#destroyed their culture utterly

[curseofpower]

Literally have no idea why it's so preposterous to some people for Ganondorf to have maaaany kids who he never really knows or sees when--

it's been established in canon that the gerudos communally raise their children and men were never allowed into their kingdom in the first place so fathers were simply never a vital thing in their culture. Not until the nightmare that is BotW timeline anyways, but even then they don't get to see their dads once they become like what... 6 years old, right?

Like sure I'm sure Ganondorf loved kids as much as he loved all his people, and interacted with them, but whether they were his or not due to him fulfilling one of many of his people's wishes... of which he likely did many many times... why would that matter at all? To him? Especially when he was probably providing a kid for a lesbian couple anyway. Sure it'd matter to the mother bc 'hell yeah this is my daughter I made with the KING. She's going to be fucking JACKED when she grows up. Going to be wrestling moldugas and sandworms by herself, unarmed'

okay I'm sorry my brain is shorting out now I need to stop posting.

Point still stands though.

(more in tags.)

[irawhiti]

while everyone's rightfully talking about oppenheimer and its flaws regarding the erasure of japanese and native american voices regarding nuclear testing and detonations, i'd like to bring up the fact that pacific islanders have also been severely impacted by nuclear testing under the pacific proving grounds, a name given by the US to a number of sites in the pacific that were designated for testing nuclear weapons after the second world war, at least 318 of which were dropped on our ancestral homes and people. i would like if more people talked about this.

important sections are bolded for ease of reading. i would appreciate this being reblogged since it's a bit alarming how few people know about this.

--

in 1946, the indigenous peoples of pikinni (the bikini atoll) were forcibly relocated off of their islands so that nuclear tests could be run on the atoll. at least 23 nuclear bombs were detonated on this inhabited island chain, including 20 hydrogen bombs. many pasifika were irreversibly irradiated, all of them were starved during multiple forced relocations, and the island chain is still unsafe to live on despite multiple cleanup attempts. there are several craters visible from space that were left on the atoll from nuclear testing.

the forced relocation was to several different small and previously uninhabited islands over several decades, none of which were able to sustain traditional lifestyles which directly lead to further starvation and loss of culture and identity. there is a reason that pacific islanders choose specific islands to inhabit including access to fresh water, food, shelter, cloth and fibre, climate, etc. and obviously none of these reasons were taken into account during the displacements.

200 pikinni were eventually moved back to the atoll in the 1970s but dangerous levels of strontium-90 were found in drinking water in 1978 and the inhabitants were found to have abnormally high levels of caesium-137 in their bodies.

--

i'm going to put the rest of this post under a readmore to improve the chances of this being reblogged by the general public. i would recommend you read the entirety of the post since it really isn't long and goes into detail about, say, entire islands being fully, utterly destroyed. like, wiped off of the map. without exaggeration, entire islands were disintegrated.

--

as i just mentioned, ānewetak (the eniwetok atoll) was bombed so violently that an entire island, āllokļap, was permanently and completely destroyed. an entire island. it's just GONE. the world's first hydrogen bomb was tested on this island. the crater is visibly larger than any of the islands next to it, more than a mile in diameter and roughly fifteen storeys deep. the hydrogen bomb released roughly 700 times the energy released during the bombing of hiroshima. this would, of course, be later outdone by other hydrogen bombs dropped on the pacific, reaching over 1000 times the energy released.

one attempt to clean up the waste on ānewetak was the construction of a large ~380ft dome, colloquially known as the tomb, on runit island. the island has been essentially turned into a nuclear waste dump where several other islands of ānewetak have moved irradiated soil to and, due to climate change, rising seawater is beginning to seep into the dome, causing nuclear waste to leak out. along with this, if a large typhoon were to hit the dome, there would be a catastrophic failure followed by a leak of nuclear waste into the surrounding land, drinking water, and ocean. the tomb was built haphazardly and quickly to cut costs.

hey, though, there's a plus side! the water in the lagoon and the soil surrounding the tomb is far more radioactive than the currently contained radioactive waste. a typhoon wouldn't cause (much) worse irradiation than the locals and ocean already currently experience, anyway! it's already gone to shit! and who cares, right, the only ""concern"" is that it will just further poison the drinking water of the locals with radioactive materials. this can just be handwaved off as a nonissue, i guess. /s

--

at least 36 bombs were detonated in the general vicinity of kiritimati (christmas island) and johnson atoll. while johnson atoll has seemingly never been inhabited by polynesians, kiritimati was used intermittently by polynesians (and later on, micronesians) for several hundred years. many islands in the pacific were inhabited seasonally and likewise many pacific islanders should be classified as nomadic but it has always been convenient for the goal of white supremacy and imperalism to claim that semi-inhabited areas are completely uninhabited, claimable pieces of terra nullius.

regardless of the current lack of inhabitants on these islands, the nuclear detonations have caused widespread ecological damage to otherwise delicate island ecosystems and have further spread nuclear fallout across the entirety of the pacific ocean.

--

while the marshall islands, micronesia, and the surrounding areas of melanesia and polynesia were (and still are) by far the worst affected by these atrocities, the entirety of the pacific has been irradiated to some extent due to ocean/wind currents freely spreading nuclear fallout through the water and air. all in all, at least 318 nuclear bombs were detonated across the pacific. i say "at least" because these are just the events that have been declassified and frankly? i wouldn't be shocked to find out they didn't stop there.

please don't leave the atomic destruction of the pacific out of this conversation. we've been displaced, irradiated, murdered, poisoned, and otherwise mass exterminated by nuclear testing on purpose and we are still suffering because of it. many of us have radiation poisoning, many of us have no safe ancestral home anymore. i cannot fucking state this enough, ISLANDS WERE DISINTEGRATED INTO NONEXISTENCE.

look, this isn't blaming people for not talking about us or knowing the extent of these issues, but it's... insidiously ironic that i haven't seen a single post that even mentions pacific islanders in a conversation about indigenous voices/voices of colour being ignored when it comes to nuclear tests and the devastation they've caused.

[but-a-humble-goon]

I think the Daleks are one of the best representations of fascist ideology and the failing thereof. Mainly in that they're really pathetic more than anything. They're sad little creatures locked safely away from the world inside their shells and desensitised to everything but hate. They could never build a real culture of their own yet they are utterly and dogmatically convinced of their own superiority. They are an entire civilisation built solely to destroy and categorically incapable of anything else (literally. Their design is comically inefficient). The single smartest Dalek who ever lived ran the numbers and came to the inescapable conclusion that their species is doomed to failure and the only way for them to survive is to rethink their ways... so they killed him.

[mostlysignssomeportents]

Boeing’s deliberately defective fleet of flying sky-wreckage

I'm touring my new, nationally bestselling novel The Bezzle! Catch me TOMORROW (May 2) in WINNIPEG, then Calgary (May 3), Vancouver (May 4), Tartu, Estonia, and beyond!

