#godlike guy

[specs-tacularmen]

O Great Zoos!

[artgletic]

case study of the self-identified god

[umblrspectrum]

ive been drawing a couple things but they're all sekaiju or oc stuff so i don't think you guys would care about any of that

[daelkyrart]

doing an portrait of my pillars of eternity character to use in-game. which is also why hes so small lol. couldnt decide on whether the extra shading made him look worse so. have two of him

[specs-tacularmen]

Up high and worshippable

၂၄၀၁၀၇

[snow-lavender]

woman who goes feral for any kind of fourth wall break or meta-narrative: hey guys i think c!rina might be my favourite sherb

[vanglaggle]

i love you horror sans please continue to get your shit tossed by the star sanses god bless

i find it so funny when people write him as the weakest link . get him out of there bro they're gonna kill him

[colfy-wolfy]

sopping wet

I can squash him and he won't be able to do nothing.

I would bully him but like out of admiration

[overleftdown]

saltburn and privilege; an investigative tangent

god, where to begin.

i've seen a lot of people discussing this moving and specifically using the word "privilege," along with power, dominance, desire, control, greed, etc. me included. these are all very essential aspects of this movie. what i want to focus on is emerald fennell's nuanced portrayal of how different types of privilege interact. which one trumps the other? which types of privilege are more visible, while others are more subtle? what differentiates different levels and layers of privilege?

when emerald fennell describes the core of this movie, her inspiration for this script, she talks about desire versus untouchability. she chose the most absurd type of wealth to represent untouchability: the british aristocracy. old wealth, generational wealth, so far removed from the majority of their ancestors' sins that they can arguably ignore that the money they're standing on is dirty. and they live in fucking castles. this is one of the most unbelievable, gaudy, visible types of privilege you can imagine. everyone is entirely aware and feels entirely justified to call attention to this type of privilege.

oliver, being the main character, might be considered the least privileged within this movie. i'd like to take a critical look at this. this movie is not a straightforward class commentary; there is no traditional "the poor eat the rich" dynamic. because although some people perceive oliver as the least privileged character in this movie, he is incredibly privileged. oliver comes from a comfortable upper-middle-class home in the suburbs. oliver has two loving parents and two sisters. oliver is white. oliver is a man. interestingly, from oliver's perspective, he's not privileged at all. he hates the cattons because they are more wealthy, more comfortable, more untouchable. this extends to venetia and farleigh, even though oliver has applicable layers of privilege stacked above even them. he knows he has a certain type of power over them... yet he still hates them because they have one type of power he doesn't have.

that brings me to my next point. the existence of one type of privilege does not negate the effects of another, entirely different, type of privilege (or marginalization) [quote]. this is what venetia and farleigh's characters draw attention to. venetia experiences some of the same struggles as many women; she is ignored in her own household, perpetually existing within her brother's shadow (rosamund pike once lovingly pointed out that venetia does not have a single conversation with elspeth in this movie). she's insecure about her body and her worth, so she takes what little opportunity she has to use felix's friends as a form of self-fulfillment. farleigh is not only half black, but he's also queer, non-immediate family, and unaccustomed to english culture (specifically this type of english culture). farleigh is, in some ways, more financially unstable than oliver's family because his mom was too sheltered to understand money and his dad is, apparently, "a lunatic." (that's not to say farleigh isn't economically privileged because oh boy, he absolutely is).

this movie doesn't intend to incite pity from the viewers for any of these characters, and it generally doesn't. oliver is pathetically greedy, ungrateful, and desperate for a chance to lick the boots (or bathtubs) of those above him. venetia is pathetically bored of the privilege she does have yet is still so entrenched in emotional turmoil due to other areas in which she is marginalized. farleigh is pathetically attached to uninterrupted comfort and arbitrary white-centric expectations, constantly running from or attacking any threat of struggle. none of these people understand, comparatively, what the less fortunate experience. they are so ignorant to the bubble they exist in and just how grateful they should be for what monumental privileges they do have. but... felix.

felix is the epitome of privilege. oliver is specifically obsessed with felix. just like oliver, felix is a white man. but felix is more wealthy, more comfortable, more untouchable than oliver. oliver isn't as infatuated with farleigh and venetia because he's fully aware of the privilege they lack. he's fully aware of the privilege he holds above them, and he enthusiastically uses this power he has against them. to be in the position of oliver is to be consumed by jealousy and greed so bottomless that you will assert your dominance over any group that you're able to. felix doesn't need to do this. he's been handed every privilege under the sun and therefor welcomes the less fortunate with childlike interest and an equally childlike attention span. there's an aspect of farleigh and venetia's marginalization that is so invisible, so quiet and unassuming, that felix doesn't even notice it. he can't possibly be confronted by it. to be in the position of oliver is to understand what power you hold over others, because there is always more power to have.

racism, sexism, wealth, power, control, desire. there are so many facets of this movie that come into play. it may seem overwhelming, but this is... how things work. commentary on wealth is, and should be, equally a commentary on other areas of privilege. to be black and wealthy means different things than to be white and wealthy. to be a wealthy woman means different things than to be a wealthy man. to be rich to some also means you're much less rich than others, unless you're the richest person in the world. and, as this movie so beautifully portrays, to be richer than most doesn't make you less messy. the catton family is an ugly one, but also a complexly human one. each catton (or start) is jealous of someone else for another reason. each catton is emotionally damaged or incompetent for another reason. each catton has a different layer of privilege over the other. and each catton loves everyone in saltburn, because this is still a family, albeit a terrible one.

[specs-tacularmen]

Võ Phúc Vinh

...Providing a number of good reasons to visit beautiful Vietnam!

hai ba không tám ba một

[hamlet-not-hamnet]

didn’t know what to draw so have this little exr metro sketch

[yourbuerokrat2]

'Be mine'

A request from a godlike entity that would leave many either flattered or terrified.

Jean-Luc Picard felt neither.

He did not know how to feel about it.

Even now that he had indulged Q the demands still continued.

Because Picard could never give Q all of himself.

Because the other parts of him already belonged to so many others.

And Picard realized, that for Q this would never be enough

That when a self-proclaimed god says 'be mine' what they mean is

'Be mine. Entirely. Forever'

Picard was not sure he could or wanted to give Q this.

[various-dark-suggestions]

“Let the impulse to love and the instinct to kill,

Entangle to one.

In this light you are mine, ‘til the sweat turns to blood.”

~ Say That You Will by Sleep Token

[caeified]

original fate

[she-ra-her-ra]

Rose killing herself to experimentally create the first and only gem-human hybrid and leaving the upbringing to her homeless human boyfriend who knows almost nothing about gem history and her gem warriors who don’t understand human society or biology and never expected their immortal leader to die and they got what a year notice? A few years? an insane decision what the hell girl

[spotaus]

Hmm. Do we think that New Age Nightmare could pull others into his shadows? (For transport, hiding, etc.) Because I think of it more as a sort of 'opening a rift into the dark itself and creating a very fast hallway the leads to the next rift' but it *looks* like Nightmare is melting because the corruption lags behind the force of his soul when he enters.

Of course, then, the next logical step is to think: If he *can* then how does it feel? Are Killer and Horror less bothered because their magical sensitivity is low to begin with? Are Dust and Cross overwhelmed with a barrage of information the second they enter the rift because the invasive magic is just too dense + strong for them to process? Would it kill a person if Night dragged them inside then left without them? (<- Would he run into their corpse later by accident in the rift or would the magic dump it elsewhere? Or consume it?)

Just a fun thought that's irrelevant when the magic fades. But there is 7 years worth of pre-fade where he's learning this!