#but that also includes a lot of women who are *not* supposed to be amazons thematically

[matriarchsdevotee-archive]

Good afternoon, you cannot define "amazon" in greek antiquity in a self-consistent way that doesn't include every reasonable woman in the epics

[catboybiologist]

Coupla people asked about the outfit I posted some pics of, so here ya go!

A lot of people seem to think it's a dress, which it isn't- it's three pieces.

First off, there's the lace top, which is this one: https://us.killstar.com/products/acantha-long-sleeve-lace-top?currency=USD&utm_medium=cpc&utm_source=google&utm_campaign=Google%20Shopping

That goes on first, immediately over whatever you're wearing on your underlayer (including a bra and breast forms, which I'm wearing in this case).

Next, there's a tied in the back crop top. I used this one, which is supposed to be tied in the front, but hashtag swag yolo and all that: https://www.amazon.com/WDIRA-Womens-Sleeve-Kimono-Blouse/dp/B077Z7NM8M/ref=pd_ci_mcx_mh_mcx_views_0?pd_rd_w=TRkA0&content-id=amzn1.sym.0250fb24-4363-44d0-b635-ac15f859c3b5&pf_rd_p=0250fb24-4363-44d0-b635-ac15f859c3b5&pf_rd_r=J1F9P2K8XSC5DGMEC1TF&pd_rd_wg=A3uXl&pd_rd_r=03700fe3-64f8-4048-885f-8fb1eb87efad&pd_rd_i=B077Z7NM8M

then, there's a side slit midi skirt. I couldn't find the exact one I used, but it's also some crappy one from amazon, and I'm pretty sure it's this one: https://www.amazon.com/Witsmile-Womens-Maxi-Skirt-Tie-Front/dp/B0BMV27N58/ref=d_m_crc_dp_lf_d_t2_vft_none_sccl_1_1/135-4903951-0358734?pd_rd_w=ttZYq&content-id=amzn1.sym.de57aa3b-fa0b-416e-9843-604da2a420b7&pf_rd_p=de57aa3b-fa0b-416e-9843-604da2a420b7&pf_rd_r=DEZH7GD3BF4QSP7FVGZH&pd_rd_wg=Qg742&pd_rd_r=de1e8fc2-67d4-4baa-ac80-dc342d59eda7&pd_rd_i=B0BMV27N58&psc=1

Put them all together and you get this:

Yeah, I know that's a lot of fast fashion from bad sources, and I'm trying to wean myself off of it, but the unfortunate reality is that I'm a grad student who wears this stuff infrequently and can't really justify too high a price. Killstar is good though, and the more I go out with this stuff the more I feel okay buying from places irl (like thrift stores) and from better places overall.

[the-unknown-writer-of-dreams]

How is Imu related to Nefertari D. Lili?

In One Piece Imu is a mysterious ruler of the world who sits on the empty throne and was first introduced to us in the “Reverie Arc”, shortly after the Whole Cake Island wrapped up and their powers are believed to be unparalleled.

All the countries affiliated with the world government are shown to be equal to each other through the Empty Throne, a historical seat located at the center of the world. As the name suggests the Empty Throne is supposed to remain empty to show the equivalence in power however that is certainly not the case as we can see a shadowy figure with the name Imu sitting at the top of it, making him the supreme leader.

Nefertari D. Lily was among the founders of the world government. As told by Nefertari Cobra in chapter 1084 after meeting with the five elders of the world government. Cobra introduced his request by recalling the foundation of the world government.

800 years ago, twenty kingdoms formed an alliance and successfully defeated the ancient kingdom, the rulers then came together to continue the alliance by forming the world government. To show their loyalty they created a throne that resides at the center of the world on the Mary Geoise, inside Pangea Castle, surrounding it with weapons as a vow to never sit on the throne. The rulers were later invited to stay at the Holy Land of Mary Geoise, and become what is now known as “Celestial Dragons”. Although everyone agreed, the monarch of Arabasta, Queen Lily Nefertari refused to become one.

Cobra continues to ask about the real meaning of the initial D when used in the surname of many characters including his own and upon revealing that he is also a descendent of D, Imu enters the room where the five elders and Cobra are talking.

Imu, who has been listening to the conversation between the elders and Cobra from the room of flowers enters the room and much to Cobra’s shock moves ahead to sit on the empty throne and murmur the name Lily. From here we confirm that Imu is aware of the situation with Nefertari D. Lily.

According to Cobra, after Queen Lily denied the choice of living as a celestial dragon, she decided to travel back to her kingdom Arabasta but went missing without a trace shortly after says a lot about the fact that something big must have happened.

A connection was formed between Imu and the Arabasta Monarch when Imu whispers her name without the honorific of Queen hinting towards a significant level of acquaintance who lived 800 years ago.

With the current information, it is quite difficult to state the relationship between the former queen and Imu but some theories made by the fans are listed as follows:

Was Nefertari Lily the love interest Imu: in chapter 906 Imu was holding bounty posters and photographs which were either stabbed or cut apart but among those was a picture of Vivi Nefertari, which was left unharmed. It could be seen that Imu couldn’t destroy the photo of their lover’s descendent or that Vivi looked similar to Queen Lily.

Connection between Queen Lily and the Amazon Lily: Because Queen Lily was on the run it made sense that she hid herself on an island that was surrounded by the calm belt and infested by the sea kings. It is possible that she created an island that allows her to create a new state where women reign supreme and no men and no relationships are allowed.

Lily and the immortal Imu: The silhouette of Lily in the Cobra’s mind looked quite similar to that of Imu, leading fans to speculate that they might be the same person.

As shocking as it was to know that the former Queen of Arabasta might somehow be involved in the formation of the tyranny of the World Government, it could be seen as Lily herself gave up on her title and decided to sit on the empty throne. She must have seen that even with the formation of the alliance things weren’t going exactly the way it was supposed to so she secretly decided to take the reigns and put the world in order. However, she somehow became immortal and let that power get in her head, and decided to rule however she saw fit. Another theory could be that she took the throne to protect everyone from learning about what happened during the war by banning research and going as far as destroying the islands for the greater good.

Whatever the reality between Queen Lily and Imu is, we already know Oda will bring something even more fun and interesting to keep the audience engaged with it. With nothing to work on, we could also speculate that Imu has no memory of who Lily is and the reason he murmured her name was simply because he is indifferent and has no respect for anyone since it has the supreme power.

[justabuzzybee]

So, in honor of the continuing hubris-driven journey I have yeeted myself on, here’s some thoughts on Wonder Woman 2009 (DC Animated Universe). 

Now, just to preface all this, I’ve never actually seen a Wonder Woman movie/cartoon/show or anything like that before, and I haven’t read any comics either. But lemme tell y’all, I was so ready to be impressed by an absolute queen of a badass Amazon warrior woman. And the first part of the movie seemed like it was going to deliver on those expectations. The opening fight with Hippolyta and the Amazons was so great - it was nice to see that they had uniforms which (to my poor and measly brains) looked reasonably like what any soldier might have worn in ancient Greece, rather than just being glorified leather bikinis. The fact that the crown which later becomes Diana’s wasn’t just a crown but also a bladed weapon capable of decapitating a man was a fantastic touch I did NOT see coming, and the fact that Ares was let off with imprisonment due to Zeus’ interference after committing a string of heinous crimes a mile long was both on-brand for the mythical character depiction and deeply frustrating in a way that made the Amazons’ retreat quite understandable and really tragic: they couldn’t live safely in a world where justice was constantly twisted in men’s favor, to the repeated detriment and harm of all others. 

(I would die for you ma’am)

And when Diana ends up experiencing the outside world for the first time, it’s revealed that these problems haven’t gone away, which gives us some moments that are really hard-hitting. There’s the scenes where Steve Trevor shows up on the island where all he does is a) ogle women b) violate their privacy in a way that is in fact criminal, and c) repeatedly weird sexual comments about the amazons. When she goes to America, there’s a really sweet scene where she teaches a young girl to swordfight because the boys she’s playing pirates have relegated her to the sidelines as a damsel in distress, and then the girl goes off and just absolutely DEMOLISHES them.

And there’s this killer quote (which I love), “Remarkable. The advanced brainwashing that has been perpetrated against the females of your culture. Raised from birth to believe that they’re not strong enough to compete with the boys. And then as adults taught to trade on their very femininity.” As someone who grew up surrounded by a lot of male relatives, this quote hit hard and was really relatable. And then there’s (to my mind) the MOST uncomfortable scene, where Steve takes Diana to a bar and is clearly trying to get her drunk with intentions that literally COULD NOT be more suspect. 

(can you FEEL the toxicity tonight?) (also the fact that Diana looks vaguely uncomfortable with Steve in every scene she’s in with him, including the ones where it’s supposed to be romantic)

And then it hits. It’s like you can FEEL the moment when the scriptwriters were like “whoo boy, guess we better pull back on this on guys, we might have made it a little TOO feminist. Time to pump the brakes!”

Because the next thing you know, she and Steve are going on a mission to stop Ares from taking over the world (or killing everyone in it - he doesn’t really have clear-cut goals, because he feeds off human suffering but if he kills everyone then won’t he just starve to death?). And they get beaten back by Ares’ forces and there’s a whole bit where Diana tells Steve to save the world and he DOESN’T and rescues her from the flying creature that had grabbed her instead and it’s like...supposed to be this whole redemptive moment where, despite the fact that he has done nothing but be an absolute sleazeball this ENTIRE film, NOW he’s a great guy. But like, look at Diana???

This is her waking up in the hospital. You know what I see? No cuts, burns, abrasions - there’s some kind of drip or transfusion line off to the side, but it’s unclear what exactly it is. She’s not in the ICU and doesn’t seem to have been in surgery, and like five minutes later she’s off to fight again anyways. But Steve claims he’s saved her life and it’s supposed to be some kind of “moment” for them, where she realizes he “cares” and whatnot. But like, if she didn’t need saving, as evidenced by the lack of serious injury, then Steve has just put his need to /feel/ like a rescuer over actually rescuing the ENTIRE WORLD. Keep it up Stevie. That whole hospital gimmick is sure gonna mean a lot when countless numbers of her relatives are dead because of your warped sexist savior complex. And what’s even worse is, in this scene, he actually has the GALL to chastise her for her negative view of the society she has found herself in, as well as men in general, and that not every man who opens a door is part of a misogynist plot. Which, like, first of all, she has seen NOTHING in her LIFE to dissuade her from this view Steve, least of all your sad sexist hide. Second, when EVER has this been about opening doors??? This is about your harassment and toxic behaviors, you stale box of apple jacks. But then she like??? Responds?? To this crap???? And seems to BELIEVE it so some extent??? Whish, given that she has STILL seen nothing to dissuade her from her opinions is HIGHLy out of character and makes me wonder what was in that drip line. 

(excuse me while I go screech out the window in horror and rage)

This is followed by a scene in Diana’s (very cool) jet where Steve accidentally truth-lassos himself and says (I kid you not) that he isn’t as much of a pig as he seems and just acts this way because he doesn’t “want to get hurt again.” But Steve, Stevie, Stevie my dude, YOU ARE A PIG. You don’t SEEM like a pig, you ARE one. There’s a difference. And with this ONE phrase, we’re just supposed to forget the harassment, the bar scene, the ogling, and creepy behavior in general. Good GRIEF. 

It gets worse from there. At one point, Diana tells Ares “How could you hope to defeat Zeus if you can’t even defeat a girl?” which is weird and even MORE out-of-character for her, and then the president’s assistant calls the Amazons “Armored supermodels,” and apparently the whole motive for one of the Amazons betraying them by letting Ares out in the first place was woman’s inherent need to produce children being thwarted by the island’s all-female nature (which, don’t even get me STARTED, because before this whole Ares mess in the first place, Queen Hippolyta SAYS that he killed their husbands and families, so there is NO. REASON. That family options would have been off the table for the Amazons to have again in the future if they wanted them. We don’t even see the queen saying that they CAN’T have them). And the movie ends with Diana being lectured by [the pig] Steve over how she should act more feminine and let men open doors for her or some crap like she’s a child, and then it closes with her running off to fight a female villain. Which, villains can be women, it just feels like the final nail in the coffin of Diana’s forced domesticity (because apparently she and the pig are a THING now (someone please bleach my brain DIANA DESERVES INFINITELY BETTER)) that of COURSE they end with the trope of the female hero fighting the female villain now that she knows BETTER than her TERRIBLE feminist ways. 

So yeah, Wonder Woman 2009. I have to say, despite the trash hand dealt by the writers/producers/directors/whoever was responsible for this travesty, I did love Wonder Woman. She’s now one of my favorite superheroes and this makes me want to go and watch the live-action moves she’s in because I’ve heard those are a lot better. There were some parts I really loved and some parts I really hated (every frame of Steve), and way more things I could talk about. I guess I’d watch it again, if only for the absolute amazingness that is the first section and (of course) Wonder Woman. However, I shall press on in my journey. 

[tlaquetzqui]

Watching videos about the Amazon Wheel of Time, by fans of the books. Now their total disregard for Tolkien is a lot less surprising. Tip for YouTubers reviewing this type of shit: don’t pussyfoot around what you want to say, when you give spoiler warnings. Say it: “Not that you can ‘spoil’ carrion.” You’ll feel better.

The worst one is some girl, her accent is probably a Romance language but I can’t tell if it’s Italian or Spanish or some smaller thing. She sees the trailer and she’s super enthusiastic, innocently happy to see a work she loves adapted. And then she gets more and more disappointed and hurt by each episode, till at the end she’s just a ball of pain. It hurt to watch.

