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after Gustav Klimt's The Kiss

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DEV PATEL in THE GREEN KNIGHT

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THE LADY: But green is the colour of earth, of living things, of life. We deck our halls with it and dye our linen. But should it come creeping up the cobbles we scrub it out as fast as we can. When it blooms beneath our skin we bleed it out and when we, together all, find that our reach has exceeded our grasp, we cut it down. We stamp it out, we spread ourselves atop it and smother it beneath our bellies, but it comes back. It does not dally, nor does it wait to plot or conspire. Pull it out by the roots one day and then next there it is, creeping in around the edges. Whilst were’ off looking for red, here comes green. Red is the colour of lust, but green is what lust leaves behind. In heart, in womb. Green is what is left when ardor fades, when passion dies and we die too. When you go your footprints will fill with grass, moss shall cover your tombstone and as the sun rises, green shall spread over all in its shades and hues. This verdigris will overtake your swords, and your coins and your battlements and try as you might all you hold dear will succumb to it. Your skin, your bones. Your virtue.

—David Lowery, The Green Knight

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Lewis and Damson…AT THE SAME DAMN TIME!

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THE GREEN KNIGHT (2021) dir. David Lowery

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I don't know what this aesthetic is, I've been calling it "grim-sparkle" or "wonderdark," but you know it when you see it. It's that combination of magical and gritty, beautiful and grotesque, hope and dread. The dark fairy tale vibe transcending fantasy.

Fucking love that shit.

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my friend took in a stray and she’s the cutest kitty ever but he named her oil so whenever he sends a picture of her me and my other friends look like we’re roleplaying as the US military

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is this really all there is? 🌿⚔

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Taking out the themes of Colonialism and Tourism from Lilo and Stitch is to dig the foundation of the story out from under itself.

One of my favorite examples of how the white washing of colonized peoples affects their wellbeing was the scene at the very beginning of the 2002 animated movie. Lilo is late to her dance class, a class that teaches the traditional Hawaiian style.

While I think most are aware of this fact, Hula is a choreographed story. I learned Hula from my own dance teacher as a child, who was a native Hawaiian. I was inspired by how the motions told the stories of Hawaii's mythology and I understood the reverence for the art even then.

So the fact that Lilo is both a dancer and a student of her culture is important. It bleeds seamlessly into her storytelling around Pudge the Fish. Her beliefs and customs around Pudge, while often elevated as autistic coding, is also just a way to show how White colonizers erased native culture. Lilo truly believes Pudge can control the weather, much like many Polynesian and native American mythologies have the same beliefs to their lore as any other religion.

But instead of her beliefs being valued or understood, especially in regards to her trauma and how a bad storm resulted in her parents' car crash, Mertyl, the very white American girl from the mainland, calls Lilo crazy. And in 2025, we have to be more aware of how colonialism and religion also go hand in hand. All religious beliefs outside of the white Christians' magical man from the middle east are obviously silly little stories and fairy tales.

And Lilo fights back. Physically and without restraint. She defends herself and in that way defends her culture.

But every time Lilo fights back against the colonialism that is actively alienating her from her own home, she is told she's in the wrong.

Just like how Stitch is considered an abomination for merely existing.

Lilo and Stitch connect on the grounds of their shared anger at social structures they don't understand, a sense of powerlessness, and a longing for stability and community.

Lilo replicates colonialism onto Stitch in the sequence where she tries to make him like Elvis Presley. Trying to construct this idea of Stitch that is more understandable and palatable to others. Her crayon chart and use of the words "good" and "bad" is Lilo's way of trying to fit in. It's her child's mind attempt at accepting assimilation.

And it is reinforced through Nani's journey of finding a job. She's not seeking a job out of her own needs or desires, but because the US Government in the form of CPS will claim her unfit to take care of her sister if she doesn't. Nani is constantly creating a different version of herself to be accepted, assimilated, all while Lilo is attempting to do the same to Stitch. And Nani's reasoning of trying to keep custody of Lilo in the face of an abstract entity that has unimaginable power is a perfect allegory to Hawaii and her struggle to maintain her culture in the face of colonialism and gentrification.

If you remove the colonization themes from Lilo and Stitch, you have removed the fundamental structures that keep the story together.

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me when anything about the new lilo & stitch movie crosses my dash

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Lake house couch comfort💤

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Yet another comic about leaving the Mormon church that can be applied to a variety of things.

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my evil yuri. my evil yuri that fucking sucks

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"i ship harry with bella" "i ship harry with kevin" i ship him with a good night's sleep

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I fucking love repetitive lines that change meaning over a piece of writing yes slay