#british commentary

[wejustvibing]

DON'T CALL IT A COMEBACK... HE'S BEEN HERE FOR YEARS. - Alex Jacques 🔥

[livetogether--diealone]

CHARLES, quali reaction - SILVERSTONE GP 24

[molter-writes]

adulterous rhaenyra does make me giggle bc you know if alicent ever went outside their marriage rhaenyra & the affair partner would end up on the 6 o clock news <3 delightful little hypocrite

it's almost as though rhaenyra is canonically a character who fundamentally believes that as a result of her birth, blood, rank and station that the rules governing everyone else do not apply to her because she as The Chosen One™️ (literally, figuratively, spiritually) is a creator, and not a creature, of law

[fatehbaz]

Because tuatara are very long lived - between 100 and 200 years by most estimates […] - the founding of Aotearoa/New Zealand as a modern nation and the unfolding of settler-wrought changes to its environment have transpired over the course of the lives of perhaps just two tuatara [...].

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[T]he tuatara (Sphenodon punctatus) [...] [is] the sole surviving representative of an order of reptiles that pre-dates the dinosaurs. [...] [T]he tuatara is of immense global and local significance and its story is pre-eminently one of deep timescales, of life-in-place [...]. Epithets abound for the unique and ancient biodiversity found in Aotearoa/New Zealand. Prized as “Ghosts of Gondwana” (Gibbs 2008), or as denizens of “Moa’s Ark” (Bellamy et al. 1990) or “The Southern Ark” (Andrews 1986), the country’s faunal species invoke fascination and inspire strong language [...]. In rounded terms, it [has been] [...] just 250 years since James Cook made landfall; just 200 years since the founding of the handful of [...] settlements that instigated agricultural transformation of the land [...]. European newcomers [...] were disconcerted by the biota [...]: the country was seen to “lack” terrestrial mammals; many of its birds were flightless and/or songless; its bats crawled through leaf-litter; its penguins inhabited forests; its parrots were mountain-dwellers; its frogs laid eggs that hatched miniature frogs rather than tadpoles [...].

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Despite having met a reassuringly temperate climate [mild, oceanic, comparable to western Europe], too, the newcomers nevertheless sought to make adjustments to that climate, and it was clear to them that profits beckoned. Surveying the towering lowland forests from the deck of HMS Endeavour in 1769, and perceiving scope for expansion of the fenland drainage schemes being undertaken at that time in England and across swathes of Europe, Joseph Banks [botanist on Cook's voyage] reported on “swamps which might doubtless Easily be drained” [...]. Almost a century later, in New Zealand or Zealandia, the Britain of the South, [...] Hursthouse offered a fuller explication of this ethos: The cultivation of a new country materially improves its climate. Damp and dripping forests, exhaling pestilent vapours from rank and rotten vegetation, fall before the axe [...]. Fen and march and swamp, the bittern’s dank domain, fertile only in miasma, are drained; and the plough converts them into wholesome plains of fruit, and grain, and grass. [...]

[The British administrators] duly set about felling the ancient forests of Aotearoa/New Zealand, draining the country’s swamps [...]. They also began importing and acclimatising a vast array of exotic (predominantly northern-world) species [sheep, cattle, rodents, weasels, cats, crops, English pasture grasses, etc.] [...]. [T]hey constructed the seemingly ordinary agronomic patchwork of Aotearoa/New Zealand's productive, workaday landscapes [...]. This is effected through and/or accompanied by drastic deforestation, alteration of the water table and the flow of waterways, displacement and decline of endemic species, re-organisation of predation chains and pollination sequences and so on [...]. Aotearoa/New Zealand was founded in and through climate crisis [...]. Climate crisis is not a disastrous event waiting to happen in the future in this part of the world; rather, it has been with us for two centuries already [...].

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[T]he crest formed by the twinned themes of absence and exceptionalism [...] has shaped this creature's niche in the western imagination. As one of the very oldest species on earth, tuatara have come to be recognised [in Euro-American scientific schemas] [...] as an evolutionary and biodiversity treasure [...]. In 1867, [...] Gunther [...] pronounced that it was not a lizard at all [...] [and] placed the tuatara [...] in a new order, Rhynchocephalia, [...] igniting a frenzy of scientific interest worldwide. Specifically, the tuatara was seen to afford opportunities for "astonished witnessing" [...], for "the excitement of having the chance to see, to study, to observe a true saurian of Mesozoic times in the flesh, still living, but only on this tiny speck of the earth [...], while all its ancestors [...] died about one hundred and thirty-five million years ago" [...]. Tuatara have, however, long held special status as a taonga or treasured species in Māori epistemologies, featuring in a range of [...] stories where [...] [they] are described by different climates and archaeologies of knowledge [...] (see Waitangi Tribunal 2011, p. 134). [...]

