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It’s so cute the way Hermione is trying to make friends in this scene. And even sad because she’s ignored twice.
Actually what I love about this is she’s looking at an older student’s work. And I think that’s a Slytherin girl? Yeah it is. (props for whoever put that Slytherin and Gryffindor study session together, btw.) anyway what I love is she’s kind of going around to different kinds of kids. Older Slytherin girl, the Gryffindor boys. How much do you want to bet she was following Ravenclaws around before this? Or trying to make friends with the Patils, or other Gryffindor girls?
Hermione’s the most like any of us than Harry or Ron, I think. She’s the book-girl, the one who probably spent the majority of her childhood sitting in a corner reading while the rest of the class was busy socializing. She probably felt like all of us have felt at some point- like they were different, like they didn’t belong; and they WHOA! Lo and behold, turns out she IS different! She’s a Witch! She’s special, she’s got magic, and she’s going to a place where she’s like everyone else! We all dreamed about it, we all WANTED that, we all wanted to go away to a place where we were a part of something that made sense, a place that we fit- and then she still can’t make friends. And maybe she looks at the red and gold tie and wonders if the Hat put her in the wrong place. Like maybe that Lion on her chest should be an Eagle. She knows she’s the brainiac, she knows it, she says it- Books, cleverness. What must it be like to get what you dreamed of- that you are special and have a place you belong- and then to believe you were put in the wrong place once you got there?
I mean we know, in the end, Hermione’s a Gryffindor. She embodies the strong, brave, brilliant witch that gives pride to the house- but nobody starts out the way they end up. Until Halloween of that first year, she was a lonely little girl with books. Everyone saw her as the bossy, opinionated, know-it-all when I think really she was just trying to bond with people the only way she knew how. With facts, and people see it as being rude when she’s just ridiculous honest and is too young to know how to channel that honesty in a constructive way.
God I don’t even know if I ever had a point with this but FUCK I love Hermione.
Wow okay you win.
Not only do you not know shit about actual history,
but you’re also being racist.
The thing that I’ve increasingly come to realise about the people who do this is that, yes, they are, in fact, just being extremely racist. Especially with children’s movies like Tangled, Brave, and Frozen (which are all, ultimately, FANTASIES that are only inspired by real places) and with straight up fantasy movies like LOTR or The Hobbit, I’m convinced that a lot of people truly prefer to fantasize about worlds without people of color (and women, in the case of the Middle Earth films). These people feel actually threatened by the prospect of people of color (or women) intruding on their fantasy worlds.
Tangled might have been a German-inspired setting, but there’s magic and a chameleon (obviously not a German animal). The filmmakers also lifted the paper lanterns tradition from Asian cultures, and it’s a little troubling that the villain, Gothel, with her black hair, dark eyes and comparatively swarthy complexion could be perceived as racially Other, playing off of ancient stereotypes of Jews and Traveling People as child-stealers.
When Brave was criticized for lack of racial diversity, many people replied, “But it’s in 10th century Scotland!” Okay, fine. Here’s the thing: There were people of color in the British Isles at least as early as the Romans were there—because some of them were Romans. At least a few of them were floating around Scotland by the 10th century. You know what wasn’t in Scotland in the 10th century, though? Bears. They’d been extinct in Scotland for at least about 500 years. Witches. Because they are not actually a real thing. Tartans. Because the tartan as we know it, and as portrayed in the film, didn’t really exist until about the 16th century. Ditto for kilts. Corsets like the one Merida wears early in the movie didn’t exist until at least the 17th century—the word “corset” didn’t even start to be used before the late 18th century. Will-o’-the-wisps. Which, while they appeared in Welsh stories, weren’t really part of Scottish traditions. And Queen Elinor’s dress is basically copied from a costume worn in an 1889 production of Macbeth that was later painted by John Singer Sargent.
Frozen isn’t out yet, so I’m not going to pick apart the historical accuracy of it, but I’m pretty sure that nowhere in history have actual talking snowmen existed.
The Middle Earth films are even easier. They’re pure fantasy. Apparently of a world with only like half a dozen women (all white) and no people of color at all (with the possible exception of the nameless bad guys who rode the elephants and got murdered in scores in The Return of the King). The Uruk-hai, however, are dark-skinned and monstrous, as are the goblins and regular orcs. Nearly all of whom are nameless. And none of whom have any actual motivation for their evil other than that they are orcs or goblins. The Uruk-hai, at least, are created with Saruman’s magic, so it can be argued that they have basically no free will. In any case, the war for Middle Earth is between the exclusively white people of Rohan and Gondor—all of whom are portrayed as generally good (Even Denethor is shown as a sympathetic and tragic figure.)—against hordes of orcs and goblins and the mystery people from the south who are all portrayed as fundamentally and senselessly evil. There’s, honestly, a racist subtext here so obvious that I hate to even call is “sub.”
But of course people love these films. Hell, I love these films, in spite of historical inaccuracies and troubling messages. Here’s the thing, though: “historical accuracy” is not a valid argument against including basically anything in these types of films. Ever. I’m also convinced that people who try to use that argument KNOW this. Indeed, I think they are, generally, just being cynical and/or disingenuous by even bringing it up.
No reasonable person really believes that these films are historical. But a lot of unreasonable and extremely racist people like to fantasize about a world with only people that look like them, or at least all the “good” people. A lot of extremely sexist men really like to fantasize about a world where the few women only exist to be love interests, sex objects, and rewards for male heroism. And of course people know that these fantasies are fucked up, but they like them anyway, and they hate being called out on them. Most of all, they hate the prospect of someday being deprived of pop cultural support for those fantasies.