Boeing's 787 "Dreamliner" is manufactured far from the company's Seattle facility, in a non-union shop in Charleston, South Carolina. At that shop, there is a cage full of defective parts that have been pulled from production because they are not airworthy.

Hundreds of parts from that Material Review Segregation Area (MRSA) were secretly pulled from that cage and installed on aircraft that are currently plying the world's skies. Among them, sections 47/48 of a 787 – the last four rows of the plane, along with its galley and rear toilets. As Moe Tkacik writes in her excellent piece on Boeing's lethally corrupt culture of financialization and whistleblower intimidation, this is a big ass chunk of an airplane, and there's no way it could go missing from the MRSA cage without a lot of people knowing about it:

https://prospect.org/infrastructure/transportation/2024-04-30-whistleblower-laws-protect-lawbreakers/

More: MRSA parts are prominently emblazoned with red marks denoting them as defective and unsafe. For a plane to escape Boeing's production line and find its way to a civilian airport near you with these defective parts installed, many people will have to see and ignore this literal red flag.

The MRSA cage was a special concern of John "Swampy" Barnett, the Boeing whistleblower who is alleged to have killed himself in March. Tkacik's earlier profile of Swampy paints a picture of a fearless, stubborn engineer who refused to go along to get along, refused to allow himself to become inured to Boeing's growing culture of profits over safety:

https://prospect.org/infrastructure/transportation/2024-03-28-suicide-mission-boeing/

Boeing is America's last aviation company and its single largest exporter. After the company was allowed to merge with its rival McDonnell-Douglas in 1997, the combined company came under MDD's notoriously financially oriented management culture. MDD CEO Harry Stonecipher became Boeing's CEO in the early 2000s. Stonecipher was a protege of Jack Welch, the man who destroyed General Electric with cuts to quality and workforce and aggressive union-busting, a classic Mafia-style "bust-out" that devoured the company's seed corn and left it a barren wasteland:

https://qz.com/1776080/how-the-mcdonnell-douglas-boeing-merger-led-to-the-737-max-crisis

Post-merger, Boeing became increasingly infected with MDD's culture. The company chased cheap, less-skilled labor to other countries and to America's great onshore-offshore sacrifice zone, the "right-to-work" American south, where bosses can fire uppity workers who balked at criminal orders, without the hassle of a union grievance.

Stonecipher was succeeded by Jim "Prince Jim" McNerney, ex-3M CEO, another Jack Welch protege (Welch spawned a botnet of sociopath looters who seized control of the country's largest, most successful firms, and drove them into the ground). McNerney had a cute name for the company's senior engineers: "phenomenally talented assholes." He created a program to help his managers force these skilled workers – everyone a Boeing who knew how to build a plane – out of the company.

McNerney's big idea was to get rid of "phenomenally talented assholes" and outsource the Dreamliner's design to Boeing's suppliers, who were utterly dependent on the company and could easily be pushed around (McNerney didn't care that most of these companies lacked engineering departments). This resulted in a $80b cost overrun, and a last-minute scramble to save the 787 by shipping a "cleanup crew" from Seattle to South Carolina, in the hopes that those "phenomenally talented assholes" could save McNerney's ass.

Swampy was part of the cleanup crew. He was terrified by what he saw there. Boeing had convinced the FAA to let them company perform its own inspections, replacing independent government inspectors with Boeing employees. The company would mark its own homework, and it swore that it wouldn't cheat.

Boeing cheated. Swampy dutifully reported the legion of safety violations he witnessed and was banished to babysit the MRSA, an assignment his managers viewed as a punishment that would isolate Swampy from the criminality he refused to stop reporting. Instead, Swampy audited the MRSA, and discovered that at least 420 defective aviation components had gone missing from the cage, presumably to be installed in planes that were behind schedule. Swampy then audited the keys to the MRSA and learned that hundreds of keys were "floating around" the Charleston facility. Virtually anyone could liberate a defective part and install it into an airplane without any paper trail.

Swampy's bosses had a plan for dealing with this. They ordered Swampy to "pencil whip" the investigations of 420 missing defective components and close the cases without actually figuring out what happened to them. Swampy refused.

Instead, Swampy took his concerns to a departmental meeting where 12 managers were present and announced that "if we can’t find them, any that we can’t find, we need to report it to the FAA." The only response came from a supervisor, who said, "We’re not going to report anything to the FAA."

The thing is, Swampy wasn't just protecting the lives of the passengers in those defective aircraft – he was also protecting Boeing employees. Under Sec 38 of the US Criminal Code, it's a 15-year felony to make any "materially false writing, entry, certification, document, record, data plate, label, or electronic communication concerning any aircraft or space vehicle part."

(When Swampy told a meeting that he took this seriously because "the paperwork is just as important as the aircraft" the room erupted in laughter.)

Swampy sent his own inspectors to the factory floor, and they discovered "dozens of red-painted defective parts installed on planes."

Swampy blew the whistle. How did the 787 – and the rest of Boeing's defective flying turkeys – escape the hangar and find their way into commercial airlines' fleets? Tkacik blames a 2000 whistleblower law called AIR21 that:

creates such byzantine procedures, locates adjudication power in such an outgunned federal agency, and gives whistleblowers such a narrow chance of success that it effectively immunizes airplane manufacturers, of which there is one in the United States, from suffering any legal repercussions from the testimony of their own workers.

By his own estimation, Swampy was ordered to commit two felonies per week for six years. Tkacik explains that this kind of operation relies on a culture of ignorance – managers must not document their orders, and workers must not be made aware of the law. Whistleblowers like Swampy, who spoke the unspeakable, were sidelined (an assessment by one of Swampy's managers called him "one of the best" and finished that "leadership would give hugs and high fives all around at his departure").

Multiple whistleblowers were singled out for retaliation and forced departure. William Hobek, a quality manager who refused to "pencil whip" the missing, massive 47-48 assembly that had wandered away from the MRSA cage, was given a "weak" performance review and fired despite an HR manager admitting that it was bogus.

Another quality manager, Cynthia Kitchens, filed an ethics complaint against manager Elton Wright who responded to her persistent reporting of defects on the line by shoving her against a wall and shouting that Boeing was "a good ol’ boys’ club and you need to get on board." Kitchens was fired in 2016. She had cancer at the time.

John Woods, yet another quality engineer, was fired after he refused to sign off on a corner-cutting process to repair a fuselage – the FAA later backed up his judgment.

Then there's Sam Salehpour, the 787 quality engineer whose tearful Congressional testimony described more corner-cutting on fuselage repairs:

https://www.youtube.com/watch?v=PP0xhIe1LFE

Salehpour's boss followed the Boeing playbook to the letter: Salehpour was constantly harangued and bullied, and he was isolated from colleagues who might concur with his assessment. When Salehpour announced that he would give Congressional testimony, his car was sabotaged under mysterious circumstances.

It's a playbook. Salehpour's experience isn't unusual at Boeing. Two other engineers, working on the 787 Organization Designation Authorization, held up production by insisting that the company fix the planes' onboard navigation computers. Their boss gave them a terrible performance review, admitting that top management was furious at the delays and had ordered him to punish the engineers. The engineers' union grievance failed, with Boeing concluding that this conduct – which they admitted to – didn't rise to the level of retaliation.

