#i read a guys article

[justnoodlefishthings]

The way people demonize seagulls is actually unreal. Almost all of their natural habitat has been destroyed (almost all coastal areas have been developed, destroying natural sand dune ecosystems) and they're doing their best to adapt. They're literally just trying to survive. You're in their home. The vitriol some people have for these gorgeous sea birds just because they're not shy about snatching food if you're not cautious is insane

[akajustmerry]

READ THE FULL ARTICLE HERE

‘Killers Of The Flower Moon’ Can’t Escape Its Own White Gaze by Merryana Salem / Killers Of The Flower Moon (2023). Dir. Martin Scorsese

[lunapegasus]

[foolsocracy]

What could he have meant by this

[ohgollythatsuh]

My fellow fandom frequenters!!!!!!

This feels kind of weird to do because I literally use this blog to talk about gay people and reblog pretty fan art but ya gotta do what ya gotta do:

I am a student journalist and I'm writing an article for class about the way that fandom spaces have changed over the years (especially over the pandemic) and the effects of the popularization of fandoms. I'm looking for people who are willing to talk about their experiences in fandoms, the communities and relationships that they've built, how they feel about the shift in fandom culture (or if they've even noticed a shift), etc!

Some things to note: this is not going anywhere besides to my professor (unless all participants actively want me to share it on Tumblr or something, in case anyone is interested in reading it -- it's really up to everyone's comfortability levels). The mode of interview is, once again, up to comfortability: we can do zoom calls, conversations over DMs, in-person meetups (this is obviously going to depend on where we live) -- once again, this is up to your comfortability!!!

My DMS are open and I would reallllyyy really appreciate any and all participants! Your voices are CENTRAL to this story because fandom is based solely off of the real conversations between community members!!! I'm really passionate about fandoms because it's been like. My whole life since childhood. So I'm really dedicated to making a beautifully authentic story out of this!!

Feel free to DM with any questions :) Or if you know someone who'd be interested, or have some suggestions on things you'd like me to write about or have any leads that I could research, look at, etc. -- just dm or even comment or reblog this and put it in the tags!!!

Reblogs are appreciated! I'll be tagging some popular fandoms in order to get some more traction

Edit: so many people dm’d thank you guys for helping a poor undergrad get a good mark on their paper :’) sorry if it takes a second for me to respond to your dm I’ll get to you I promise!! My dms are still open so if someone is reading this, you can still participate!

[pianokantzart]

Hey this is kinda silly but can you convince me to get Brothership?

The art style and animation is so beautiful and bouncy! (I'm a particularly big fan of the Luigi Logic moments in the boss fights.)

You can make a few decisions that will effect what happens in the plot going forward, which is WILD for a Mario game and definitely enhances the replayability aspect.

Speaking of replayability, there are a lot of side quests and new routes that open up as you discover and explore islands. There are so many different little corners to investigate outside of the main game that Brothership is no doubt going to take me a good deal longer than the alleged 30 hour runtime. I want to see everything.

The gameplay runs smoothly and is a ton of fun, and when things begins to get repetitive it throws in some new tool or ability to switch things up and keep things interesting. Fights are pretty easy at the beginning, but as you go along the game slowly ramps up the difficulty in ways that feel both challenging and fair.

It's a Mario and Luigi game, so of course almost all the characters are brimming with charm. Mario and Luigi's characterization in particular is A+. They are so sweet and wholesome.

I'm only partway into the plot and it slaps. I hear word it's got one of the most intense stories out of any Mario game, so I am super excited to see how things play out.

I say, if you're considering getting this game, go get it! Ever since I got my copy I've been waking up in the morning with my first instinct being to get on my switch to see what happens and what else I can discover.

[sickfreaksirkay]

Sir Kay, Seneschal of King Arthur's Court, Harold J. Herman / Illustration from the Mabinogion / The Quest for Olwen, trans. Gwyn Thomas and Kevin Crossley-Holland / The Story of Merlin, trans. Rupert T. Pickens / Illustration from The Quest for Olwen, Margaret Jones / Wace's Roman de Brut, trans. Eugene Mason / The Mabinogion, trans. Lady Charlotte Guest

a collection of sir kay and sir bedivere: companions/lovers/worse, for @queer-ragnelle's may day parade

[steveyockey]

While some of both Davis and Crawford’s work could arguably be described as camp (for the former, King Vidor’s Beyond the Forest; for the latter, later-era films such as Strait-Jacket and aspects of the wondrous Nicholas Ray film Johnny Guitar), that their entire careers and places within film history are defined as such does a disservice to their artistry. But they aren’t alone in representing what has become a troubling trend when it comes to women’s work. As camp entered the mainstream lexicon, especially after Susan Sontag’s landmark 1964 essay, “Notes on ‘Camp,’” the term has been increasingly tied to work featuring women who disregard societal norms. Camp is often improperly and broadly applied to pop culture that features highly emotional, bold, complex, cold, and so-called “unlikable” female characters. I’ve seen films and TV shows such as the witty masterwork All About Eve; the beguiling Mulholland Drive; the stylized yet heartwarming Jane the Virgin; Todd Haynes’s Patricia Highsmith adaptation Carol; the blistering biopic Jackie; the deliciously malevolent horror film Black Swan; Joss Whedon’s exploration of girlhood and horror, Buffy the Vampire Slayer; the landmark documentary Grey Gardens (which inspired the 2009 HBO film starring Jessica Lange and Drew Barrymore); and even icons such as Beyoncé and Rihanna be described as camp. Look at any list of the best camp films and you’ll see an overwhelming number of works that feature women and don’t actually fit the label. Usually, What Ever Happened to Baby Jane?, the film whose behind-the-scenes story provides Murphy’s launching pad for Feud, will be at the top of the list.

