People Have Never Wanted Their Posts To Pop Off On Here That Is... Not A New Development

i wish down with cis bus was real

SOMETHING SOMETHING LUZ SAYING OH I KNOW WHAT I SHOULDVE SAID I SHOULD HAVE THANKED THEM

YOU KNOW

FOR BEING IN HER LIFE

FUCK

bullet points cause i’m too fucking tired to do anything else: 

if you buy h0gwarts l3gacy you’re actively feeding a TERF. you’re giving her money. you’re helping her profit. full stop. idgaf if you rpf or consume or write hp fanfic–fuck, i write hp fanfic to try and make it what it could have been and to process my feelings about the foundational fucking series of my childhood being so absolutely grotesquely coopted and destroyed–but if you buy any fucking hp merch or have anything to do with it at this point monetarily we are fucking done. 

if you buy h0gwarts l3gacy you’re contributing to the active transformation of hp into antisemitic, transphobic, white supremacist dogwhistles. people are getting fucking death threats. this is not a fucking joke. this game was written by an antisemite and it is worse than even my worst nightmares. do not fucking touch it. 

if the two above points don’t convince you, fucking unfollow and block me. i can’t deal with this shit. i don’t know how to make it clearer that funding this game is funding TERF and antisemitic rhetoric in a way that will kill people. if you choose to do it anyway, i want nothing to do with you at all. 

As much as I adore your (highly) interesting takes on medievalism and how it differs from what we actually know (or hypothesize) about the medieval period, I don't think I've ever asked: are there any books set in either the real middle ages or some fantasy approximation of the period that you WOULD recommend? They don't have to be "perfect" representations, obviously, but it would be nice to learn about any books that side-step the usual potholes. Thank you!

Hi, friend! A of all, thank you; B of all, there are and I would. From the following list it will become apparent that my criteria are idiosyncratic. Really, I think, the most important thing for my own enjoyment -- for any historical fiction, but especially for that set in the place/time I know best -- is that the work and its author are exploring the period as a way of opening up a conversation between past and present, rather than looking down on the past from the vantage point of the contemporary. This sententious prolegomenon concluded:

The Book Smuggler, Omaima Al-Khamis (eleventh-century Islamicate world, about knowledge and wisdom and religious intolerance)

Morality Play, Barry Unsworth (fourteenth-century England, about justice and law and vocation and community)

The Name of the Rose, Umberto Eco (doesn't need my introduction, hilarious and deeply poignant meta-meditation on the genre of the detective story, also on theological debates and the love of one's neighbor and the nature of fear)

Sword at Sunset, Rosemary Sutcliff (fifth-century post-Roman Britain, has some clichés, also some magic, but is so richly imagined and full of people I love. Also good dogs.)

Cadfael Chronicles, Ellis Peters (twelfth-century England; I was wondering why I love these so much and I think a lot of it comes back to how much Ellis Peters loved the particular place she lived/set the books in, and watching the changing of the seasons there, so that that close observation of time -- very medieval! -- is also central. Inequality isn't made invisible or grotesque here, either, and it's often one or the other in Fictional Medieval Europe.)

Isaac of Girona mysteries, Caroline Roe (C14 Spain, also whodunits, but I cannot resist including this charming series about a blind Jewish doctor and his beloved wife and his daughters and the orphan he adopts and his chess-playing buddy the bishop and and and....! It's great.)

The History of the Siege of Lisbon, José Saramago (C12/C20 Portugal, called "metafiction about the instability of history and the reality assumed by fiction" by Kirkus Reviews and... yeah!)

She Who Became The Sun, Shelley Parker-Chan (C15 Ming China, with ghosts, definitely fantasy rather than regular historical fiction, and on the cusp of early modernity, also so so interesting)

The Apothecary's Shop, Roberto Tiraboschi (C12 Venice, deeply weird -- affectionate -- and drawing on Calvino and gialli as well as medieval history; some inaccuracies about women and medicine but I still found it compelling and thought-provoking)

You want more minority representation in media but if they have flaws its problematic and if theyre perfect theyre a patronizing mary sue. If they crack under the pressure of the conflict the author thinks that minority is weak and if they overcome the adversity they must be a neoliberal bootlicker who thinks real world bigotry is a matter of personal attitude. You want minority characters but if theyre a villain its violently problematic and if theyre the protagonist then we circle back to the very first sentence. If theyre a side character theyre being sidelined and the author is once again bigoted, and don't you know that every single minority character death is unilaterally bigoted, without exception? You want more minority characters but if their identity is a big part of their personality or struggles then they're problematic and if their identity has nothing to do with their personality or struggles then the author is tokenizing that identity for clout. You want more minority characters but every time theres a minority character who doesnt have every single experience that you have then you tell the author to kill themselves on twitter. You wonder why not even minority authors will write minority characters.

I would ask you to read Catch-22, but you'd just call the military base problematic.

There is something you Disney gays need to understand.

The Walt Disney Corporation never has, and never will be, your friend or ally.

Disney is a multi billion dollar conglomerate.

Their one and only goal is to make more money than they did the previous year.

That is it.

They aren't trying to help you or your community.

Any politics they have either reflects the best way for them to make money or it was because someone put political pressure on them to do it. Or it is a publicity stunt.

"But what about creators like Dana Terrace? Or the history of queer people in animation?"

Listen to me. Artists like Dana and others do not work at The Rat because they want to.

They work there because Disney buys up every other little animation company there is and shuts it down, ensuring that any money being made from the medium is going to them.

