#e line media

[miloscat]

[Review] Never Alone (PS4)

A platformer with a purpose.

I thought I’d follow up Below Zero with some cold-themed games from my backlog. This one is very icy indeed as it’s a retelling of a fable from the indigenous Alaskan Iñupiat culture about a supernatural blizzard. As a product of a native culture advocacy group, Never Alone <Kisima Inŋitchuŋa> is not just a cute puzzle-platformer but a celebration—and education—of Inuit identity and community, from the content of the story to the prominent documentary snippets that tie into the themes.

In its short runtime, Nuna and her fox friend are chased by a polar bear, avoid the Aurora Borealis (made of the mischievous and dangerous spirits of children), swim through a the belly of a whale, contend with a murderous miscreant, befriend various spirits, and ultimately confront an ice giant. Each story beat has a lesson or some cultural background that is elaborated on in the interview segments, such as the Iñupiat’s respect for nature or community-mindedness.

Each character has their own skills: the girl Nuna can push boxes, climb, and throw a magical bola, while the fox jumps higher and can convince spirit creatures to move around and act as platforms. The game is built around this cooperative dynamic, so local co-op multiplayer is a main feature but it’s still perfectly playable solo, as I did, by swapping between the two. These mechanics can be a little clumsy at times; with its basic Unity platforming I’m reminded of the game Little Bug which I played earlier this year.

Luckily Never Alone is never too demanding and checkpoints frequently. It’s more concerned with telling its story than it is presenting a tough challenge. This cultural focus and the metastory of the game as an educational tool echoing the personal stories of the contributors enriches the experience beyond what it would be as an average platformer.

Also available is Fox Tales, a DLC expansion that tells a new story with the same characters, reframing a fable about two brothers fighting a giant mouse as an opportunity for the girl and fox to solve more puzzles involving water currents, projectiles, and a canoe. It’s a nice extra with new gameplay states and some newly shot interview segments, and well worth checking out in addition to the base game. After playing both, I find myself longing for every culture on Earth to have a video game just like this, that makes playable adventures from their art and stories while presenting insights into real peoples’ way of life. It’s fascinating and valuable, a real treat!

[19871997]

.

[rimouskis]

I am genuinely upset about Andi! WTF is FSG doing? She's one of the best in the entire league! The pens online presense was top tier but with ITR gone last year, and now Andi, I don't have any idea what their plans are. Please let Jen be safe! I'm sure Andi will find a place. I'm not too worried for her. The Pens media department tho

I really wish her the best in whatever she does next. She was at the helm at the peak of the Pens' social media engagement and prominence, and while that fell off as she ascended the ladder and became a VP/further removed from the day-to-day posting, I think she did a ton of good work here.

I'll be very interested in how the department reconfigures in her absence. There seem to be a lot of power vacuums right now, with lots of people with long tenures at the Pens departing. Part of me hopes there's a chance for young blood; other teams have been doing more innovative, more curious, and more creative stuff in terms of their media. While losing legacy employees is a loss, I can only hope that there's an infusion of youthful, out-of-the-box thinking coming our team's way. It's the best we can hope for.

[youvegotmailpdf]

just saw a vid edit of star wars set to mitski’s The Deal . my resolve is slowly slipping

[cherry-bomb-ships]

Ok guys I knowwwww the 2016 PPG remake is bad. I'm seeing it firsthand with my own eyes as I watch it because I'm a bit sadistic. There's a lot of shit in here that makes me gag from its sheer stupidity.

But listen. Where the fuck else do I get fanservice gold like THIS 💘💖💘💖💘💖💘💖💘💖💘💖💘💖

[pixeljade]

See there used to be this phrase people would say, "Pick your battles", and i think we online folks gotta bring it back. It kinda got unpopular i think because a lotta older folks used it to mean "Dont pick ANY battles!" But like, now everyone online wants to turn ANYTHING where an opinion could be had into like a proxy war for The Grand Political War Of Our Times and like. Thats unhealthy as fuck, you see that right? To treat every second of your life like its a war? To alienate long-time friends because they had a bad political take on Steven Universe? To stress all day and night over each new topic twitter shits out, each of which will ultimately have an impact on national politics so small that you'd need a microscope to see it??? Like YES we SHOULD be critical of the media we consume and recognize the sociopolitical mechanisms behind that, but turning it into a battle to have the Correctest Opinion On The Capitalist Undertones Of Scrooge McDuck is just stupid. Nobody will remember you for how correct your opinion on a kids show is, but theyll sure as fuck remember how you were a dick to random people over said opinions.

