmakers can take such a grounded and domestic story and wrest torrents of sympathy, disappointment, and admiration for the characters within. Ray is one of those gifted few, extracting solid performances from his acting ensemble. Mukherjee, who would turn in an even more accomplished performance in Ray’s Charulata (1964), gives Arati poise, intelligence, and the moral righteousness that make it unthinkable to root against her. To play Arati as overly meek would undermine The Big City’s themes; to play Arati as an upending-the-patriarchy-and-taking-names feminist commando would rob the film of any dramatic interest (in addition to being improbable, given the circumstances). Mukherjee strikes this balance in ways that suit her character, with her best work ahead of her. Arati’s sense of justice is steadfast at the film’s climax, rendering her unsure whether her principled actions have been worth the consequences. That the film provides an uncertain, incomplete answer – despite Subrata’s counsel and attempt and reassurance – is to its credit.

Her friendship with her Anglo-Indian friend Edith marks the first instance of a Ray film commenting on racism. Anglo-Indians are those of mixed Indian and British descent. Many Anglo-Indians, if they could, attempted to pass as British so they could have more secure professional and political privileges. In The Big City, English-speaking Edith (her Bengali is limited to a few words and phrases, though it appears that Edith mostly understands Bengali) certainly could “pass” as British, but she is neither accepted in Anglo nor Indian circles. The tension between Edith and Himangshu in his racist beliefs about her character. How this situation develops is a testament to Ray’s attention to how out-group minorities in India can be treated (even if Edith, as a character, is never developed beyond the fact she is Arati’s friend), as films with clearly defined mixed-race characters are rarities across cinema. This was groundbreaking for Indian cinema in its ethnic-linguistic entirety (not just Bengali-language filmmaking, which Ray was the paragon of), especially in Ray’s intersecting of race and gender.

As one sees through Edith and Arati’s friendship, Britain’s colonial legacy was never far from the surface during the first decade of Satyajit Ray’s films. The train that entrances Apu and his sister, Durga, as they frolic among the kans grass in Pather Panchali (1955) foreshadows the Westernization of India’s urban life that Apu will encounter and struggle with as a teenager and a young adult. Actors Anil and Haren Chatterjee must contend with their characters who uphold the incompatible values of traditional gendered roles (in the sense that women should only be homemakers) and the stressors of a capitalist society. For Haren Chatterjee, as father-in-law and former schoolteacher Priyogopal, we see an elderly man not only dependent on his adult son and daughter-in-law but also his former students. He is helpless without them, but too proud to fully retract his denouncement of Arati’s professional plans. Ray and Haren Chatterjee portray Priyogopal with understanding – this old man’s guarded humiliation, no matter his opposition to his daughter-in-law’s work, is not to be celebrated. The displacement he and, to a lesser extent, his son feel reflects how, in a capitalist society, those not engaging in production are automatically excluded. Woven into the patriarchal society that Priyogopal and Subrata have been raised in and have live all their lives, these disruptive times expose their masculine insecurities – given purpose and form in earlier times, but now altered to something neither recognizes.

With no countryside to juxtapose with the urban, streetcar wire-filled landscape, what does Ray say about the promises of the big city? Often in contemporary Western cinema, the city is a vibrant, cosmopolitan place that, though potentially engendering an individual’s loneliness, is welcoming and conducive to ambition regardless of gender or race. Those promises of upward social mobility and civic harmony are not devastated by The Big City, but the film states that the transition from obsolete traditions to the cosmopolitan ideal is difficult, and unrealized in the case of Arati and her fellow female coworkers. The variant of capitalism here, to Ray, remains tied to traditional views of gendered roles at home and in the workplace, satisfying the needs of few. Ray is open to capitalism’s prescriptions and its supposed egalitarian goal, but it is a distant dream in The Big City.

With a trained eye for detail, Ray can make scenes susceptible to feeling staged feel as natural as can be. Scenes about family dinners, socializing among coworkers, and a trip to the doctor’s office contain dialogue that believably would be said in those settings, behavioral tics appropriate for certain situations, and production design that never calls attention to itself as production design. For Ray and longtime collaborator, cinematographer Subrata Mitra, the patient framework and unhurried approach to the film enliven Arati’s journey and Subrata’s and Priyogopal’s inner turmoil. Inspiration might also have emerged from Ray’s childhood – Ray never knew his father, and was raised and educated by his mother, who balanced a sizable professional workload alongside household duties. As his mother’s only son, Ray could see how difficult it could be for a widower with children in India. Those memories influenced how Apu’s mother in Aparajito (1956) was portrayed and certainly lends to Arati’s moving characterization for The Big City.

After a successful international film festival run abroad, The Big City’s first South Asian debut outside of India occurred at a Dhaka film festival (then East Pakistan, now Bangladesh) in 1964. So anticipated was the film that thousands of women lined up for tickets, which sold out quickly. A riot and police violence ensued, forcing the festival organizers to schedule ten consecutive screenings of The Big City (that’s roughly seven minutes in between showtimes). Needless to say, The Big City rejuvenated Ray’s directorial career, catapulted Madhabi Mukherjee to stardom, and praised among Bengali audiences and those, like Edith, might have trouble speaking the language.

The Big City is a film where the dramatic resolution acknowledges the limitations of the systems in which it was created and the setting of its original release. Yet in its cultural specificity, it contains universal themes of gender equality, the difficulty of appealing to human decency, and the unbelonging of mixed-race individuals. Greater examples of Ray’s auteurism exist, but The Big City demonstrates his signature artistic and humanistic daring.

My rating: 8/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

For more of my reviews tagged “My Movie Odyssey”, click here.

#The Big City #Mahanagar #Satyajit Ray #Madhabi Mukherjee #Anil Chatterjee #Haradhan Banerjee #Jaya Bhaduri #Vicky Redwood #Sefalika Devi #Haren Chatterjee #TCM #My Movie Odyssey

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amorpang-blog · 6 years ago

Text

TECHNO TRENDS

AUTOMATION

Automation can be performed in many ways in various industries. For example, in the information technology domain, a software script can test a software product and produce a report. There are also various software tools available in the market which can generate code for an application. The users only need to configure the tool and define the process. In other industries, automation is greatly improving productivity, saving time and cutting costs.