Apparently they didn’t only make the tiny isolated villages nobody ever leaves be super ethnically diverse, without having them be rabid segregationists—which is the only way small isolated communities don’t quickly all round out to one phenotype. That is but a trifle, an hors d’oeuvre before a feast of shit.

They:

Aged up all the characters by about half a decade.

Made the goofball twerp into a philanderer who steals from women he sleeps with. In, again, a relatively small community where word would get around fast. There wouldn’t even be many women who’d sleep with him at all, let alone women who wouldn’t have heard about stuff going missing. How many unattached women willing to knock boots with some rando do these writers think there would be, in a small village society?

Gave a character a wife he didn’t have in the books, because, again, teenagers. Then they kill her off in gruesome fashion to try to be edgy. (Apparently someone at Screen Rant claimed to be a fan of the books but then said “That might fly in the 1990s but not now, because Women in Refrigerators™”—homes if you’d read the books you’d know she only even existed now, step off.)

Had a character who has a family, instead be a Moses-style foundling, and deprived her of a very notable tic.

Decided that the prophesied dealy that’s always a man can be male or female. Just in general they fucked with the gendered aspect of the setting’s magic system, something even I know about. And I can only name one book in the series (The Eye of the World), and only because they name dropped it a lot in the videos.

Delayed the entrance, then utterly drab-ify, the clown dude. And not let him teach the two guys to play instruments, and earn their lodgings.

Removed the dumb inquisitor guys’ insignia and had them send people to someone they actually hate for medical care.

Turned a treasure room into a pile of trash.

Had the protagonists build a bunch of fucking bonfires while being chased by what amount to greenskins crossed with beastmen. Which is suicidal foolishness.

Had the noncanonical wife show up in her not-widower’s nightmares as a zombie getting her guts eaten by wolves.

Utterly drab-ified the nomadic people who are apparently described as wearing like “so many bright colors it hurts”.

Cast a woman described as “tall and beautiful” with a startlingly homely actor, of average height or less. She’s also gotta be pushing fifty, and her order actually basically never age due to their magic. (Canonically you can catch them in disguise because they have young faces with old eyes.)

Also they killed off one of the members of that order, her or one of the others I wasn’t paying attention, when she’s supposed to live for at least a few more fucking books.

Had characters in scenes they would never be allowed to be present for.

Deleted a male clan elder from the nomad people so they can make them a matriarchy. He’s also supposed to be a guy that controls wolves that were apparently still included in an episode even though they now make no sense.

Added a bunch of child murder, cannibalism, and evisceration, just to be edgy. Also a bunch of combat.

Put whole towns and inns that don’t exist and remove ones that do.

Removed entire romance plotlines.

Added hamfisted supervillainy to characters that were clearly already pretty one-note. Also added some weird exploitative stuff (if you think a work can’t use something to titillate while also portraying it as bad, you are unacquainted with the “women in prison” genre).

Shoehorned in a lesbian romance not only out of nowhere but between two women who fucking hated each other, whose respective branches of their order had hated each other for 2000 years.

Turned a no-nonsense tactician who rules as a mother figure into a power-tripping petty tyrant and a vindictive sadist. Though it’s been suggested the showrunner (taking bets now for how long before he’s accused of sexual harassment or worse) thinks this egotistical bullshit is a strong woman, rather than a monstrously weak and pathetic one trying to hide it.

Decided that platform shoes were sufficient to portraying a giant, and gave him honestly some of the most amateur-hour, “BBC pre-Doctor Who reboot” makeup I’ve ever seen.

Rushed through important plotlines from the book, to give more screen time to a different lesbian scene involving one of the characters from the previous one. Who is straight in the book. With a bondage-y subtext because the other woman in the second one is that power-tripping asshole from before.

Changed how the fast-transport magic statues work, fucking over the giant guy’s people to no purpose.

After the actor playing "former goofball turned larcenous philanderer” left, apparently because he didn’t want to get the COVID shot, they put in multiple monologues about what a bad person his character was. Which he was but nobody noticed till the actor left, which is to say the writers don’t know they wrote him as a reprobate, they’re just lashing out at the actor for displeasing them.

Gave a character the ability to defeat a demon creature that haunts the transport-statue network, because Girl Power™ (possibly just “we wanted to shoehorn in a fight no matter how little sense it makes”—likely both), where in the books the only way to survive is to get the fuck out of Dodge.

Changed a wooden city built into a cliffside, with roofs designed for dealing with snow, to a stone city in what looks like a subtropical desert with nary a cliff or mountain to be seen. Also made it a star fort with no artillery. Which is like a tank without a gun.

Changed the reason the protagonists go to the eponymous Eye of the World, from investigation to directly confronting the villain. Also kept a character from going there even though it’s his homeland. And he, a tracker and woodsman who’s been guarding one of those mage ladies for a decade, has to be told how to track his own liege by a goddamn farmgirl.

Changed a character’s power from seeing auras around people that seem to mean something like “something important is gonna happen to you” to having actual specific visions. Probably just for plot convenience, because her real power allows less exposition per scene.

Apparently rushed the development of the main guy’s power and the introduction of an artifact by like four books. There are fifteen of these fucking things, guys, if you’re worried about getting to them all maybe do a better job on the first one.

Randomly had the main guy go through another character’s backstory. Only for him it was the present. Because…who the hell knows.

Apparently forgot the only people with magic, with one exception, are members of that order. So it makes exactly zero sense to have a member of the order ask other people that can use magic to help them: they’re all already members, dumbass. (Oh wait, apparently they made the queen one herself. Which she is not.)

Failed to understand how a chokepoint works. In a battle that doesn’t exist in the book but is clearly intended to rip off Helm’s Deep.

Made characters repeatedly do stupid shit nobody would, just to make other characters look better when they do the not-stupid things. Which on the rare occasions they’re actually using the book, is usually something the turned-stupid character actually did.

Spent a significant portion of an episode getting a box out of a place it’s not supposed to be. Because moving containers (which are clearly empty) is good television.

Had a like group-spellcasting thing that apparently doesn’t exist, at least not like that. I would have to see the effect play out in realtime (for which I would have to watch the show, so…) to be sure, but at least one person says the spell they cast like this was clearly copying visual beats from Thor in Wakanda in…whichever of the last two Avengers movies. Which I can easily buy between “let’s force this PG-rated story to be The Next Game of Thrones™” and that Helm’s Deep shit. (Also I did see the spellcasting itself and it really does look like the Ark of the Covenant melting Nazis.)

Had an avatar of the setting’s ultimate evil, who is apparently not even encountered yet, get easily outwitted by a moderately skilled ordinary mage.

Had the main guy fake his death and infodump things he would not know.

Had the one mage, the one randomly inserted in multiple lesbian scenes, lose her power somehow.

Had someone who died come back to life, which is absolutely forbidden by the setting’s rules.

Basically, Rafe Judkins decided to deliberately fuck up his adaptation, motivated by vaguely ideologically-rationalized malice. Which is not surprising, given that a former Survivor contestant who wrote a few episodes of second-rate shows would not be put in charge of something like this on merit. He was put in place because he greased the right palms and kissed the right asses, and mouthed the right platitudes. He may be the most evil of these vandals yet, which is saying something; the sheer glee with which he deliberately ruins something people love is amazing to behold.

On the other hand I’m going to see if I can get my hands on the books, since apparently there’s a lot more there than I thought.

[jj-lynn21]

Stellan interview

"Stellan Skarsgard Is Finally Seizing the Spotlight"

https://www.thedailybeast.com/stellan-skarsgard-is-finally-seizing-the-spotlight

With roles in “Dune,” the Star Wars series “Andor,” and “Hope,” the character actor par excellence has never been more popular. He talks to Marlow Stern about his stellar career.

Few if any actors have built a resume as impressive as that of Stellan Skarsgård.

After achieving teen-idol status in his native Sweden—even releasing a pop single—due to the TV series Bombi Bitt, Skarsgård transitioned to film acting. It was in the mid-’90s, with roles as a sadistic oil rig worker in Breaking the Waves, a fiery abolitionist in Amistad, and a haughty mathematician in Good Will Hunting, that the towering, stone-faced Swede would cross over into America, and establish himself as one of the finest character actors alive.

He’s since maintained a healthy diet of what he calls “experimental films,” including a total of six with Danish auteur Lars von Trier, and Hollywood studio fare, such as the Pirates of the Caribbean and Mamma Mia! films, the Thor and Avengers superhero extravaganzas, The Girl with the Dragon Tattoo, and Cinderella. And right now, at the age of 69, Skarsgård is at his most prolific. There was his Golden Globe-winning turn in HBO’s Chernobyl, the upcoming villain in Denis Villeneuve’s Dune, and a main role in the Disney+ Star Wars series Andor, which he’s filming right now in London. Oh, and he’s fathered eight children, including the actors Alexander, Gustaf, Bill, Sam, and Valter.

“There’s no competition, really,” the elder Skarsgård tells me of his talented brood. “There’s some joking competition at the dinner table, but I know they’re better than me, so I’ve given up.”

Skarsgård’s latest is the Norwegian drama Hope. Directed by Maria Sødahl, the wife of his frequent collaborator Hans Petter Moland, it is a heartrending autobiographical film about a long-married couple, Anja (Andrea Bræin Hovig) and her theater-director husband Tomas (Skarsgård), whose atrophying bond is put to the test when Anja develops terminal brain cancer. As they fight for Anja’s survival, the two reevaluate how their relationship went off-course, and why they fell in love in the first place. (The U.S. remake rights were quickly snapped up by Nicole Kidman and Amazon Studios.)

Anne Frank’s Stepsister: How Trump Reminds Me of HitlerNEVER AGAINMarlow Stern

In a wide-ranging conversation, Skarsgård opened up to The Daily Beast about his many great films, the controversy surrounding pal Lars von Trier, being a nudist, and much more.

How have you been passing the time during the pandemic?

In different ways. The first half of the year I was at our summer house on an island outside of Stockholm, and all my kids—who were also actors, most of them, and they weren’t working either—were all out there in two houses eating dinners together, having a good time, and seeing the spring inch-by-inch, everything grew, which you never get time to do otherwise. But this job I’m doing here now [in London], I was supposed to fly back and forth from Stockholm because I’m shooting this Star Wars series called Andor, and it would have been very convenient because it’s only a two-hour flight, but because of the quarantine I’ve been stuck here. For more than a month I’ve been alone in a hotel room staring into the wall.

Speaking of the Skarsgård household, I read a quote from your son Alexander who said that when he was a teenager, “Dad was always walking around [without clothes] with a glass of red wine in his hand.” Was that your vibe during the pandemic?

Not this time! Is it the wine that worries you? [Laughs]

Did the stress of the pandemic make you feel less… free?

No, I’m still taking off my clothes when I get home very often—and my kids also, some of them do. It’s not a big thing. We’re Swedes! And we have no God that says we can’t show our body parts.

What about it do you just find so liberating? I don’t go the full monty but when I go home, I do tend to take off my pants and let loose a little bit, because it is constricting.

If it’s warm enough you don’t need clothes, right? Unless you’re ashamed of your body—or taught to be ashamed of certain body parts. For me, it’s all upbringing. It’s cultural. Some cultures don’t care about what part of the body you show, and some cultures are very precious, and some cultures the women can’t show their faces.  

I’m curious what life was like in the Skarsgård household, because you’ve helped produce so many talented kids. Alexander described it as “bohemian,” similar to what you described during the pandemic, filled with dinner parties and a free-flowing atmosphere.

It’s always been a very open house, and the kids’ friends, it’s been easier to sometimes be in our house than their houses—especially during puberty, when conflicts arise—because we’re very relaxed and non-judgmental in our family. It’s really, truly pleasant. And my kids are more like pals to me. There’s no hierarchical relationship at all. It’s very nice. We just have fun!

It’s a very talented—and frankly, attractive—family. How did this happen?  

How did I make kids that look so good? [Laughs]

Is that something you’re particularly proud of?  

[Laughs] Well, the looks I don’t care so much about, but I’ve had two beautiful wives—and very smart wives—and that’s helped a lot. I’m not going to take much credit for anything. But what I’m proud of is, when I hear from other people in the business about Gustaf or Sam or Bill or Valter or Alexander, I hear that somebody worked with them and they were really nice on the set and totally cool with everybody, and how no matter what menial job anyone had on the set they were nice to them, then I’m proud. If they win awards it’s secondary to that, because that is a lottery anyway. Awards are sort of like reality shows.

They really are a popularity contest. Let’s talk about Hope. It could have very well been called Grief.

I thought it sounded bland to begin with, but in fact the film is about hope—and about love. It’s not a normal cancer film where it’s all about beating the cancer or fighting against it, but it’s about someone who gets a death sentence in a family situation with a lot of kids, like I have, and everything that was petrified in the relationship floats up again. It’s about how they rejuvenate their relationship, and through those horrible circumstances, find love again.

There’s one very powerful scene in the film that really encapsulates many elements and themes that it explores, and it’s the sex scene between you and your wife. It manages to capture the joy of reconnecting as well as the grief you’re experiencing.

I think it’s a great scene, because it starts beautifully—very gently—and it looks like it’s going to be really nice for both of them, and then her anxiety sets in, and things start to bad. And it does go bad pretty fast.

On another level, I’m an American and we don’t see sex very often in movies. And when we do, we don’t see it in the service of such complicated emotions.