[unproduciblesmackdown]

oh the broadway world review of summer stock (a) loved it as much or more than anyone (b) has as much or more info than anyone and (c) generally has the most vivacity thus far

Summer Stock made its world premiere at The Goodspeed Opera House to a most deserving enthusiastic standing ovation. Based on the 1950 MGM film starring Hollywood legends Judy Garland and Gene Kelly, Summer Stock is a spectacular production with phenomenal dancing, feel-good music, and a sweet story, all modernized for today’s audiences.

Audiences will recognize and love hearing classic songs by Irving Berlin and from The Great American Songbook, including “Happy Days are Here Again”, “Accentuate the Positive”, “I’m Always Chasing Rainbows”, “It’s Only a Paper Moon”, “Me and My Shadow”, “Red Hot Mamma”, “’Til We Meet Again", and “You Wonderful You”. Summer Stock’s writer, Cheri Steinkellner, takes the original film story to a whole new level that both contemporary and classic theater goers will absolutely adore. Steinkellner provides additional lyrics to upgrade the story to first class. It’s hard to believe that she “got the call” to write Summer Stock in October, completed the workshop draft by March, and had the rehearsal draft ready by June for a July opening. Steinkellner clearly works well under pressure - Summer Stock is a diamond.

In the Writer’s Notes, Steinkellner elaborates on the restrictions of bringing the film to stage (like how heavy farm machinery wouldn’t fit up on the Goodspeed stage) and how she tackled answering the many questions that the original film glossed over: “Why is a Shakespearean matinee idol starring in a musical in a barn? What happens when you make show-people wake up at sunrise to muck out the stalls?” and more. She repositioned and repurposed the film’s original songs like “Howdy Neighbor” and “Dig for Your Dinner”, so the classic elements that film fans are looking for are still there - only, frankly, much much better. Lastly, she addresses the challenge of “crafting a [contemporary] story to support a diverse cast of characters with intention, authenticity, and care.” Steinkellner rose to the challenge, knocked it out of the park, and created a great musical in record time.

The story is simple and sweet. Set just after World War II, we meet Jane Falbury (Danielle Wade), a doting daughter working the family farm with her father, Lt. Henry “Pop” Falbury (Stephen Lee Anderson). The Falbury Farm is in trouble thanks to the devious and ambitious Margaret Wingate (Veanne Cox), who has grand aims for a monopoly over the Connecticut River Valley. Scheming with her naive son, Orville (Will Roland), they will stop at nothing to own the farm. Meanwhile, Jane’s showgirl sister, Gloria (Arianna Rosario), has moved to The Big Apple to make it on Broadway. She wins a spot in the chorus line of Joe Ross’ (Corbin Bleu) brand new show. With his sidekick and music director, Phil Filmore (Gilbert L. Bailey II) in tow and a Shakespearean star, Montgomery Leach, ready to take center stage, they hit a snag when they lose their rehearsal space. Gloria suggests uprooting the show to rehearse in her family’s barn. Jane, who is fresh out of farm hands, reluctantly agrees to let the actors stay in exchange for earning their keep. The company’s tight harmonies might not charm Jane at first, but they certainly had us swooning. I won’t spoil the entire plot, but will say that hilarity ensues, hearts flutter, dreams are realized, and it’s wonderful.

When I first heard about Summer Stock, I cynically thought that it felt too familiar. The show is set on a Connecticut farm whose owners have fallen on hard times and risk losing their livelihood. They turn to their Broadway friends, who are amidst the usual uphill battle of making it big in show business, and agree to put on a brand new production in the barn to raise funds to save the farm. It’s based on the film of the same name, features music by Irving Berlin, and includes incredible tap numbers, and spotlights America’s sweetheart Corbin Bleu. Hearing that alone, I’d think this was a copy/paste of Tony Award-nominated Holiday Inn: The New Irving Berlin Musical, which opened at The Goodspeed in 2014 and went to Broadway in 2016. We’ve seen a number of Irving Berlin musicals, including White Christmas, and the most recent Broadway production Nice Work if You Can Get It, starring Kelli O’Hara and Matthew Broderick. So, what more is there to add to this Broadway subgenre? If you’d asked me before, I would argue there’s “Nothing More to Say”. I was very wrong. Summer Stock raises the bar with phenomenal choreography, clever storytelling and humor, beautiful orchestrations, and unparalleled performers.

