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if sinners (2025) taught me anything, it's that it IS actually always about race.

you can be oppressed, and still promote and maintain the very same systems of oppression onto other marginalized people. being oppressed in one dimension doesn't allow you to be exempt from oppressing in other dimensions. the "villain" of the movie, remmick, being from the time period of the english colonization of ireland, all the while wanting to take a piece of sammie's own culture from him, use him for it. and this plot point coming after remmick witnesses the significance of sammie's playing within his culture, for his ancestors and how it would shape Black culture in the future.

even in today's society, ive noticed that people treat Black people like a commodity. our worth is only as much as other people decide it to be, and that's usually dependent on how much the oppressor can take from us. for example, the controversy of"internet slang" and how it is blatantly just AAVE with a bad disguise on

do you listen to Black musicians? do you watch Black movies? do you engage with Black creators? do you defend the racist tendencies you notice in your friends, in your family, or do you stay silent? do you listen when Black people tell you you've said or done something racist? do you actually care about not being racist, or do you just not want to look like you're racist?

i just think people have a very specific take on what racism is, and that if they're not committing KKK-levels of violence on people, then they're not racist. or if you've experienced oppression in one form, you cannot possibly be engaging with oppression in another form. but the ways in which we interact with other people and the world will always be through the lens of race, because that is simply what it means for oppression to be systemic, especially in the US and our current political climate

anyway 10/10 movie. highly recommend

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List of things in Andor that absolutely snatched my weave fucking Star Wars Disney let be in Andor:

Attempted rape.

Visceral and realistic police brutality.

A meaningful queer relationship.

A none-insignificant amount of blood and violence.

Implied drug abuse.

Imperial characters that were very real people-- and not just British cartoon villians.

Pointed depictions of bureaucratic laziness and incompetence.

Consistent, coherent, well rationed Marxist, socialist, anarchist, and revolutionary theory and philosophy.

A realistic depiction of the practicalities and morally compromising nature of fighting a totalitarian regime. The degree of physical, emotional, and spiritual sacrifice that actually goes into it.

Genocide.

Genocide being called explicitly genocide.

Prison abolitionism.

A fancy white woman forced to sacrifice her daughter for the cause drunkenly dancing her feelings away like the queen she is.

"Make it stop, make it stop."

Weaponized old lady brick being a highlight kickass moment.

Several characters fates being left hauntingly ambiguous.

"Work visa."

A care to squeeze in these strangely humanizing moments-- like Luthen taking a moment to get into his Antique Dealer headspace in season 1, or Cassian taking the time to water plants he likely never had a chance to return to in the final episode.

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Captain Jang works so well as a character because. I mean.

She's the archetypal leather-jacketed, sunglasses-wearing, hard-drinking, badass spaceship captain, with past romantic conquests who are absolutely not over her. And so often that role is given to a man. But she's a woman!

And they don't make a joke out of that. There's no "ha-ha, look at this woman perform a man's role" moment. It's just a character archetype almost universally applied to men, that happens to be applied to a woman this time. You could take her entire character and story arc and apply it to a man with basically no change.

When people say you can make a cool female character by taking a cool male character, and then making that character a woman, this is what they are talking about.

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bawled my eyes out rewatching space sweepers lmao. its the.. aggghgh.. found family of space assholes for me. a family can be 3 loser thirtysomethings trapped in an endless cycle of debt, a trans robot girl, and a techonmagical first grader and i think thats beautiful

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The ongoing squabbling about whether Siuan's death falls into a bury your gays trope or is racist ignores the fact that ultimately there were stories the writers decided they were not interested in telling.

The story of an older queer couple who survives, changed and traumatized, but together and devoted to each other. What it would be like to feel changed by stilling or lifetimes of trauma in another universe, but to look at your partner of decades and see that she still accepts you. To feel changed, different, but still so loved. The story of a long life together. A story we almost never see for queer people. The story that is the reality of so many queer people's lives but is almost never depicted on screen.

The story of people who experience profound trauma and what it means to survive and rediscover who you are with a partner who loves you and supports you. Older people who survive trauma. Who have experienced it again and again and are exhausted and hurt, but who in the end still are able to be happy. Traumatized people who are still happy. That is important to see.

An interracial, intercultural couple who navigates making a life together in one of their homelands. The complex relationship of that woman to a home that rejected her for who she is, and what it means to love a culture that also hates something fundamental about you. A story that surely speaks to many queer people's experiences.