With sex in film, it’s difficult, because sex is something that feels fantastic when you do it, and it looks ridiculous when you watch. Those humping movements like a dog? It’s not sexy at all! So, you can’t do a sex scene that looks like it feels, so they always have to be about something else. The sex scenes I had with Emily Watson in Breaking the Waves, it was about her curiosity, because she discovered her first penis, she discovered sexuality, and it was totally about the relationship. The sex was just there. And in this film, the scene is not really about sex but about something else. I don’t think I’ve ever seen a sex scene that looks like it feels, and that can convey that beautiful thing that sex can be.

Really, in America, we get almost no sex scenes in movies. And it’s 2021.

It’s very strange. It’s not as bad as during the Hays Code, when you couldn’t let the lips meet for more than one second.

You just had a train going into a tunnel.

[Laughs] Yes, that very subtle image. But in America, you have a strong, strong tradition of bigotry or fear of sexuality. Only two years ago, in nine states in America, it was still illegal to have sex outside of marriage, and my American friends have told me that when they were growing up, it was even regulated how they could have sex—you couldn’t have oral sex or anal sex—so it is so ingrained in American culture that people’s sexuality is not a private thing, but something that everybody should interfere with.

Hope is also an exploration of mortality. Is that something you think about often? 

I’ve never been that interested in it. I’ve always been aware of it. It’s the only thing you know in life—you’re gonna fucking die. But already many years ago, I thought I’d had such a fantastic life that it would only be fair that I died, because I’ve already lived more than most people. So, I don’t feel any injustice in death. And I’m not afraid of death because I’m not religious, so I don’t have to worry about whether I’m going to end up in hell or heaven. But I have small children still, my youngest is 8, and I’m no spring chicken anymore, so I think about how I should stick around for at least another ten years until everything is set.

I read that you’d studied a bunch of religions in the wake of 9/11 and reached the conclusion that it was all sort of bunk.

I grew up with total freedom of religion—my parents weren’t religious, though my grandmother was very religious. It was taught to me without judgment, and it was a very tolerant upbringing I had. But I hadn’t read the Bible. And after 9/11, when I saw George W. Bush standing in front of TV cameras and claiming that God had put him there, I thought maybe it was time to read what they actually believed in. So, I read the Quran and I read the Bible. There are some fantastic stories—as fiction, it’s sometimes brilliant and sometimes boring—but the God in both the Quran and the Bible, there’s only one reason to really worship them, and that is fear. It’s a power that says, “If you don’t worship, you’re going to die—and not only die, but burn in eternity.” It’s a bit autocratic and dictatorial, I would say. It’s very hard for me to worship something under threat.

And if God put George W. Bush in the White House, then God has a very cruel sense of humor.

[Laughs] Yeah, he does. And the latest president said the same thing.

But he doesn’t believe in God. He only believes in himself.

Yeah. I think that if he had more appreciation from the liberals in America, he would have just as well gone populist-liberal.

I think so too. You know, I read that your Dogville co-star Nicole Kidman already picked up the remake rights to Hope for Amazon.

She’s picked up the remake rights, yeah.

Both you and your son Alexander have shared some pretty intense scenes with Nicole. There’s that dramatic scene in Big Little Lies where Nicole hits your son in the dick, and it almost seemed to me like payback for what you put her through in Dogville.

[Laughs] Yeah, I’ve done two films with her and Alexander just finished doing The Northman with her. But she’s lovely. I really like her. She’s so cool.

At least it was a prosthetic and not Alexander’s real thing.

Yeah… coward! [Laughs]

I gotta say, between Chernobyl, Hope, Dune, a Star Wars series, and even a Simpsons cameo as yourself, how does it feel to be at your most prolific at 69?

I’m just working! I’m doing my job and having fun doing it. I’ve been lucky and a lot of good projects have emerged. It goes up and down, you know, throughout life. And I don’t think I could have a better life than I’ve had. I don’t have any regrets. And I don’t have to be the star or be in something very successful, I just have to have fun.

Nice. Do you feel you’re underrated? I think you’re someone who’s so consistently great in everything that it can almost be taken for granted how great you are. I know you won a Golden Globe recently, and that was long overdue, even if it’s mostly bullshit.

I don’t know! I can tell you: it’s much better to be underrated than overrated. So, I’m very comfortable if I am underrated. But I’m a Swede with an accent—or most of the time I have an accent—and for being a Swede with an accent, I have been extremely successful internationally, so I can’t complain. When it comes to the big studio movies, and I’ve been in four or five gigantic franchises that have paid a lot of bills for me, their concerns are financial, and I’m not a ticket-seller. I’m a solid fucking actor, and I’d rather be an actor than a star.  

It gives you the mobility.

Exactly. The freedom I have. I can easily do small, experimental films and strange stuff—films that could ruin another actor’s career—so I’m in a good position.

I wanted to ask you about Breaking the Waves, because it’s the 25th anniversary this year and I consider it a masterful film. And it was Emily Watson’s first film, which is just extraordinary. How did you two establish such strong chemistry?

She’s British, which means she comes from a rather prudish society too, and to take on a role with an obscure Danish director—who wasn’t that famous at the time—and to take on a role with such explicit sex and nudity took enormous courage, but she was fantastic. My job was to love her, and that felt easy, but I think that she felt loved, and I think that she felt secure, which is essential for being able to do anything courageous. But she’s such a brilliant, talented, wonderful woman. I finally got to work with her again in Chernobyl. I mean, you just have to look at her and everything comes.

There’s this longstanding debate over whether Breaking the Waves is misogynistic or not, and I personally find it to be a misreading of the film. I’ve always thought of it as a biblical allegory of sorts about a desperate woman navigating a deeply sexist world.

Absolutely. Lars doesn’t have that in him. Those fantastic female roles that he has written, if you want to defend women in film, you’ve really got to take care of him because he writes the best roles for them. Those roles are very much him, and he definitely doesn’t have a negative attitude toward women. He loves them. There’s a plague of labeling people—not for what they’re really saying, but for what they appear to say. He was stamped as a misogynist and then he made a bad joke about Hitler at Cannes, and everyone stamped him as a Nazi, which is the furthest thing from what he is.  

Stellan Skarsgard and Emily Watson in Breaking the Waves

You stamp people as a “racist,” a “fascist,” a “communist,” I mean this fucking stamping is as smart as QAnon. It’s frightening. The fantastic thing about mankind is that we’re not one thing. We’re all capable of the most brutal and horrible crimes and we’re all capable of love. We do good things and we do bad things. There are nuances. The way of seeing people as “good” or “bad” guys is forcing something upon humanity that is really dangerous, because when you say someone is the “bad” guy then you’re saying you are the “good” guy, and it’s forcing you to not look at your own flaws.

I’m a huge fan of Lars’ films but I think one thing that’s really colored people’s opinion of him are the allegations that Bjork made against him on Dancer in the Dark. You didn’t have the biggest role in that film, but is it something you witnessed?

I’ve never seen him do anything like that. It’s not him. And if you talk to any of the other women who have worked with him over and over again, you will not get those kinds of accusations. But the Bjork and Lars conflict was enormous during the shoot, and it had very little to do with #MeToo. Lars, like all directors, in the end is a control freak, and Bjork has controlled everything in her career—from the music, to the costumes, to the way she sounds—and if two control freaks try to make a film, there will be conflicts. I got phone calls from Lars during the shoot where he was in tears. She left the set several times, and it had nothing to do with sexuality. She tore up her clothes. They had a very difficult relationship. But you’ve gotta pick your toxic males. You can’t put a “toxic male” label on everybody, otherwise it will be watered down, that label.

I’m so excited for Dune. What can you tell me about it? Denis Villeneuve said that your Baron Vladimir Harkonnen is different from the comics or the David Lynch film in that he’s not as much of a caricature but a calmer, more sinister presence.

The thing about it, and why I’m looking forward to this film as well, is because it’s Denis Villeneuve. Whatever he does, he creates an atmosphere that is dense, that you can touch, and you’re just sucked into it. You’re never bored—even if he does long, slow takes. The atmosphere builds up, and you’re in his universe. I think it will be the same with this one. He’s lovely to work with, and a beautiful man. I did eight or ten days on the movie, so my character doesn’t show up for too much, but his presence will be felt. He’s such a frightening presence where even if he doesn’t say anything, I think you’ll be afraid of him. And I’m extremely fat. I had eight hours in the makeup chair every day. And in some scenes, I look very tall because I levitate. You’re going to have a lot of fun with it.

The whole HBO Max day-and-date thing is weird, and I hope as many people as possible get to see the film on the big screen.  

Oh, definitely. I think they made a deal with AT&T—which owns Time Warner, which owns HBO, which owns my phone—that they cut a four-week deal where it’ll be just for the theaters, but I’m not sure. That could change.

I also feel culturally obligated to ask you about Andor, the upcoming Star Wars series you’re in. What’s that about, and who do you play in it?

As you know, they’ll shoot me if I say anything! I can’t even get a proper script. It’s printed on red paper so I can’t make any copies of it, it’s ridiculous! Of course I’ve seen all the Star Wars films, because I’ve had children in the ‘80s, and the ‘90s, and the 2000s, and the 2010s. I’ve had children in five decades, which means you’ve seen all the Star Wars films—and seen all the toys as well. But when I saw Rogue One, it had much more atmosphere and seemed a little more mature—and that was Tony Gilroy, who’s the showrunner on this one. So, hopefully this one will be a little more than little plastic people falling over.

Was a part of the motivation to do Andor to look really cool to your kids?

I do think like that sometimes! I’ll go and do a children’s movie for that reason. But also, I’m not the most mature person myself, so who doesn’t want to go and fly a spaceship?

Plus, now you can give your kids action figures of yourself and say, “Play with me.”

Fuck yeah. Go play with dad. Don’t disturb him! Go play with him! [Laughs]    

I’m not the most mature person myself, so who doesn’t want to go and fly a spaceship?

OK, this is kind of a silly question, but do you have a favorite movie death of yours? My favorite has to be in Deep Blue Sea, because in that one you get your arm ripped off by a shark, and then the shark uses your body as a battering ram to destroy this underwater facility.

I would say that is probably, in terms of inventiveness, my favorite one too. It was Renny Harlin. Yeah. I like it! Fortunately, I didn’t have to spend that much time on that stretcher—it was a doll. But it looked really cool! And the sharks weren’t CGI back then. It was mechanical sharks, and they were pretty dangerous. The little boy in me was very excited.

Another movie of yours that I love, for entirely different reasons than some of these other ones we’ve discussed, is Mamma Mia! Is it basically a vacation filming these? I imagine the cast parties are a lot of fun, because it seems like you all are having a ball.

Well, it is. I’m not a singer and I’m not a dancer so I was scared stiff, but the only way to make it work—because it’s not much of a story—is that we had fun doing it, because that joy is contagious to the audience. And we really had fun. It was very relaxed in Greece there on the beaches, and the parties we had there were very good too. It was a nice bunch of people to hang with.

When the cast of Mamma Mia! goes wild in Greece, who is the one that parties the hardest? Who’s the VIP?

It depends what you mean by partying! I usually get pretty drunk. Down there, Colin [Firth] and I were pretty good at it. And at those parties, we also had 50 dancers in their twenties, and they had much more stamina.

I have to ask: Will the gang get back together for a third one?

I don’t know! It took 10 years between number one and number two, so if it takes another ten years, I don’t know. Some of us may just be there in urns, with our ashes!

You released a pop single in the ‘60s, right?

Yes. When I was 16, I became extremely famous in Sweden. We had one TV channel back then and I did this TV series, and it was like being a rock star. But it meant also that all kinds of shady people thought they could make money off me. So, this guy calls me from Stockholm and says, “Stellan, can you sing?” And I said, “No.” And he said, “Well, try it!” And then I hear this guitar on the other end of the line, I go, “Ahh!” and then he goes, “Perfect! Come over to Stockholm.” I went to this very shady studio in the suburbs and we recorded it, and then the guy who was running the project said, “I listened to the tape now, and I think it’s better if I sing and you speak on the record.” So, I don’t sing on the record. But there were very cruel headlines in Sweden. One paper had a headline that read, “Stellan Skarsgård, who we loved on this TV series, we don’t like anymore.”

That’s so mean! In addition to Breaking the Waves, another film that really raised your profile in the United States was Good Will Hunting—which holds up remarkably well. Some of my favorite scenes in that film are the ones where you and Robin Williams are jousting. And I know he’s a wild card, so what was it like shooting those?

He really is a wild card because anything can come out of him, and he can say anything and do anything, and he has this urge to do it because he has these three parallel brains that are constantly working on finding something funny or interesting. Sometimes, even when we would do ten takes and everybody would be happy with them, he’d say, “I have to get something out of my body,” so we would do one extra for that. You didn’t know what you’d experience when the camera would start rolling—you just had to dance with it. And it was fantastic. He was such a lovely man and had no ego. He was just a volcano of creativity and ideas.

Do you ever think about your legacy? You not only have a bunch of talented children but also have amassed such a strong body of work.

The thing is with legacy: you won’t be able to enjoy it, so just forget it. No, I don’t. And it doesn’t matter. If you’re extremely successful, it takes a decade and you’re gone from people’s minds. You can only hope that your children remember you for a couple of years, at least!

Well, they’ll have the Star Wars toys, at least.

They’ll have the toys! That’s right. [Laughs]

[maybe-im-dark]

So i discovered Amazon prime has Queen of the damned in their membership included now and i decided to finally give it a watching. To say that i'm disappointed is an understatement.

