#feminist pop

[chimeriad]

yugioh gay ex images that arent related to each othr at all. does anyone remember the edo phoenix feminism moment in season 3

[nickikardashian]

[mrdarcysdadbod]

Still mulling over Anne with an E and I think I need to watch another adaptation or two of AOGG bc I want to criticize the... Misappropriation of narrative space, I suppose, but I suspect that's also just a side effect of the medium, you know? Because what I mean by this is that Anne of Green Gables as a book is very, very narrow in its scope, as it is purely and solely about Anne and, especially early on, she doesn't give other people's stories or perspectives much space in her narrative, and is somewhat ruthlessly self-interested at times in a way that actively constrains the scope of the narrative. To me that's an interesting and delightful aspect of the book as a childhood/coming of age novel, because especially at an age like nine or ten, children really are focused on their own internal world primarily and are still in the earlier-to-middling stages of being more conscious of those around them and their lives and perspectives. A side effect of this is that, for example, we have no clue what's going on with Gilbert other than a few comments from secondary characters and some of Anne's own accidental, quickly interrupted mentions. I find this deeply charming, especially the way that it hints at Anne having editorial sway over the narrative, because she clearly thinks about him far more than he comes up in the text, and I think it could be adapted in a cute and inventive way to the screen, but that's neither here nor there.

The way this relates to Anne With an E is that I think AWaE got too ambitious in widening the scope of the narrative. I'm not even necessarily against the idea of, say, exploring Anne's history and behavior with a modern understanding of trauma rather than an Edwardian children's novel that absolutely wasn't interested in or intending to tackle the emotional realities of traumatized children. And that's a place where it shined (the scene of her cheerfully telling her classmates about "the mouse in a man's pants" to their growing horror was painfully accurate to the experience of not understanding that your funny story is actually deeply worrying), even if it got awkward at times (unfortunately the Anne actress did not carry off the flashbacks well and they were just kind of corny). Unfortunately I do think that there's, I suppose, a maximum amount of gritty reimagining that any narrative can reasonably bear, and I think AWaE way overdid it.

(putting this under a cut bc it got long and wandered away from the point)

I think there's space in that narrative to explore something like, pick two: residential schools or early 20th century modes of queerness or some B plot about con-men that came out of nowhere and mainly served to undermine the notion of Green Gables and Avonlea as a fundamentally safe place - frankly I'm not even against the idea of undermining that notion, in a "challenging the narratives of settler-colonial pastoralism" way, but I think that the residential school plot should've been the thing to do that, as a way of emphasizing that the idyllic safety of Avonlea came not as a result of hardy white Protestant goodness but very much at the expense of displaced and oppressed First Nations people, but I think the way they chose to do the conman B plot was actually counterintuitive to that end, because it positioned the outsiders as the ones seeking to extract profit at the expense of the good hardworking white Protestants of Avonlea, who then became the victims of a thieving invader, when, like. Colonialism, y'know? I digress.

Returning to my original point about the scope and space of the narrative, I may have the most issue with Gilbert's entire plotline. On the most basic level, it requires a significant reframing and rewriting of his and Anne's relationship at this point in their story, which I just... disagree with. I think it's a misstep to try and reimagine a deliberate erasure of him from the narrative via Anne's (somewhat petty) refusal to include him, even though he's very much present and the reader is regularly reminded of his presence in her life outside the text, as an opportunity to actually remove him from Avonlea and do some weird shit with him. Gilbert Blythe doesn't really need to go on a personal journey justifying his passion for medicine and wrestling with the realities and impacts of the Atlantic slave trade. (If I read that sentence after reading the book but before watching this show, I would find it completely bewildering.) It's not even that I don't think "Canada, as an English/French colonial project, has always benefited from and enabled the violence of slavery even if actual chattel slavery wasn't present there in nearly the same amount as it was in other parts of the empire" isn't worth exploring as an element of the showmakers' clear desire to interrogate and challenge AOGG as, unavoidably, a work of colonial fiction. I just don't think putting Gilbert on a boat achieves that. I'm not sure exactly how I'd achieve it - frankly I'm not well-versed enough in Canadian Black history to have a take - but, to me, deciding to literally import a character to make the point about Canada needing to wrestle with anti-Black racism as much as anyone is, like... I mean it's kind of decentering Black Canadians, isn't it? And the whole thing puts Gilbert in this really weird position of clumsily lampshading the white savior in relation to Bash, but also kind of a white savior by proxy in terms of Bash's relationship to the Black community in Charlottetown. I don't know, I'm not qualified to have much of a take on this, it was just all so bizarre and unnecessary to me.

