#commentary

[buotella]

“It really is a beautiful moment because I think these two women are making, in real time, out of this urgency to change and to fix in front of these people. [Elphaba is her] first and only real friend. Glinda has a lot of friends, and she's very popular, but she's never had a real friend, someone who makes her think outside of herself. And when Elphaba challenges her in that way, it's not pity or empathy in the way that I feel sorry for this person. It's empathy in the way that it's like, oh, I need to urgently become one with this person and take this on with her to alleviate some of this because I am responsible and then change it moving forward. This needs to change. And this woman doesn't deserve it.”

Ariana on the Oz Dust Ballroom scene (x)

[thedawner]

I desire you.

[buotella]

“Jon and I had extensive early discussions that shaped our approach to Wicked. We discussed various themes—from visual motifs to the language of Oz and the dynamics of friendship and love. These discussions formed the foundation of our creative process and outlined a visual roadmap for the film. My personal goal for Wicked was to craft the greatest, most beautiful love story ever told between these two women. Every decision—whether in lighting or camera work—was driven by our shared vision of capturing the profound emotions of finding your best friend and then the heartache of being pulled apart.”

Wicked cinematographer Alice Brooks

[aguidingforce]

@subslutthoughts Dedicated tongue kissing practise till you're a pair of drooly messes

[paperlit]

Katniss *thinking about the Mockingjay pin*: Wow this was Madge’s aunt’s, what a precious and valuable family heirloom, it must have been special to her, I’ll treasure it forever.

Maysilee *thinking about the Mockingjay pin*: this bird is ugly and stupid I’m literally never going to wear this.

[become-a-robot]

If music was sound i would you listen to sog

❓

[portland-polycule-archive]

New reaction image just dropped!

[appendectomy]

i dont think iwtv couldve communicated the utter horror of claudia's situation better than in that scene of her being dragged on the floor by louis. its genuinely frightening to watch. it really hammers home the emotional horror that exists in louis and lestats relationship - revealing the depth of louis despair, so awful that it would make him do something like that, beg the way he did. lestats own strange panic, unsettling. and the plain, unobscured, violent horror of claudia's burned body being pulled around like a doll, never to have autonomy ever again. its not romantic, not from any point of view, not anymore. it is just horror.

[bikiniarmorbattledamage]

Silent Hill 2 is the greatest game I don't think I can unconditionally recommend to people. Because it is amazing, but its also about trauma, guilt, abuse (of adults and children) and how unhealed, festering harm perpetuates itself onto innocent bystanders. A play-through of it is a rough ride emotionally.

It also features this adorable little scamp with the excellent points.

Now, if you're at all familiar with Silent Hill 2 you're probably very well informed on what this particular meme relates to. But if you're not, and you want a primer - Dead Domain has created a video pointing out the absurdity of this particular fiasco.

This was, of course, followed up when trailer seasons came around and Naughty Dog released a trailer than seemed to depict a woman who didn't care for gender conformity, and CD Projekt trailer that indicates, let me check my notes... Ciri's appearance has changed slightly as she's grown older - also she's probably going to be the protagonist of the next game, as all variations of The Witcher always build to. This has lead to some truly amazing fan art, and also the greatest possible observation by @dyingnome

And this isn't a surprise to anyone who follows these conversations, I think it's worth talking about because certain events globally have emboldened these types (who always seem to be gulible enough to pay for a blue tick on X nee Twitter) - leading to them trying to shout out all other conversation on the medium. We are, in fact, at the point where they're admitting they are Nazis who don't play games.

Truly we have never had more confirmation that the people who aggressively campaign for a standard of cartoonishly over-sexualized as the baseline for female characters do so not out of a love of gaming, but rather because of overwhelming indifference to a medium they don't participate in.

@verilybitchie has recently just released an essay that focuses initially on disappointment with current trans, particularly non-binary, options in games, but also covers how we got there in terms of certain genres of games having been historically unwilling to to let go the male gaze.