Automation is evolving quickly and business intelligence in applications is a new form of high-quality automation. In the technology domain, the impact of automation is increasing rapidly, both in the software/hardware and machine layer. However, despite advances in automation, some manual intervention is always advised, even if the tool can perform most of the tasks.

AutoMotion was founded in 2006 by Ben Anderson who currently serves as CEO. an automotive video solution for auto dealers. The service included an embeddable player, delivery platform, and vehicle video content. The company was awarded several state and regional awards for student entrepreneurship including the Minnesota Collegiate Entrepreneur Award, and Anderson was named the Great Lakes Regional Collegiate Entrepreneur.The Minnesota Cup, in conjunction with the University of Minnesota named AutoMotionTV as a semi-finalist.[3] Anderson was also named as a global finalist[4] in the Global Student Entrepreneur Awards.

In March 2008, AutoMotion was featured in Automotive News as one of their "10 cool technologies".2008 also brought a partnership with JATO Dynamics, an England-based data provider.

In October the company opened up a new downtown Minneapolis office.

Dominion Enterprises partnered with AutoMotion in October 2009 to provide video technology and content to its family of companies.

In 2010, the company launched a new mobile app platform for manufacturers and dealers.

The company's president, Ben Anderson, was awarded the 2011 Minnesota Young Entrepreneur of the Year by the Small Business Administration.

The company's CEO speaks regularly on mobile for automotive OEMs and automotive events including General Motors and J.D. Power and Associates.General Motors Company selected Anderson to speak on mobile during the 2012 eSummit Tour.

In a partnership with Microsoft the company launched a Windows 8 version of the mobile app platform in 2013.

In 2013 General Motors selected the AutoMotion product as the only mobile app provider approved for IMR certification.

Group 1 Automotive was the first large automotive retailer to release mobile apps for each of its dealerships. The group used the AutoMotion platform to roll out apps to all US stores in 2014.

REFERENCES:

https://www.techopedia.com/definition/32099/automation

https://en.wikipedia.org/wiki/AutoMotion

ARTIFICIAL INTELLIGENCE

The ability of a digital computer or computer-controlled robot to perform tasks commonly associated with intelligent beings. The term is frequently applied to the project of developing systems endowed with the intellectual processes characteristic of humans, such as the ability to reason, discover meaning, generalize, or learn from past experience. Since the development of the digital computer in the 1940s, it has been demonstrated that computers can be programmed to carry out very complex tasks—as, for example, discovering proofs for mathematical theorems or playing chess—with great proficiency. Still, despite continuing advances in computer processing speed and memory capacity, there are as yet no programs that can match human flexibility over wider domains or in tasks requiring much everyday knowledge. On the other hand, some programs have attained the performance levels of human experts and professionals in performing certain specific tasks, so that artificial intelligence in this limited sense is found in applications as diverse as medical diagnosis, computer search engines, and voice or handwriting recognition.

Ariticial Intelligence in games

In video games, artificial intelligence (AI) is used to generate responsive, adaptive or intelligent behaviors primarily in non-player characters (NPCs) similar to human-like intelligence. Artificial intelligence has been an integral part of video games since their inception in the 1950s.The role of AI in video games has expanded greatly since its introduction. Modern games often implement existing techniques from the field of artificial intelligence such as pathfinding and decision trees to guide the actions of NPCs. Additionally, AI is often used in mechanisms which are not immediately visible to the user, such as data mining and procedural-content generation.

REFERENCES:

https://www.britannica.com/technology/artificial-intelligence

https://en.wikipedia.org/wiki/Artificial_intelligence_in_video_games

AUTOBIOGRAPHY

My name is Maria Amor Pangandoyon. I was born on 27 June, 2001 in Candabong,Argao,Cebu, where I lived until the time I went to Senior HIghScho. I’m the fourth child in the family. My father, Mr.JOnathan Sixto Pangandoyon Jr is a task force in the Municipal Argao.My mother, Mrs.Maribel Pangandoyon is a housewife. My childhood dream was to be a nurse but now I just want to have a stable work with a good income so that I can help my family interms of financial support, I can by the things I want and also one of my dream is to travel the world.I am grateful to my parents because they always support my decisions,they raise us with fear to God,to respect and love others whatever the status is.My role model was my father and my eldest sister.One of the most memorable day of my life will be on February 14,2019 because it's my parents renewal of vows and that day I will witness my mother walking in the aisle and witness their exchanging in vows.My motto in life is if others can do it in willingness I can also do it.

Having a friends with you is fun but having friends with the same mental disability with you is so much fun.A friend that will stay in good and badtimes, a friend that will listen to all your dramas in life and a friend that treats you like a family. Having them by my side makes my badmood into good and funny.So I'm thankful that I have them and I will cherish this friendship that we have.It was fun while it last.

#friends for life

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onceuponamirror · 7 years ago

Note

For a prompt: who about some nice Archie/Betty platonic friendship? I think their friendship was the most screwed over by the writers (and the fandom) and I would like to see them as the best friend they’re supposed to be. Maybe a moment of mechanic- Betty helping Archie with that god awful car he bought? Maybe some nice Betty-Archie-Fred moment?

a/n: this is peak angsty betty; i intended to do more of their friendship (because i totally agree about how their friendship got screwed and loved this prompt) but my muse turned this into a post-canon angst-healing. well, semi-canon; i scrapped the archie’s arrest thing. i don’t feel like dealing with all of this plot nonsense

She’s been keeping an eye on the Andrews’ house for a couple of weeks now.

It started when Fred had stormed the crowd still gathering on their front steps, his arms outstretched, and demanded they all go home and stay home. Betty’d been trying that technique for days, but as the very public first victim of her father, Fred Andrews had a bit more credit to his name in this regard.

