slatewrite04

[slatewrite04]

Hey y'all. Here's something for you.

[slatewrite04]

“For some time, Hollywood has marketed family entertainment according to a two-pronged strategy, with cute stuff and kinetic motion for the kids and sly pop-cultural references and tame double entendres for mom and dad. Miyazaki has no interest in such trickery, or in the alternative method, most successfully deployed in Pixar features like Finding Nemo, Toy Story 3 and Inside/Out, of blending silliness with sentimentality.”

“Most films made for children are flashy adventure-comedies. Structurally and tonally, they feel almost exactly like blockbusters made for adults, scrubbed of any potentially offensive material. They aren’t so much made for children as they’re made to be not not for children. It’s perhaps telling that the genre is generally called “Family,” rather than “Children’s.” The films are designed to be pleasing to a broad, age-diverse audience, but they’re not necessarily specially made for young minds.”

“My Neighbor Totoro, on the other hand, is a genuine children’s film, attuned to child psychology. Satsuki and Mei move and speak like children: they run and romp, giggle and yell. The sibling dynamic is sensitively rendered: Satsuki is eager to impress her parents but sometimes succumbs to silliness, while Mei is Satsuki’s shadow and echo (with an independent streak). But perhaps most uniquely, My Neighbor Totoro follows children’s goals and concerns. Its protagonists aren’t given a mission or a call to adventure - in the absence of a larger drama, they create their own, as children in stable environments do. They play.”

“Consider the sequence just before Mei first encounters Totoro. Satsuki has left for school, and Dad is working from home, so Mei dons a hat and a shoulder bag and tells her father that she’s “off to run some errands” - The film is hers for the next ten minutes, with very little dialogue. She’s seized by ideas, and then abandons them; her goals switch from moment to moment. First she wants to play “flower shop” with her dad, but then she becomes distracted by a pool full of tadpoles. Then, of course, she needs a bucket to catch tadpoles in - but the bucket has a hole in it. And on it goes, but we’re never bored, because Mei is never bored.”

“[…] You can only ride a ride so many times before the thrill wears off. But a child can never exhaust the possibilities of a park or a neighborhood or a forest, and Totoro exists in this mode. The film is made up of travel and transit and exploration, set against lush, evocative landscapes that seem to extend far beyond the frame. We enter the film driving along a dirt road past houses and rice paddies; we follow Mei as she clambers through a thicket and into the forest; we walk home from school with the girls, ducking into a shrine to take shelter from the rain; we run past endless green fields with Satsuki as she searches for Mei. The psychic center of Totoro’s world is an impossibly giant camphor tree covered in moss. The girls climb over it, bow to it as a forest-guardian, and at one point fly high above it, with the help of Totoro. Much like Totoro himself, the tree is enormous and initially intimidating, but ultimately a source of shelter and inspiration.”

“My Neighbor Totoro has a story, but it’s the kind of story that a child might make up, or that a parent might tell as a bedtime story, prodded along by the refrain, “And then what happened?” This kind of whimsicality is actually baked into Miyazaki’s process: he begins animating his films before they’re fully written. Totoro has chase scenes and fantastical creatures, but these are flights of fancy rooted in a familiar world. A big part of being a kid is watching and waiting, and Miyazaki understands this. When Mei catches a glimpse of a small Totoro running under her house, she crouches down and stares into the gap, waiting. Miyazaki holds on this image: we wait with her. Magical things happen, but most of life happens in between those things—and there is a kind of gentle magic, for a child, in seeing those in-betweens brought to life truthfully on screen.”

A.O. Scott and Lauren Wilford on “My Neighbor Totoro”, 2017.  

[slatewrite04]

TOMORROW IS HALLOWEEN!!!