Speaking of unparalleled performers, the cast is perfection. There’s not a single throwaway line or character. They’re all exquisite gems and I’m running out of words to compliment them all. The “city mice” dancers and ensemble features Erika Amato, Hannah Balagot, DeShawn Bowens, Ronnie S. Bowman Jr., Emily Kelly, Francesca Mancuso, Tommy Martinez, Corinne Munsch, Gregory North, Kaylee Olson, Jack Sippel, and Cayel Tregeagle. Danielle Wade sweetly croons just like Judy Garland and swept audiences off their feet. As I left the theater, I overheard two ladies praising Wade for her stupendous performance, saying it was perfect likeness of Garland, yet even more meaningful. Arianna Rosario, as the sugary sweet sister, is absolutely delightful. Stephen Lee Anderson, as  the veteran and father, tugs our heart strings. Gilbert L. Bailey II and Will Roland had the crowd roaring with laughter as the feisty music director and innocent corporate heir. Veanne Cox, as the melodramatic mother and CEO of Wingate Agricultural Corporate, had the crowd roaring with laughter from the moment she spoke her first line. Not to be outdone, J. Anthony Crane, as the over-the-top Shakespearean star, brought down the house with his entrance alone. Together, Cox and Crane generate instant heat, which is especially appropriate since they rock the stage with Red Hot Mamma. The cheeky, interspersed Shakespearean innuendo is fast-paced, clever, and had the audience hooting and hollering. I would see the show again for this duo.

Last, but far from least, Corbin Bleu, as the show’s director, gives the performance of a lifetime. Bleu radiates pure joy and leads with heart, inviting his scene partners to shine with him. Audiences instantly fell in love with his gorgeous, velvety voice, and, understandably, swooned. Bleu previously won the Chita Rivera Award for Outstanding Male Dancing in a Broadway Show for his portrayal in Irving Berlin’s Holiday Inn, and his transcendent tapping in Summer Stock shows he’s not stopping there. Bleu’s dancing is out of this world! You can’t miss his charming and virtuosic spin on Gene Kelly’s iconic solo dance, featuring the world’s most unexpected dance partner. Corbin Bleu is a national treasure.

The 8-piece orchestra, lead by Goodspeed’s resident music director Adam Souza, performs the remarkable orchestrations, by Doug Besterman, beautifully. The score is demanding, but the musicians don’t let us see them sweat. As much as I’m gushing, I would recommend shifting the show to one hour earlier and give it a little trim. Not a haircutter’s inch, but a discreet tidy-up. As it turns out, I was in slight agreement with the obnoxious subscribers behind me, who disrupted a precious moment to voice their complaints, “This is two hours and forty minutes? Way too long!” I nearly turned to fisticuffs in defense of this phenomenal cast, but chose to deliver an icy, yet effective, glare. I digress, but Goodspeed subscribers are truly spoiled with top-rate performers straight from the Broadway stage. In any case, we could use a couple more developmental scenes to fully flesh out the plot, and I’d be willing to sacrifice by shaving a bit off some of the longer dance numbers (“Everybody Step” and “Dig For Your Dinner”) and songs. (Not too much! Just an inch! And don’t dare recast any characters!)

That isn’t to say that the dance performances weren’t epic: Summer Stock has the best dancing I have ever seen, hands down. The virtuosic ensemble, lovingly called “city mice”, perfectly deliver wildly acrobatic displays all with impossibly high-energy and make it look easy. Director and choreographer, Donna Feore, has made an unforgettable, magnificent Goodspeed debut. Feore makes use of every inch of the stage, making it feel larger than life, and her attention to detail is unsurpassed. The choreography is out of this world! Wilson Chin, scenic designer, set the stage beautifully. The Technicolor New England farm-turned-theater is framed with classic red-sided barn, delicate florals climbing the walls, and hurricane lanterns lovingly displayed as accent pieces. Summer Stock is Goodspeed’s best original production ever. The 12, which opens next, has very big shoes to fill. Summer Stock has its eyes set on Broadway. Does Summer Stock deserve a Broadway run? Absolutely. In this critic’s opinion, it couldn’t get there soon enough.  Perhaps my favorite aspect of the production were the many comedic theater flourishes. Broadway audiences will cry with laughter when they watch the city mice (actors) learn how to play the part of farmhands: “What is the farmer’s motivation?” “E-I, E-I!” Frankly, I want an original cast album yesterday. Finally, when it opens on Broadway, you’ll wish you had seen it at The Goodspeed first.