While camp need not be a pejorative, that hasn’t stopped it from being widely used as such. In effect, being labeled as camp can turn the boldest works about the interior lives of complex women into a curiosity, a joke, a punch line. The ease with which camp is applied to female-led films and shows of this ilk demonstrates that for all the (still-paltry) gains Hollywood has made for women in the decades since Davis and Crawford worked, our culture is still uncomfortable respecting women’s stories.

That major Hollywood icons such as Marlene Dietrich, Bette Davis, Joan Crawford (and, more recently, Natalie Portman, thanks to Jackie) have been roped into this lineage isn’t surprising. Society doesn’t know what to do with women of this ilk without discrediting their very womanhood. Take artist and filmmaker Bruce LaBruce’s offensive description of Mae West in an essay on camp: “[She] played with androgyny to the degree that her final performance — her autopsy — was necessary to prove her biological femaleness.” In his 2013 essay “Why Is Camp So Obsessed with Women?”, J. Bryan Lowder expands on Sontag’s most well-known line: “It’s not a lamp, but a ‘lamp’; not a woman, but a ‘woman.’ To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role.” Lowder writes, “‘Woman,’ the concept within the quotation marks, is not the same thing, at all, as a real woman; the former is a mythology, a style, a set of conventions, taboos, and references, while the latter is a shifting, changeable, and ultimately indefinable living being. Of course, there may be some overlap.” But if all gender is a performance, where does the “real” woman begin? And why does the presence of camp hold more importance than the actual work and voices of actresses such as Crawford, who have come to be defined by it?

At times, camp can feel like a suffocating label. Its proponents often misconstrue the fact that recreating oneself as a character is not merely an aesthetic for women, but rather, for many, a matter of survival. Living in a culture that profoundly scorns ambition, autonomy, and independence in women, girls learn quickly the narrow parameters of femininity available to them. When they transcend these parameters, life can get even more difficult. Women often pick up and drop various forms of presentation in order to move through the world more easily. Performance as a woman — in terms of how one speaks, walks, talks, acts — can be a means of controlling one’s own narrative. Camp often limits this part of the discussion, focusing instead on the sheer thrill of watching larger-than-life female characters cut and snark their way across the screen. How these works speak to women, past and present, becomes a tertiary concern at best, and the work loses a bit of its importance in the process; it either comes to be regarded as niche or, if it still has mainstream prominence, as abject spectacle. In turn, the conversations around these works become less about the women at their centers and more about how those women are presented.

Much of Baby Jane’s camp legacy comes down to how more recent audiences have interpreted Davis’s performance. She’s ferocious, frightening, and grotesque. But framing Davis’s performance as camp, as Murphy does, doesn’t take into account how dramatically acting has shifted over the course of film history. In some ways, camp has become a label used when modern audiences don’t quite understand older styles of acting. Modern actors privilege the remote, the cold, the detached. The more scenery-chewing performances that make the labor of acting visible — such as the transformative work that Jake Gyllenhaal did in Nightcrawler, or most of Christian Bale’s career — is typically the domain of men. (Or, at least, it’s only men who can get away with it without being called campy.) As Shonni Enelow writes in a marvelous piece for Film Comment, “[Jennifer] Lawrence’s characters in Winter’s Bone and The Hunger Games don’t arrive at emotional release or revelation; rather than fight to express themselves, her characters fight not to. We can see the same kind of emotional retrenchment and wariness in a number of performances by the most popular young actors of the last several years.” Davis’s work as an actor was the antithesis of that; she painted in bold colors. Even her quietest moments brim with an intensity that cannot be denied.

[mossyflowers]

bro what

[svnflowermoon]

y'all go from being feminists to tearing these women down within seconds oh my god it's 2024 can we please stop viciously tearing one woman down to bring another up i don't care what side you take but saying vile shit about either woman and their music is disgusting, please grow up

[tanjir0se]

You know what the Giyuu bath scene Aniplex was too much of a coward to give us really needed? A gay awakening. So sayeth the lord (me in my google docs)

[the-love-witch-roleplays]

[colorsinautumn]

.

[bingokill]

[salvadorbonaparte]

"this academic paper is complicated and I don't get it so it's poorly written" "actually it's for an expert audience so it has to be difficult"

Reading comprehension and critical thinking means understanding that both can be true sometimes at the same time. And sometimes it's just the individual writing style of a specific author that's absolutely incomprehensible too. You gotta figure out which it is each time. I do think there should be more lay abstracts though.

[ibroughtyoumybullets-ningy]

pov discovering the forbidden nwos news buried in a famitsu interview on level-5's website and reading about how the story is almost done except for the ending