As Tkacik points out, these engineers and managers that Boeing targeted for intimidation and retaliation are the very same staff who are supposed to be performing inspections of behalf of the FAA. In other words, Boeing has spent years attacking its own regulator, with total impunity.

But it's not just the FAA who've failed to take action – it's also the DOJ, who have consistently declined to bring prosecutions in most cases, and who settled the rare case they did bring with "deferred prosecution agreements." This pattern was true under Trump's DOJ and continued under Biden's tenure. Biden's prosecutors have been so lackluster that a federal judge "publicly rebuked the DOJ for failing to take seriously the reputational damage its conduct throughout the Boeing case was inflicting on the agency."

Meanwhile, there's the AIR21 rule, a "whistleblower" rule that actually protects Boeing from whistleblowers. Under AIR21, an aviation whistleblower who is retaliated against by their employer must first try to resolve their problem internally. If that fails, the whistleblower has only one course of action: file an OSHA complaint within 90 days (if HR takes more than 90 days to resolve your internal complaint, you can no have no further recourse). If you manage to raise a complaint with OSHA, it is heard by a secret tribunal that has no subpoena power and routinely takes five years to rule on cases, and rules against whistleblowers 97% of the time.

Boeing whistleblowers who missed the 90-day cutoff have filled the South Carolina courts with last-ditch attempts to hold the company to account. When they lose these cases – as is routine, given Boeing's enormous legal muscle and AIR21's legal handcuffs – they are often ordered to pay Boeing's legal costs.

Tkacik cites Swampy's lawyer, Rob Turkewitz, who says Swampy was the only one of Boeing's whistleblowers who was "savvy, meticulous, and fast-moving enough to bring an AIR 21 case capable of jumping through all the hoops" to file an AIR21 case, which then took seven years. Turkewitz calls Boeing South Carolina "a criminal enterprise."

That's a conclusion that's hard to argue with. Take Boeing's excuse for not producing the documentation of its slapdash reinstallation of the Alaska Air door plug that fell off its plane in flight: the company says it's not criminally liable for failing to provide the paperwork, because it never documented the repair. Not documenting the repair is also a crime.

You might have heard that there's some accountability coming to the Boeing boardroom, with the ouster of CEO David Calhoun. Calhoun's likely successor is Patrick Shanahan, whom Tkacik describes as "the architect of the ethos that governed the 787 program" and whom her source called "a classic schoolyard bully."

If Shanahan's name rings a bell, it might be because he was almost Trump's Secretary of Defense, but that was derailed by the news that he had "emphatically defended" his 17 year old son after the boy nearly beat his mother to death with a baseball bat. Shanahan is presently CEO of Spirit Aerospace, who made the door-plug that fell out of the Alaska Airlines 737 Max.

Boeing is a company where senior managers only fail up and where whistleblowers are terrorized in and out of the workplace. One of Tkacik's sources noticed his car shimmying. The source, an ex-787 worker who'd been fired after raising safety complaints, had tried to bring an AIR21 complaint, but withdrew it out of fear of being bankrupted if he was ordered to pay Boeing's legal costs. When the whistleblower pulled over, he discovered that two of the lug-nuts had been removed from one of his wheels.

The whistleblower texted Tkcacik to say (not for the first time): "If anything happens, I'm not suicidal."

Boeing is a primary aerospace contractor to the US government. It's clear that its management – and investors – consider it too big to jail. It's also clear that they know it's too big to fail – after all, the company did a $43b stock buyback, then got billions in a publicly funded buyback.

Boeing is, effectively, a government agency that is run for the benefit of its investors. It performs its own safety inspections. It investigates its own criminal violations of safety rules. It loots its own coffers and then refills them at public expense.

Meanwhile, the company has filled our skies with at least 420 airplanes with defective, red-painted parts that were locked up in the MRSA cage, then snuck out and fitted to an airplane that you or someone you love could fly on the next time you take your family on vacation or fly somewhere for work.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/05/01/boeing-boeing/#mrsa

Image: Tom Axford 1 (modified) https://commons.wikimedia.org/wiki/File:Blue_sky_with_wisps_of_cloud_on_a_clear_summer_morning.jpg

CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.en

--

Clemens Vasters (modified) https://commons.wikimedia.org/wiki/File:N7379E_-_Boeing_737_MAX_9.jpg

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/deed.en

[imustbenuts]

theres a few ??? thing going on in trigun stampede that's explicitly japanese/sino-ish in culture but im entirely not sure what to make of it. 3 things.

Knives' birthname being settled as Kni/Nai,

JuLai's emblem symbolism,

and the Buddha Thread??? thing in ep 11 10

Knives' birthname is Kni and hm! ...無い?

this is specifically a stampede thing. nightow didnt give him this Kni name in his work, so i can only chalk this up to the stampede staff's deliberate decision. if you render it into japanese, it'd be Nai, and the immediate word i can think of is... 無い. meaning, Nothing, or Without.

it fits rather well considering stampede has officially placed an emphasis on his obsessive love towards his brother on his bio on their official site:

my TL:

Vash's twin brother. Possesses a cold and merciless personality. Filled with a hatred for humans, he masterminds an organization with a plan to massacre the entire human species. With abilities beyond human understanding, he has the power to destroy entire planets. He greatly loves his only younger twin brother, Vash to an obsessive degree.

interestingly, the word used for the obsessive love here specifically is 執着 shuuchaku, which has roots/association with the word Abhinivesha. from what i understand it is a mental state, a fear of death, and a desperation to cling onto life so much one becomes ignorant and causes their own suffering. and ignorance is another big core of what makes Knives' character tick.

so i feel like this has some pointers towards Knives, or even child Kni being nothing without his younger brother. (or it could just be a simpler play on the word naive lmao)

meanwhile for Vash there's not really anything japanese that jumps out at me, but some have pointed out his name sounds like the french word Vashe, used for female cattle. extremely passive and born for consumption and theres a lot to dissect in that direction but im not going there! his name is Knife and his brother is a cattle there's catholicism may your brain go brr.

theres more to the nothingness concept in buddhism that doesnt put it squarely in a negative category but lets talk about buddhism later. next:

JuLai's emblem

stared at this for a few seconds and yelled fuck me. this represents the twins, AND its the broken yin yang symbol:

:). hey look at that female thing popping up again--

Knives is evidently the light Yang, and Vash is the dark Yin. ngl this daoist thing is somewhat sexist but lets brush that over 2 thousand year old aspect aside for this post. for stampede's case we can clearly see what theming is going on especially for those in the know of the original work.