First of all: Who was this movie even made for? Like what's the target audience? As a common fantasy movie watcher you're not gonna be able to understand a thing because the lore behind the vampire chronicles isn't being explained and as a fan you're disappointed because there's a huge chunk of the actual story line missing and the rest is a complete mess. And i'm not critisizing the actors because they did a wonderful job with what they were given!

The movie already starts bad. Okay Lestat is sleeping because he is so disappointed in the world. But we're not given an explanation as to why! Why is he feeling that way? We would know if there had been a movie about the vampire Lestat! Because in order to for QOTD to make sense, you need to know what happened in Lestats backstory! Also Louis is missing, which rids the movie out of the depth of Louis begging Lestat not be influenced by Akasha and feeling betrayed by the fact the love of his undead life has run off to be with this evil Vampire Queen.

Moving on to Lestats movie backstory: Why was it changed to Marius as his maker? It doesn't make sense! It's a really important detail that Magnus made Lestat and there were a lot of dead young men looking just like him with blonde hair and grey eyes and he was finally the satisfying result in a series of failures! Also it's not explained why Marius is keeping watch over Akasha and Enkil which is a very important part in the book! The fact that they themselves sort of chose him to do it and why he was never able to get a reaction out of them!

Regarding Maharet: Oh boy. Her story was completely left out. Common viewers were sure confused why she was so adament about Akasha being stopped. The whole connection between her and Akasha was non existent in the movie! Also Mekare was missing so the whole ending of the movie didn't make sense.

About the Talamasca: No explanation as to what exactly it is and why it even exists and how Jesse came to work for them. Also David is supposed to be an elderly man, in his early to middle sixties! Paul McGann is an awesome actor but his reasoning being to old to be a vampire at the end doesn't make sense if he is portrayed as someone in his 40s with not a single grey hair to be seen!

Akasha: God bless Aaliyas soul in heaven! She did a great job portraying her. But this version of Akasha did not do her justice! It didn't show that her plan wasn't to kill all humans, she wanted to kill all the men, because women are superior in her eyes! Why would you leave that out?

Also the movie has a really weird pacing! When it reached the climax i was actually questioning if i was watching a cut down version. One moment Lestat sees Akasha is actually evil and selfish and it looks like he is questioning her and in the next he is by her side and we get the fight scene. Like...what? Where do we see the others joining forces to fight Akasha? Where do we see him being in a conflict about loving Akasha but not wanting to see her destroy the world?

So all in all this movie is a goddamn mess and a sad waste of money.

[terpia]

Early Modern Drama Rec List (Non-Shakespeare)

So I just spend a year reading a lot of early modern drama and I thought I might as well put my degree to a good use and make a list of some of my favourite lesser known (i.e. not written by Shakespeare) early modern plays. All of these plays are in the public domain, so it should be very easy to find them online.

Comedies:

The Roaring Girl by Thomas Middleton and Thomas Dekker - a fictional story featuring a dramatized portrayal of a real person, Mary Firth, also known as Moll Cutpurse. Moll was a notorious pickpocket, wore a doublet and breeches, smoked a pipe, cursed, and was generally infamous for her 'mannish' behaviour. And she's a character in this play!

It is open to interpretation how positive the play's depiction of Moll really is, but she does play a very important role in getting the main pair of lovers together and ends the play happily continuing to live her life the way she wants, which is in itself pretty incredible. Overall, just a really fun read.

Galatea (or Gallathea) by John Lyly - a 16th century play that is both gay and trans??? Sign me up! In a village where the fairest virgin needs to be sacrificed to Neptune every 5 years (or he'll drown everyone), two fathers decide to disguise their beautiful daughters as boys and hide them in a nearby forest. While wandering around the forest the two girls meet and, falling for each other's disguises, fall in love. In the end (spoilers for the ending, but this is not exactly a play you read for the plot, lol), Diana stops Neptune, the two girls find out each other's true identities and decide they're still in love, and Venus turns one of them (we never find out which one) into a boy so that they can get married.

As must be clear from this summary, this comedy plays around with gender a lot. To add to the gender cocktail, remember that the two girls would have been originally played by boys. Although the ending was seen as heteronormative by early queer critics, the emergence of trans criticism within queer theory has led to a lot of interesting readings of the play. Well worth a read.

(also, if you have a device on which you can play DVDs and some money to spare, consider buying a DVD of the Edward's Boys production of the play. Edward's Boys is a group that replicates the format of early modern boys' companies, with all roles in their productions being played by boys. I will admit, when I bought a DVD of their 2014 production of Galatea, I expected to watch a glorified high school performance, but it turned out to be so good. All the boy actors were amazing, way better at performing Shakespeare than a lot of Hollywood actors. This just straight-up felt like a professional theatre production, I highly recommend it.)

The Knight of the Burning Pestle by Francis Beaumont - I don't even know how to describe this play other than 'fantastic and fun'. A meta-theatrical city comedy, which starts with a pair of audience members (who were actually two dressed-up boy actors from the boys' company performing the play) jumping onto a stage and demanding to see a different play than the the one being set up. Things get only wilder from there.

A genuinely really funny play. I don't know of anyone who has read it and hasn't immediately loved it.

The Sea Voyage by John Fletcher and Philip Massinger - one of the least well known plays out of this list, which is unfortunate because this play is really fun. Short and sweet, it's a story of a bunch of (surprisingly honorable) pirates, who get shipwrecked on an island inhabited by a tribe of Amazon-like women. Predictably, hijinks ensue. An interesting look into early modern gender relations (apparently the main reason why living without men would be difficult for women is because of how horny they would get? I think Fletcher and Massinger need to take a lesson or two from Lyly).

The Alchemist by Ben Jonson - want to see three assholes con a bunch of idiots in increasingly ridiculous ways? Then this is the play for you.

Jonson's city comedies, which satirize the people of early modern London, tend to be much meaner in tone than Shakespeare's comedies and the other comedies on this list, but in many ways, that's what makes them fun. Viciously clever and at times really funny, there's an edge to the writing that makes it very entertaining. I had a lot of fun reading this (Jonson's Epicoene is also great, if you want a comedy that's even meaner and also has some very questionable gay stuff in it).

Tragedies:

Doctor Faustus by Christopher Marlowe - probably the most famous non-Shakespeare early modern play, and for a good reason. It has everything; pacts with the devil, a melodramatic anti-hero protagonist, homoeroticism (I mean of course, it's Marlowe), and a suitably gory and tragic ending. What more can you ask for?

The Tragedy of Mariam by Elizabeth Cary - this play is more interesting than fun, but I think it's still well worth a read. It's the first original play written in English by a woman. The play takes place in ancient Palestine. It looks at the way Mariam, a Jewish queen, reacts to the news of the death of her husband, the tyrannous Herod (yes, the baby-killing guy from the Bible). Most people seem to be relieved. Except oops, Herod is not actually dead.

A fascinating look at gender ideology in the early modern period, with the play centering around the conflict of a woman who tries to live up to the ideals of a perfect wife and woman, while stuck in a marriage to a tyrant. This play would also be a great read for anyone interested in how gender and sexuality intersected with race in early modern England, because this play uses a lot of racialized language to describe women.

The Duchess of Malfi by John Webster - a classic revenge tragedy. A recently widowed Duchess wants to marry her steward, but her asshole brothers throw a fit. Intrigue and death ensue. At one point a fake wax hand and some fake wax corpses appear on stage.

This play basically reads like a good thriller. Fucked up in a way that only an early modern revenge tragedy can be, this is a fun and thrilling read.

The Changeling by Thomas Middleton and William Rowley - speaking of fucked up. If you're planning to read it, be mindful that this play contains sexual assault. It's a story of a young noblewoman called Beatrice, who wants to get rid of her fiancé after falling in love with a visiting nobleman. To do it, she enlists the help of her villainous servant De Flores. Things end up going extremely badly.

This play can get very uncomfortable at times, but just like The Duchess, it's as gripping as any good modern thriller. Very engaging. The ending is as engrossing as it is stomach-churning, although probably not for the reasons it was originally meant to (reading criticism about The Changeling, it is genuinely shocking and disheartening to see how long it took for critics to start addressing the clear issues of consent in the play). The story also includes a bizarre virginity test that uses a potion which makes you drowsy or which makes you sneeze and laugh depending on whether you had sex or not, so hey, at least that's fun?

Antonio's Revenge by John Marston - ok, so this is definitely the least... good of the plays I've recommended so far, but listen. Do you like trainwrecks? Do you like violence so over-the-top that people to this day wonder whether it's actually supposed to be a parody of the revenge tragedy genre? Are you looking for a reading experience that will make you go 'what the fuck' throughout? If so, this is the play for you!

Very much in the so bad it's good category. Ridiculously gory. The only thing that makes it better is knowing that it was originally played by children (on a related note, I haven't seen this production, but I know that this play has also been played by Edward's Boys). If you like horrible, gory horror movies, you'll probably enjoy this play.

That's it for now! Hopefully at least a few of these plays catch your interest.

Btw, LibriVox, which is an organisation that makes public domain recordings of public domain texts, has most of these plays available as free audiobooks, if you're interested!

[lilydalexf]

Old School X is a project interviewing X-Files fanfic authors who were posting fic  during the original run of the show. New interviews are posted every Tuesday.

Interview with Dreamshaper

Dreamshaper has 54 stories at Gossamer. Her stories often feature Mulder and Scully exploring their feelings in ways you really, really wish you could’ve seen on the show. I’ve recced some of my favorites of her stories here before, including Found in Memory, Just By Existing, Purpose, and Promise. Big thanks to Dreamshaper for doing this interview.

Does it surprise you that people are still interested in reading your X-Files fanfics and others that were posted during the original run of the show (1993-2002)?

I'm not at all surprised people are still reading X-Files fanfic! There's a deep catalogue of good and interesting fiction there, and the X-Files still has cultural significance. And of course there were the recent seasons to bring it back to mind. I think if you had asked me in 2000, I might not have supposed that it had this kind of staying power. So now I'm thinking of this interview as a time capsule--what will my answer be in 2040?

My own fic was not designed to have staying power. If anyone is reading it now, bless them, they are kind and patient. I would only recommend probably reading the first and last things I posted just to see what kind of growth is possible. The first time I ever posted fic, someone told me to never write again. I was a teenager. I was crushed but I went on writing anyway, and I worked hard to improve.

What do you think of when you think about your X-Files fandom experience? What did you take away from it?

I think of two things. As for the show itself, I still think of Mulder/Scully as the ultimate in romance. I can still picture certain moments from the episodes, from the movie. I look for pairings with tension that reminds me of theirs--an almost-regency level of UST, but with a modern element of danger.

As for the fandom itself, I grew up in it. My entire online life and the core of how I participate in fandom was formed here. I was 17 or so when I started writing and posting MSR. I was 18 or 19 when I started meeting fans in real life. I was fortunate enough to fall in with people who were equal parts gracious and nerdy, and while my own nerdiness is innate, I remember and emulate the kindness which was shown to me.

I have an entire side post to this question about how strongly I disagree with the current age stratification in fandom--this idea of not interacting across artificial age divides is tragic to me.

Social media didn't really exist during the show's original run. How were you most involved with the X-Files online (atxc, message board, email mailing list, etc.)?

ATXC, and mailing lists. I don't actually remember the names of all the mailing lists! I can picture myself sitting in my kitchen on my computer, and what the emails looked like--the font, the signature lines--but not the names. I can even remember specific conversations we had! One of them must have been Scullyfic, because I remember the first meetup being planned. Is that right? Was it the Scullyfic meetup? [Lilydale note: Probably was Scullyfic. There was a big email flurry when the first Scullyfic mailing list meetup was being planned.] My mind was absolutely blown by the idea of a fan con. Now I've led panels at a dozen of them.

I remember some of the arguments, too. It's funny that some of them are the same arguments I still see here and there, like whether or not criticism of a fanwork is valid. Real Person Fic being this unbelievably shameful thing you had to ask to be shown, and the doyennes of the fandom would have given you the cut direct at Almack's if they'd found out, you know?

This was also the era of AIM and ICQ. mIRC too, right? I spent a lot of time in channels. I absolutely loved when people started to be more open about themselves in chats. I was always so interested in how fandom fit into people's lives. Some people I talked to were moms, college students, people who had interesting careers, and they all just found ways to make fandom work for them. They had a need and were meeting it, despite the pressures of their offline life.

I don't know how to explain the impression that made on me, but--it normalized fandom. That seems obvious, maybe, but I hadn't known this was something you could integrate into your everyday life.

It also normalized the idea of women taking their own needs as primary, in a way that went beyond what I was exposed to in my home life, or through the feminism of the 1990s. There was this wild intersection of the--the domestic and intellectual life of women, and the playful life of women, just making itself known to me in a way I'd never seen before. That was enormous. Absolutely a foundational experience for me.

My experience was that ATXC and email lists were like, these surface-level interactions where people figured out, roughly, if your mind ran on a similar track to theirs, and then you were invited to make deeper relationships in more private corners of the internet. Social media filled both functions at once, I think, for a while. But the privacy was missing. I'm not surprised that Slack and Discord are starting to fill that private corner gap--everything old becomes new, etc.

What was it that got you hooked on the X-Files as a show?

UST and monsters. This is still an unbeatable combination for me!

What got you involved with X-Files fanfic?