[theexorcistiii]

Sorry I made a webweaving esque post doyou still wanna make out

[merl-out]

unless ur a palestinian queer

I’ll say it again, please just grit your teeth and vote for Biden…

[loch-des-monster]

Day two of the week long strike for a free Palestine and I thought I’d share my recent painting with some tips for those looking for ways to get involved that can’t attend an in person event.

🍉Disrupt- Call/ email your representatives. Jam the phone lines with demands for an immediate ceasefire, aid to be allowed into Gaza, and an end to the occupation.

🍉With your money- do not spend this week. If you find yourself in dire need of something, try to buy it locally instead of from a corporation and absolutely no spending on non-necessities. Look into mutual aid programs near you. Beyond the strike, keep the boycotts going. Look for Palestinian businesses to support. Shop local over corporate as much as you can. Research your bank, see where they invest. If you find your money going to oppressors, move your money out of there and close the account. Send e-sims to Gaza. Look into Project Olive Branch.

🍉 Social Media: boost Palestinian voices and refrain from engaging with unrelated content. Share information. Engage with pro-Palestinian content to help fight the algorithms. This week, refuse to post or engage with any content that is not about Gaza.

Remember: these are just a few ways of getting involved if you can’t attend an in person event. You do not have to do all of them!!

Edit~ I’ve seen some truly disturbing reblogs to this painting and I just want to say that being anti-genocide should not be a controversial thing and if you feel it is, you’re on the wrong side of history. To all the lovely people just doing what you can to help, sending yall love!! I’m also just a person in a country whose reps are disappointing me greatly, looking for ways to be helpful.

[vampiremourning]

i think it’s time for another social break.

[starstrucksheeptrash]

I feel like there is a huge lack of literacy within this post that drowns out some valid criticisms that SHOULD be held up and talked about. And that is only going to cause more harm than good. Puritan media is genuinely going to be the death of us. To gloss over the genuinely disgusting act of using a holocaust survivors name the way the show did, and instead bring up numerous explainable situations that were written well if paid attention to-

Fallout is a series that has been constantly about morally gray characters and decisions. There has been racism and indoctrination since the very beginning. To say that the writing is inherently racist because Maximus and Thaddeus, who were raised in the BoS, have adopted those ideals makes no sense. To have a scene with just them, where there is no one else to argue against that, and to see that as a show encouraging it? When Lucy sees ghouls multiple times throughout her journey and only ever treats them with sympathy and kindness? The writers of the show expect you to be able to take in what is being said, to inspect it, see the holes within the characters' statements, and begin to make your own conclusions. To think critically. They shouldn't have to hold up a giant sign saying "racism BAD" because it is. That is not something they have any desire to argue with. If characters raised in a highly cult like environment are not allowed to display and voice the very ideals they were raised by, how are we supposed to know they have those ideals???

Lucy does not forgive Cooper. She doesn't like him. That is so clear throughout every single one of their interactions. But she was raised in a meritocracy. She has had specific ideals about treating others how you want to be treated (which she calls the Golden Rule) ingrained in her since she was a baby. That mentality is a pillar of her personality, one that is shown throughout the series to be tested and tested again and again. Her teaming up with Cooper at the end of the series? That's her knowing she needs to find her dad, acknowledging that Cooper is a highly skilled tracker looking for the same thing and tagging along. There is no forgiveness. She isn't even happy about it. She does it because she has to.

Continuing with Lucy, and along the same lines, she is a person raised in a vault with defense training that she has never before had to use in a real-life scenario. It's also Fallout. Playing the games, you were CONSTANTLY getting shot, blown up, or your shit absolutely rocked. I truly don't understand why this is suddenly something that is a problem? Are the main characters not allowed to be put through situations? Is it because she is a woman?

That scene with the feral ghoul Martha was clearly put on a sympathetic angel, same with the ghoul she met with Cooper. Lucy is kind, she is sympathetic, Ella is so good at showing how Lucy's heart bleeds for these two. She begs Martha to not attack, to find herself, she is tearing up about it. And when she shoots her, it's a massive moment for her character. It also reveals, again, how strongly she sticks to her morals, because she sees what happened to these two ghouls and, as much as she dislikes Cooper, can not stomach letting him fall victim to it when she has the means to help. Personally, I think that the show did an amazing job showing feral ghouls to actually be human, that's literally what the ENTIRE first feral ghoul moment is about. How many times in the games are they just treated like zombies to shoot up without ANY thought to who they were?