[slatewrite04]

(through gritted teeth) sometimes what's good for your mental health isn't another do nothing day or a little treat sometimes what's good for you is putting in some of the work. Not all of it at once but sometimes you have to finish that essay or at least take the next step or you have to clean your room or at least dust the shelves or you gotta do the laundry or at least put it all in the hamper and it's not fun and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks and it sucks but you have to because i read a post on the internet that told me that's what being nice to yourself is sometimes

[slatewrite04]

every time i ask people if they do any new years resolutions its all ooooo i dont like making them bc i fail or ohhhhh no i couldnt keep up wiht that and then when they ask me and i tell them about Pasta Quest (i am eating as many different pasta shapes as possible in the space of a year) or when i did Fruit Adventures (every time i saw a fruit i had never eaten before id get one and eat it and read the wikipedia article about it) theyre like hang on i forgot you can make Fun Ones i want a fun one

[slatewrite04]

Bandicoot. 🍓

[slatewrite04]

🙈🙉🫥🔐🪬🏃🏻‍♂️👨🏻🏃🏻‍♂️🪬🔐🫥🙉🙈

Emoji spell to keep the shooter of the CEO of United Healthcare safe and never caught

Like to charge

Reblog to cast

[slatewrite04]

harry dubois if he was a young witch trying to solve the disappearance of her neighbors cat in a small village in the alps

[slatewrite04]

anyone need serotonin?

[slatewrite04]

Someone shot and killed the CEO of United Healthcare on the street in Manhattan. The company is one of the largest insurance providers in the country, one of the 10 most profitable corporations in the world, and is notable for its algorithmically-targeted denial of care, ruled illegal in three states.

[slatewrite04]

“Be curious about what you’re writing about” is not stock Common Writing Advice but it really, really should be. There are a lot of written works that fail due to the authors just being obviously incurious about what they are writing about.

[slatewrite04]

“In my opinion, camp is simply a matter of doing things as if you are doing them. Diving into a swimming pool? Throw your arms heavenward and give it the full Esther Williams treatment. When you dive into a pool as if you are diving into a pool, as opposed to executing an earnest quotidian plop, the result is magical—that pool is transformed from a grody Band Aid��strewn chlorine bath into a veritable LAGOON! Smoking a cigarette? Perform the action as if you are a French existentialist.” — Simon Doonan, Transformer: A Story of Glitter, Glam Rock & Loving Lou Reed

[slatewrite04]

Likes to charge reblogs to FUCKING cast

[slatewrite04]

Hana-Rawhiti's Haka was entirely appropriate, not only given the situation, but in keeping with the way Māori do things.

In formal situations, such as a pōwhiri (English might be something like a welcoming ceremony?), speakers always end with a haka or a waiata (song). This is exactly what she did. She spoke when it was her turn to speak, then started the Haka. It is also keeping with tradition that others joined in, including those in the public gallery. While it's the speaker's duty to lead the haka, or nominate someone to do it for them, it is then open for anyone else to join in and support it. The haka and the speech are attached, so supporting the haka is also supporting the speech.

Approaching Seymour is a little more unusual, but that's only because most formal situations like this are between peaceful groups. However, it also makes an important point. The speech and haka were not against the space, not against the mana of parliament. It was against Seymour and his supporters. So approaching him makes that clear where it's directed.

Given this, the speaker's response show utter ignorance and contempt for Maori ways. If he had any understanding of how any of this works, he could've simply waited for the Haka to conclude, then called on the next speaker. As the Māori Party were keeping with tradition, they would've had to respect that, and sit. Instead, he closed down parliament and cleared the public out. He made this contentious, and took what is traditional as in insult.

Seymour's response is no better, complaining about wanting a "reasonable debate" instead of a "dance", ignoring that the Māori party has been debating this, along with almost every other institution in the country, since the draft was released. This was the party's final word, their final push back against his racist bill.

This, in a nutshell, is what the government thinks of Māori. Ignorance and contempt. No attempt to blend traditions, or even basic understanding. Just constant demands to conform. It's hidden behind manners, but it's the same civilised vs savages racism that's justified colonialism for centuries.

Hana-Rawhiti acted with amazing poise and mana. Toitū te Tiriti!

[slatewrite04]

ROBOCOP (1987)

[slatewrite04]

everyone has their own opinion on the best way to plan a story, but when writing a farce or murder mystery I have to advocate for the classic notecard technique because it opens up the possibility that you will glance down while making lunch and see this