#media briefings

[generalelectionmusings]

[okanra]

Since I grew up in the late 90s, all I can think about teen Trunks and Goten is through the layer of nostalgia, with them wearing the late 90s and early 2000s clothing in something like a US setting, and Trunks using the latest phone technology at the time since he's a tech nepobaby: the legendary flip phone.

I think for Goten who was originally a mountain boy to be so hooked on things like phones and texting and girlfriends and dates when he grows into his adolescence, is because Trunks was his original influence until it wasn't.

Them using the trendiest slangs of 20 years later is pretty on point tho.

[poorly-drawn-mdzs]

Assisting Acquaintance Acquired.

[First] Prev <–-> Next

[martyrbat]

rip to bruce but if i fumbled her i would literally kill myself

[doomdoomofdoom]

Apparently there's currently discussion in science (humanities in particular) about whether video essays could be accepted as academic writing on par with the academic papers we currently have

I think that's awesome as fuck tbh

[watermel0ns-dumb-cringe]

As much as i love coming up with stupid as hell names for Jimmy , I feel like . Refusing to name him or acknowledge his actions undermines the entire point of the game and what it's trying to comment on . Like , isn't the entire point to acknowledge what he did ? For him AND Curly to take responsibility ? I understand WHY it's not brought up as much , as it's a sensitive topic — but I feel like Jimmy should be more acknowledged by the mouthwashing community outside of "where's your shirt" memes , AUs that remove him or change him to be a good person (as much as I love the concepts , aside from . Lobotomized Jimmy . That one makes me feel REALLY icky) , or just him being tortured , as much as he deserves it . I'm not saying to like - stop it ENTIRELY , as I can't control that , I'm just saying that we should acknowledge him a bit more in a serious manner like we do the rest of the cast .

[frahah]

The 1975 mixed media visual art 💿

[black-and-yellow]

Ingenue

Reel it in.

(NB even though this reads right to left, the pages are ordered so that they will be in order when scrolled through on full screen)

[slozhnos]

rewatching newsies and i really love the detail at the end of of ‘that’s rich’ where jack is trying to wave at katherine

[annabelle--cane]

I respect the labor it has always taken to push queer stories to anywhere approaching the mainstream and I appreciate that all of these works have their merits and will have been extremely meaningful to people but sometimes I look back at the state of queer media in the late 2000s/early 2010s and I briefly see into hell

[lightkrets312]

to the people who write summaries and wikis with thorough breakdowns of all the lore and media for a series that breaks it up into 20 different formats: you are doing fantastic work, may it remain intact and accessible well into the future, I owe you my life

to the people that decide splitting your series into 20 different media formats with critical lore in most/all of them is a good idea:

ARCHIVE YOUR SHIT IMMEDIATELY, WHAT THE FUCK ARE YOU DOING.

[kaiserin-erzsebet]

Hi there! Sorry if you've gotten this type of ask before, I searched your blog first and didn't find anything, but we all know about the tumblr search algorithm. I was wondering what you think of Elisabeth das Musical, like its portrayals of the historical figures involved, or its general historical accuracy? I love that musical but I'm no historian, and from my Wikipedia research it does take some liberties. Just curious if you're familiar and have thoughts! Have a good day :)

Thanks for the ask. I don't know if I have ever really made one post addressing the historical accuracy of the musical.

To a degree, I don't know if historical accuracy is a fair metric for a musical that is clearly stylized. Death being a character makes it pretty clear that it is leaning into surrealism. I like to meet media where it is at in terms of what it is trying to be.

And I do personally enjoy the musical quite a lot. Songs from it still regularly appear on my writing playlists. In the current landscape of Sisi media, I think it remains one of the most interesting and compelling explorations of her as a difficult woman with a complex internal life instead of a girlboss or 19th century Princess Diana. She is selfish and sort of inconsistent and perpetually flirting with her own death, and I think that's closer than making her the feminist hero.