I loved romance novels--I read so many of them. Somehow, before we even had a computer at home, I started to tell myself romance novel stories with Mulder and Scully as the lead characters. This was how I talked myself to sleep--I wasn't a good sleeper. Then when I got online and did whatever search led me to ATXC, I was just shocked. Shocked! Can't do the surprise justice, in this era where fanfic is relatively mainstream. Other people had also independently invented this thing I loved! But they wrote their ideas down! I jumped on the bandwagon immediately.

What is your relationship like now to X-Files fandom?

It's like my relationship to my childhood, frankly. Foundational, but I don't think about it all that much on a daily basis, right? I smile and reblog gif sets. I get nostalgic. I get embarrassed by social mistakes I made. I feel the way many of us do about memories from our teenage years. I wouldn't be who I was without it, but I'm not still in it.

Were you involved with any fandoms after the X-Files? If so, what was it like compared to X-Files?

I was. I've spent 20 years in fandom! I did some beta work for someone who'd started writing slash--The Sentinel. The actual Sentinel, not just an endless loop of Sentinel AUs based on Sentinel AUs based on etc. I had some idea at the time that I was queer, but this was my first real exposure to romances that weren't straight. So I tore my way through the early 2000s slash fandoms as they developed: The Sentinel, Due South, Stargate Atlantis. Popslash, where a mix of good writing and absurdity ruled. Bandom, where I met my wife. Since then, many smaller fandoms.

It's hard to compare any of these things to each other, let alone to the X-Files. In each one, I was lucky enough to find a circle of women who were strong beta readers and good friends. I never wrote as much or for as long as I did in the X-Files.

Do you ever still watch The X-Files or think about Mulder and Scully?

I watched the new episodes. I've shown friends important episodes--I remember that a few years ago, another friend and I tried to hook a third friend on the show by binging some favorites--mostly shippy MOTW, so it was like, Arcadia, Triangle, Bad Blood. Fun stuff!

We finish watching and I'm like, well? And? And she says, that was fine, but I'm more of a man-pain, secret babies kind of person? I'll never forget it. She had no idea but she'd hit the nail on the head! We were wheezing with laughter. We went back and watched mytharc episodes, which was much less fun for me, but much more interesting to her.

Do you ever still read X-Files fic? Fic in another fandom?

I don't read X-Files fic often. I look at new things sometimes, and I've reread a few old classics, but my reading taste has changed so much. I still love straight romance, but it needs to be fast and sharp in a way that is hard to find.

I read fic in other fandoms when I have time. In the past few years, I've finished a degree, had a daughter, renovated a small Victorian and then sold it and bought another one during this pandemic--so time has been short. Currently I read some Untamed fic, some Good Omens fic, Magicians, Schitt's Creek...a sampler. Whatever friends are writing, whatever they recommend.

What is your favorite of your own fics, X-Files and/or otherwise?

I never have a favorite of my own fics. I'm never satisfied. The second I post something, I'm always full of regrets. I've written fics that did very well and still hated them a month later. People have asked me over the years to move more of my stuff off Livejournal and onto ao3, but I do it really reluctantly and only by specific request. Everything's ephemeral! Let the old works diminish, and go into the West!

Do you think you'll ever write another X-Files story? Or dust off and post an oldie that for whatever reason never made it online?

I have no oldies to dust off. I do periodically think of X-Files stories I would tell, but I don't have enough time for current interests--and so it goes.

Do you still write fic now? Or other creative work?

I do. I was most recently writing in The Magicians fandom. I posted a couple new stories in an old fandom last year--I'd written Good Omens fic fifteen years ago, and then again for the Amazon adaptation. I have a pile of original novels in various stages of completion, but I'm never happy with them. One day I'll figure myself out, perhaps, or I'll just keep writing myself this and that and leaving it all in a drawer.

What's the story behind your pen name?

So AOL had a character limit for user names--I think it was 10. I was a teenager at the time I was coming up with the one I'd use for fandom, so I went with Dreamshaper. It was kind of literal, in the sense that I was going to share the stories I'd been telling myself to help me sleep. But the character limit meant I went with Dreamshpr, which I later liked because of the alternate reading of Dream*shipper*. A reminder to the younger fans that we were the original shippers!

I would also come up with new pen names when I wanted to experiment with a fic that didn't fit my usual style. I don't remember any of them. I probably did that a dozen times, so, sorry to those poor completely abandoned stories.

Is there a place online (tumblr, twitter, AO3, etc.) where people can find you and/or your stories now?

Giddygeek on tumblr and ao3. I'm most active on twitter, but largely about my domestic life with dips into fandoms or original writing; message me on tumblr if you're an old friend who'd like to reconnect elsewhere.

Is there anything else you'd like to share with fans of X-Files fic?

Just gratitude--I'm so glad that I found people to share an obsession with, and that they were good people, at a time in my life where that made a significant difference to me. I don't know where I'd be now without my time and my growth in this fandom!

(Posted by Lilydale on December 22, 2020)

[giantroboticplatypusbutt218]

I finished watching Loonatics Unleashed and I have Some Thoughts. I guess this is like a part 2 to the other post I made about the show so yeah.

I swear I don’t intend for everything I write to be an essay but whatever. It’s all under the cut. No massive story spoilers, but I will talk about episodes and will warn accordingly. (But who actually cares about being spoiled on the plot of Loonatics Unleashed?)

Alright so I finally figured out why Ace has laser vision. ...It’s kinda dumb but it’s because rabbits eat carrots(in cartoons). It’s... a reason at least. Still kinda sucks that it’s his only power when everyone else got 2 and some change. Kickass swords don’t count, even if they are magic. Seriously; Transformation. Duplication. Imitation. Tons of other “ation”s. They could’ve leaned into his trickster side but no. He eats carrots... so he got laser vision. Also he only ate carrots like three times in the show so wtf...

Okay so the pacing... improved somewhat in season 2. Don’t get me wrong there were still problems in some episodes but at least they learned how to build the stakes until the climax. They still sometimes went from zero to eighty after the opening credits, but at least it wasn’t zero to a hundred. Much less whiplash was had is what I’m saying. 

I don’t think I really mentioned the villains before but they’re uh... generally not very good. They’ve got cool gimmicks but most of the time they’re just two stereotypes and a cliche in a trench coat. Season 2 brought back classic anthro characters to be villains a few times, and while they still weren’t well written and just referenced old bits half the time... at least they weren’t dehumanized humans. 

I also don’t think I mentioned the animation so... it’s fine. It’s got cut corners but all cartoons do. Sometimes fight scenes look cool, sometimes they’re stiff. Sometimes the slapstick is well timed, sometimes it’s not. Sometimes the facial expressions match the voice acting, sometimes they don’t. Speaking of voice acting, it’s good. There’s not really anything stand out to perform in the first place but everyone does a good job with what they have. 

Okay random note before getting deeper into things... the intro themes were... not good. I swear the first song ended on a note that it wasn’t supposed to. The second song fixed that but added people announcing the characters which... is just worse to me. Not much else to say because I skipped them after the first few times. 

(Very mild spoilers for the general plots of episodes past this point.)

Ace and Lexi improved a little in the second season, but I still find them kinda bland. Ace still just feels like zero calorie Bugs Bunny. His wit is confined to being the leader, snarky comebacks, and some decent sleuthing skills... and that’s really it. He doesn’t really play around with the villains the way Bugs would. Ace was also supposed to have an arc learning to use his magic sword which... didn’t really happen. Lexi’s defining trait outside of her powers is still that she’s “the girl” which... sucks... Uh... she upgraded to Gamer Girl in the second season which while neat, amounted to nothing outside that one episode. At the very least she was never kidnapped for more than 5 seconds?(That “honor” goes to Zadavia) They also never really brought up their backstories in a meaningful way again, which sucks. 

I still like the rest of the team. Slam got an episode about wrestling that built on his backstory and was fun to watch. Duck discovered that his egg powers work differently in water which was neat and matched him being a waterfowl.(Lexi’s powers work differently in water too but it’s never brought up again). Rev is still Rev and I still love him. He got an episode about his family and struggle to impress them(specifically his parents) despite his career choice which was also neat, but I will be coming back to this episode later. Tech is also still Tech and I also still love him. But uh, every character and also me wanted to see him get out of the lab more, and then he got like a nibble of an episode to get out of the lab, and then the show was over. Oof.

Speaking of Tech, it might be for the best he hardly ever left the lab because his powers are... possibly way too effective against all the robots and machines the team fights. Now, him being “overpowered” could’ve been used as a fun writing challenge. Robot goons aren’t a good option for villains anymore. Fighting against him in a city filled with metal is harder. Villains can’t rely on simply killing him thanks to his regeneration. Fight scenes including Tech would have to be handled in a fun and interesting way. But... no. In a team with two tech guys, the one with super speed and flight comes with while the one who can control metal and literally can’t die stays behind. Oh well. Doubt they could’ve added him into more fights without accidentally dumbing him down anyway. 

Oh crap I forgot to talk about Zadavia! Uh... she exists. She’s the team’s boss who sends them out on missions. Uh... I can’t talk too much about her without spoiling what little overarching plot this show has, but just know that she’s neat, but affected by the usual sexism going on in the show’s writing.

(Character and episode spoilers past this point.)

You know, for being The Loonatics the main cast wasn’t very loony. You know who were though? Basically all the villains. Yeah I don’t wanna go there but oops here I go anyway. It’s pretty messed up that all the main characters’ zany traits were dialed down, while the defining feature of practically every villain (besides their stereotypes)is that they’re insane. I mean, if you’re looking for good mental illness rep in The Looney Tunes you’re gonna be disappointed, but at least in the shorts almost every character was a little unhinged and a bit of an asshole, making none of them stand out for those traits specifically. 

Also messed up is that a lot of the villains are disfigured and made fun of for it by the main cast. Hot take of the century, but I think making fun of people for having a big head or only one eye is... bad. Oh and if they’re a woman then they’re also judged on how hot they are. Actually all women in the show are subjected to sexist writing. I remember like one episode where women were treated with a sliver of respect for a split second and that was in the obligatory “the cast comes across an island of amazon women” episode. However since most of the time was spent painting them as villains until the “actually sexism is bad” ending, there was hardly a moment of reprieve from the bullshit if a woman was on screen. 

I’m not the best person to speak on this but uh... it’s fucked up that since literally every notable human is a villain, all the people of color are bad guys, right? Like, obviously it’s not as bad as some of the shit the old shorts pulled, but that’s like saying getting punched is not as bad as getting stabbed. It’s true... but I’m sure most people would prefer neither. 

And here’s where I bring up that Rev episode I mentioned earlier. Rev’s parents are racist against coyotes (cartoons sure love to make carnivores allegories for black people don’t they?) and obviously with Tech E. Coyote being his close friend, that causes trouble. ...Right? Uh, no. They say some racist crap to Tech, and that’s it. There is not even an attempt to correct their behavior from anyone. It’s just treated as some unfortunate quirk. In fact the episode’s conflict actually revolves around Rev’s brother, Rip. Honestly, I doubt that they could’ve handled a decent “racism is bad” episode anyway. But they could’ve also... just not brought up racism if they couldn’t handle it? I’m sure having no racism topic at all would be better than having Tech just take the parents’ racist bull crap lying down and then help Rev impress them with an invention he doesn’t get credit for. Also at one point Rev says if Tech wasn’t a coyote and a guy he’d kiss him, which has two uncomfortable implications, but this section is already too long. 

(Spoilers end here.)

Overall... yeah the show’s not very good. Of course it wasn’t. It was always going to be a little garbage. And no not because of the darker style or strange setting or any of that superficial crap. Team dynamic shows are popular and with Teen Titans doing so well WB probably thought they might as well shove out a 2 season Looney Tunes version to grab a little more cash, probably minimizing the budget to squeeze out as much profit as possible. If anyone working on the show was passionate about it, I doubt they had the budget or time to act on most their ideas. 

Still, there were things to like. There are some funny jokes throughout the show, a few of which even managed to come out of Ace’s mouth. Danger Duck was literally just Daffy and he’s always great. Ironically, Rev and Tech were the most fun to listen to, and also to watch interacting in general. Slam didn’t do much but was a sweetheart who deserves success. There managed to be some decently twisty twist villains, if only because Disney ruined my brain with their ceaseless and lazy attempts at them, and I wasn’t looking out for them in this show. And, while almost nothing was properly developed, at least the concepts and characters are fun to think about?

I can’t say I’d recommend this show to everybody, but uh... if you’re a Furry with low standards and too much free time like me, maybe you’ll like it? Just go in with low expectations so when nice things happen you’re decently surprised. 

[gendercensus]

Gender Census 2020: The Title Question

This report is the third in a series, analysing the >24,000 responses from the 2020 Gender Census question-by-question.

[ Report #1: On “enby” and age // Report #2: The Identity Question // Report #4: The Pronoun Question ]

~

This year’s Gender Census, aimed at everyone whose gender(s) or lack thereof are not adequately described by the gender binary of “always, solely and completely male OR always, solely and completely female”, was open from 12th February until 7th April 2020. There were 24,576 usable responses. (Unfortunately the spreadsheet of responses won’t be available until I’ve written up the report for every question, sorry about that!)

This report will summarise the responses for the second question, regarding honorific titles.

As in previous years, I asked:

Supposing all title fields on forms were optional and write-your-own, what would you want yours to be in English?

(Please note that you should currently be entitled to use it - for example, you should only enter Dr if you have a doctorate.)