Rape is not a word that should be thrown around so blatantly. Yes, she has every right to feel violated, but rape isn't a word to be used in such a flippant manner. While the raider does lie about who he is (being a vault dweller), she also willingly had sex with him without knowing a single aspect about him other than "hot man I just got married to". She enthusiastically consented, literally throwing herself onto him (do not take that in a shaming way, she was genuinely excited is what I am stating). If not knowing exactly who someone is before having sex with them means rape than you are essentially stating that one night stands are rape.

We are in a place where, because of a desperate attempt to make everything correct and equal (a pursuit that should be continued), we are almost beginning to go back to a mentality of stripping opportunities from marginalized people, specifically in cinematic narratives. We do not know whether Fances Turner was sought out specifically, or if she had auditioned and gotten the part. I feel like refusing to give someone a part because they're a Black woman is vastly more racist than allowing them to take the part.

Media literacy is on such a decline, and puritancial beliefs are becoming so prevalent that now the actual problems or fucking heinous things are being brushed aside. "A holocaust survivors name was used for a character that was once a part of a fascist organization, that's bad. But let's focus on reducing a very serious words meaning, and also how if a main character is a woman she should not ever have a hand laid on her because that's super abusive and morally wrong. Also, characters raised in a racist cult should not struggle with racist ideologies not even once because racism is bad."

Long post ahead. My full thoughts on the fallout series. TW for references to Sexual Assault, racism, antisemitism. It's not particularly in depth here- but I do reference specific acts of violence done in the show.

I've had people insinuate I'm only mad because I'm a New Vegas fan, because I think they retconned the lore. I'm not upset at the fallout show for its dubious lore additions and reworks. I think they're quite bad in places, but they're by far the least of the show's problems.

This isn't a case of a New Vegas fan mad they messed with my game in a way I didn't like.

Please refer to literally any of my posts pointing out the racism and antisemitism in the show. They brand a black man in episode 1. They named the enclave scientist after a real life holocaust survivor and then spent most of the show lobbing around his decapitated head like a volleyball.

But I'd like to consider other elements of the show. View it as a whole.

Consider the inherent misogyny of having a female main character whose entire character arc is just her getting abused for 8 episodes. How the trajectory of her character revolves around not giving up on the humanity of the man who waterboarded her and sold her to organ harvesters. A female main character who is raped in the first episode and watches her entire community get brutalized and who comes out of it completely unphased- still as plucky as ever- just worried about her dad.

Consider the horror of having a black woman be the one to drop the bombs. Consider the horror of her leading a council of elites who have infiltrated and taken over the US government. Consider the ways this group is presented and shown, the ways every fault of the US government in the series is offloaded onto a shadowy group of elites.

Consider how the capitalist critique of the show only goes so far as saying there's a secret organization of bad people who must be purged. The antisemitism and conspiratorial nonsense inherent to that premise.

Consider the rampant classism with the show's depiction of Wastelanders as either animalistic monsters or too stupid to live.

Consider the ways the show punishes nearly every act of kindness- the ways the world rewards might-makes-right authoritarians.

Consider the way the NCR collapsed offscreen because a disgruntled husband was mad his wife left him, and how after it collapsed the army immediately became raiders and the survivors became blood drinking cultists. Don't give me "it's just shady sands that collapsed" because the NCR was a developed nation. If one of their cities blew up, they would send aid. They would assist.

Consider the way the show constantly uses sex crimes as comedy and horror- the incest jokes and the "chicken fucker" bit, and the Vault 4 monster impregnation and the main character's rape in the first episode.

Consider the ableism of the treatment of ghouls, how every ghoul is now a ticking time bomb, how Lucy helps free a small dementia-riddled old ghoul woman from a medical torture facility and then is immediately punished with the woman trying to inexplicably murder her. Thaddeus openly talks about ghoul exterminationism and it's never a joke or a bit- he just says it and nobody reacts or says anything.

Consider the way the Vault 33 town councillors use real world progressive talking points about restorative justice and prison abolition and multiculturalism- meanwhile Norm advocates for the death penalty and a closed society. How Norm is shown as good and righteous and the vault dwellers range from deluded to damningly stupid- how the mere concept of restorative justice is made a farce because the NCR raiders are screaming about eating organs and murdering people 24/7.