She’d felt endeared by it, relieved by it, and ashamed by it all at once, though this would be a series of feelings that she’d become accustomed to in the months following her father’s arrest.

Still; Betty has always liked Fred.

She still associates him with the warm, bubbly summers that she shared with Archie and Jughead before there words for the dynamic between the three of them, always saw him as some kind of vessel of paternally sage wisdom, untouchably moral and unshakable.

But she’s seen him shake now, and it’s been months since her father was carted away—and it still feels like her fault.

And so—Betty catches herself staring out of the window a lot lately.

She remembers staring out of her bedroom window for a glimpse of Archie wandering across his room; she remembers the wistful, moonish sighs out into the Andrews backyard, and the disappointment she’d feel when it’d be Fred or Mary instead of the once object of her affections.

It’s different now, and not just because she understands the flutterings for Archie were for a concept of a relationship that paled in comparison to the one she ended up having—flutterings that feel so foolish in retrospect, but she still can’t quite fault them, because they paved the road to Jughead.

Now, though, when she stares out the window, it’s because she’s looking for a reminder. The mornings that follow nightmares, the moments where she still feels like she’s being watched, the days where a kind of phantom pain sits at the base of her spine and causes gooseflesh, sometimes the only cure is relief that can only come with seeing either of them out, about, alive—not untouched, not unharmed, but alive all the same.

And it’s on one of those days, where she’s sitting by the window and idly tapping her pencil against the homework that feels horribly banal now, that she sees the two Andrews, together wheeling out some kind of disfigured, scrap metal project gone awry into the driveway.

She stares at it, realizing its got four wheels and the general concept of an engine, and it dawns on her that this…might be a car. Or it was, in a past life.

Cracking open her window an inch to the makings of spring and carrying voices, it takes only a few minutes of eavesdropping to put together the picture; they’re trying to salvage this ghost of a car, somehow.

Over the course of the afternoon, Betty’s attention keeps darting down to the driveway, a small smile at her lips when the new tire Fred is attempting to put onto the frame rolls right out of his hands, and Archie chases it halfway down the block. It’s brevity out of a Sunday gag strip, and her chest aches for it, wondering if she’ll ever find that in her own house again.

Eventually, the window is opened all the way, as she’d been pushing it up a hair every half hour or so. But she fidgets there, homework long abandoned, spare texts floating between her and Jughead and then Veronica, watching the two of them attempt to work on this mobile junkyard of a car.

She wonders, if this had happened months ago, if she’d be doing there now, assisting them—or given their current speed, instructing them. Maybe her own father would be alongside her, once upon a time.

He was the one who taught her about cars, taught her everything she knows.

And it’s for that reason that she feels rooted to that window, unable to move, even to offer them advice on the best wrenches, to tell them they’re better off building a new engine than trying to clean the rust off the original one.

Betty doesn’t notice her mother come in; whereas Alice used to bang open doors and click clack around the house in the heels of a happy housewife, she appears to now float from room to room, gliding in and out like the ghost of herself. And thus, when Betty hears her voice behind her, she nearly jumps right out of her skin.

“Good lord, is that supposed to be a car?” Alice muses aloud, leaning in over Betty’s shoulder to get a better view. It’s the first time she’s sounded quite like herself in a few weeks, and Betty cranes her neck up to rake her eyes over her mother’s sad, tired face.

“I think so,” Betty says, trailing her attention back down across the yard.

“Well, someone should go put it out of its misery,” she sighs.

“I think they’re going to end up doing that, whether or not they mean to,” Betty replies, tucking her fist under her chin. “I’ve been watching them. I don’t think they really know what they’re doing.”

Alice lobs a sharp eye onto her daughter, and seems to read between the lines. She exhales then, and straightens. “Come on,” she says, pushing off from the window ledge. She gets halfway to the door when she realizes Betty hasn’t moved, and pivots back around. “You should bring them some lemonade, Elizabeth,” she adds, and at first, Betty thinks it’s an attempt at her old steeliness, but seeing the lines shift across her mother’s face, she realizes it’s a plea.

Perhaps for something familiar. Still something apple pie, in spite of it all.

So Betty gets up, her knees aching from being tucked underneath her all day, and follows her mother downstairs.

And a few minutes later, she’s outside the house, closing the front door behind her, and although there’s no one clambering for a photo now, no stray reporter or sycophant left, her hands still tremble with the tray in her hands. The ice cubes in her pitcher of lemonade rattle louder than her heartbeat.

Archie and Fred fall silent as they see her approaching; although Fred had been comfortingly forgiving after the fact, Archie has never seemed to fully relax around her since. She knows he doesn’t blame her the way she blames herself, but they fidget around each other in the same way, as if constantly on different ends of the same thought.

“Hi,” she says, unsurprised to hear her voice small. “Thought you guys might want some lemonade.”

“Betty, this is a nice surprise,” Fred says at once, striding forward to help her with the tray. He takes it and deftly deposits onto a rolling work cart, beaming at her in a way that brings both relief and shame, as she often feels. “Let me go get some glasses for us,” he says, and then he disappears back into his own house, leaving her and Archie alone for the first time in months.

“New car?” She asks, gesturing vaguely at the rusted red thing in front of them.

His lips lift, just barely. “Yeah. Traded for it at the junkyard. My dad and I are fixing it up together.”

“I guessed,” she says, scrambling for something else to say and resisting the urge to apologize to him yet again. She thinks she could say it a thousand more times and feel no different. “That’s nice. I used to do that with my—”

But she promptly falls silent, and Archie eyes her, knowing what she was going to say, and her face burns hot. His jaw clicks and unclicks, as his gaze turns to the ground, clearly thinking.

“You’ve always been good at this stuff,” he says eventually, and with an overly obvious attempt at diplomacy around the subject. “Got any pointers?”

He stares at her, the width of an olive branch between them.

She has several, glancing at the tool box they have out, and the supplies they’re sorely missing. But everything she knows on this subject, she will probably hear in her father’s instructive voice, and she doesn’t know if she can handle that.