The way that Siuan as a character so deeply connected to her culture resonates in a particular way to audiences because the show cast a Black Jewish actor. The way seeing her feel so proud of her identity in the face of obvious prejudice simply does resonate differently because of the casting.

I think the posts that argue for how narratively right Siuan's death felt, continue to miss that the audience who are really sad about that choice are largely people who watched for Siuan's story. Audience members who watched because we wanted to see Siuan survive, who were excited about the potential mentorship arc between two women of color, to see Siuan find a new purpose in helping Egwene find her power after her own story of trauma. To see a story about stilling as disability, and seeing the story of someone who survives and lives a whole fulfilling life after being stilled, who finds a purpose and a new way to do good in the world.

We were excited for Siuan's story. And for Siuan and Moiraine's story together. There are stories to be told about trauma and disability and culture and class. Stories about older queer people in a long-term loving relationship with all the complexity that a marriage of decades holds. There are audiences who liked seeing stories that resonated with us.

And I think it fundamentally misses the point to argue about whether it makes narrative sense to kill Siuan. A good writer can make any death make narrative sense. I wish the writers had spent the time though thinking about how to write Siuan a compelling story of living rather than dying. I wish the writers had felt that these were stories worth telling.

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WHEN LIFE GIVES YOU TANGERINES (2025) dir. KIM WON-SEOK If she can't even ride a tricycle, she'll just live in the kitchen the rest of her days. I want Geum-myeong to have everything.

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I’ve seen a few posts about Moiraine and her knives musing about whether she started carrying them after being shielded last season. But New Spring Moiraine killed her mentor who turned out to be evil with knife. Baby Moiraine was already comfortable with a knife. Was that because of her Cairhienin upbringing or Siuan’s teaching? Both are fun to think about.

But I would think it’s imperative for any Aes Sedai who goes out into the world to be able to fight with non One Power weapons. Because they swear an oath to only use the One Power as a weapon if they are about to be killed. That means anything short of death they can’t protect themselves. These are women who half the world thinks are evil. The whitecloaks routinely travel around capturing and torturing Aes Sedai.

Aes Sedai can be tortured and raped, can be forced to watch the same happen to their Warders, and as long they or their Warders aren’t about to die, they still can’t use to One Power as a weapon. Of course they learn to use knives and swords and defend themselves with force. Of course Moiraine can stab a Myrddraal in the neck. As Liandrin points out, there is still misogyny in the world. There are threats to women with power. And Moiraine is not going to be defenseless.

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The amount of times I had to blink watching WoT S3 because I could simply not believe how many diverse and three dimensional female characters were present IN JUST ONE SHOT/ FRAME. Like, they were of different ages, ethnicities, sexualities. And none of them were cardboard cutouts because of these factores. And none of them were male gaze sexualized.

LIKE WHAT DO YOU MEAN I CAN ACTUALLY CHOSE WHICH FEMALE/ QUEER CHARACTER I LIKE BASED ON THEIR CHARACTER AND NOT JUST BECAUSE THEY ARE THE ONLY ONE IN THE SHOW??!?

I feel powerful and represented and happy and I never ever want to watch anything else anymore. More please!

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Shoutout to Elayne for dreaming “what if I was a Windfinder on my own ship, free to chart any course I wanted? And what if Aviendha was there too to make out with me?”

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#No one is doing lesbian yearning like Moiraine Damodred

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wheel of time is one of the most visually stunning shows right now

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I hope your favorite book series gets a high budget adaptation by a gay show runner who makes all the queer subtext text. Sounds impossible but it happened TO ME!!!!!!!!!!!! stream the wheel of time

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ELAYNE TRAKAND & AVIENDHA 3.01 - To Race the Shadow

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Moiraine removing all her weapons like “here’s my knife for killing Rand. And here’s my knife for killing Lanfear. And here’s my other knife for killing Rand. And here’s my knife for sadness. And here’s my knife for making fishing nets. And lastly my knife for killing Rand.”

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One of you fights to hold where you stand, while one wants the sea to take her off the path that’s been chosen.

Ceara Coveney as ELAYNE TRAKAND THE WHEEL OF TIME 3.05 | Tel'aran'rhiod

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THE WHEEL OF TIME (2021–) 3.05: TEL'ARAN'RHIOD

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