Consider the way they removed the Boneyard, and the Followers of the Apocalypse by extension. In New Vegas we heard about the Followers operating a university in LA. It's gone now. Not destroyed by bombs- but written out of existence because the Boneyard never existed, and Shady Sands is in its place. Consider what that says about this world- that the group most dedicated to peace and rebuilding has been surgically excised from the narrative- destroyed more wholly than even the NCR- written out of existence entirely.

This is the single most reactionary fallout story that has been produced. By a fucking country mile.

Whatever lore critiques there are should be secondary. The storytelling is reactionary in ways I straight up have not seen from other Bethesda entries in the series. It is cruel to a fault, and depicts a world that is incapable of healing or growing- where the best you can do is hold onto that small spark of goodness while every bit of the society around you tries to murder it out of you. This isn't a story about rebuilding, or about postwar politics, or about society- it's about dueling warlords and might makes right attitudes and grimdark views of the nature of humanity. It's fallout in aesthetics alone- and it's perhaps the most hateful thing I've seen come out of this series outside of the actual neonazis in the fanbase.

Whatever hope there is in Moldaver's final moments looking out over the glittering ruins of LA is undercut by the knowledge of what came before. What was destroyed. And it's undercut by the Brotherhood's totalitarian control. It's not hopeful, it's the bare minimum of survival. It's all the progress of the postwar world, 200 years of humanity and history, reduced to just barely getting the lights back on.

In the intro to fallout 1, "War Never Changes" is used as thematic glue. It ties together two concepts- past wars- and present capitalism and militarism.

Ron Perlman describes the Roman Empire, the Spanish conquests of the Americas, and the Nazi regime- and then he says "war never changes" and uses it to connect those past atrocities to the modern world of the setting- to the war that ended everything. The phrase existed to link the resource wars and their ensuing fallout to all the crimes of empire prior. War never changes wasn't a hard and fast rule of human nature- it was a specific condemnation of America.

Lonesome Road even ends with the phrase refuted. War Never Changes. But men do, through the roads they walk. There is hope. That's what this series has always been about. The Master died at the end of fallout 1 and said "leave while you still have hope."

In this show, the black woman Vault Tec exec who ends the world says the phrase. It's stripped of all meaning. Just a generic throwback because it's a famous phrase in the series' history. It's not a condemnation of America, it's a celebratory thing. Vault Tec toasting to the end of the world.

What a thing to see this series become. What a thing to see celebrated.

[a-b-riddle]

Part 2

Can't stop thinking about reader finally cutting them loose.

For three days there was nothing but radio silence. In those three days you had told yourself that it was a grace period. Time for Simon to cool off and realize how much of a bastard he was for saying all those things he obviously didn't mean. Johnny coming back over with a bouquet of flowers and endless apologies and cuddles.

Simon didn't apologize for his harsh words.

Johnny didn't call you later, as promised.

For three days you jumped at every single notification, silently hoping it was one of them. Any of them.

But it wasn't.

And you, unfortunately, got the answer to the question you had been asking yourself for months.

Did they still want this?

The answer was clear.

You didn't let their unofficial dismissal get to you. You still had shit to do. A life to get on to. A book signing to go to.

Jesus.

A book signing. A book you wrote. A book that was being published and released the day of the expo. You weren't expecting a huge line because this was your debut novel, but with the help of some ARC readers who had took to social media, there had been a bit of a storm brewing.

You had listened to John when he had mentioned writing under an alias. Don't know how crazy people are out there. They'd do anything to get close to you, Dove. Just better to protect yourself where you can. You almost hated yourself for listening to him now. Now you would just have to keep writing under your pen name.

You were getting ready to close up shop early when your phone finally pinged.

Kyle.

Fuck.

Of course it was Kyle. The one who hadn't treated you like you were constantly bothering him. Not the one who made you feel guilty for agreeing to your arrangement. Nor was he the one who fucked you and left you. No. He was just the one who just wasn't there.

Maybe that was just as bad.

What are you up to today?

That was it. Almost two weeks of radio silence and that's all he had to say? It just added more evidence that you were making the right call in ending this now. It had already carried on for too long.

You had two things on your to-do list and you wouldn't let Kyle's sudden reappearance deter you.

E-mail the publisher back.

Change the locks.