Betty licks her lips, feeling like she understands her mother’s desire for the familiar all the more now.

Truthfully, all she wants to do is pick up a wrench and take this car apart and put it back together again. Her hands twitch with the desire to fix something, anything.

And then she thinks: they have to take off the engine gasket first, and to her shock, doesn’t hear it in her father’s voice.

She hears her own.

Just then, Fred re-emerges from the house with a couple of glasses. She notices a third one for herself, and feels color.

“Are you staying, Betty? We could use another set of hands,” he says amiably, offering her one of the cups. “Or advice, if you’ve got any,” he adds, with a light chuckle and grinning wryly. “I worked on a car with my old man, but that was longer ago than I might want to admit, and I’m rustier than I thought I’d be.”

Archie glances between her and his father, and then he smiles too. His posture droops, like he hadn’t realized how rigidly he’d been standing, and she thinks, for the first time—

“Okay,” Betty says, voice rising back into its usual decibel. She smiles. “Okay.”

#i know everyone hates betty x archie but give it a shot this isn't that #fics #unbeta'd etc #betty cooper #archie andrews #riverdale #prompts #Anonymous

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getauntiesnumbers · 6 years ago

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Indian aunty Mobile ?? Are there really any aunties and bhabhi’s on the Internet who’s pictures are shown are they available for Enjoyment

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notesbyfleur · 3 years ago

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john and alizeh.

John is the most accurate definition of tall, dark and handsome. We have known each other since we were eleven, or twelve. We were in the same circle of friends—who grew up together from pre-puberty kids to teenagers with keypad mobile phones and independence—but sadly, we rarely talk. I never said ‘hi’ whenever we passed by, and neither did he. But he knows whenever I am present, and I would always secretly find his face when everyone gathers. We only exchanged smiles, occassionally, and communicates with each other via friends, very subtly.

There was a certain unspoken agreement that when your best friend has a crush on a guy, you do not talk to the guy. So despite not talking to John because Alizeh likes him so dearly, I have spend most evenings sitting at the bus stop down the school hill, watching the boys play football in their shorts. He was there. Tall, dark and handsome. His hair is always in a classic Frankie Muniz updo, and his eyes were dark, mysterious and calm. He was funny, and he likes cracking jokes, but he also retreats himself into a shy demeanour shortly after.

Alizeh talks about him nearly half of the time we hung out together in school and after school, so by time, I was able to get used to listening to stories of John. And when we were fourteen, they dated each other. I guess he must’ve liked her for so long too. Alizeh is a lovely person, and while she might not be the star student in our school, she walks with grace and beauty. Jet black spill of hair tucked behind her ears, and soft white skin with a subtle tan that reminds you of thick cheesecakes. There is a certain politeness in her smile, as if she was playing Dutchess all the time, but they were the most warm, genuine smile.

One afternoon when I was thirteen, I smashed the little glass swan John gave me for my twelfth birthday and practiced playing Game of Love on my father’s guitar until the tip of my fingers burned in pain.

Alizeh moved away when we were fifteen, and I still hadn’t talked to John in the most casual and direct conversation. By that time, I was able to recite the entire Science syllabus, played many songs on the guitar and sat with the boys of my class in my pinafore while they helped changing the strings of my father’s guitar.

John and I only started properly talking when we were sixteen, but not much words are exchanged. Most of the time, there were silence. Which had led us to this very moment—when he was waiting outside the gates of my house on his motorcycle on a Wednesday evening.

I refused to wear the helmet, because we were only heading a few blocks away from my house for Maths tution. I have no problem with walking, but our friend suggested that he gave me a lift.

“Okay, get behind me,” he said, already mounted on his motorcycle. His voice was slow and soft.

I climbed behind him and held on to my tote bag, which was sandwiched between us. He made a turn and we left. Again, very few words were exchanged between us—as it was in school and during tuition.

***

I remember evenings from my teenage years very faintly, but often times the recalling would come in the most beautiful form I could never explain—like old recordings of the five senses in the most comforting way that makes you feel like old memories are things that are so intangible, no matter how close they are to your heart. Often decorated with orange sunsets or gloomy skies, and framed with beautiful bokeh or grey diamonds of raindrops, my recollections of youth revolves around everything that was truly innocent.

Innocent, but nothing was within my grasp. Not the one I couldn’t control, at least.

Worn out debate cards tucked into my tote bag. Pages of my physics schoolbook turned chilly by the air-conditioning of my own bedroom, untouched and clean from scribbles. I lay in bed with my limbs sprawled, eyes staring into the nothingness that was on the ceiling. The five o’clock evening sun cast orange hues through slits of the curtains, on whichever surface it could touch.

Love Is Only A Feeling by The Darkness was playing. My lips mouthed its lyrics, my throat releasing nearly-inaudible vocals. It was an anthem. Music was my element.

It was also sad how music is something that guitar-playing John is something we could always bond over. Yet besides motorcycle rides and tuitions, our conversations were almost obsolete. Words exchanged between us could compare to the likeliness of solar eclipses.

Alizeh was long gone. Distance was a difficult barrier when you’re a highschooler of the 2000s—and the Nokias and Sony Ericssons were only promises on one end. Phone calls and instant messages with Alizeh became less and less, until one day, it stopped. Like a long-distance relationship with a faint ending, friendship faded into the background, like a slow score of an eventful scene.

Without Alizeh, eye contacts happened more often.

***

I have never had a proper conversation with John, and even two years after Alizeh has left us in this smaller, peaceful town, I still have not had a proper conversation with John. I regretted smashing the glass swan when I was thirteen, but we don’t carry or keep things that no longer serves us.

As Alizeh faded into the void behind us, making her presence no longer felt among our group of not-so tight knit friends, I breathed a new life into my courage. No, not the kind of courage you need to speak in front of the crowd, carrying the school’s name on your forehead and aiming for the grand prize.