Knives is hella assertive to the point of echoing fascist eugenics nonsense, and Vash has that nurturing instinct that seems to pop in whenever there's a human child or people who needs help.

interestingly the planet No Man's Land has too much fugging sun and is too hostile for human life. to survive people have to live in the shade and turn to plants for counters to the harsh, hot celestial sun. so here if Knives is being the sun, hes also being hostile to human life, and meanwhile the feminine looking plants and Vash's personality plus actions are the only thing giving these people at chance at life. (also vash has the power of Dark Matter or something)

obviously, just like JuLai's broken symbol, the balance is completely and utterly out of whack. in daoism a broken balance is thought to cause a lot of suffering. in the finale, Vash doesnt have a single speck of white on him, and Knives doesn't have a single speck of black. this means there isn't a balance and they cant come to an agreement at all.

im gonna also point out here that vash's idea of co-existence even if accepted wouldnt be a permanent solution due to the dependents having limited lifespan. so through this lens, stampede seems to be saying that neither twin's ideas are really effective long term solution, tho Knives is completely unacceptable due to obvious genocidal reasons.

Buddha Thread

studio orange whaaat are you guys cooking over there... ok so. in ep 11, Knives drops Vash into the uhhh The Hell Pool, and Vash tries to get out of it with his wire and hangs for a bit. then we get a scene like this:

Knives proceeds to cut Vash's thread and he drops into The Hell Pool. and then the metaphorical SA scene happens.

i call it Buddha Thread but this can also be known as The Spider's Thread. there exists a story of The Spider's Thread that's very Japanese-Buddhist and well known over there.

the gist of this story is that Buddha lowers a single spider thread to a sinner in the deepest hell as a lifeline to get out, bc this heavy sinner had done a singular good deed of saving a spider he was about to crush with his foot. however, the thread is broken as a result of the sinner's selfishness yelling for the other sinners below him to let go, claiming this thread was his and his alone. the sinner having climbed halfway upwards the thread after great effort plunges back into the pits of hell. buddha having watched all of this reacts with sadness, and the days in paradise carry on as per usual.

and. digest that for a second. and then refer back to Knives and The Fall and this scene that plays later, when Vash's mind wipe begins proper:

fuck. me. knives is framed as a self proclaimed god in the loudest ways on multiple levels.

while these 3 aspect i just broke down explaining do not exist at least overtly in the original trigun, i thought it would be interesting to chew on in light of the overwhelming catholicism existing in the story.

there's some themes im also picking up from the original trigun that might be rooted in either buddhsim or japanese culture such as: the undeniable truth that yearning and hunger is part of the human living experience and to deny it is to deny living. but im not sure what to make of it bc A) not explicitly framed or explored as a buddhsim/japanese idea thing and B) catholicsm obv is the overwhelming theme of the entire work

idk what the heck studio orange is cooking exactly but. hm.

[transbutchblues]

The Gods are not trans allies.

The Gods are not trans-friendly.

The Gods do not ‘support’ queer people.

The Gods ARE trans. The Gods ARE queer.

The Gods are transgender, They are transsexual. ‘Trans’ means ‘beyond, across’.

The Gods are beyond gender. Beyond sex. Beyond flesh. Beyond normality and norms— thus, They are queer. They are trans. They are on the other side of gender, of sex— on the side we cannot even begin to understand.

The Gods are transsexual and transgender and queer not (only) within our human understanding of transness— They are not trans in the way we humans are trans.

But They are still trans. They are the original transness. The ultimate transsexuality.

Transness as a transition from a state to another state, from a form to another form— from Their divine form to one we humans can behold without being consumed by Their inherent queerness. From Their divinity to words we humans can attempt to understand and think of without being utterly lost in the enormity and infinity of the divine.

Transness as a journey, a constant state of evolution within the world— evolution of the world itself, for the Gods are the world, are beyond time, beyond space, yet constantly changing.

The Gods do not love trans worshippers despite their transness, despite their queerness. The Gods love trans worshippers for their transness. They love us because we are trans. Because we are queer.

As we defy norms, we become closer to Them— trans people are humans, mortals, but I firmly believe that there is something inherently holy in transition. To change yourself, to think the limits of the body and to alter your own flesh is to create, is to destroy. To understand how limitless the world is— how flesh and sex and gender are human things, social things, that are made by us and can be expended and transgressed— is to take a step towards the Gods.

The Gods love you. You are made in Their image. Or maybe— you make yourself in Their image. And that is beautiful.

(reminder that this is my vision of divinity, not a definite fact, even if i think there are a lot of things (in multiple cultures/religions) that point to the divine being beyond gender)

[sokkastyles]

When people act like Katara bloodbending the captain of the southern raiders was an example of her being out of control...like first of all she stopped herself on her own thank you very much. But second, the way the show and some parts of the fandom talk about bloodbending like it's this horrible violation should definitely be examined.

Like, oh, the captain of a unit specifically designed to murder indigenous people and destroy their culture experienced for two seconds a fraction of the disempowerment that he'd visited upon others? How terrible.

Like, the idea that bloodbending was invented by someone who'd had everything taken from them is literally the point. To act like this makes Katara the same as the people who murdered her mother is so obtuse. Especially when, as I said, she chooses not to enact the same sort of violence on others. She is far kinder to the captain of the southern raiders than he deserves, and that is her strength, not her weakness.

To be honest, I think it makes some people uncomfortable not that she bloodbent that guy but that she has the capability to. Because she stopped herself before it got to the point where she did anything that she might regret. But it's the fact that she could have done it that I think bothers people more. Not that Katara would actually murder anyone (because come on) but that she could. That she had the power to choose and was capable of making moral decisions despite having that power. Because so many people are so attached to the narrative that marginalized people, when given that power, will be utterly corrupted by it.

But that's not what Katara does. And no amount of anger or grief will make her less of the compassionate person she is.

[kanansdume]

I have SO MANY feelings about Kanan, Zeb, and Rex all being some of the last few survivors of dying cultures.

Even though the Jedi can pass on their teachings and there will always be more Force sensitive people in the galaxy, the specific culture of the Prequels Jedi that Kanan grew up with will never completely come back. Jedi like Ezra and Luke will share a lot of similarities, obviously, especially philosophically, but their way of life and traditions will look VERY different, as will whatever ends up evolving from them (and from Rey if we include the Sequels).

Similarly, Zeb finds the Lasat on Lira San, but those Lasat will presumably have a VERY different culture than the one that existed on Lasan. The two groups of Lasat have been separated for so long that Lira San has become legend and is thought to not really exist and even the people who believe it exists don't realize what it actually is and that there are other Lasat on there. This implies that it's been an EXTREMELY long time since the Lasat of Lasan originally left Lira San and the two groups have probably diverged quite a bit. Lira San itself is also just not going to feel like Lasan, it won't have the same landscapes or wildlife, the cities will be different. The language might even have some significant differences that the last three Lasan survivors would have to navigate. And there's no getting back that culture from Lasan, it's gone. There's only three known survivors and they're going to end up just... engulfed into the Lira San culture without a lot of ability to pass on what they remember from Lasan. Lasan might end up like... a chapter in a Lira San history text and that's probably it. The nuances of its culture will be lost completely.