There are some key points that it does better than other pieces of media: It also does not portray nationalism as liberation, which I think it important. The Hungarian coronation is not an unmitigated triumph with Lucheni singing the secondary part about rising nationalism as a warning for the unstable times that are coming. The rise of Lueger and Schoenerer as a direct antecedent to Hitler is a bit too linear to be completely historically accurate, but I think the point the musical is making is ultimately a good one. The collapse of the empire unleashes violent nationalism and the musical is pointing that direction ominously.

I also do like that it includes Rudolph's politics and his conflict with his father, since some other things are quick to minimize that. The musical isn't necessarily about him, but I like what it does to explain his disillusioned liberalism.

I don't like other things in it: For example, it moves past the early 1860s in one song, which is a period of constitutional experimentation and the last gasp of absolutism. I wish that wasn't so flattened. That's more personal for me since that is the period I am the most interested in.

My biggest frustration about it is the portrayal of Archduchess Sophie. For all the complexity that the musical grants Elisabeth, Sophie is still just the overbearing, intrusive mother-in-law. Historically, this is a disservice to her and her relationship with Elisabeth. Yes, she could be overbearing, but it was for the good of the monarchy. She's not wrong to be concerned that a teenager doesn't know the gravity or importance of being empress and isn't prepared for it. I just want my girl to get her due without being reduced to an archconservative or nightmare mother-in-law.

On the whole, I still think the musical does more than most media to portray Elisabeth as she was in spirit if not completely in substance. I just wouldn't look to it for accuracy, and I don't think the surrealist elements are really trying for that anyway.

[writersmorgue]

She is me

Thank you @tisafinedayforsimping for the submission!!!

[homoqueerjewhobbit]

Bonus tell us why in the tags!

[forcedhesitation]

Whether intentional or not, Otz (or his editor, rather) censoring Hux's mori with the gootoob demonetization symbol in his latest video is brilliant...Hux will never be safe for capitalism.

There is such irony in a huge corporation like gootoob penalizing people for showing the uncensored mori of the anti-capitalist killer...the killer who is the product of a massive corporation's greed.

Like, Hux began killing as a result of the fear he felt while trapped in a hostile, divisive, and isolating society that was trying to colonise other planets in the name of super corporation Huxley Industries. This is a society that would have seen him terminated for his sentience, that carelessly discarded anything deemed "useless" to its aims, which is in part used as a metaphor for being a minority and opposing the state through your existence alone. But Hux is also the embodiment of consequence, the inevitable reaper that comes to collect those who push past the boundaries of their own humanity for the sake of profit. What makes End Transmission so clever, though, is that Hux's victims were mostly pawns of Huxley Industries themselves, with no knowledge of the ugly truth at the heart of their world. We see that through Gabriel's discovery that he is a clone and that his entire childhood was a series of false memories fabricated by Huxley Industries' scientists in a lab. To me, this is a fantastic metaphor for the way that people in our own society are sold their beliefs, values, and identity from a very, very young age, often without us even realizing it until it's too late, if ever at all.

The tragedy of End Transmission isn't necessarily what happened to Hux, nor what happened to Gabriel, individually. Which, to me in itself is ingenious, because the problems we face today, or even on gootoob to bring it back to my original point, are not individual issues. We are all pawns of these corporations, and victims of their destructive actions. And so the real tragedy of End Transmission is that the corporation responsible for the traumas that Hux and Gabriel endure, and ultimately for the terrible society in which they exist, was never impacted by the incident on Dvarka. In fact, after Hux and Gabriel's disappearance, it's rather likely Huxley Industries simply covered up what happened on Dvarka, so that they could never be questioned. Perhaps another Gabriel clone replaced the one they lost. More A7 units replaced those lost on Dvarka. And the machine's gears just kept turning. Just like it does in our own world.

[echoes-lighthouse]

Hi I haven't been on this blog much because I've been busy writing over 100,000 words of self-indulgent vampire self-insert content, HOWEVER

I did watch the new Helluva Boss short and I'm obviously in love with Emberlynn, I adore her, I want the Hellaverse to get overrun with parody self-insert characters. I always fall in love with the reader insert characters in fanfiction so it makes sense that I fell in love with her. Anyways here we are and we're gay and we watch questionable anime and compete to write the most fucked up erotic fanfiction about it.