Courage is a funny thing. It was as if we all exists on different planes and we view courage differently. One could fear the act of making decisions for a group of teenage mankind and strutting forward spouting instructions from his mouth. I have no such fear. One could fear the act of being left alone with a person she had known for five to six years, fear of stuttering and fidgeting not knowing what to talk about. That would be my fear.

For the rest of my high school days, I knew his full name. I knew his birthday. I knew his family, I visited his house. I knew that he broke his hand in the sixth grade from an accident. I knew how he liked his hair done. I knew he enjoys his motorcycle rides to and fro school in the evening. I knew what everyone else knew. I didn’t know what lies below the surface instead—insecurities, fears, everything personal and everything sentimental. Yet times spent whenever he was in my scene, my field of vision, and my presence; they felt somewhat cinematic. Time slows down to make way for the sun to give its golden warmth upon us, and whenever it was raining, alternative rock music often played in independent movies plays in its own plane. But that was ultimately everything. It was as if we have a cackling chemistry, but we never had an existing bond between us. It was like a metal bridge being built from both sides, having never met in the middle.

***

The town where I grew up in was such a small town, but when you have everything so close around you, physically and sentimentally, it becomes your entire world. There was nothing you could lose and even with the lack of this and that, everything felt sufficient. I have been fed with the idea of a wistful high school experience, from the sappy books I’ve read. I found out later that I was wrong, that I thought everything I had in my teenage years would stick with me throughout the rest of my life, growing with me. It’s such a beautiful thought—to be able to transition into a much more serious part of life with the people you grew up with.

Alizeh was the first warning that not everything lasts, and people grow apart. What the town gives you to nurture your growth doesn’t necessarily cling with you as you transition. Butterflies don’t bring their coccoon with them after metamorphosis. The first to leave was my best friend. And then, everything else.

John looked at me with obscure sorrow in his eyes. It was that one evening where our friends were as energetic despite the lack of sun. John’s hands clung onto his motorcycle as he stood beside it. Like everyone else, we weren’t in the rush to get home.

I was prepared—as usual—to go with him. After several times, he was used to giving me a ride from and back home. I forgot when did the favour turned into an unspoken one. Perhaps we took it as an arrangement, which unfortunately did not last under certain circumstances—changes.

But I was waiting for him to climb onto his motorcycle first, so I could climb behind him. That’s the way it is always, isn’t it?

He didn’t. Instead, he looked at me with obscure sorrow in his eyes. Head slightly tilted sideways, updo unwavered—he looked at me like someone looked at a nostalgic past, something he longed for but can never touch.

I didn’t ask questions. I never do. We never have proper conversations. I felt like asking would lead to and intrusion of personal space of his.

He opened his mouth and sucked his breath. My friends were already on the road, with laughter so loud it might have echoed the entire neighbourhood. He wasn’t curious enough to see what was so amusing.

And that was when I finally asked, “what?”

“I’m moving.” He said so with a tone that was only meant to be heard by me and no one else. I turned to the rest of my friends, but they were too occupied to be in the conversation—or perhaps John had only meant it to be a one-to-one announcement. The rest of our friends could probably wait.

“You’re moving?” I repeated rethorically—what else am I supposed to say?

He nodded. “I’m leaving next month.”

“Where to?”

“KL. The big city.”

I said nothing else. I clutched my fist, hoping not to look indifferent about his announcement of departure. But I couldn’t bring myself to produce a proper spoken response, or any response at all. I couldn’t keep the conversation going, mostly because asking things in which you could easily predict the answer is useless. He is moving because his father has to move for work—his mother is a housewife. He doesn’t know what school will he enroll in once he got there. He will come to visit—he has family staying in town still. And he will at least throw a farewell barbecue party for his friends before he leaves.

“How do you feel about it?”

“Sad. I mean, I grew up here.”

He moved away the month after. You’d think it would be cinematic. You’d think I would be sending him love letter like Lara Jean, and we’d be making out on an all-green football field under the sun, at least before he leaves forever. But it didn’t happen, I said nothing, and one day we stopped seeing his face around school.

***

A/N: This was written as a part of my memoir-themed novella, Oxygen and Other Dreams, that remained as unfinished as I left it in 2018. As much as I could recall a lot of details accurately, I couldn't bring myself to write the following part. It was something that I never have apologised to John for—but someday, maybe I will.

John and I remained friends on social media, as Alizeh too. They married different people now, and they're very blessed to have found lifetime love. I was never someone who could fit into their narratives comfortably—a misfit—and I feel like I am still the misfit. I'm still here, and I'm still me.

— steff fleur // july 2, 2021

#oxygen and other dreams #novella #unfinished

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scientistofdeduction · 7 years ago

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2017 Sherlock Holmes Highlights

It’s that time of the year again folks, where we reflect, remember, and resolve to move forward. Due to some things (graduation, etc) I missed doing this last year, but HERE is the link to 2015’s highlights. (so sorry/not sorry to those on mobile)

This will be an elephant in the room otherwise.

BBC Sherlock

Ended (?). Series 4 was probably the worst received of the entire show. Opinions aside, there were lots of brilliant moments throughout it, and lots of terrible ones. The final episode was all but awful. But, the highlights remain: incredible acting, amazing cinematography. Astounding soundtrack.

The final montage of the show, despite the (bad) disappointing final episode, was very touching. Watch it HERE without Mary’s monologue to really experience its full power.

Mystery Queen/ Queen of Mystery

Korean Mystery show that was said to draw a lot of inspiration from Sherlock Holmes. It was talked about as “Sherlock Holmes is now as mystery-solving housewife”. (I’ve not watched this one yet, but viewers seemed to like it very much).

The Whole Art of Detection

(Heavy bias) Best Sherlock Holmes book of the year.

Faye’s latest Holmes book covers a number of stories, spanning many different eras of the canon Holmes/Watson friendship. Beautifully written, exciting to read, a nice change of pace to be back fresh in 1895 (or thereabouts). HERE’s my review if you want more reason to read it and more bias.

Lock and Key #2 came out.