There were 10 radio-button options presented in a random order, based on which answers were chosen by over 1% of participants last year:

No title at all

Mx

Mr

Non-gendered professional or academic title (eg: Dr, Rev)

Ms

Unknown

Miss

Ind (individual)

I choose my title on the day depending on how I'm feeling, even for long-term things like bank accounts

A standard title that is used only by people other than men and women

Here’s a graph of the results:

No title at all - 34.4% (up 1.4%)

Mx - 28.0% (down 3.3%)

Mr - 8.6% (down 0.1%)

Non-gendered prof/acad. - 5.3% (down 0.2%)

Ms - 4.9% (up 0.2%)

Unknown - 3.9% (up 0.4%)

Miss - 3.3% (up 0.2%)

Ind ("individual") - 3.3% (up 0.3%)

Choose on the day - 2.7% (up 0.5%)

A standard NB/GQ title - 2.6% (up 0.1%)

This year I collected rough information about age, in order to add type-ins that went over 1% among under-30s and/or over 30s, which means I was able to create this graph:

Some notes:

People over 30 were a lot more likely to prefer no title over Mx, but no title was preferred across the board.

Mr was more popular among under-30s, and Ms was more popular in over-30s.

People under 30 were more likely to choose “unknown”.

Over-30s were more likely to claim a non-gendered professional or academic title, such as Dr, Reverend, military titles, etc.

The most popular type-in title was M, with 40 entries (0.2%).

This is all fairly consistent with previous results, and nothing reliably stands out as particularly noteworthy on a long-term scale. Here’s the graph of how it compares to previous years:

You can see that the first two or three years are a bit squiffy, while we found our feet and added all the title options that needed to be there. (As we added options, “no title” became less popular.) Things settled down a lot from 2018 onwards, one year after the last title option was added. Identity words tend to fluctuate in popularity, as do pronouns, but titles are for some reason very consistent from year to year.

If you look at the pattern over the six years shown in the graph, Mx and “no title” have swapped places until the last two years, when Mx has been in decline - while titles such as Mr and Ms are increasing. Anecdotally, Mx has certainly been the “default” nonbinary title here in the UK, so I am wondering whether the dramatic increase in participants (11,000 last year, to 24,000 this year) might be a factor, as the survey leaves the geographical and social media bubbles more every year. Perhaps Mx is less popular further afield and outside of that bubble? I am curious to see what happens over the next few years. If I am able, this year I will make a UK-only report to find out how Mx has fared in the UK alone.

No typed titles were entered by over 1% of participants, so there will be no additions to the radio button list next year. All the provided specific titles were selected by at least 3% of participants in at least one of the under-30 and over-30 age groups. “I choose my title on the day” and “a standard nonbinary-exclusive title” have both been fluctuating at just under 3% for some years, but the title list is relatively short and those options will become very difficult to count if I don’t provide a pre-typed option for people, so I won’t remove them from the list next year.

The option "a standard title that is used only by people other than men and women” is also quite useful for further investigation. (I refer to it as a hypothetical “standard nonbinary-exclusive title” for convenience, but obviously one doesn’t need to identify as nonbinary to claim it and if the most popular identity word shifts from nonbinary to something else I will refer to it with the newly-popular word.) It sends relevant participants to a question that asks what that title is or might be.

641 participants (2.6%) said they preferred a standard nonbinary-exclusive title. When they did, they were taken to this question:

In the previous question you chose "a standard title that is used only by people other than men and women." If you know of any, please type them here. This question is optional.

The participant was then presented with five textboxes. About 12% of participants who saw that question had something to type, and the following titles were entered more than once:

Mx (26 times)

M (4 times)

Friend (2 times)

That’s a title that is established as one that can be used by anyone regardless of gender, a title that is masculine in French, and a very familiar word that would be used specifically in a quite formal context.

Ind (”individual”) could fit the nonbinary-exclusive title niche if it were to be used that way consistently, and I could see it happening, but it has also consistently been claimed by only about 3% of participants since the survey began. It seems that we don’t have a nonbinary-specific title to stand alongside Mr and Ms yet.

So, this year there is not much to report! Only a slight decline in the popularity of Mx, which could reflect survey-related factors, so I will hold off on making any assertions until we have a few more years of data.

As always, these results support the important point that when designing a form the title field should always be optional. One third of participants in this survey have preferred to have no title at all for many years, so any nonbinary title-related campaigning should demand that title questions be optional in addition to adding Mx to the list.

~

SEE ALSO

A list of links to all results, including UK and worldwide, and including previous years - summary page / results tag

The mailing list for being notified of the final report and next year’s survey

~

Thanks for reading! If you enjoyed it and would like to give something back, you could increase your chances of taking part in future surveys by following on Tumblr, Twitter or the Fediverse, or subscribing to the mailing list. Alternatively, you could take a look at my Amazon wishlist.

[x--daughters-of-darkness--x]

Voice Notes: How Evanescence's Amy Lee brought her powerful vocals to life

"Something takes over and I lock in and I know I'm where I'm supposed to be."

Evanescence frontwoman Amy Lee has one of the most powerful voices in music. But it took a long time for her to feel comfortable using it.

"I've got to be honest, that came after I'd been doing it for a while," she tells EW. "I was pretty insecure in the beginning; I always felt like I wasn't that good. I started playing music with people in what eventually turned into a band when I was 13, and I was singing only because it was the vehicle for the poetry I used to write."

Lee laughs as she reflects on being a "wannabe dramatic 11-, 12-, 13-year-old" who poured all of her emotions into those poems — along with her original dream of becoming the next Mozart. "I wanted to write genius symphonic opuses and impress everyone with my skills that I didn't have," she says. "I was kind of halfway down the path of realizing that that would be an extreme challenge when grunge hit and I started playing with boys in bands."

Yet she credits joining choir in junior high as a major factor in her becoming a singer, a role she initially saw as "blending in" rather than standing out. It wasn't until she realized how much people liked her voice that she gained the necessary confidence to bare her soul on her own. "The more I did it, the more positive attention I received," she says, adding with a chuckle, "Ugh that feels so weird and insecure to say it that way! I don't feel that way now."

Lee's voice has never sounded more passionate than it does on The Bitter Truth (out March 26), Evanescence's first album of all new material in a decade. Written partly before the pandemic and featuring the band's first ever political anthem, "Use My Voice," the 12-song project explores grief, fighting for truth, and not giving up even when things feel hopeless. "Suddenly there was this fire, this aggression — just frustration and rage at the things that we were seeing go down," says Lee, about the political climate while the band was recording. "We all feel broken sometimes. It's really, really healthy to be able to say that everything's not okay. You have to let it out."

Lee, 39, arrived at a similar epiphany as a teenager, when she learned to lean into her vulnerability by harmonizing with her own voice, pushing herself to achieve the type of natural emotion conveyed by singers including Björk and Portishead's Beth Gibbons. In doing so, she found the freedom to channel her honesty. "I truly see it as an expression of myself," she says of singing. "It's not a job to me; it's my heart. And I definitely hear a physical difference in my voice now. When I sing, I'm not thinking about anything, I'm not nervous. I feel a spiritual, centered transcendence. Something takes over and I lock in and I know I'm where I'm supposed to be."

That's why Lee doesn't put much stock in the long wait between Evanescence's last album with all original music and The Bitter Truth, which will receive its own behind-the-scenes documentary, Evanescence: Embracing the Bitter Truth (out Friday on the Coda Collection on Amazon Prime). "I know that 10 years is a long time but there have been a lot of different projects in there, including a kid's album with my family" featuring her now late brother, Lee says. "That being said, whenever I am in full 'making Evanescence music' mode, I put a lot of my real life on hold. I put my family on hold. I put my friends on hold.... You just have to go with the wave of inspiration if you're going to come up with something great."

But the band's path hasn't always been easy to maneuver, even after achieving global fame with their 2003 debut album Fallen. Evanescence originally received pushback from record label executives who thought the group needed to use a full-time male co-vocalist alongside Lee to make the album more "marketable." They eventually settled on Paul McCoy for lead single "Bring Me to Life" — a decision Lee has spoken out against in the decades since. "I can see alternate realities where that's what helped it be mainstream and what gravitated everyone towards us, so I am grateful," she says. But she also sees that decision as a "timestamp" of 2003, which ends up dating the song.

"That was honestly my biggest problem with it, or part of it," she adds. "It's like, 'You think I can't do this by myself? I got males all around me, there's enough.' Part of me wonders if that one sacrifice hadn't been a part of it, maybe things could have gone an even bigger way for us. Or maybe we would have been understood better."

Lee looks back on that time in the band's (and her) career with the clarity that only comes from maturity. "More than anything at this point, I'm over that hump of frustration of feeling misunderstood, and I'm just grateful that we've made it so far and improved so much," she says.

It all comes full circle on The Bitter Truth, with Lee and her bandmates exerting full creative control. For example, on "Use My Voice," they decided to bring in an army of frontwomen including Lzzy Hale, Deena Jakoub and Taylor Momsen to provide vocals. "It's awesome. It's beautiful. It's what I always wanted," Lee says. "I don't even know how to put that other than like, women! Standing up together! Talking about the rock world and women in rock, of course there are less of us, and that's why it's a pretty tight-knit group."

Along with tracks including the piercing, grief-inspired ballad "Far From Heaven" and the vulnerable "Broken Pieces Shine," Lee is proud of what the band is still accomplishing. But she also admits a lot of the songs are going to be difficult for her to perform live when the world opens back up — even after all these years of honing her voice.

"I keep making our songs harder and harder, I don't know why I do that to myself," she says. "They keep getting higher in my range, and then every time we're going to make another song I'm like, this time I'm going to take it down a little bit. I'm not going to make it so hard for myself. But then it gets to the chorus that I have to! And then it's like, higher than ever."

She laughs as she deadpans, "So, we're f---ed. When we have to go out and sing these songs live, I don't know what I'm going to do. But the challenge is what keeps me inspired and on fire about it."

[mst3kproject]

Atlas in the Land of the Cyclops

Here we have a movie with a big, brawny hero in a very short skirt, whose hobbies include drinking potions, napping, and bending prison bars!  He stars in a film that is poorly-made, mythologically questionable, and deliciously ripe for heckling.  What more could a MSTie possibly want?

Long ago, Ulysses blinded the cyclops and outsmarted the witch Circe, and they’re still pissed about it.  As the movie begins, they’re on the verge of completing their revenge by murdering Ulysses’ last descendants.  The last king of Ithaca is killed in a raid, but his young son is smuggled away and left in the care of an old shepherd.  Upon hearing of the slaughter, Maciste goes to the land of Sadok to save Queen Penope and the other women of Ithaca, who have been taken captive by Circe’s descendant, Queen Capys.  On the way he saves Capys from a rockslide and they fall in love, each not knowing who the other is… which goes on to make things very awkward later.  Nobody in the movie is called ‘Atlas’.

Nobody Named Atlas Goes Anywhere Near the Land of the Cyclops is a bit oddly put-together.  Theoretically the plot – the need to protect baby Prince MacGuffin from Queen Capys’ soldiers – is established quickly, but then it seems to take a while before anybody makes any progress.  This is because a lot of the early plot developments happen by complete accident.

After making sure the baby is safe, Maciste sets out for Sadok.  He quickly finds out where Capys is keeping the Ithacan prisoners, but this isn’t clever detective work – it’s just a coincidence, when some soldiers ask him to help them carry a giant amphora into the palace.  Meanwhile, Capys has been told that somebody named Maciste knows where Baby MacGuffin is, and orders her soldiers to find this man and bring him in alive.  Her Vizier, Ephetus, does so – but again, it’s an accident!  He arrests Maciste for wandering into ‘The Forest of the Vestals’ and sentences him to death for that before ever learning his name!

Once Maciste is in Capys’ custody the movie finally seems to figure out where it’s going, but this over-reliance on coincidence makes the first half of Nobody Named Atlas Goes Anywhere Near the Land of the Cyclops feel very muddled.  The only thing that really needs to be an accident to make the plot work is Maciste and Capys meeting in Circe’s cavern without knowing they’ve already sworn to destroy each other.  Following that with more coincidences feels like filling time.

The bit where Maciste is arrested is really weird, actually.  The Vestals appear to be playing Blind Man’s Bluff, and Maciste just wanders into the middle of it.  The blindfolded woman bumps into him and feels up his pecs for a moment while he stands there grinning awkwardly, then she pulls her blindfold off, screams, and faints.  Soldiers then run out of the bushes and arrest Maciste.

So that was odd… then there’s the way Ephetus decides to have Maciste executed for harassing the Vestals. They put him on a board over a lion pit (every ancient kingdom has a lion pit) and tie a long rope to each of his wrists.  Then six white guys in green skirts pull on one rope, and six black guys in white skirts pull on the other.  Eventually, of course, Maciste overpowers both teams and everybody but him gets to be Fancy Feast.  Only once that’s all over does Ephetus realize that this is the guy the queen wants delivered to her alive.

There’s other weird shit that goes on, too.  In another sequence, Maciste is getting his ass beat by Ephetus’ flunky Mumba (Paul Wynter from Mole Men Against the Son of Hercules, still buffer and oilier than the guy playing Maciste) and, having recently been drugged, is barely able to fight back.  He gets a second wind when Mumba throws him against another giant amphora, which breaks, dousing him in wine.  Maciste blinks a few times, and then suddenly becomes unstoppable.  Was it the alcohol, or the blow to the head?  There’s a truth serum that is administered by pouring it into an enormous wine goblet… and this isn’t just a thing for Maciste, either, everybody in this movie drinks booze from glasses the size of their own head. Nor can we forget the guy who gets thrown overboard from a ship, and out of nowhere a shark just appears and eats him immediately.