This, of course, is not an excuse for the self-identifying Nazis etc, but goes a long way in explaining why your more normal friends might have a confused reaction, and highlights the kinds of issues in the industry that are still unaddressed.

Also, in case you're the sort of person who needs to hear it from a middle-aged or older white man:

-wincenworks

DeadDomain's YouTube | All dyingnome's links | VerilyBitchie's YouTube

[lexyscross]

William I guess had the decency (??) to at least have some emotion in his face after stabbing Vanessa. But really, it boils down to the fact that he intentionally stabbed she own child, he looked her in the eyes while doing so, and then after his flash of emotion he seemed to have the resolve of "Well, it had to be done."

God, the Complex Toxic Characterization lover in me is frothing at the mouth about this. I wanna study them both like bugs. (x)

[dragonnnfly]

I will never EVER forget this iconic RoB moment

Cause it really was that relatable, Hiccup really went “everything is fine” and Stoick smiled at him knowingly for about 4 seconds before Hiccup went “FINE YOU WIN” and proceeded to completely loose it

[buotella]

ARIANA GRANDE Wicked Q & A — February 4, 2025

[thedawner]

Been thinking of early 2000's plush toys (especially of video game or movie characters). I love how silly some can be:

[horse-girl-anthy]

Revolutionary Girl Utena: Gender in Context

beneath the cut, I discuss the RGU's portrayal of gender in the context of 1990s Japan.

in Ikuhara's interview with Mari Kotani, he stated that in traditional Japanese society, "prince" meant "patriarch." the same is true in Western societies--there was a time when a prince would be an heir to a royal line. by 1997, this meaning had died out of large parts of the world. even the association between princes and traditional masculinity was fading. Saionji, the weakest, most pathetic man in the show, is a parody of historical Japanese masculinity, with his kendo and his blatantly regressive beliefs about women.

in RGU, prince may still mean patriarch, but in a far more subtle fashion. Ikuhara and Kotani discussed the changing expectations for men in the latter half of the 20th century--it became gauche to fight over a woman with one's brawn, so instead, power struggles were played out in the arena of looks and sex appeal. one can see this reflected in the character Akio, whose power as a prince arises from his ability to turn "easy sensual pleasure based on dependency" "into a selling point with which to control people."

Akio has his moments of showboating masculinity, but when preying on Utena, he operates by making himself seem non-threatening and soft.

not only that, but he purports to want to allow students to express their individuality and thus approves of Utena's masculine form of dress. this is a front--by the end of the show, he's telling Utena that girls shouldn't wield swords. thus, through Akio's character, the show argues that traditionalist patriarchy in Japan isn't gone, but instead has only been papered over with false progressivism.

with all that said, there seems to be more to the character. he's taken the family name of his fiance, Kanae, and whatever material power he has in the school is dependent upon her family. in Japanese society, this is considered a humiliating position to be in, something that only a shameless man would do. the show never gives the audience any insight into how Akio feels about this--is he unbothered entirely, or are his actions against the Ohtori family an expression of his repressed anger? does he harm the children under his care to compensate for his humiliation?

this aspect of Akio's character may seem irrelevant in light of the larger, immaterial social forces at work in the show. however, I would argue that it was included for a reason. Akio, despite his status as ultimate patriarch of Ohtori, is in fact a highly emasculated character, to the point where lead writer Enokido even said that he is driven by an infantile mother complex.

to explain why Akio was portrayed this way, we have to discuss Japanese history. the nation suffered a major defeat in WWII and was forced to accept whatever terms the United States laid out for it. for an examination of how the Japanese have never truly processed those events and have plunged into modernity with reckless abandon, I recommend Satoshi Kon's Paranoia Agent. to sum it up briefly, in a very short period, the nation regained its economic footing, and by the 1980s had the largest gross national product in the world. this economic boom may have allowed Japan to maintain a sense of sovereignty, dignity, and power, but it was inherently fragile.

