Foxfire — Drops
Have I told you how at times the haze in Horai becomes so thick, it gains a new form and will of its own? Not unlike rain or snow. But quite delicious, if collected and brewed properly. Dragon’s Tears as Lune calls them.
Bad for your longevity, Sol says.
when we talk about women in refrigerators it’s not always something super literal
i don’t imagine in writers room across the globe they’re all sitting there like “well we’re out of ideas let’s fridge another one” (but maybe they do i have no idea)
but what’s happening consciously or unconsciously writers are deciding that women are more valuable dead then alive. this goes way back. this is poe saying there’s nothing more poetic than the death of a beautiful woman. this is a dozen pre raphaelite paintings of ophelia drowning because they found her suffering erotic. this is the first reaction to laura palmer’s body being found being, “she was so beautiful.”
fuck this. fuck this.
i’m sick of writers getting passes. fuck this. our strong women are taken from us. we don’t get survivors. we don’t get triumph. women get chopped into artistic little pieces for the male heroes to choke own because we’re more valuable this way. because this way you don’t have to worry about our hopes and fears and opinions because we’re dead and dead women tell no tales. they can’t speak out against injustice because men took their tongues. and they think it’s beautiful. death, the ultimate passivity, the ultimate waiting room, is the most beautiful thing of all. there’s nothing more poetic than the death of a beautiful woman.
women matter. they matter when they are living. not listening to women while they’re still breathing is a failure and should not be regarded as anything else. it is a failure with very serious effects
someone put this on neil druckman’s desk.
yeah, and the worst is when male writers think they’re subverting this by having an otherwise good female character (or CAST in american horror story’s case) who just has an unending tide of godawful, often sexualized or at tied to female reproductive systems (eg pregnancy, miscarriage, infertility shit) horrors foisted upon them. the GO TO tragic backstory for a female character is to make her a stripper or hooker. i don’t think i’ve ever, *ever* seen a female character who struggled with a drug addiction who wasn’t also a prostitute. the only time i see this subverted with a dude is when the writers wanna fridge the tragic gay instead.
yes, i get that the main characters in things, especially the main characters in horror/crime dramas or whatever have terrible things happen to them. but it’s really weird how lots of the terrible things that happen to dude characters seem more like ways to make them seem cooler (maybe getting a BADASS INJURY here or there or having a really cool broody drug or alcohol problem that they never feel inclined to fund by suckin dicks, or having other people, (usually female people lol) killed in their past)
I think a big motivation behind this kind of thing is writers getting caught in a rut between “we need to kill a character to prove how dark and serious and dramatic this story is” and “we don’t want to kill a character who’s too interesting or fleshed out because then we might miss them”. So when the time comes to throw someone on the chopping block it usually ends up being a girlfriend or wife or sister or mother or something because on one hand they’re like “yes great she doesn’t have a role in the story beyond being the girlfriend/wife/sister/mother so she’s super expendable and wasn’t fleshed out enough that we’ll miss her” and on the other they’re like “yes great everyone will empathize with how totally sad this dude is that he just lost his girlfriend/wife/sister/mother!”
And I mean, that formula applies to just about any demographic you can count on ending up as cannon fodder, it’s this catch 22 of “We need a character to represent [demographic]” > “Let’s build their entire personality around them being [demographic]” > “We need to kill off a character. How about that one, they aren’t very fleshed out”. That’s the problem with approaching character creation as though every character is by default a straight white dude unless they’re being added to the story for the sole, explicit purpose of diluting the number of straight white dudes.
let’s build a wall they said, it’s gonna be safe they said….
one: building a wall doesn’t work
two: building a wall doesn’t work
i bet yancy’s last words before he got ripped out of the conn pod were ‘raleigh listen to me don’t build a fucking wall’
#LIKE WHAT WAS EVEN THIS PLAN??? #JUST SLOWLY LET THE PACIFIC OCEAN FILL WITH KAIJU??? #A GIANT KAIJU BUBBLE BATH PARTY IN THE PACIFIC OCEAN OR SOMETHING??? #A WHOLE KAIJU HABITAT BEHIND A WALL LIKE IT’S FRICKIN SEA WORLD??? #WHAT WAS THIS PLAN????????