This is sitting in my TBR pile currently. I found the first one to be very fun, a modern take on Holmes and Moriarty, told by Moriarty’s younger sister as the three of them attend boarding school. It’s fun to see it continuing.

Sherlock Gnomes Trailer was released. Watch it HERE.

Admittedly, I think all of us who adopt the “All Holmes is good Holmes” motto found ourselves questioning how far that would hold with this one.

Johnny Depp will play the animated detective and if anything, it will be interesting to watch.

The (final?) Lock and Mori novel was released.

I found this series to be very dark and very heavy, dealing with a modern teenage female Moriarty and her classmate Sherlock Holmes. (trigger warning, it deals with child abuse quite heavily, on top of the usual murder mystery and case solving). So i haven’t rushed yet to pick up this third one. But if this kind of story is your cup of tea, the 3-book-series is something to pick up.

Biased: Elementary is the best Sherlock Holmes adaptation currently out there. Probably the best since Granada.

Season 5 ended mid 2017, with a cliffhanger that left fans questioning many things, and demanding (despite the network’s best efforts to cancel it) to see it continue. The show will return next year, with so far only a limited number of episodes announced. If there was ever a time to watch it, it would be now. Watching it live for season 6 to give it ratings might just save the show for another season (if the writers are willing to give us one). This show has brought wonderful character development not just for Sherlock, but for everyone around him. (For why it’s so good, look HERE)

BUT we should also look forward, to all the Holmes that will come in the new year. And in the years to come.

Each year, I feel like, despite any setbacks or off adaptations, that we are inching closer to the best one (the clearest one). Each year, we get incredible work. If you felt let down by 2017′s year of Sherlock Holmes, here’s a look at some lighter moments of the character in general, the best of where we have been that will hopefully influence those who create more for us in the next year and beyond:

Who You Really Are by Oak Culverton on Vimeo

vimeo

A celebration of BBC’s Sherlock. Look back on the best moments.

Sherlock Parody by The Hollywood Show

youtube

Great parody. Catchy song. More reasons to remember the good times of BBC’s Sherlock.

We Made Something of Ourselves by Anemices on Youtube

youtube

A look at some great moments of Elementary, celebrating the friendship and partnership of Watson and Sherlock.

I Want to Break Free by Frogwares

youtube

Things you wouldn’t expect: a dancing video with Holmes, Watson, and Lestrade. In video game form.

Watson knows Holmes better than anyone, and Granada gets it.

youtube

From the Norwood Builder.

And this gem, from The Testament of Sherlock Holmes (play through the game, it’s worth it for this moment. Holmes even calls Watson “John”).

If Sherlock Holmes (especially in the mystery genre) is about anything, it is about hope in the face of no-win scenarios. And about never being alone. 2017 pulled some of us stronger together as a community, and this year gave me a lot of hope about the continuation of Sherlock Holmes as a character.

Happy New Year’s Eve/New Year, all :)

#Sherlock holmes #The Whole Art of Detection #Elementary #Sherlock #John Watson #Lock and Mori #Teenlock #Sherlock Holmes games #Year in Review

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lighttheday · 6 years ago

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*Gender Roles on Disney Show*

https://www.youtube.com/watch?v=tRjy70a9GMQ

In this entry, I will examine the critical question: What gender norm is constructed or undone in this artifact and how does it promote a dominant ideology over a marginalized group?

This rhetorical artifact I will be examining is an episode of the Disney Channel show Phineas and Ferb which is an animated musical comedy show about two brothers Phineas and Ferb who are determined to make the best out of their summer. Phineas and Ferb are stepbrothers who are extremely intelligent and can create anything they imagine. In each episode, the boys challenge themselves to do new things such as building a backyard beach or world’s greatest roller coaster. The two boys’ older sister named Candace, who always get annoyed by her brothers’ invention and continuously tries to tell on the boy but always fails to do so. The show also contains a second plot about the family’s Platypus, Perry, who is an undercover secret agent. Although this show is meant to make the audience smile, it also portrays gender stereotypes by implying that boys are supposed to be intelligent, creative, and innovative while implying that girls are supposed to focus on beauty and chase after their crushes. The show promotes the dominant ideology that boys with their intelligence and creativity have the potential to be more than girls.

The episode I examine is titled “Phineas and Ferb Interview with a Platypus.” In this episode, Phineas and Ferb try to build a machine that can help them understand what Perry’s chatter mean. On the other hand, Perry escapes for his undercover job, so Phineas and Ferb tryout their translator to help other animals in the city. While this was happening, Candace was trying to spend time with her crush Jeremy by pretending to like video games. However, Jeremy family’s poodle dislikes Candace and interrupt Candace’s date by peeing on her shoe, forcing Candace to leave. Once Candace arrived home, she saw the boy’s translator and instantly tried to tell on her brothers, she ends up failing. On the second plot of the is an episode, Perry stops Dr. Doofenshmirtz (the evil arch-nemesis) from flooding the city and make them his new invented vehicle the runs on water.

While Phineas and Ferb is an amazing comedic show that informs the audiences the values of innovation, creativity, and friendship it also displays certain gender roles. In the article “Undoing Gender,” Judith Butler explains that gender is not constructed biologically; rather, it is socially constructed. She states that gender is not something automatic or mechanical, but it is the “practice of improvisation within a scene of constraint” (Butler 1). She explains that gender is not something an individual can create by him/herself. Instead, society influences the individual through gender stereotypes and build in social constraints that keep them from deviating. Butler further explains through her idea, “the agency of ‘I,’” that gender should be an individual’s decision alone, not society (Bulter 3). However, because of society’s gender norms and social constraints, people are pressured to fit in these constructed gender norms. Furthermore, Phineas and Ferb increase the pressure to fit in by promoting gender stereotypes through fictional characters. There are two main female characters in the show are Isabella, a 10-year-old girl who has a massive crush on Phineas, and Candace to promote these stereotypes.