And the clones. The clones are just going to completely disappear. People will likely only remember the clones even existed because the war got named after them. All they'll be remembered FOR is violence and death. Depending on who is talking about them, they'll either be the traitors who destroyed the Jedi and allowed the Empire to reign, or the poor pawns that the Empire used to destroy the Jedi and keep the galaxy under its thumb. Who they were will be completely and utterly lost. And there's no way for them to continue in any form. While it's POSSIBLE that a few of them might have sired children out in the galaxy somewhere, we never have any confirmation of that, and nearly all of them are dead by the time the Empire falls. Their friendship with the Jedi, what little culture they were able to develop, all of that is lost to time and will disappear once the final clone dies.

It's such a horrific thing that is happening to these three characters, a slow dying out that that's literally happening in front of their very eyes. It's the worst kind of connection between the three of them, but something that's probably really important in their various relationships. No one else understands this grief the way they do, no one else quite understands how this feels, the helplessness and hopelessness. There's absolutely nothing they can do but try to keep going and remember their people as best they can and live according to the culture the Empire has tried to eradicate.

I like to think the three of them end up discussing it one day, maybe one Empire Day they all just decide to go drinking and be maudlin together. And Kanan ends up talking about how the Jedi believed that there was no death, there was the Force. Everyone who dies rejoins the Force, so even if they're gone they're still impacting the galaxy and the people living in it, regardless of whether those who remain can feel them or not. Maybe you get a burst of inspiration or have a lucky break or meet someone you instantly click with, and maybe that's the people who've left before you still touching your life through the Force, binding you together no matter what. Zeb and Rex really connect to this belief and end up finding comfort and even a little healing in it.

[nautilusopus]

okay FIIIIIINE i'll throw my hat into the Goncharov ring

Been a while i've done a proper movie breakdown, may as well be this one.

Rather surprisingly (but perhaps not too surprisingly given the unexpected renaissance of things like the original Dracula and Breaking Bad on this website out of seemingly nowhere and with very little prompting), I'm seeing a lot of new people suddenly interested in Martin Scorsese's seminal film classic Goncharov, originally released in 1973. Obviously a movie like that doesn't make it coming up on 50 years without generating a lot of discussion about the different ways the movie resonates and why, but coming into it in 2022 there's been so much cultural cruft that's collected around Goncharov that (similar to stories like Fight Club and Scarface) it's a little hard to parse what it's actually about with all the mythologising that's gone on around the characters.

Those movies, in one way or another, are about portraying the downfall of their protagonists -- Fight Club's after ironically creating another system of control and dehumanisation and becoming what he sought to destroy, Scarface's after being consumed by the wealth and power he's amassed. A lot of people assume it's that kind of story, because aren't most well-loved movies? However, I think this is ironically an assumption made because of the genre of film it is. All the people that aren't going, "OMG Goncharov is so cool and badass and fucks bitches," are going, "WOW I can't believe Goncharov is a cautionary tale about power corrupting," and in the process people miss that Goncharov is first and foremost about loss, in all its different forms.

I'm both kind of surprised and frustrated people miss this, given how utterly pervasive the movie is with its clock symbolism -- it's the one thing everyone remembers about it, it was in all the tie-ins. I dunno, maybe that got funneled back into the theory where they're meant to reinforce how Goncharov is just a mortal man at the end of the day, which is fine I guess, but the movie overall becomes a lot clearer when you interpret it through the lens of, "These things are gone and you can never get them back; clocks don't go backwards."

One of the most fascinating things about the movie is how every character embodies a different kind of loss. I'm gonna ease into this and start not with Goncharov but with:

Rybak, who is usually associated with loss as we typically think of it, i.e. the loss of loved ones via death. This comes up all the time, either in his trust issues (why he's being such a prick at the wedding), in the card game (he never bothers to bet much money, knowing he's bad at poker, and still loses all the same). Rybak is terrified of loss, cannot manage it, and ultimately is punished by losing what few people he had left and then being spared by Lorenzo who deems him punished enough, and is forced to survive, to grapple with what his life is now without them.

Goncharov's is actually more subtle, and it's loss of small, insignificant things as a result of the larger losses he believes he's processed. This is something that's frequently contrasted against Rybak. The pawn shop going under is actually a microcosm of this whole thing. Goncharov anticipates that this is obviously going to lead to financial issues for him, plans accordingly to deal with this, and... it works! He's saved! Except that means card games can't be hosted at his place anymore, given it's burned to the ground. Does this matter, in the grand scheme of his life? No, of course not. Poker night still gets had all the same. But it is different now, and always will be. Little things like this continue to add up, until something as insignificant as a towel -- a towel that never should have been in his room, but Sofia is no longer there to drop off his laundry and chat with him -- is ultimately the final nail in a coffin built of insignificant splinters, each one an imperceptible change underneath the much more larger, noticeable story beats of things like grief.

Otto is the big obvious one I'm not gonna linger on: loss of his youth, moments in the past that he wants to redo but can't. Most people at least seem to have gotten this one.

(This is also what the clocks get associated with a lot, which again, doesn't NOT make sense but also if it were just for this one character that, while thematically important, was honestly just a side character with limited screentime and only two scenes, would they really be all over the movie before Otto's name is even mentioned?)

Sofia's a bit abstract, and is the loss of self -- of the familiar anchors we have to who we are, what we think our core principles are, our place in society, who we want to be to our loved ones -- and by the time she dies she is rendered utterly unrecognisable to herself, and is horrified by it. She grieves herself the same way Rybak grieves his wife (even gets a direct visual callback via the way her face is lit when she's burning Lorenzo's check). You see echoes of this in Goncharov as well, but while Sofia is grieving the person she used to be, Goncharov is grieving the world around him (even though really, it's the same world it always was -- time keeps ticking on, one second per second, and neither one of them can ever un-fire that gun).

Lorenzo, tragically, gradually loses his freedom (and maybe in a parallel world would actually be the protagonist of a movie where he chokes on his own hubris like everyone seems to think Goncharov is GRUMBLE GRUMBLE). As he comes into his own more and more by his family's legacy, he is afforded fewer and fewer options about what decisions he can even make. Arguably he was doomed from the start, but the further he clings to power as a means to freedom, the more it drives him to destroying everything he ever (thought he) cared about. The tragedy of his character, and what makes him a good villain, is that he can clearly see what he is doing to himself and he absolutely hates it (his walking out early at the wedding is a tacit admission of this), but his absolute refusal to accept loss, to accept grief and pain and all the awful shit that comes with the human condition, is what causes him to toss aside every out he has because if he has enough CONTROL over his situation, surely he will never have to lose anything ever again. But, really, he already has.

I dunno. Goncharov is one of those movies that is great, and everyone seems to realise it's great, but nobody ever really puts into words why, and that's how you get Fight Club fans lmao. And it sucks because the actual discussion around the movie beyond "it's another hubris story but REALLY GOOD guys" is so much more fascinating and a much more earnest emotional truth that just never gets talked about.