the infamous "bubble economy" lasted from 1986 to 1991. during this time, anything seemed possible; financial struggles appeared to be a thing of the past, and capitalist excess reached new heights. the ghosts of this period can be felt across Japanese media; for instance, think of the final shot of Grave of the Fireflies (1998), where the two dead children look down on Kobe, glowing an eerie green to imply its impermanence. the abandoned theme park from Spirited Away (2001) is explicitly referred to as a leftover from the previous century, when many attractions were built and then tossed aside in a few short years.

the bubble popped in 1992, leaving an entire generation feeling cheated. the bright futures they'd been promised, which had actually materialized for their parents and older siblings, had been lost to them overnight. economic crises are often accompanied by gender panics. to quote from Masculinities in Japan, "The recession brought with itself worsening employment conditions, undermining the system of lifelong employment and men’s status of breadwinners in general. The unemployment rate was rising, and although it never reached crisis levels, men could no longer feel safe in their salaryman status. Their situation was further complicated by the rising number of (married) women entering the workforce."

with this in mind, Akio's character can be taken as a representation of masculinity in crisis in 90s Japan. he's forced to rely on women for his position in life and has failed to save his only relative, Anthy. he tries to escape his misery through hedonism, perhaps an allegorical representation of how men tried to maintain their old standard of living after the economic bubble burst.

but of course, Akio is not the main character of RGU--the story is about girls. mangaka Yamada Reiji discussed the series in the context of the 90s, stating the following:

while I opened this essay by discussing the prince, the same points could be made about the princess. despite the increasing irrelevance of royalty, princess is still an important concept. how does it relate to the socioeconomic landscape of the 90s?

in Yamada's view, RGU is full of relics of the 80s; for instance, the figure of the ojou-sama, an entitled young woman who never lifts a finger for herself. during the economic bubble, it was increasingly common for women to be entirely taken care of by the men in their lives. Yamada names Nanami as a clear ojou-sama type character: she weaponizes her femininity, demanding to be rescued, doted on, and served.

however, by 1997, the ojou-sama could no longer expect to get what she wanted. from the 80s to the 90s, the percentage of women in the workforce increased around 15%; it was no longer viable for most women to be "kept" by their families. as the men experienced the humiliation of not being able to provide for their wives and children, women were undergoing a disillusionment of their own.

Yamada blames Disney for creating the ideological structure which led women astray. obviously, the company is known for its films about princes rescuing princesses. in Yamada's recounting, during the 80s, the company was infiltrating Japan through its theme parks as well; across the country, Disneylands were opening up, and people were buying into the escapism the corporation offered. Japan, as America, became a country of eternal children. its people were waiting for a prince to appear and save them.

but fairy tales can't stave off reality forever. Yamada claims that RGU embodies the rage of young women who woke up one day and realized that they had been raised on a lie. this anger pervades the work from beginning to end.

though RGU was created in a particular social context, its lessons can be extrapolated to any time and place. as the first ending tells us:

I hope this essay helped provide more context for the series. thanks for reading!

[paperlit]

Thinking about how Wyatt Callow is proof that Dr. Gaul’s and Snow’s assertion that humanity’s essential nature is violent (which is part of their argument for the Capitol’s control being necessary) is false. That “What happened in the arena? That’s humanity undressed… A boy with a club who beats another boy to death. That’s mankind in its natural state.” is false.

I’m sure he had it all calculated. He knew exactly what choices would give him the best odds of survival. He knew that the faster he got out of the initial bloodshed the better his chances would be. He knew that letting other kids die would benefit his odds of survival. He knew exactly what he should’ve done to preserve himself.

And yet, he threw all those statistics and odds, all that reason and logic out the window in the name of protecting Lou Lou, a girl that wasn’t even from his district. He threw it all out the window in the name of helping another human being that was in an unfair situation and had worse odds than him. He knew who the real enemy was; he knew it wasn’t the other kids being taken advantage of by the Capitol just like him.

That is humanity.