At the beginning of the episode, Ferb and Phineas are in their backyard wonder what their Platypus Perry’s chatter means. While this was happening, Candice is in her room talking to her friend on the phone about why her crush Jeremy not calling. This scene displays a variety of hidden gender stereotypes. For example, the walls in her room are painted purple, her bed sheet is pink, her pillowcase is a purple color with pink hearts, and her mobile phone is pink as well. The pink and purple colors are supposed to feminine colors, this portrays the stereotype that girls are supposed to be feminine. Hung on her wall is a scripted photo of Candace and Jeremy, Candace dressed as a princess and her Jeremy dressed as prince which depicts the stereotype that girls are supposed to dream about founding prince charming and live happily ever after. Another scene that displays gender roles is when Candace was playing video games are Jeremy’s place. While Jeremy was extremely good at video games, Candace was awful at video games. This portrays the idea that videos are supposed masculine and therefore, is not for girls. The ending scene also does a neat job displaying gender role. In this scene, Candace is by the garage upset that her date with Jeremy didn’t go so well. Suddenly, Jeremy arrives with Candace’s shoe and puts it on her foot. Then, surprised by what just happened, Candace ends up passing out of joy. This is another example of girls waiting for their prince charming to come to rescue them.

The second way the show promotes gender stereotypes is through Isabella. She is always dressed in a pink mini dress with purple headband, and every time she arrives at a low tempo pretty soundtrack is played. Again, this is further displaying the stereotype that girls are supposed to be feminine and wear feminine color. As for the soundtrack, it is only played when Isabella approaches Phineas. This because Isabella has a crush on Phineas and the music is supposed to display her emotions. This is intriguing because both of the main female characters are characterized by their crushes which again goes back to the stereotype that girls are full of emotions and a guy in their lives. Finally, Sabella is also part of Girl Scout; and the help of other Girl Scout members they run errands and find other ways to help Phineas and Ferb. This displays that boys are supposed to be the leaders and girls are there to be submissive and followers.

In the article “A longitudinal content analysis of gender role portrayal in Belgian television advertising”, Verhellen, Dens, and Pelsmacker conducted an experiment to see if advertisements on Belgian commercial television depicts gender roles (Verhellen, Dens & Pelsmacker 181). They discovered that advertisements tend to use younger women of over women and these are portrayed as a housewife, caregiving parents, and sexual objects (Verhellen, Dens & Pelsmacker 181-182). The researchers gathered and analyzed results from two distinct periods, 2002–2003 and 2009–2010, to get a more comprehensive view on gender role and to see if there have been changes concerning gender role across the two periods. They discovered gender stereotypes in advertising has not changed and continued to over time (Verhellen, Dens & Pelsmacker 183). This article provides evidence that gender stereotypes don’t just occur on T.V shows but also occurs advertisement. And this trend of gender role has been going on for a long time.

In conclusion, Phineas and Ferb is an amazing show that teaches its audience to be creative and innovative. However, the show also implies that girls should focus on beauty and chase after their crushes which promotes the dominant ideology that boys are supposed to be intellect and creativity and have potential to be inventors, engineers, and scientists. Furthermore, Verhellen, Dens, and Pelsmacker discovered that these gender stereotypes don’t’ just get displays in the United States in television, but also in Belgian. Judith Bulter states that gender roles are socially constructed, which means they can be social deconstructed. As a considered citizen, it is our job to be aware of these gender stereotypes and found ways to start deconstructing them.

Reference:

Butler, Judith. Introduction: Acting in Concert. Undoing Gender, by Butler, Routledge UP, 2004, pp. 1-4.

Phineas and ferb interview with a platypus. . (2016, Apr 10,).[Video/DVD] Retrieved from https://www.youtube.com/watch?v=tRjy70a9GMQ

Verhellen, Y., Dens, N., & Pelsmacker, P. d. (2016). A longitudinal content analysis of gender role portrayal in belgian television advertising. Journal of Marketing Communications, 22(2), 170-188. doi:10.1080/13527266.2013.871321

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papermoonloveslucy · 3 years ago

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100 ARTISTS & ENTERTAINERS OF THE CENTURY

June 8, 1998

Lucille Ball was one of the figures chosen to appear on the cover of Time Magazine’s June 8, 1998 issue celebrating the top 100 artists and entertainers of the century. In a drawing by Al Hirschfeld, Ball shares the cover with filmmaker Stephen Spielberg, musician Bob Dylan, and artist Pablo Picasso.

In the table of contents page, there is a photo of Lucille Ball, and her article is listed below Rodgers and Hammerstein, names that were frequently mentioned on “I Love Lucy.” Also mentioned was Frank Sinatra, Marlon Brando, and Charlie Chaplin, who Lucy embodied on several occasions.

LUCILLE BALL: The TV Star

The first lady of comedy brought us laughter as well as emotional truth. No wonder everybody loved Lucy

By Richard Zoglin

It happened somewhere between the clunky premier episode (”Lucy Thinks Ricky Is Trying to Murder Her”) and her first classic routine, the Vitameatavegamin commercial, in which Lucy gets steadily soused as she keeps downing spoonfuls of the alcohol-laced potion she's trying to hawk on TV. (Watch the spasm that jolts her face when she gets her first taste of the foul brew; it could serve as a textbook for comics well into the next millennium.) "I Love Lucy” debuted on CBS in October 1951, but at first it looked little different from other domestic comedies that were starting to make the move from radio to TV, like “My Favorite Husband”, the radio show Ball had co-starred in for three years. Lucy Ricardo was, in those early “I Love Lucy” episodes, just a generic daffy housewife. Ethel (Vivian Vance), her neighbor and landlady, was a stock busybody. Desi Arnaz, as bandleader Ricky Ricardo, hadn't yet become one of the finest straight men in TV history. William Frawley, as Fred Mertz, seemed a Hollywood has-been in search of work, which he was.