[kuwdora]

Saturday Morning Vid Recs - Space and Robots

@tafkarfanfic asked me for vid recs that are similar to the following vids:

Data’s Dream by GayleF (Gayle) and TasheryS which premiered at Escapade in 1994 - made on a VCR!! - and was remastered by morgandawn in 2004. Definitely check out the Fanlore page about Data’s Dream. Star Trek + multi-source.

Starships by bironic. Multi-source. The history of Starships on Fanlore.

These two vids are iconic. Please check them out and learn about their history from the Fanlore page, it's a great look at some vidding history and culture. Amazing vids, do love. As for some recs. I love this kind of prompt. More vids like [this vid] is so much fun. I dug deep into my vid rec archives and brain and bookmarks. I’ve also crowdsourced some recs from the vidding discord. Thank you to @rukbat3, @sandalwoodbox, @fairestcat, @monkeyswithjetpacks, @grammarwoman for the reccing help! And everyone else I might have forgotten.

From Land to Sky - and kicking ass while you're there!

Landsailor by @singlecrow/raven. Multi-source. Swades (We, The People); Master and Commander; 3 Idiots; The Dish; The West Wing; Parks and Recreation; Flight of the Phoenix; NASA archive footage; Apollo 13. ❤️ We're gonna need a bigger boat. Come O’ Eclipse by melodytree. Tenchi: The Samurai Astronomer. Calendar-making! Math puzzles! Astronomy! Politics! Eclipses! Oh my! Galaxyrise by starlady. Multi-source. Apollo 13 (1995), Interstellar (2014), Gravity (2013), Europa Report (2013), Contact (1997), The Martian (2015). This vid is full of so much wonder! The sky calls to us/If we do not destroy ourselves/We will one day venture to the stars. Going through space with the world by bironic. Space Exploration RPF. ❤️❤️❤️ From "day in the life of an astronaut" videos to international stardom; or, Chris Hadfield and his adorable mustache. Monsters of the Cosmos by CherryIce. Thor/MCU. Jane Foster/Science.Cherry’s editing is goddamn incredible. In the last century, black holes have gone from being mathematical curiosities to real objects in the cosmos. This is a vid about Jane Foster and her one true love, Science. Also, Thor is there. Toxic by JinkyO. The Planets (TV - 2019). Humanity/The Solar System. This vid is so fucking brilliant and makes me cackle in love and awe so much. It's dangerous, I'm loving it. Sci-Fi Friday in a Blender by Luminosity. Multi-source. Farscape, Battlestar Galactica and Doctor Who. So much happening in this vid. This is among one of the earliest vids I remember watching and became obsessed with back in the day. Supernova Girl by @usuallyhats. Multifandom. Doctor Who, Star Wars, Babylon 5, Steven Universe, Andromeda, Farscape, Battlestar Galactica, Firefly, Mass Effect, Stargate. So many wonderful brilliant amazing EXCELLENT supernova women and girls. Zoom, zoom, zoom. Space Girl by @aurumcalendula. Multi-source scifi. Inspired by Charmax’s Space Girl vid and Bironic’s The Greatest. This vid has a great selection of newer tv shows and films and it’s fun to play spot that character. But also this vid will grab you by the heart, too. Utterly brilliant, perfection. A must watch!! 'I've been as far in hyperspace as anybody can.' One Girl Revolution by bessyboo. Star Wars, original and prequel. Padme and Leia!! Seeing these two focused on in one Star Wars vid is an adventurous kickass ride. I'll be everything that I want to be. Space Girl by charmax. Multi-source scifi. One of the most beautiful epic space vids out there! I know I’ve recced this before and I’ll rec it again and again and again. My momma told me I should never watch Sci-fi but I did, I did, I did.

Robots! More than wires.

If a Machine by caramarie, Multi-source. Robot narrative focusing on machine origin, intelligence, and interaction with humanity. And Human fallibility. An incredibly rewarding watch and rewatch. This is the story of cables and copper wirings. Electric Avenue by @monkeyswithjetpacks. Multi-source robots! Nate’s multi-vids are always so fun, especially when it’s showcasing classic cinema and all these excellent serials. Electric Avenue has source from 1919 to 2015. His editing is always on fucking point. Don’t miss this vid. We’re gonna rock down to electric avenue. Everybody by @kuwdora. Star Trek, the Borg. This vid was actually inspired by the Backstreet Boys original music video. I still have the vivid memory of watching or rewatching the original music video in @ars-amatoria ’s kitchen. And then at some point realizing it is perfect for the Borg. Am I original, am I the only one? Fembots by Grammarwoman. Multi-source. Sexy sharp editing and fun use of all the sources. The intersection of women and technology: a spectrum of clones, AIs, gynoids, cyborgs, and other artificial creations. On by @rhoboat77. Star Trek: Picard. A Soji fanvid. Rho has the sharpest editing skills this side of the Internet and this Soji vid is so fucking badass and worth 100 rewatches. Can’t hold me down cuz you know I’m a fighter. Que Sera Sera by @ohvienna. Star Trek Voyager and Picard. Seven of Nine.Nobody vids their Seven of Nine love like @ohvienna. You gotta watch this if you love Seven. Whatever will be, will be…"

Journey through Space.

To Touch the Face of God by destina. Multi-source. The Right Stuff (1983, )The Dream Is Alive, From the Earth to the Moon (TV).This is one of the most beautiful moving vids you will EVER, and I mean EVER see. From Chuck Yeager, to the Mercury 7, and on to Apollo and the Space Shuttle Program (STS) - a very human history of the triumphs, joys, and tragedies of the USA's journey into space. Doctor Who on Holiday by sisabet. Farscape, Battlestar Galactica and Doctor Who. A mashup vid of Luminosity’s Sci-Fi Friday in a Blender. This vid inspired me so much. And I have 10 very intense ideas about how I would do my own remix of this vid if I were to make it right now. Fly Me To the Moon by thirdblindmouse. Multi-source. This vid has everything! Alien sex! Xenophilia! Zero-gravity sex! Mpreg!!! Because everyone knows this song is about space sex. Game Night in Space by garrideb. Multi-source. This vid!!!!! IS! SO! MUCH! FUN!! Game on! How are you going to spend those long nights on your starship? Play games, of course! Space poker, space chess, space Monopoly… this is a fanvid celebrating game night in space, set to Don't Stop Me Now by Queen. Starships (Monochromatic Remix) by @monkeyswithjetpacks. Multi-source. See the Fanlore page on the history of Starships (Monochromatic Remix). ALSO check out jetpack-monkey’s extensive notes and side-by-side comparison vid of the original vid and his vid!! He matched Starships shot-for-shot! Most brilliant work ever. The vid notes aren’t on the ao3 page so I HIGHLY recommend checking out the notes on his dreamwidth page! This vid is 10 million kinds of brilliant and technical prowess and perfection.

Vidshow Rec

Alien Invasion! - 30 vids curated and organized into a show by @tafadhali for VidUKon 2024. Featuring films and tv shows: Nope, Attack the Block, Pacific Rim, Venom, Doctor Who, Stargate Atlantis, Star Trek, Prey, Smallville, Rowswell, Supergirl, Arrival, Starship Troopers and more.