While unconfirmed sightings in the Wellington district were reported in the nineteenth century, tuatara currently survive only in actively managed - that is, monitored and pest-controlled - areas on scattered offshore islands, as well as in mainland zoo and sanctuary populations. As this confinement suggests, tuatara are functionally “extinct” in almost all of their former wild ranges. [...] [Italicized text in the heading of this post originally situated here in Boswell's article.] [...] In the remaining areas of Aotearoa/New Zealand where this species does now live [...], tuatara may in some cases be the oldest living inhabitants. Yet [...] if the tuatara is a creature of long memory, this memory is at risk of elimination or erasure. [...] [T]uatara expose and complicate the [...] machineries of public memory [...] and attendant environmental ideologies and management paradigms [...].

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All text above by: Anna Boswell. "Climates of Change: A Tuatara's-Eye View". Humanities, 2020, Volume 9, Issue 2, 38. Published 1 May 2020. This article belongs to the Special Issue Environmental Humanities Approaches to Climate Change. [Bold emphasis and some paragraph breaks/contractions added by me. Text within brackets added by me for clarity. The first paragraph/heading in this post, with text in italics, are also the words of Boswell from this same article. Presented here for commentary, teaching, criticism purposes.]

[rookflower]

been revisiting outcast (via the wcwit podcast!) and given my main issues with the series as a whole it's frustrating to me to remember that they actually DID have a whole deal about needing to address the flaws of a status quo and set of traditional values to adapt and change it, but instead of applying this to the nightmare stagnant oppressive theocracy that is the clans it was instead a white saviour narrative about an exponentially more indigenous-coded group who are narratively presented as too incompetent to thrive (or even brainstorm literally any ideas) by themselves without outsider interference overwriting their culture

[the-girl-down-the-street]

james vowles when i catch you for saying logan could get replaced mid-season…

[marieshyperf1xations]

Yukierre both going for a beach holiday, happy honeymoon to them 😌

[eirianerisdar]

Ted you can't just be spreading blatant misinformation about Liam on Notebook. Everyone knows Daniel's car had a PU issue today and Christian's just confirmed to Karun ON BROADCAST that the whole Red Bull car test thing was planned months in advance. Please stop inventing

[givepie]

Hm! I feel a rant coming on! Everyone duck!

MY THOUGHTS ON THE HYPERIA STORY AND ITS THEMING. ALSO A GENERAL RANT ON COASTER THEMING.

Let start with a general question: what counts as theming?

To me, theming is the set pieces, pre-show, and anything laid out in a rides area to help develop a story. Most of the time this helps world-building more than anything. To me, even music can be a piece of theming because it helps to set a tone. For example, when riding Smiler, the laughter sounds almost manic and it makes you realise straight away that something is off, before you even step foot into X-sector.

Anything that DOESN'T fall into this classification such as website and app pages, falls into "storytelling". In a theme park, it is almost impossible to tell the entire story from one repeated instance inside of said story. To tell a complicated story like that of the Smiler, it would take so much exposition, which is very much not the point and would take away from the experience as a whole.

So storytelling isn't a bad thing, it's how they handle it.

To me, there are three behemoths of theme park theming and storytelling worldwide. That I know of.

Baron 1898, X-Sector post-Smiler, And Forbidden Valley post-Reborn.

Baron 1898 is pretty easy to grasp while you're there, even as a non-speaker of the language. You're going on a mine tour and 3 ghost ladies are PISSED that you're going down there. The actual theming is downright impressive ans I would love to see it in real life. You can then look up the story to find out who the ghosts are, who the Baron is, and how the mine came to be. Really good treat for people who decide to look.

Forbidden Valley has a story that has remained relatively consistent throughout the years. It has wondering actors that establish the world in a realistic yet entertaining way rather quickly. There are an official operation; there are people opposing the operation so there is something sneaky going on; there is a tour group taking advantage of the centrepiece so the Alien is a tourist attraction in this universe, too. Just little things that help put together a bigger picture.

Of course this starts coming apart a little bit when the audio starts explicitly telling you what is happening, but it still holds. You see someone's office, a crashed helicopter, weapons for warding off the alien. All things to help build up this universe you are now ankle-deep in. And then there's the 3 pages on the Internet that break down the story for you, which can also be seen in the shop.

Finally, of course, there's X-sector. It doesn't usually have roaming actors, and the theme suits better that way. Without the roaming actors, you see that the Ministry are secretive. Trying to stay out of the limelight, except for the skeleton crew they send out to keep the coaster safe and operational. It shows a tone.

However, people casually wondering what this is about can never get an easy answer. Cause the answer is spread out across what remains of a decade-old marketing campaign. Fun for people who want a deep dive, not so fun for people who are just lightly curious. The website barely tells you anything either.

But, on a positive light, the story is so complex it keeps a fandom. Not many coasters have that. It's an insane accomplishment.