They were definitely going for the ‘close your eyes and hope it goes away’ plan.
They probably called it the Ostrich Offensive.
'RALEIGH LISTEN TO ME DON'T BUILD A FUCKING WALL'
I love how the Kaiju just strolls through the wall like ‘hey, fuck you. This is Australia, I belong here.’
It is keeping the public busy while the ruling powers get that space program on the go, under wraps.
When Steve Kloves (who wrote the majority of the Potter screenplays) met J.K. Rowling for the first time, he told her straight up that Hermione was his favorite character. Rowling admitted to being relieved, and who could blame her? It was more likely for Hermione to end up disrespected on screen—she wouldn’t be the first female hero to get butchered in the reels.
But this resulted in an undercutting of Ron’s entire character from the first movie. Don’t believe it? When the trio go after the Philosopher’s Stone, they face a series of tests that demand each of their skills in turn. Time likely demanded that this sequence be cut down, and so Hermione’s test—solving Professor Snape’s potion riddle—was removed entirely. To make up for this, she gets them out of the Devil’s Snare, Professor Sprout’s deadly plant. Hermione shouts to Harry and Ron to relax so the foliage will release them—but Ron continues to panic and moan (in campiest fashion possible because he’s played by a child actor and these things are always requested of them), requiring Hermione to blast the thing with a sunlight spell.
In the book, Hermione is the one who panics. She remembers what her lessons taught her—that the Devil’s Snare will recoil at fire—but balks at their lack of matches while they are being strangled to death. Ron immediately shrieks to the rescue YOU ARE A WITCH YOU HAVE A WAND YOU KNOW SPELLS WHAT ARE MATCHES.
It’s a simple change, but it makes such a marked difference in how both characters come off to an audience. Rather than a near-infant, incapable of following the clearest directions, Ron is the even-keeled nitty-gritty one. He’s a tactician, the one who will find the simplest answer to a problem provided that the situation is dire enough to ensure his clear head. Ron is good under pressure and brave to boot. He’s also hilarious.
It is easy to write this off as an actor problem; Emma Watson matured and improved much faster than her costars in terms of talent—and Steve Kloves liked her portrayal so much that he started giving her many of Ron’s important lines. During The Prisoner of Azkaban, Sirius Black is trying to get to Peter Pettigrew (currently disguised as Scabbers the Rat), but Ron and Hermione are convinced he’s after Harry. In the book, Ron stares up defiantly from his mangled, broken leg and tells Sirius Black that if he wants Harry, he’ll have to get through his friends first.
Yeah, my leg hurts way too much, Hermione. You take this one. But say it’s from me. And in the film, it’s Hermione who boldly steps in the line of fire while Ron sobs in pain and babbles incoherently.
These rewrites not only depict Ron as an idiot coward—they also make him an outright jerk. When Professor Snape snaps at Hermione yet again for being an insufferable know-it-all, movie-Ron gives her a look and drawls, “He’s right, you know.” Wait, what?! Harry, why are you friends with this prick? Well, maybe because the Ron Weasley that J.K. Rowling put on paper was in that exact same situation, and immediately leapt to Hermione’s defense when she was being abused by a teacher—“You asked us a question and she knows the answer! Why ask if you don’t want to be told?”
Joan Rivers on the Ed Sullivan Show, 1967 (x)
HOW IN THE WORLD DID SHE TALK LIKE THIS BACK THEN AND END UP HOSTING A SHOW TEARING APART WHAT PEOPLE LOOK FOR A FRIGGING LIVING????
how about living in an oppressively patriarchal society for 45 years???
Look up her & Johnny Carsons fall out.. and the continued ban from The Tonight Show until just recently.