Follow these tags to keep up with vid recs this summer:

#saturday morning vid recs

#kuwdora recs

A helpful guide I wrote:

How to Leave Feedback on Fanvids

[forestdeath1]

Where does this idea come from that the Black brothers are all dramatic and theatric? Regulus writes sad poems and lies on the floor soaking in his teenage tears and sorrow, while Sirius makes up fancy insults and tries to look artistic, entertaining everyone around him.

None of what they did or said is really dramatic or theatrical.

Sometimes their words might sound a bit lofty, but that's because all the Blacks were raised in a family culture that was a bit "elevated". It’s not about them being "naturally" dramatic or theatrical; they’re brought up differently, part of a family culture where honour, dignity, and "knightly" behaviour are more than just empty words. As the saying goes, some are into painting, some into literature, and some into sausages the Malfoys.

So, it's not just personal; it's the upbringing imposed on the Black character. These attitudes don’t just appear out of nowhere; one isn’t born with them, yet all the Blacks (even Narcissa to some extent, and she’s got more guts than Lucius) have them. Honour means different things to them, but it is still honour. They all stay true to their ideals, what’s important to them, they are fearless, not afraid of death, and honest in their actions and thoughts. I think it’s more family than personal.

Both Regulus and Sirius are very focused on the concept of honour, though they see it differently. You could write this on their tombstones:

Mine honour is my life; both grow in one. Take honour from me, and my life is done. Then, dear my liege, mine honour let me try; In that I live, and for that will I die.

(I’m purposely ignoring whose words these are — it doesn’t matter here)

Regulus "I face death in the hope that when you meet your match you will be mortal once more"

And Bella "You should be proud! If I had sons, I would be glad to give them up to the service of the Dark Lord"

And Sirius "I want to commit the murder I was imprisoned for..." and "THEN YOU SHOULD HAVE DIED! DIED RATHER THAN BETRAY YOUR FRIENDS"

It's not about their personal theatricality; it's about how such people see the world. These people view the world through a lens where pride, honour, and dignity aren't just idealistic, they're real and ingrained structures that live within them. It's the morality of knights versus a utilitarian approach, choosing what's right over what's just beneficial.

The independence of the Blacks’ thinking leads to unique outcomes — each person has their own idea of what's "right."

Regulus isn't just a sad boy with poems, forced into a vile organisation, then betraying Voldemort out of immense pity and love for a house-elf. And Sirius isn't just an artistic dancer on the bar with witty insults.

Both Regulus and Sirius have very clear views of what's right and wrong. Sirius is incredibly brave, as is Regulus in his own way — joining the Death Eaters at 16 is brave and dangerous, but if it's the "right" thing to do, it's worth it. And if the "right actions" lead to the destruction of the entire line—well, you know... He writes such a letter believing he is dying with honour, in contrast to Voldemort, a dishonourable being who, indeed, views honour as nothing but an empty word. I believe Voldemort was quite adept at manipulating these notions of "honour" among some purebloods. Voldemort is utterly utilitarian.

The same goes for Sirius — his upbringing and ideals are mistakenly attributed to excessive drama and theatricality, as if he's some clown who deliberately makes up fancy insults and entertains the crowd by dancing on tables. This destroys the essence of Sirius, turning him into an aesthetic leech created for amusement and consumption (of attention, things, pleasures, etc.), and turning everything into an aesthetic object. Consumption and Sirius are completely opposite concepts. Nothing he does is for the Other; there's no theatricality in his actions, no fashion, no aestheticism for the sake of it, no consumption for the sake of consumption. Sirius is a man of Grand Concepts, as is Regulus.

[prying-pandora666]

Concerning Orcs

I think the problem with how Rings Of Power is handling the orcs isn’t that they tried to give them any depth.

The idea that orcs breed as humans do is canon to Tolkien.

The idea that orcs are slaves and resent their masters is canon to Tolkien.

So what is the issue? Well…

It’s the ham-fisted and over the top execution.

Orcs cuddling their babies and crying over not wanting war throws out everything that makes orcs interesting and difficult to deal with. Orcs ARE victims in that they’re elves that have been twisted and enslaved and made violent, but at this point they are invasive raiders that live in violent hierarchies decided by strength.

They oppress one another just as they are oppressed by the Dark Lord because he has spent generations on an evil eugenics experiment.

Torture and selective breeding have been applied to the point where the orcs replicate the same behavior inflicted on them onto others, including fellow orcs. If orcs just wanted happy families and peaceful communities, it would be easy to sign a treaty with them and be done with it.

But that glosses over the depths of evil done to them.

In trying to be progressive and make us sympathize with the orcs, the execution instead seems to say that generations of traumatic torture, cultural diaspora, forced selective breeding, and enslavement would have NO LASTING CONSEQUENCES outside of physical appearance.

Nonsense.

It inadvertently acts as apologism for enslavement, torture, and colonization by saying it doesn’t affect people that deeply.

When Tolkien wrote his regrets about the orcs and not wanting any race to be wholly irredeemable, that wasn’t to remove any of their negative traits.

It is instead posing a far more difficult thought:

How *do* we help someone so far gone? So utterly destroyed to the point they don’t even recognize their current harmful behaviors as unnatural and forced upon them?

And that is a FAR more poignant and relevant question.

[narcissisticpdcultureis]

npd culture is "i sent them something 5 minutes ago and they haven't responded yet CLEARLY they hate it and it's a failure and i need to delete it NOW so nobody ever perceives me as capable of making something so utterly terrible. if it was good they would be heaping praises onto me right now but they're NOT so i've clearly made the worst thing known to man and must destroy it immediately and remove it from their memories like the men in black or something so their opinion of me isn't lessened by this terrible failure"

.

[jedi-enthusiast]

I said I would get on my "let villains just be evil" soapbox again in the Jedi Appreciation server, so here we are.

LET VILLAINS JUST BE EVIL, FOR FORCE'S SAKE!!!

For some context: this was brought up on a discussion of how Kallus should've just stayed a villain instead of getting the shitty half-assed "redemption arc" that he did in Rebels and also how I would have done Rebels differently.

Now-

I am just...so utterly sick of people (both fans + some of the people creating new SW media) just not letting villains be villains and/or trying to soften them up or give them a sad backstory or whatever.

-----

I like Anakin/Darth Vader as a villain...fans try to justify his actions and say that he was right + Filoni is now under the delusional impression that Anakin was the "best Jedi."

I like Thrawn as a villain...I've also seen people justify his actions and say that he was "right" to steal important cultural artifacts from the cultures he's taking over/destroying because "they'd be destroyed anyway," like that makes it ok.

(I'm also terrified that Filoni is gonna try to give him some sort of sob story or redemption arc in the Ahsoka show, since that's pretty on par for what he's been doing lately)

I like Maul as a villain...and apparently people also try to justify his actions, especially in Rebels, for some reason. I don't even know how, but apparently they do.