And I have a theory as to why. Now, stay with me here I think I'm about to upset some people:

It has aspects of social and political commentary. "Not everything is political" ALL GOOD ART IS A COMMENTARY ON THE TIMES AND CIRCUMSTANCES YOU WERE RAISED IN SIT YOUR ARSE BACK DOWN.

RIGHT, so, Smiler is a story about the government dedicating an organisation to keeping people artificially content to keep people compliant. What are Brits notorious for doing, in comparison to the French?

Doing fuck all. This wasn't always the case. We would riot, we would strike. Now we strike but while the other half of the country complains and just tells the strikers to sit back down and take the mistreatment. We are miserable, we complain, and we go about our day. And that's the joke. Its funny. So why bother changing it?

And if we can't be bothered changing something cause it's funny, what happens if they make everything purposefully funny? They'd never have to deal with the strikes in the first place.

The government functions off of our social compliance, which can come from making jokes at our own expense. We even see it now with our drowned-rat-faced PM as he continues to make a fool out of himself so he's funny. If he's funny, we want to see him more. That's a valid strategy nowadays.

Smiler. Is about how Keep Calm And Carry On is a stand against progress.

Smiler. Is a political and social commentary on the people of Britain. You're welcome.

Anyway!

HOW DOES THIS RELATE TO THE NEW WORLD-STAGE COASTER IN STAINES?

The problem is: it doesn't. Instead of taking inspiration from its sister park, Alton, Thorpe decided to take inspiration from Icon and its shoebox station.

Where is Fearless Valley taking place? When is Fearless Valley taking place? What point in the story are we looking at here? The issue [only issue, really] with Hyperia, is it entirely relies on storytelling and a few bits and bobs in the queue.

Remember the shortcoming in Nemesis? Where you can get a good grasp of the story without it being blasted in your ear? Yeah here they straight up tell you the story, too. The theming has BECOME the storytelling.

Next question: what is Hyperia, the coaster, supposed to be? Yes, we know the story is that a goddess called hyperia overcame her fear of the sea by building wings and escaping the island she was trapped on [for some unspecified reason. Is hyperia evil?], but what IS the coaster supposed to be?

Smiler is the Marmaliser, the machine that transforms you into a smiling advocate. Nemesis is the tentacles of the monster overtaking the metal that pins it down. Baron is the track the drill takes to get into the mine.

What is Hyperia? Are we following Her as she soars, were we stuck with Her; the Icarus to her Daedalus? Are we following in her footsteps as part of a ceremony Her followers reenact for her blessing? Are we supposed to be Her? It's never really specified.

The station is chocked full of a last-ditch attempt of theming, which in comparison with the whole lotta nothing you get from the queueline? It feels cramped. It feels cheap. It barely feels like it belongs on a stage alongside Taron, Velocicoaster and Voltron Nevera. If they didn't have the budget to do the storytelling and the theme, they should've gone for theme.

Any story with no theme feels cheap and artificial. Any theme with no story still stands out and has breathtaking scenes. If they focused more on the white-gold colour palate and maybe had a few statues around and about they could pass it as some sort of pantheon, like climbing Olympus.

I'm not gonna lie, I'm disappointed in all aspects of the Hyperia theming. It feels lazy, tacky and underwhelming when you consider Swarm is a 5 minute walk away. I'm hoping it improves at some point.

I geniunely think the stone head of Collosus is much better than anything in Fearless Valley and its inconsistencies. The Black and gold buildings feel very sleek and out of place for a story ultimately about a goddess who forged. She forged her own wings. She forged her own bravery. Shouldnt the building look a little home made? Where are the bolts? The soldering? I want to see her anvil and hammer pride-of-place, not shoved in the corner of the station.

Cmon thorpe. Get your arse in gear.

[feraltwinkseb]

“Oh dear, big bottom lip”

[hopeinthebox]

tagged by the gorgeous and fabulous @cordiallyfuturedwight and @aprylynn for february's roundup:

tagging the usual music favs: @jiminsproof @thvinyl @jimin-gaon @visionsofgideontheninth @spicyclematis @kimchokejin @jihopesjoint @monismochi plus @kimtaegis for the amy macdonald of it all 💜 and also you, dear reader. MWAH

[hyacinthsdiamonds]

We need to start having a conversation about how the British commentators talk about and how they refer to the Asian drivers, because we cannot keep normalizing this type of behavior.

[askaceattorney]

The Verdict: Not Dependent

- Co-Mod

[papayafiles]

overtakefans.com my one true love

[age-of-moonknight]

“For Now,” Phases of the Moon Knight (Vol. 1/2024), #4.

Writer: Fabian Nicieza; Penciler and Inker: Moisés Hidalgo; Colorist: Fer Sifuentes-Sujo; Letterer: Cory Petit

[the-girl-down-the-street]

lewis deserves that win so so so much