Then magic struck. Guided by Ball's comic brilliance, the show developed the shape and depth of great comedy. Lucy's quirks and foibles -- her craving to be in show biz, her crazy schemes that always backfired, the constant fights with the Mertzes -- became as particularized and familiar as the face across the dinner table. For four out of its six seasons (only six!), “I Love Lucy” was the No. 1-rated show on television; at its peak, in 1952-53, it averaged an incredible 67.3 rating, meaning that on a typical Monday night, more than two-thirds of all homes with TV sets were tuned to Lucy.

Ball's dizzy redhead with the elastic face and saucer eyes was the model for scores of comic TV females to follow. She and her show, moreover, helped define a still nascent medium. Before “I Love Lucy”, TV was feeling its way, adapting forms from other media. Live TV drama was an outgrowth of Broadway theater; game shows were transplanted from radio; variety shows and early comedy stars like Milton Berle came out of vaudeville. “I Love Lucy” was unmistakably a television show, and Ball the perfect star for the small screen. "I look like everybody's idea of an actress," she once said, "but I feel like a housewife." Sid Caesar and Jackie Gleason were big men with larger-than-life personas; Lucy was one of us.

She grew up in Jamestown, N.Y., where her father, an electrician, died when she was just three. (1) At 15 she began making forays to New York City to try to break into show business. She had little luck as an actress but worked as a model before moving to Hollywood in 1933 for a part in the chorus of “Roman Scandals”. Strikingly pretty, with chestnut hair dyed blond (until MGM hairdressers, seeking a more distinctive look, turned it red in 1942), she landed bit parts in B movies and moved up to classy fare like “Stage Door”, in which she held her own with Katharine Hepburn and Ginger Rogers.

Buster Keaton, the great silent clown working as a consultant at MGM, recognized her comic gifts and worked with her on stunts. She got a few chances to show off her talent in films like “Du Barry Was a Lady” (with Red Skelton) and “Fancy Pants” (with Bob Hope) but never broke through to the top. By the end of the 1940s, with Ball approaching 40, her movie career was all but finished.

It was her husband Desi -- a Cuban bandleader she married shortly after they met on the set of “Too Many Girls” in 1940 -- who urged her to try television. CBS was interested in Ball, but not in the fellow with the pronounced Spanish accent she wanted to play her husband. To prove that the audience would accept them as a couple, Lucy and Desi cooked up a vaudeville act and took it on tour. It got rave reviews ("a sock new act," said Variety), and CBS relented.

But there were other haggles. Lucy and Desi wanted to shoot the show in Hollywood, rather than in New York City, where most TV was then being done. And for better quality, they insisted on shooting on film, rather than doing it live and recording on kinescope. CBS balked at the extra cost; the couple agreed to take a salary cut in return for full ownership of the program. It was a shrewd business decision: “I Love Lucy” was the launching pad for Desilu Productions, which (with other shows, like “Our Miss Brooks” and “The Untouchables”) became one of TV's most successful independent producers, before Paramount bought it in 1967.

Today “I Love Lucy”, with its farcical plots, broad physical humor and unliberated picture of marriage, is sometimes dismissed as a relic. Yet the show has the timeless perfection of a crystal goblet. For all its comic hyperbole, Lucy explored universal themes: the tensions of married life, the clash between career and home, the meaning of loyalty and friendship. The series also reflected most of the decade's important social trends. The Ricardos made their contribution to the baby boom in January 1953 -- TV's Little Ricky was born on the same day that Ball gave birth, by caesarean, to her second child, Desi Jr. (A daughter, Lucie, had been born in 1951.) They traveled to California just as the nation was turning west, in a hilarious series of shows that epitomized our conception of --and obsession with -- Hollywood glamour. And when the nation began moving to the suburbs, so too, in their last season, did the Ricardos.

Ball was a lithe and inventive physical comedian, and her famous slapstick bits -- trying to keep up with a candy assembly line, stomping grapes in an Italian wine vat -- were justly celebrated. But she was far more than a clown. Her mobile face could register a whole dictionary of emotions; her comic timing was unmatched; her devotion to the truth of her character never flagged. She was a tireless perfectionist. For one scene in which she needed to pop a paper bag, she spent three hours testing bags to make sure she got the right size and sound.

Most of all, I Love Lucy was grounded in emotional honesty. Though the couple had a tempestuous marriage off-screen (Desi was an unrepentant philanderer), the Ricardos' kisses showed the spark of real attraction. In the episode where Lucy finds out she is pregnant, she can't break the news to Ricky because he is too busy. Finally, she takes a table at his nightclub show and passes him an anonymous note asking that he sing a song, “We're Having a Baby”, to the father-to-be. As Ricky roams the room looking for the happy couple, he spies Lucy and moves on. Then he does a heartrending double take, glides to his knees and asks, voice cracking, whether it's true. Finishing the scene together onstage, the couple are overcome by the real emotion of their own impending baby. Director William Asher, dismayed by the unrehearsed tears, even shot a second, more upbeat take. Luckily he used the first one; it's the most touching moment in sitcom history.

Tired of the grind of a weekly series, Lucy and Desi ended “I Love Lucy” in 1957, when it was still No. 1. For three more years, they did hourlong specials, then broke up the act for good when they divorced in 1960. Ball returned to TV with two other popular (if less satisfying) TV series, “The Lucy Show” and “Here's Lucy”; made a few more movies (starring in “Mame” in 1974); and attempted a final comeback in the 1986 ABC sitcom “Life with Lucy”, which lasted an ignominious eight weeks. But “I Love Lucy” lives on in reruns around the world, an endless loop of laughter and a reminder of the woman who helped make TV a habit, and an art.

TIME senior writer Richard Zoglin still watches “I Love Lucy” reruns each day at 9 a.m.

(1) Ball’s father did not die in Jamestown, New York. He died in Wyandotte, Michigan, while on assignment for Bell Telephone.

Some editions of the issue had an overlay cover that completely blocked Lucy from view! She is not even mentioned in the text on the overlay!

#Time Magazine #Lucille Ball #1998 #Bob Dylan #Pablo Picasso #stephen spielberg #Al Hirschfeld

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