I like Dooku as a villain and Filoni tried to justify his actions and make him seem "reasonable" in TotJ, like Dooku didn't become a fucking fascist dictator.

I haven't seen enough of the Sequels to properly gauge whether or not I'd like Kylo Ren as a villain, but plenty of people did! ...and then the directors gave him a half-assed redemption arc and called it quits.

-----

Like please, for the love of god, can people just let villains be evil and terrible people? Can we all just enjoy their characters as they are instead of trying to turn them into something they're not?

Because, at this point, the only villain that's safe to like is Palpatine--but I'm almost certain that people have tried to justify his actions too.

It's exhausting to have to explain-

"Yes, I like Anakin/Darth Vader because I think he's badass, no I don't think the Jedi were evil or in the wrong or that they caused his Fall."

"Yes, I like Thrawn because I think he's creepy and a formidable opponent to face, no I don't think he was benevolent for stealing cultural artifacts from cultures he destroyed."

"Yes, I like Maul because he's absolutely batshit insane, no I don't think his actions against Obi-Wan were justified or that he was right to try and manipulate/kidnap Ezra to be his apprentice."

"Yes, I like Dooku because he's a snarky asshole and also pretty badass, no I don't think that he was actually right or that the Separatists were right either."

etc. etc.

LET VILLAINS JUST BE EVIL!

[rotzaprachim]

i don’t want to be overly essentialist or talk outside my cultural lane but... there is something so intensely not anglo-’murican about the way the way andor treats death and it’s so fascinating and refreshing. like on one level this is a show profoundly about death from the very structure of its narrative, but it’s about how you live knowing you will die rather than the glorious death-from-martyrdom-death-as-redemption narrative, and therefor, inversely, about the profound interconnections between the dead and the living and those on the liminal in-between. now we have maarva’s death, and the very introduction of her death comes through the assembled chorus of communal voices who have come to clean her house and take her to rest. (i also love the fact that maarva died, explicitly, of old age and so many of the other related issues. i don’t think you can make the case that the empire *wasn’t* involved because she’s someone so utterly and clearly destroyed by its actions, but i do like that this was a so-called “ordinary” death, because of the thematic purpose that even “ordinary” deaths are heartbreaking and awful and worth remembering.)

andor makes it canon that there are communal aid organizations- i immediately think chevra kadishas! though many cultures have their own organisations and social structures for how to support the grieving and honour the dead- which is just one of the ways it highlights community and the complexity of interpersonal relationships. the daughters of ferrix are introduced an episode earlier, and i realised on a rewatch with my family that the daughter of ferrix - keezy maybe?- introduced at the beginning of the episode is also mentioned by bee in the first episode as being someone who helps maarva with her dinner and medication. we don’t see maarva’s body go alone, we see her transported through the streets by the women of ferrix. andor makes the case of elder care as communal connection and antifascist work, AND that it is done by the same people as those that bury the dead. and the way that andor is building up t having the season finale be the funeral, the thing that drags cassian home and into the line of fire being his mother’s funeral, the storytelling possible about funerary customs and memorialisation as acts of cultural resistance and aggressive rehumanisation... i’m too verklempt to say much more but i think the way this thematic arc is so intertwined with cassian’s time in narkina 5 and the scene with him and melshi at the end of the episode like! no one is lovingly honouring every one of those men with two-day funeral ceremonies through the streets. NO ONE remembers but cassian and melshi. two episodes earlier ulaf died, but the closest thing he had to the daughters of ferrix was the doctor, the fellow prisoner, who refused to learn his name and quietly euthanised him in the hallway. until we know more there were nearly five thousand other deaths. and the episode ends with melshi saying, it’s our duty as survivors to carry the weight of memory so that other people will know and remember this. they are also carrying the weight of mourning those whose time it was not to die. fuck. this show guys. it has me 

[historicity-was-already-taken]

I want to echo all the nice things people have said about your work, and add one more: I appreciate that your blog offers space to mourn the Holocaust. Not the Holocaust as a metaphor, not the Holocaust as a rhetorical invocation, but the Holocaust in and of itself. It provides a sobering kind of relief. When I was a kid learning about the Holocaust, my classes always showed me Life is Beautiful and The Boy in the Striped Pyjamas (UGH) and one teacher insisted that she wanted me to understand "how the Jews kicked Hitler's ass!" Which... no. On so many levels. So I admire how your work holds the dialectical truths of mass tragedy and brave resistance. Your scholarship matters, your mental health matters, and I can't wait to read your book next year!

This message is so lovely I was too verklempt to even answer it last night. Thank you, so much, for taking the time to write and send this.

And yes I totally get what you mean. It's not some, as you put it, rhetorical invocation populated by faceless martyrs, but the very real murders of millions of real, flawed, living, breathing humans. I think the rhetorical version, with its ideologies and hagiographies, is easier to swallow.

I hate most Holocaust movies. At least, American ones. They just want so badly for there to be a happy ending and...the Holocaust doesn't have one. [Unnamed legendary Jewish director] optioned the rights to [book similar in scope to mine which came out in the last 4 years] and I'm not even upset, because I don't enjoy that director's gentile-focused quasi-uplifting attempts to depict said events. Hitler said he was going to destroy the majority of European Jewry, and he did. In the space of 12 years he destroyed civilizations, cultures, and languages spanning 1000+ years; more, if you hold him responsible for the ethnic cleansing of MENA Jewish communities post-1948. Nothing uplifting there.

That's why I think I like weird, post-modern, magical realist approaches to Holocaust fiction [see: my boyfriend recently convinced me to watch Jojo Rabbit and Inglorious Basterds]. Telling any of these stories doesn't fit into Western narrative conventions. So make it weird; have the characters dance to David Bowie; make it a Western with subtitles; make the audience wonder if magic or just mundane in the specific context of the story. That's, imo, the only way to capture the sheer unreality of these very real events in fiction. I would LOVE a work of magical realist Holocaust fiction that involves the golem of Prague (if it exists omg tell me!) or something similar. Keeping in mind, of course, that I'm neither a film not a literary scholar. Just, as a historian who took one cultural criticism course in undergrad, those feels the most...right.

And oy your teacher. I feel for her; this is a difficult subject to teach. But...the Jews didn't kick Hitler's ass. That's the opposite of what happened. The Warsaw Ghetto Uprising is the most famous instance of organized Jewish resistance to the Holocaust, and those fighters only kicked ass until the Nazis (quickly) realized that they needed reinforcements and flamethrowers because oops these Jews came prepared. And even the fighters themselves knew that they weren't going to "win" anything. They were making a symbolic historical gesture/statement and fully expected to die. To the point that survivors almost uniformly express in their memoirs and testimonies that the ones who died fighting were the only real heroes and they rest of them are nbd, and this isn't something that should be talked about (which, is something that I'm trying to respect in my book! Like the fact that Zivia Lubetkin utterly rejected any attempt to describe her as a hero matters, even though that's how I personally view her).

Anyway I've rambled enough. Thank you again for the message!