You didn't have the strength to face them again. If they groveled, it would be too easy to take them back. One against four wasn't much of a fair fight. And if they didn't care to fight for you... you don't know if you could survive it. Coming face-to-face with the proof that it didn't bother them to give you up even though it was killing you.

No. Cutting it off completely was the best thing to do.

So you didn't respond.

You left Kyle's text unanswered as you e-mailed the publisher back that everything was set for your flight on tomorrow morning. You would spend Thursday adjusting to the time difference and Friday you would rest up before the expo this weekend. She assured you that you would need to rest up your writing hand. Whatever that means.

You left Kyle read as you closed up shop several hours earlier than usual. You needed to drop off the bank deposit before you started on task number two.

You didn't bothering responding to Johnny when he had texted you when you were leaving the hardware store, purchase in hand. Asking if you were free Friday. Promising dinner. 'In or out. Your choice.'

It was almost second nature when you got home to pull up your phone. Ready to text one of them to see which one of them could come over and help.

Fixing a leaky sink? Nothing Johnny hasn't seen before. Need help moving furniture? John won't mind when you change your several times on what should go where. Kyle would always come in with take out the moment you mentioned you were hungry and whenever you felt like going for a walk when it was a bit too late in the evening, Simon was the first to volunteer as your personal guard dog.

But asking them to come and change the very lock you planned on using to keep them out seemed... counter productive, if not downright petty.

You were almost done with the lock when your phone sounded off. Only this time it wasn't a text. Someone was calling you.

You almost faltered when John's name came on your screen.

Fuck.

That almost got you.

You almost answered it.

Almost.

You clicked on the 'Sorry, I can't talk right now. Options, before finishing up your work.

And just like that, you were done. No help needed. You had changed the lock. Even adding on a deadbolt. Replacing the flimsy chain Simon had taunted you about. If someone wanted to get in here, that wouldn't stop them.

Well, now you didn't need to hear it anymore.

Not that you would really hear it again...

Your flight was in twelve hours. Although that seemed an ample amount of time you hadn't even begun to pack. You had luckily narrowed your outfits down, but now was the task of folding it nicely into your suitcase rather than just stuffing it in there.

On my way. We need to talk.

It was too late for talking. Three days too late. Several months too late.

The last message sent was four weeks ago. A new Thai place had opened up close to your apartment that you were wanting to try. All of them had given you excuses.

Not my taste, Dove.

Cannae do it tonight. Next weekend? Next weekend didn't happen either.

I can do tomorrow. Kyle ended up bailing. You forget the excuse he used.

Simon hadn't even bothered to reply.

The final nail in the coffin of your relationship. Almost two years wasted with nothing, but a broken heart to show for it. And the worst part is, they had all chipped away at your heart, leaving you to deal with the final blow that would shatter it.

Im sorry. I can’t do this with you anymore. wish you all the best.

Your fingers made quick work in blocking their numbers. It was best. If they wanted to reach you, they couldn't. On the other side of the coin, if they didn't care to reply, you wouldn't spend countless hours crying over the fact that none of them had been affected the same way you had.

You would deal with getting them their belongings that they had left behind another time. You had big things, great things happening for you. You were cutting your loses. You were cutting them loose.

You just hoped you didn’t regret it.

[pekklewife]

ive been flirting with a twitter oomfie for the past year or so and only recently realized thats what i was doing but now that im aware i have to resist the urge to reply with the most insane over the top indirect flirting bc its only funny if im actually joking and i dont think i am 😭😭

[ghelgheli]

i would actually like to hear more of your thoughts on whipping girl, whenever you feel ready enough to talk about it. i've only ever heard positive recommendations for it. i was thinking of reading it. i've read one or two introductory 101 texts on transmisogyny as well as some medium/substack posts, and always looking to read more as a tme person. ty!

thanks for asking! I'm gonna try to be concise because I'm stuck on my phone for the month, but here are my thoughts on whipping girl:

serano is at her strongest in the book in three areas: manifestations of transmisogyny in media (e.g. how trans caricatures pervade movies), the history of medical institutions developing a pathology of transsexuality (like the diagnostics of blanchard et al. or how trans people seeking healthcare were and continue to be forced into acting out prescribed expressions and manufacturing memories), and the construction of her own transition narrative (telling the reader what it was like for her to grow up desiring femininity in a way that confused her, the experience of crossdressing, the effects of hrt for her)

whenever she's just sticking to this, I think she effectively communicates a lot that the unaware reader could benefit from—even many trans women/transfems/tma people who are otherwise in tune with the history of medicalized transsexualism and our popular depictions could probably benefit from her own personal narrative, by nature of how variegated our experiences can be.