None of these are a full-on WTF Moment but all of them are kind of bizarre and many of them got a laugh out of me.  A lot of them also tie in to the movie’s main obsession, which is Maciste’s Feats of Strength.

We are treated to many of these, all of which go on a little too long.  They are filmed in loving detail, particularly focusing on the muscles in Maciste’s back, which are so well delineated that they almost comprise an anatomy lesson. We get the obligatory lion-wrestling scene (totally separate from the later lion pit scene), in which we are relieved to learn that yes, Maciste does have underwear beneath that miniskirt.  We get him holding up a stone roof that’s threatening to collapse, there’s the giant amphora and the inevitable prison bars, all while Maciste makes some very constipated faces.

My favourite bit is when Maciste rolls a giant boulder into the middle of a road so the soldiers can’t follow him.  What makes it funny is that this is clearly not the first take: the boulder has been rolled repeatedly, and there are places where the paint has come off to show the white Styrofoam underneath.

All this emphasis on Maciste’s rippling trapezius muscles makes the movie feel just a tad homoerotic.  One shot where the camera pans slowly around Maciste’s body while Capys walks a circle around him could be an attempt to depict the female gaze – a very rare thing in movies.  But I don’t know what to tell you about the Maciste-vs-Mumba fight scene, which is either trying very hard to be sexy or else I’m just looking through tumblr-coloured glasses again.

The climactic battle with the cyclops is pretty great.  The cyclops is played by a normal-sized stuntman made to look like a giant through camera angles, which means that Maciste can never be in the same shot with him. There are ways to do this well but Nobody Named Atlas Goes Anywhere Near the Land of the Cyclops does not use those – instead we just get some really funny jump cuts.

According to the movie, the reason Queen Capys wants to carry out her ancestress’ revenge on Ulysses is because until it is complete, she is under a curse.  Capys herself describes this as being ‘forced to live in hatred’, but it is very unclear what this means.  Early on, Ephetus confesses his love for Capys and she replies that she doesn’t know what the word means – this made me think perhaps her curse was an inability to fall in love.  A few minutes later, however, she has laid eyes on Maciste and his sheer manliness thaws her icy loins in a matter of seconds.  So… is her curse supposed to be that her subjects hate her?  They hate her because she keeps feeding them to a cyclops!  She could stop that at any time!  Her curse can’t be that nobody can love her, because Ephetus and Maciste both do!

I mentioned that Nobody Named Atlas Goes Anywhere Near the Land of the Cyclops shares an actor – Paul Wynter – with Mole Men Against the Son of Hercules.  It also shares a director, Antonio Leonviola (he also made Thor and the Amazon Women, the movie that runs over the opening credits of Cave Dwellers).  Maybe that’s why both movies have an evil queen who is supposed to be redeemed by her love for Maciste.  You may recall that I didn’t think Mole Men did this very well – Halismuya continued torturing people even after her supposed change of heart.  Land of the Cyclops does a bit better.

We don’t actually get an impression of Capys’ journey, but we do see the beginning and end of it.  As the movie begins, she’s callously throwing victims to the cyclops and looking forward to breaking her curse by killing Ulysses’ last two descendants.  At the end she sacrifices her life trying to save Baby MacGuffin despite knowing that it means she will never be free.  Her motivations for switching sides are unclear – she says that knowing Maciste has ‘changed her nature’ but we don’t ever see him trying to convince her that this child deserves to live.  She does remark that when she’s with Maciste she’s ‘only a woman’ rather than a queen… so maybe he brought out her maternal instincts?

I also don’t know what Ephetus’ determination to kill Queen Penope along with her son is all about.  She’s not a descendant of Ulysses, but he actually puts off killing Baby MacGuffin – the thing he believes his queen wants him to do – until he has identified the child’s mother.  The movie also never explains why this kid, whose father was the king of somewhere else entirely, apparently has the right to succeed Capys as ruler of Sadok.

Nobody Named Atlas Goes Anywhere Near the Land of the Cyclops is a pretty lousy movie, but it’s a fun lousy movie. It’s kinda racist and kinda sexist, but no more so than a thousand other movies of its vintage.  The only complaint I might have about its entertainment value is that it needed more crappy monsters.  The cyclops is pretty bad, but he doesn’t show up until the very end. Fortunately, the rest of the movie has plenty of other stupid shit to fill it out.

[ultrahpfan5blog]

Watching Snyderverse Part 3 - Zack Snyder’s Justice League

After BvS, I was honestly not particularly looking forward to Justice League. For me, it was obvious that Snyder’s versions of these characters and his overall doom and gloom approach was not something I was particularly enjoying despite some promising elements in both MoS and BvS. Then we saw exactly how JL production went down. Despite the happy face they tried to paint, the fact that there was going to be a 2 hour mandate, the fact that Whedon basically reshot a bunch of Snyder’s film with the film being a mishmash of two directors who couldn’t be any more different in their sensibilities, and that that the actors, specifically Ben Affleck, looked like they couldn’t wait to be done with this movie and this role, made it obvious that the movie wasn’t going to turn out well. So my expectations were rock bottom for the theatrical cut. As it happens, that was a good thing. The theatrical cut of JL is a thoroughly unremarkable movie. I don’t abhor it but it is so obviously a patchwork job and a studio mandated film that there is no passion or vision in the movie at all. I mean, I didn’t like BvS much at all, but there was a vision there. Theatrical cut of JL seemed like a film that felt like WB just felt they had to put out there and then move on. And then years later, we get Zack Snyder’s full version of Justice League. I watched it in one sitting, which was maybe a mistake because it is heavy viewing for 4 hours. Without a doubt it is a better movie than the theatrical cut. Its a little tough to judge this film because this is no way a movie that would have been released theatrically. But its also impossible to judge on what it may have been if it was edited down to a 3 hour length. So best to just judge it on its own merits.

Firstly, the positives. This is definitely a more coherent and clear movie. The plot is not rushed and every sequence, be it a character moment or an action sequence, is fully realized without any weird edits. The film does have some more humor than the previous two Snyder films. Mainly courtesy of Ezra Miller and Jeremy Irons. And the humor is not awkward like in the theatrical cut. Ezra Miller in particular benefits from that because some of his cringey lines from the theatrical edition are cut. The special effects are largely impressive and definitely an improvement over the theatrical edition. On a character level, definitely Cyborg gets the most benefit out of all the characters. As we get a full and thorough backstory for him. We get insight into his relationship with both his parents. Steppenwolf also gets significantly more screen time and his motivations are definitely more clearly defined in the movie than in the theatrical. Miller and Momoa also get some more scenes to flesh out their individual characters. What does surprise me is that the film contains a lot of scenes which are essentially just alternate versions of scenes from the theatrical cut. The film isn’t radically different from the theatrical version, but the scenes included in this version feel a little more real. Like a scene with the entire League discussing Superman’s return in the theatrical cut made it obvious that the actors weren’t in the same room together, whereas the original scene in this movie has them clearly in the same physical space. The Superman scenes are also infinitely better without the CGI upper lip. Thankfully, Snyder doesn’t do what he did with the previous two movies and gives some breathing room between action sequences. Probably a bit too much time, but that’s better than no time at all. the tunnel action sequence and the climax set piece is definitely pretty cool. Flash actually having an active role in the climax was a big improvement. My favorite action sequence is still the Superman vs the League because it shows just how powerful Superman can be. Also, the color palette is a lot more consistent and better than the weird bright and red color palette that is used in the theatrical cut.

When it comes down to the performances from the cast, nobody really stands out. They are all fine, but unlike in BvS, where Affleck stood out. Everybody here is just motoring along. In the theatrical cut, Affleck looked completely checked out. I was hoping the original cut would beef up his performance. While it is slightly better, he’s still just a bit too restrained in the role and doesn’t leave the type of impression he left in BvS. Everyone is at their most dour self. Gal Gadot’s WW is more serious and therefore does not get to show her more radiant side in Patty Jenkins’ movies, Momoa is also similarly more dour and serious and not quite as fun as he was in Aquaman. Ray Fisher is decent but its a role that requires him to be very robotic for large chunks of the film. So its a little difficult to assess his performance. Cavill is in far too little of the movie to give much of a performance. He’s perfectly fine in the handful of scenes he has. Miller is probably the best of the lot, even though he’s still more Peter Parker than Barry Allen. Some of the supporting cast actually fare a little better. Irons is a delight whenever he’s on screen and Affleck is also at his best when they have scenes together. That dynamic works. Joe Morton is surprisingly affecting as Silas Stone, as is Billy Crudup in his brief scenes as Henry Allen. Its always nice to see more of Willem Dafoe, Diane Lane, Connie Nielsen, and JK Simmons. Simmons as Gordon was great casting and its a pity we won’t get to see more of him in that role. Amber Heard for some perplexing reason has a British accent in this film as Mera. Given Dafoe and Momoa both speak in their normal voices, that must have been a choice. It did feel a bit funny. Jared Leto and Jesse Eisenberg are back as Joker and Lex and neither of them particularly improve on their performances. I mean, they have a scene each so its no harm done, but the Joker scene particularly drags on for too long. Amy Adams has a small role and she does manage to make to get some emotion out of a handful of scenes.

The film has more than its fair share of issues. Firstly, it is just way, way too long. The pacing is glacially slow at times. And I mean that in the most literal manner. There is so much slow mo in this movie, its crazy. I swear, if you removed the slow motion, you might lose 20 minutes of the run time. Snyder is clearly in desperate need of an editor here. The film has the exact opposite problem of the theatrical cut. Whereas in the theatrical cut, it always felt that every scene was just edited a little too short, in this movie there are scenes that are going on for far too long. There are some very strange edits. Like an entire scene where women in the village are singing hyms when Arthur leaves and smelling his clothes. There is a meet cute between Iris and Barry which is completely unnecessary and is frankly slightly creepy where Barry is caressing her face while she is in the process of being thrown out of her car. Some music choices in these scenes are also a little bizarre. Everything involving the Martian Manhunter is not necessary. I mean, his involvement in a crucial Martha and Lois scene actually takes away from the emotion of that moment. And then he has a very tacked on final scene which is kind of awkward. The Knightmare scene also drags for a bit too long, especially given they are supposed to be in danger while being out in the open. We still have no more clarity as to why Bruce is having these visions. The slow pace does make things boring at times as well. While I am glad that Cyborg’s backstory gets beefed up, there is a bit too much of Cyborg being angry at his father. After a while, it gets monotonous. The film takes too long to get the team together and the first JL action sequence doesn’t happen until over 2 hours into the movie. The film should have spent a bit more time with the team interacting with one another. That’s what made the Avengers movies work and some of the best parts of this movie are also the team together. There are some Snyder tone deaf moments as per usual. While WW’s entry action sequence is very cool, I do find it funny that they have her comforting a girl and the girl wanting to be just like her after she basically obliterates the terrorist into dust. Given her abilities shown in that sequence, there is no reason she wouldn’t have been able to disable him. But instead she just obliterates him. Its all very Snyder. I do also have to wonder about that sequence. I still don’t get exactly how terrorists feel that blowing up a few city blocks will bring down the modern age. I thought this was a weird Whedon thing but it turns out to be a weird Snyder thing. Also, for all the hype about the black suit Superman, its really nothing more than an aesthetic choice for no rhyme or reason. I honestly prefer the Blue and Red if the black suit doesn’t have a point, like the restorative factor from the comics. Also, for all the blame people put on Whedon about the skimpy outfits on Amazons and the weird backside shots of WW, turns out they were all Snyder. There are a few select things that the Whedon cut did slightly better. For example, there is no real major debate or conflict within the team other than minor objections from Arthur over the implications of using the mother box to bring back Superman. Also, a sequence in the theatrical cut where Bruce admits that Clark was more human that he was, is a better version of a similar scene in this movie. Also, while not perfectly executed, the theatrical cut did acknowledge that Bruce was a human fighting amongst superpowered individuals. Also, most importantly, while Steppenwolf is an improvement over the theatrical cut, this is still a movie where the plot involves a villain trying to find three boxes. Steppenwolf is still pretty boring and the main story is not interesting at all. The Darkseid angle of this story is also overhyped since he’s barely in the film. 

In the end, it feels that there is a pretty decent 3 hour movie hidden in an ok but dragged out 4 hour film. I’m glad the Snyder fans got to see it. I have had my issues with Snyder’s vision. While I feel he has grand ambitions and a sense of scale and scope, he hasn’t really got the sense of story and script to really make it work to a degree where the audience at large would appreciate it. I have seen his old storyboards and read his recent interviews about what he was going to do. It sounds very grand and very cool, but with a big potential of being a gigantic mess. Who knows what will happen in the future but at least it right now seems that they are moving on from Snyder’s vision. For this film, I am right now landing at about a 6/10, which is the highest mark out of all the Snyder DC movies. I’ve only watched it once and watching it again is a big endeavor so I won’t do it anytime soon, but maybe revisiting it will make me either like it more or less.

[ratingtheframe]

Everything That Happened at the 2021 Golden Globes

The first two months of the year are finally over and as the days grow longer, we can start to see the early signs of spring. With spring comes summer and with summer comes an influx of movie releases, with the majority of films that were put on hold last year scheduled to be released in the following months in cinemas across the world. You know, cinemas, as in those big rooms where you pay to sit and watch movies from start to finish without pausing it? Gosh have I missed the pre movie adverts, comfy chairs and super wide screens. It's not the same at home and despite Netflix, HBO and Amazon Prime thriving, we shouldn’t set anything in stone when it comes to the quality and accessibility of film. 