Returning again to my original point, I ultimately just think that, while the text of AoGG leaves a lot unsaid and implied about what's going on with other characters in the novel, there's only so far you can stretch that and still be telling the same story, you know? And while the core of the book is Anne exploring her place in the world, and that can be expanded to include more serious questions about things like childhood trauma and various societal bigotries, I still don't quite know how I feel about the necessity of committing to, essentially, a change in genre for the sake of tackling some of these issues, because at the end of the day, for all it doesn't shy away from things like Ruby's or Matthew's deaths and the attending grief, AoGG is a children's book, and those challenging episodes still come with a resolution and catharsis, and that's... not really something you can achieve, if you're going to include residential schools as a B plot. Like, for a show set in 1890 or whatever, there's absolutely no way to have any sort of resolution or catharsis about a residential school without egregiously whitewashing the reality, especially in, what, 2019 this was airing? After several years of mass graves getting uncovered? I don't know, I think they were just too ambitious. It's not that the legacies of slavery and ongoing Native genocide don't deserve to be explored, but I'm not sure that an adaptation of a book that is firmly rooted in an idealized image of a rural Canadian childhood is the place for it. It's kind of weird to have the horrific violence of the residential schools sharing space with Anne putting liniment instead of vanilla in the cake, you know?

[brostateexam]

what if we didn't listen to musicians except when they were on stage performing

[sunbeamedskies]

I love Taylor Swift, but you all have got to stop falling for the media pitting women against each other.

Billie was most likely not shading Taylor- she was talking about how she personally does not want to do a 3 hour show, and she believes her fans don’t want her to do one either. She also emphasized releasing multiple versions of physical albums that aren’t eco friendly is a systemic industry issue.

I’m a huge Taylor fan, but not every comment another artist makes is specifically about Taylor.

The amount of people here who see anything that could vaguely be criticism of Taylor as a personal attack is not healthy. If you are prone to jumping to conclusions, you need to take a step back from the internet and chill. The media LOVES framing quotes from someone like Billie as being 100% about someone like Taylor because it gets them clicks.

Taylor is also not flawless. She is one of MANY musicians who release multiple versions of albums as part of cash grabs. She doesn’t need to do it- she’s the hugest musician on Earth- but there’s such a pressure to do so that she does. There’s nothing wrong with wanting her and all the other musicians who do it to do better

[jareckiworld]

Evelyne Axell (1935-1972) — AutoStop [oil on canvas, 1965]

[dandelionjack]

i hope ruby gets a well-that’s-alright-then-style notdeath. on the one hand it will make haters mad because oh no not another companion with an impermanent end (and i like to see haters mad) on the other it would require creativity to depict this in a new way + i love all the implications i love the dark fairytale quality of these companion exits i love my un-undead schrodinger’s women

with the way the legend of ruby sunday is titled… legends aren’t usually told about living people. legends are stories of the bygone past, of an age long since over, fictionalised and overgrown with folklore like barnacles sticking to an abandoned shell. there is such a thing as a living legend, but they’re exceedingly rare. the unmistakeable raven’s call in the 73 yards teaser, the trailer’s cut to fifteen crying alone after promising to cherry he’d protect her daughter… the foreshadowing is clear as day…

and yet. there’s one massive HOWEVER. ruby appears in s15: millie’s been spotted on set filming it. which leads me to believe — the doctor isn’t one to take the time travel route and revisit companions that in his future are genuinely dead. that would hurt too much, it would cause unnecessary trauma and could break the timeline. that must mean ruby stays alive in some way. ish. she’s alive and a legend and a mystery. girl-ballad girl-song girl-paradox

here she is, fading out.

p.s.: thesis statement on moffatgirls from the tags i left on somebody else’s post about charley pollard.. well it belongs here since it’s basically the semiotic hurricane swirling around ruby at the moment :)

[goldyluna]

(S)he and her

[youjustdontunderstandmymusic]

JADE

(her solo is coming! can’t wait)

[skierisa]

From around s1-3, Kai was a Kesha fan, Jay a Katy Perry fan and both would blast Tik Tok and California Girls at the same time in different places of the bounty and Cole is like "pls, turn these off, if I listen California Girls or Tik Tok one more time, I'll kill my self"

And than Lloyd comes in blasting Welcome to the Black Parade for the 10th time in an hour in someone's phone

[quasi-normalcy]

Things that have only recently (within the last five years) been retconned into history:

Binturongs

Dik diks

Jolene, by Dolly Parton

Woman on the Edge of Time (1976), by Marge Piercy

The city of Aurora, Ontario

Goncharov (1973)ERROR: Attempted Retcon Failed

King John, a play by Shakespeare

The City in the Sea, by Edgar Allan Poe

[oncanvas]

Guerrilla Girls' Pop Quiz, Guerrilla Girls, 1990

Offset laser or inkjet print poster 17 x 21 ¾ in. (43.18 x 55.24 cm)

[maddy-ferguson]

this might just be the worst tweet of all time

[fluffytimearts]

I wish a terf/radfems/gender criticals a very lovely "Fuck you" This pride month

I wish every other person be careful and block these people (who, I still mean when I say opressors and literal fetishizers of both women cis and trans) since they want to randomly intrude into things that don't involve them and want to harass by calling people who are LGBTQA+ "heterosexual".

I wish every happy anti-terf/radfem/gendercritical blogs like @lostelvenqueen a very expose each and every one of those predatory mfs :3

Feeling mad ladies? cry about it.

[this-is-a-tortured-poet-trying]

So Drake and Kendrick are relentlessly dissing each other on diss tracks. Everyone's going crazy, loving it. But when Taylor Swift writes a song about HER own experiences, without even naming anyone, it's a problem.

[jareckiworld]

Isabel Oliver Cuevas — The Pop Room (acrylic on wood, 1973)