unfortunately I think the book fails at its primary—stated—goal, which is to theorize about transmisogyny. in the big picture this is a bifurcated failure:

on one branch of her argument, she remains committed to there being something biologically essential/innate about gender. this manifests thru multiple claims: that we have "innate inclinations" toward masculinity/femininity and "subconscious sex" rather than what I believe, which is that the latter are constructed categories imposed on different matrices of behaviour/expression/desire in different cultural contexts; that there is "definitely a biological component to gender" (close paraphrase) after a discussion of how she believes E and T tend to affect people (thus equivocating gender with dominant hormones!); that we have such a thing as "physical sex" which is the composition of our culturally decided "sex characteristics" (don't ask me how the dividing line is drawn) even as she says we should stop using "biological sex" as a term; that there is "no harm" in agreeing that "sex" is largely bimodal with some exceptions; that social constructionism is necessarily erasure of transsexual experiences in early childhood... altogether she is unwilling to relinquish arguments about the partial "innateness" of femininity/masculinity and gender. this is at tension with her admission on several occasions that these are neither culturally/geographically nor temporally stable concepts! but that doesn't seem to be a line she can follow thru on.

on another, intertwining branch, she engages in what I think is a deep and widespread mistake in the theorizing of transmisogyny: reducing it (mechanistically) to what she calls effemimania* or essentially anti-femininity. it is her stated thesis at the start that masculinity is universally preferred to femininity. she doesn't offer a definition of either term until one of the final chapters, where she defines them as the behaviours and expressions associated with a particular gender. but I think this reduction just misunderstands transmisogyny. it is even in tension with an observation she makes early on, that trans women are often punished for their perceived masculinity! but again, this is a thought she seems unable or unwilling to follow thru with.

my problem with the thesis is that masculinity and femininity do not float free of gender—it is not possible to speak of their valuation in the abstract. anyone who grew up as a masculine cis girl and never "grew out" of that "phase" can attest to the violence wrought upon expressions of masculinity from women. and this applies doubly so to the subjects of transmisogyny! not only are we punished for any perceived bleed-through of masculinity from our supposed "underlying male selves", those of us who are willingly masculine and thriving as mascs are punished for our failure to conform to the rules of the normative womanhood that is imposed on us (just as we are punished for any willing femininity as "false" and predatory upon cis womanhood—observe that transmisogyny is reactive degendering in every case!).

on both branches serano makes only perfunctory remarks about the intersections with race, class, and colonialism. "sex" as such was made to only be accessible to the "civilized", most of all the white european! for a racialized person and particularly a Black person navigating gender the waters are just not the same; the signifiers of sex neither available in the same way, nor granted the same medical legitimacy. what is the "physical sex" of someone who is de-sexed altogether? how can gender have a "biologically innate" component when its expressions between the bourgeoisie and the working class are at total odds with one another? this all goes for the masculine/feminine distinctions as well. what sense is there in the claim that we have innately masculine/feminine inclinations when globally (and transmisogyny has been made global!) what is feminine and masculine can be very nearly mirrored? nor is "masculinity is always considered superior to femininity" innocent of obviating race. transmisogynoir adds yet further degendering thru the coercive masculinization of someone as a Black woman—masculinization as punishment, again!

and as a final point, the account fails to be materialist. there is no attempt to place transmisogyny in its role as an instrument of political economy or, as jules gill-peterson might say, as a tool of statecraft. it is just a psychological response to the way the world is, as far as serano has anything to say about it. but how did the world become that way, and why?? serano's solution, the abolition of what she calls gender entitlement, is naive to the fact that gender entitlement is necessary to the maintenance of the capitalist state, which is structured thru patriarchy and built on colonialism. it is not possible to reskin this into something innocuous!

this is why I cannot recommend whipping girl as a work about transmisogyny except at the most shallow level. it could be a helpful critical read, but imo, it is just wrong about transmisogyny.

[gregarious-cervine]

Oops ran out of tags

Good evening, Tumblr user.

In front of you is a post asking everyone to list their favorite female Blorbos in the tags, stating that OP is tired of the focus on men in fandom.

You must participate and tag all of your favorite female characters.

If you include any characters who were canonically written as male in your tags regardless of reason, the reverse bear trap attached to your head will activate.

Begin.