Movies (and other media) that present fantasies of worlds without people of color validate the already existing fantasies of racists. And racists hate the idea of losing that validation.
bolding some really interesting things uvu
‘My mother used to say that the black woman is the white man’s mule and the white woman is his dog. Now, she said that to say this: we do the heavy work and get beat whether we do it well or not. But the white woman is closer to the master and he pats them on the head and lets them sleep in the house, but he ain’t gon’ treat neither one like he was dealing with a person’(1980:148)."
LOOK AT ALL THE EMOTIONS
I literally didnt recognize her
i only knew it was her because of the start of the shhh shhh and the fascinating gif…
It’s almost like the character makes a difference. It’s almost like Bella Swan is a terribly written and completely flat character and no actress could have believably put emotion into her portrayal with the lines and motivations they were given. It’s almost like when she’s given a decent character she can give a great performance. IT’S ALMOST LIKE SHE’S AN ACTRESS.
lbr tho when she bites her lip it’s like ok that’s all we needed bye thanks
Kinda desperate for wedges with sour cream & sweet chili sauce.
3AM cravings yo
Dark Circles Contemporary Dance USA
Choreographer: Joshua Peugh
Lighting Design: David J Deveau
Photographer: Lynn Lane
Take everything you know and imagine about Freddie Mercury: the iconic British rock star, the philandering partier, the serial maker of testosteroned-anthems, and flip it around to something less familiar: Farrokh Bulsara, a demure, bucktoothed Indian boy in a Bombay boarding school, listening to Lata Mangeshkar, playing cricket.
Curiously enough, the one thing Freddie Mercury was never asked, nor spoke openly about, was his Indianness. […] There were no Indian rock stars in England, sure. But there were also no Indian rock stars in India. Or Tanzania. Let alone gay, Indian, Parsi, third-culture-kid rock stars in either India, England, or Tanzania.
Freddie could not refer to any identity or trajectory other than his own. It is clear from interviews with his family and friends that he was not self-hating, not the type to try hard to be “white-washed.” His silence or dismissal about his cultural background—and one so formative and dramatically different than British life at that—can be interpreted as a political and social symptom of his time:
Freddie lived in the same Britain that has given the world its Victorian feelings about desire, sex and gender. Perhaps he rejected British Victorian taste at the same time he rejected his Indian Africaness. Even American liberal Lester Bangs was made uncomfortable by Mercury’s bare chest. What we call ‘queer’ now with feelings of empowerment, then, was still scary and threatening even on the music scene. Did he consider himself British? Or like Bowie who came after, an alien altogether?
[…] But this is the Freddie we all know: Take, for example, September 1978—his prime. He was handsome, with an angular though slightly bovine jaw, and vaguely ethnic features. Even as someone unfortunate enough to have never witnessed his performative tenacity in real life, the visual archives of Freddie Mercury make certain things apparent: he was magical, soft-spoken, and—to complicate and contribute to his paradoxical bustle—clear that he was the toughest, coolest queen the world had ever seen, whose work, as effeminate and genderbending as it was, is still considered pretty manly today. V.S. Naipaul once said: “write every book as though it is your last.” Freddie, with vatic intuition, took a page out of that book, and sang every song with the same sentiment. It is universally agreed upon—I think—that it is seldom one finds artists who exalt both abandon and irony as debonairly as he.
Despite the fact that he seemed to dismiss categories, reject a slew of social norms, he was ironically, a creature of caricature, of extremity, and high-Victorian causticity: “There’s no half measures with me,” Freddie said in one of his last interviews, unintentionally referencing an apt musical notation. From the dramatic flippancy of his costumes, to his 8-octave baritone perusing vocal extremes with relative abandon, to the fact that he—without doubt, and to the agreement of nearly everyone who lived in his era—defined what it meant to “party like a rock star, “ Freddie was not one for subtlety when it came to his artistic tastes.
And it is also possible that Freddie was not “stuck” in multiple worlds—though he was rejected from most— but liberated. And maybe he had the right idea about culture—that he was not Indian, Zoroastrian, British, or Zanzibarian—but quite simply, he was all that became of his passion: just rock ‘n’ roll.
From “Freddie Mercury: Out on Stage, Brown in the Closet,” by Janaki Challa at Brown Town Magazine
Rest in Power, azizam
Okay so Freddie Mercury (probably) didn’t have any kids, so not exactly a dad, but rad and brown indeed.
Miss Frizzle and Mary Poppins, Lady Time Lords.
I ship it to the moon.
The Teacher and The Nanny. The Magic School Bus is a TARDIS, and Mary’s bag is bigger on the inside. No one will ever convince me that this is not true. Oh, and I ship it.
For crying out loud, the Magic School Bus actually does travel through time and space, easily changes it’s form like a Chameleon Circuit, and is casually ALIVE in certain ways. It’s a friggin’ TARDIS in all but name!
Anyone who has ever said the doctor could not be a woman has literally never seen either of these characters in action.
The Salvation Army have multimillion dollar contracts from the Australian Govt to staff the offshore detention centres on Nauru and Manus Island. They are funded to provide ‘humanitarian’ cover for Australia’s system of extrajudicial internment of people who arrive seeking asylum by boat, and they have an appalling history on human human rights in practice and according to their religious doctrines.
They have attempted to cover-up sexual abuses on Manus - and they have a history of doing so, at present being under investigation by the Royal Commission into Institutional Responses to Child Sexual Abuse. They are committed homophobes and rule out providing full reproductive rights (such as abortion) to women as part of the delivery of health and welfare services they are funded to provide.
Give your donations to organisations that really care about other people this Christmas.