DreamWorks and a tiny handful of others are the only ones left in western animation.

I am not kidding.

Blue Sky, who made Ice Age, was one of Disneys latest victims.

They shut down all production, even for things that were nearly complete, on all products that did not fit their brand.

Such as the movie adaption of Lumber Janes, a queer focused comic by ND Stevenson (creator of the She-Ra reboot).

As for the historical guys, such as Howard Ashman AKA the father of the Disney Renaissance, they may have worked there and done amazing things but it doesn't mean they were respected by the company.

Howard and his fellow gay artists were only allotted the creative freedom to work because at the time Disney was nearly penniless and this was a last ditch effort to save the company.

Gay artists may have risen Disney up, but it does not mean that the company cares for them or us.

In the eyes of these boardroom execs, the artists are tools needed to make a profit.

And gay consumers are the fools who will buy the rainbows-colored sweatshop produced products and call the company woke.

So. What can we do about this?

Rule #1: Avoid giving Disney money at all costs.

I know this is really hard because they own literally everything. But do your best.

This also includes any of their streaming services.

Buy used DVDs or just pirate.

And before anyone gets their panties in a wad about wanting support queer creators like Dana Terrace, let me remind you:

Creators and animators are paid a lump some regardless of if something does well or not.

All that revenue produced by things like Gravity Falls or Luca goes to the execs and stock holders, not the people responsible.

Rule #2- Support artists directly

If you like things like The Owl House and Dana Terrace's work, make a lot of noise about it on social media.

Buzz absolutely is a currency and the more that is generated, the more likely that these things will get renewed.

Rule #3- Support Unions

Unions are what keeps artists from being treated like slaves.

And any union (regardless of background or career) is a good union.

Rule #4- Do not fall for Disney's bullshit

No matter how progressive they may seem, there is always an ulterior motive and always a catch.

They are not our allies no matter what.

This one physically hurt to draw but we can’t have 2012 posting with fandomstuck

—

[Image ID: Image 1 shows the personifications of the Homestuck, Super-who-lock and Warrior Cats fandoms in the Homestuck art style. They are seated in a room with a ball pit in the background, and a sign that reads “2012 cringe fandom support group”. Dialogue follows. Homestuck: Where’s Onecler? Super-who-lock: Probably still upset about the sexy-man poll. Warrior Cats: tch, those twittypets don’t know anything! End dialogue. Image 2 shows a personification of tumblr kicking open the door, drawn like the Phineas and Ferb meme and yelling: “GUYS HOLY FUCK”. Image 3 shows tumblr pointing dramatically towards the camera, dialogue follows: The twitter users are coming so we have to make this place as inhospitable as possible. So grab your Tardises and your quadrants and your plinko horses, we’re firing shots to keep the rent down. Image 4 shows a close-up of the Warrior Cats fandom looking in awe. Dialogue follows: Warrior Cats: Oh can we call ourselves tumblr-clan? Tumblr: That’s… the best idea I’ve heard all goddamn day. Maximum cringe, tumblrinas! end ID]

See you in the New Year.

Some of you might remember a couple of years ago when Scarlett Johansson sued Disney because she was making significantly less money for Black Widow than was guaranteed in her contract because so many more people watched it on streaming than in theaters, how there was a massive misinformation campaign from Disney that a ton of people on this website (and Twitter and other social media) bought into: That she was a greedy bitch who didn't respect people who needed to stay at home during the pandemic (I believe the word "ableist" was thrown around with aplomb) as opposed to someone who just wanted to be paid what she was owed. What was literally in her contract!!! And where everyone who took more than a couple minutes to actually look into and think about the situation could figure out that her issue wasn't with streaming itself, but with how little streaming was allowed to get away with paying her and other actors. But of course, a lot of people just saw the chance to dunk on a rich woman, and didn't think about it beyond readying some snarky tags and hit reblog. And in doing so, threw their support behind a much wealthier, greedier studio head who is already using similar language to describe the current strike.

Anyway we're going to see a lot of that from studios now, especially now that actors have joined the WGA and it's easier to sell them as rich and greedy than writers, because of this cultural stereotype we have of all Hollywood actors as celebrities. Don't fall for it. SAG-AFTRA represents people like Tom Cruise and ScarJo but it also represents the kind of people who played a Borg in two episodes of Star Trek: Voyager in 1997 or who had one line in The Marvelous Mrs. Maisel as an enthusiastic audience member. Most actors are not crazy wealthy, and in fact, if you're a big TV fan (especially older TV and genre TV) that likely includes some actor names that you know, who played supporting roles in your fav shows, or who were even a star in something decades ago but haven't done anything major since. The AFTRA side also represents people like radio broadcasters. But even beside that, all workers deserve to be fairly compensated for the work they do, and the threat of replacing them with AI, or real actors being required to sign contracts to allow their likenesses to be used by AI forever without paying them, is an existential threat to acting as a profession in general. The actors are in the right. The writers are in the right. The studios are in the wrong. The studios have exploited new technology to get away with horrifying labor practices for years and their feet need to be put to the fire. Circulate the articles about how poorly the Orange is the New Black cast was compensated for making one of the defining shows of the early streaming boom, and of the studios saying they want to force writers to starve and lose their homes. Don't get distracted by propaganda aping progressive-sounding language about wealthy celebrities. Focus on the real enemy, the truly greedy fat cats who care more about money than people and art: the studios.

bitches hate me for my earnest whimsy and my pathological degree of avoidant behavior