Cinema is tradition whereas On Demand is convenience and usually choosing convenience over tradition does impact the quality of work being distributed. There are a bunch of films on streaming platforms that would be too inappropriate for cinemas, seeing as they lack a cinematic or dramatic feel to them to be good enough for a big screen. This allows mediocre to downright awful films to find an audience via streaming platforms. All well and good, seeing as these platforms are great exposure for upcoming filmmakers but at the same time it's a capitalistic system that puts views above the quality of content. It doesn’t matter if what you’re watching on Netflix is bad, they just want you to keep coming back for more. This can be said for mainstream cinema too, but to a lesser degree seeing as cinemas typically release around 68 movies per month, whereas Netflix has the ability to add up to 200 releases on their platform per month. It makes perfect sense that Netflix has the viewers that it does, as we can see that it releases almost twice the content of cinemas per month. For the avid cinephiles, this leaves us wanting a lot more as we’re only able to enjoy maybe one or two films a month from online streaming services, because the quality is so inconsistent. I hope that cinemas open soon so that I can relax knowing that the film I’ve paid money for will be of a good quality. 

Speaking of good quality films, Chloé Zhao, director of Nomadland (2021) became the second woman in the 78 year history of the Golden Globes to win an award for directing. This is an exceptional triumph and from the moment I saw Nomadland, I knew that it would have an incredible impact on awards circuits this year. Nomadland also won Best Picture, which proves something that up and coming filmmakers may need to start getting their heads around. People may not necessarily be gravitating towards cinema for a chance of escapism any more. I thoroughly believe those days are behind us, buried in the 70s and 80s with films that defied the laws of filmmaking and went to extreme lengths to serve us an entire universe that we couldn’t even comprehend. However, as the world grows more fragile and people start to realise the fragility of life, we want to connect with one another authentically and realistically. 

The way that film can do this is by showing our real selves on screen, showing our pain, redemption, emotions, fear, honesty, laughter, race, gender, humanity, darkest secrets and biggest dreams using the backdrop of cinema to sell us a story. People want films that are honest and are a reflection of humanity as well as the current society we’re living in. Not necessarily “a slice of life”, but a slice of humanity that we never see because it’s never impacted us directly, yet we still want to be made to feel like it has through film. That’s the key to success in any film, making the viewer feel like they’ve experienced something on screen even when they haven’t. If the film is too far away from our own psyche or humanity, we switch off, as we can no longer relate or even want to relate to something so obtuse and boring. Nomadland was the complete opposite to this theory, bringing us humanity in all its glory; its sadness and pure emotion that affects millions everyday, especially in such a time when loneliness is rife.

This is why Mank (2020) lost out. In a time where the world is in a sensitive disposition, Mank came as ineffective to the world of film. Though triumphant in it’s making, the film proves the fundamental foundation of film that Mank failed to do; have a good story. Mank just wasn’t the story people wanted or needed to see and one can appreciate a filmmaker’s efforts to make films but at the end of the day, the story is truly the only thing that’ll carry a film and if it's uninteresting and impersonal, people switch off. And they clearly did, seeing as Mank lost out to all SIX of its nominations. Less is more, I suppose, seeing as Nomadland won two out of four awards, including the top prize of Best Picture. David Fincher even took a shot every time he lost a category. Better luck next time.Other snubs included Emerald Fennell’s Promising Young Woman (2021) starring Carey Mulligan ,which was released on VOD last month. The film was nominated for four prizes and I suppose the lack of release in cinemas worldwide or at a Film Festival meant the lack of hype for the film. Regina King’s One Night In Miami...failed to pick up a prize, having been nominated for three awards. King shouldn’t be too disheartened, seeing as her debut definitely got her the recognition she deserved.

Aaron Sorkin most notably won Best Screenplay for his amazing picture, The Trial of the Chicago 7. I had the fortune of catching this in cinemas and the musicality of this screenplay was unreal. An incredibly authentic, riveting and honest piece of work, I believe we can safely say that Aaron Sorkin is the greatest writer for cinema and TV in our day and age. Sorkin is used to being showered with accolades, from Primetime Emmys with The West Wing, to an Oscar with David Fincher’s The Social Network.

The late Chadwick Boseman was honoured in full glory, having won the award for Best Supporting Actor in a Motion Picture for his role as Levee in Ma Rainey’s Black Bottom. An exceptional performance that reeks with Oscar success, Boseman is the first actor to be awarded the prize posthumously.

What’s also to be noted is the amount of British nominees and winners at this year’s ceremony. It seems like the American Film & TV market is wide open for Brits, seeing as Emma Corrin, Josh O'Connor, Daniel Kaluuya, Sacha Baron Cohen, Rosamund Pike, John Boyega and Anya Taylor Joy all won awards for acting. Helen Bonham Carter, Olivia Coleman, Vanessa Kirby, Riz Ahmed, Gary Oldman, Antony Hopkins, Dev Patel, James Corden, Hugh Grant, Jodie Comer, Lilly Collins and Nicolas Hoult all received nominations and were all born in the UK. The Crown in particular just seems to be getting more successful with each year and despite its controversy, the show has won Netflix 7 Golden Globes and 10 Emmys. What does this tell us about our actors and their ability in comparison to our friends overseas? Is it just a stroke of luck that the majority of actors who won this year are British or are we doing something different? Only time will tell as more British actors begin to be recognised for their flare over in the US.

If anything, we’ve learnt that The Golden Globes is for everyone. Anyone can win an award despite their background as long as those who control the awards ceremony are willing to give a variety of films a chance, not just ones directed by David Fincher. Nomadland is certainly an underdog for cinema, one that may not have done as well had other films been released last year. COVID-19 created space for this film to be seen and has truly been taken in as a work of art, proving that films of the same kind deserve to be seen in the up and coming future. British actors can and have made it big in Hollywood and it seems like American audiences welcome them with open arms. Sacha Baron’s Cohen’s humour in Borat Subsequent MovieFilm wasn’t unrequited, seeing as it won Best Musical / Comedy at this year’s award season, meaning every moment of that film (incriminating or not) WAS WORTH IT. Even though Regina King and Emerald Fennell lost out on their respective films, their work has been courageous and profound in helping to give space to women in the film industry. The fact that they were even nominated along with Chloé Zhao, was an achievement in itself and has women like me looking up to the success of these three women and realising that I could have the same shot. Mank came at the wrong time, and though good visually, it lacked a beating heart that the Golden Globes could identify with enough to give it at least one award. Soul was named Best Animation Feature Film of the year, also winning an award for music with a beautiful score by Atticus Ross, Trent Reznor and Jon Batiste. The Queen’s Gambit also reigned supreme, as Anya Taylor Joy won Best Actress for a performance in a mini series / tv film and the overall series won Best Television Mini Series / Television Film.

This has to be the best Golden Globes I’ve ever witnessed. Not only did it champion diversity in the film categories, British Actors and female directors, it actually gave consumers as well as judges, something that actually wanted, which was to see underdogs thrive in an environment that’s usually laid bare for the same characters. Let’s keep this up for the next ceremony !

ig @ratingtheframe

[pochapal]

You don't gotta answer this publicly, but what on earth happened/is happening RE: Dogpiling?

this is long but there’s a lot to cover and i don’t know how much information is pre-known going into this.

basically breadtuber sarah z made a 2 hour fandom postmortem video on homestuck. instead of being a genuine look into what made the comic and the fandom so massive and so relevant for so long, she kind of glosses over all that in the first thirty minutes, then spends the rest of the video discussing homestuck’s two major controversies in the least tactful way imaginable. 

the first one she talks about is the hiveswap development hell fiasco, which on paper is an interesting thing to bring up in relation to a lack of content contributing to fandom decline, but sarah’s primary source for all this is a pseudo-anonymous blog run by giovan_h, someone who is notorious for treating dangerous and baseless accusation as fact and for obsessively stalking current and former whatpumpkin staff members to obtain information for said blog. she supposedly tries to bring a balanced argument on what exactly happened in the three year dark period between hiveswap’s supposed release date and when act 1 actually came out by pitting ipgd’s tumblr post (the one that made the odd gentlemen embezzlement claims vis a vis king’s quest) against giovan’s blog (claiming through anonymous and unverified sources that hussie deliberately dicked around and failed to meet a single deadline, then broke contract terms by using the kickstarter money to commission the odd gentlemen to animate act 7 instead of working on hiveswap. there are a lot of other unsavoury claims about hussie and certain other wp members among these blog posts, but that’s the primary relevant gist). 

neither account can actually be verified (ipgd’s post claims their information is spotty because they’re talking around a pretty strict settlement nda and giovan’s sources and accounts are deliberately vague and unverifiable to “protect various parties from retaliation from hussie/wp”) but sarah ultimately comes down and says that she’s inclined to take giovan’s blog as more truthful for. reasons. this is obviously bad because within minutes of the video dropping several wp team members reveal sarah never once tried to get in contact with them, which has led to attacks on the team members because a lot of zealous people looking for an excuse to keep being mad at homestuck in the wake of hs^2′s semi-permanent hiatus were emboldened by a video essayist treating the ugliest speculation as hard fact. as of right now, the hiveswap kickstarter has released a statement clarifying the development situation as best they can (from what i’ve read it does point to them legally being unable to point to/discuss certain things) which has had all the impact of dropping a match onto an oil spill. the anti homestuck zealots firmly believe every word of that post to be bullshit and are accusing the wp team of covering for hussie and his super heinous evil crimes (keep in mind we are still not privy to the internal workings of wp because why the fuck would we be) so the wp team in turn are putting these people on blast for this dangerous harassment (it doesn’t need to be said that as a professional being publicly accused of covering up fraud is a very bad thing) and then as a counter counter response the angry fans are now accusing the wp staff of abusing their power to direct mass harassment towards specific individuals (this amounting to people getting into wp members’ private discord servers and publicly posting mean things they have said about giovan et al which imo only serves to bolster the stalking claims) and the whole thing went very ugly very fast.

the second controversy that sarah brings up is everything involved in post canon homestuck (epilogues, pesterquest, hs^2). here she reverts to more of a passively pro-fandom stance, asserting time and time again how horrible and evil the epilogues and everything else were because of how they took the characters and stories everyone knows and loves and warped them into something unrecognisably terrible, that post-canon homestuck was universally reviled. in a very bad and awkward placement of information she then segues into a kind of hand-wavey discussion of the intense backlash towards certain post-canon trans interpretations (of vriska, june, and roxy) in a very I Am A Cis Woman So I’m Not Qualified To Make Any Statements Here Other Than Transphobes Fuck Off <3 But Also This Is Indicative Of A Growing Fandom Resentment way, which honestly begs the question of why she needed to include this at all. another bad thing here is how she super glosses over the “controversies” surrounding “the advocates for june egbert” and “the writer for vriska’s pesterquest route” - she is obviously referring to former creative director kate here (she kind of confirms this on twitter by saying she didn’t want to mention kate by name in order to not stir up further drama which uh... yeah) and the inexcusably terrible chain of events which led to every single out trans woman working on homestuck to resign to protect themselves from further mass harassment and dogpiling from the fandom.

she instead, for some reason decides to focus on how post-canon homestuck has been a total commercial and creative failure, that homestuck^2 basically shouldn’t have even happened after the fandom’s distaste for the epilogues and that it was not only controversial but also was a low quality mess everyone agreed sucked. she then goes on to compare the hs^2 team to the wp hiveswap dev team, and passively applies the same giovan-esque assertions to the internal workings of hs^2, kind of but not really implying the reasons given for the shutting down of hs^2 were bullshit. this is super bad for the fact that the post canon homestuck team is the most openly marginalised group of people working for hs is in an official capacity, and we have seen time and time again what drawing undue, speculative negative attention towards these people has done. again, reminder sarah did not reach out to a single person who worked/is working on homestuck for what is essentially a drama video disguised as a fandom postmortem. the upshot here is that her post-canon section served to embolden yet another wp-hostile section of the fanbase - those who adamantly believe that only the fandom itself can create worthwhile homestuck projects, and that all writers are evil people who want their queer fans dead (only a partial exaggeration) and produce spite projects which are driven by the steadfast belief that their work is inherently superior to official content by virtue of their fan status. among this group were a lot of people who latched onto any accusation against a team member as fuel to push them out of “ruining” such a beloved franchise so sarah’s video serves as proof that all the hs^2 writers were morally corrupt monsters ruining a fandom space that was meant for minors and queer people (this is all very anti/anti-anti carousel of bullshit nonsense that i have no time for) and thus they’re confident to once again tear down the remaining public facing staff members, ignoring how all this crusade has done so far is drive a handful of trans women and people of colour off of official homestuck projects for their own safety.

then she ends the video with a “oh btw this video is proudly sponsored by audible <3″ bit and it’s just. beyond unbelievably awfully stupid that she deliberately reignited this aggression which has caused untold material harm on marginalised people (that happened less than a year ago!!!) just for the sake of quick clicks and ad revenue. she consolidated the most dogshit takes as fact within the general fandom consensus, sided with some of the worst people to engage with homestuck, potentially detonated the last shreds of stability of this independent marginalised media project, and wrapped it all up with a sponsorship from an amazon subsidiary company of all fucking things. this is obviously a case of an incredibly short sighted decision to cash in on a very complicated and unwieldy fandom history but still the potential consequences here are unfathomable.