Laris in 1x03 The End is the Beginning
it’s very easy to tell which critics of elden ring have serious points to make about game design and which have simply never seen a work of art before
what i would have given for a reaction shot of chrisjen watching drummer’s declaration of war...
like something something evil lesbians as the exposure of the seams of heteropatriarchy in the story that isn’t being told but also isn’t not being told, the melancholy of lesbian attachment to the untold story of the evil lesbian, something something, i don’t know i don’t have it yet but i’m getting there.
You’ve never had control, that’s the illusion! I was overwhelmed by the power of this place! But I made a mistake too. I didn’t have enough respect for that power and it’s out now. Laura Dern as Dr. Ellie Sattler in JURASSIC PARK (1993)
most important b5 reboot opinion is let delenn be trans and weird
my father, historically ultravigilant as regards english usage, has begun in his old age to develop a tendency toward malapropism; today’s is a complaint that his glasses fell on the floor because ‘the zeitgeist is against [him]’
a lot of reasons to want bobbie draper to develop rich relationships with drummer and naomi but a big one is so that chrisjen avasarala knows that bobbie has friends who are at least as scary as she is :)
there are few things i’ve been thinking in re: things that the expanse does that i just simply have not seen on television before, and one of them is that even compensating for the distortions of my absolute derangement about bobbie and chrisjen, i really think their story is a pretty extraordinary thing. even putting aside some of the truly remarkable specifics, just thinking in barest archetypal strokes, i can’t think of any sustained intergenerational relationships between women on television that are not either mother-daughter relationships or, and this is the key piece, rivalries of some kind. it’s essential to bobbie and chrisjen’s dynamic that there just simply isn’t any of that psychosexual all about eve shit that obtains to one degree or another in every other such relationship that i can think of. the conflict between them is specific and motivated and earned, and is never about any of the stock petty resentments that tend to define the limits on imagining intergenerational attachments between women. what a fucking relief!
Dax: Only One Bed!?!! ;)
Kira: Dax this is the Defiant there’s literally a top bunk–
Dax: Guess we’ll have to share…. ;)
if disney cared about lgbt representation they'd stop with this minor character shit and admit cruella deville and the old lady from the aristocats where banging
It’ll grow out. Or you can cut it off. Start over.
(epilogue to the Beet Hair Dye saga)
i am somewhat uncharacteristically really in a mood lately for good rich romance but also find most things that fly under that genre banner pretty alienating. wonder if anyone has recs for f/f romance writing that you think i, specifically, would actually like. it seems to me likely that such things would come from outside the publishing genre of mass market romance, but anything’s possible. looking probably for novella- or novel-length stuff, but stories are welcome too.
one requirement is a reasonable degree of literary quality, which is to say: some complexity and nuance, and—this is absolutely non-negotiable—a fine prose style. so that should be a helpful initial eliminating factor....
more things i want in romance stories:
- mature adult main characters, at the very least over thirty, preferably older. people with some backstory! stories about mid- or late-life growth and change! please!!! (pre-emptively: i love YA and i will believe you when you say there is good romance to be found there but i am fucking dying to read about adults behaving like adults)
- preferably poly/nonmonog, but at the very least doesn’t take exclusivity for granted and does not use jealousy as a means of communicating love
- related: no love triangles!
- relationship structures that are deliberately custom-made as things that suit the characters and their lives rather than assumed a priori as things the characters have to fit themselves into
- the reasons the main characters like and are good for each other are specific and deliberately elaborated at every level of the narrative, and never reducible to a platitude about the power of love
- if there is explicit sex it is intensely character-driven and more or less realistic
- the main characters have significant lives, commitments, and relationships outside of each other that are given weight and value equal to or greater than romance
- the story takes place within a bigger social world including other significant, developed characters
- unusual takes on a happy ending particularly welcome
- the goal of the romance is not marriage or marriage-like cohabiting monogamy; if these things are part of the relationship they are incidental to the meat of the story and also not treated as inherent goods or necessary ends in themselves
any ideas?
the thing that drives me craziest about the depiction of vulcan ‘logic’ on star trek is that ‘logic’ almost always denotes an ideological position and almost never a thought process. the answer to the question ‘what is logical?’ pre-exists any given scenario, and it is the vulcan character’s job in any given scene to point to that answer. it is almost never the answer one would arrive at by process of dialectical reasoning.
in one of the very best scenes in all of disco to date, michael burnham argues the shenzhou’s computer into letting her out of her cell in the brig by presenting it with a reasoned argument that its ethical programming accepts as valid. the scene works because it’s funny—everything outside the cell is going to hell very rapidly and the woman inside it, protected from the vacuum of space only by forcefields that are about to fail, is having a calm conversation with an automated system—but also because michael out-computing a computer is a brilliant demonstration of something essential about michael’s character that we have been told repeatedly but so far not actually shown: that she is a human who has mastered vulcan mental discipline and vulcan ways of approaching knowledge.
it’s a depiction of logic that works on several levels precisely because it’s functioning as dialectic rather than as ideology. i love it. i love it! if star trek systematically did the work to commit to portraying vulcan logic like this all the time, it could get so rich and complex. i want that version so bad! so bad.
How do you feel about what could have been with Worf+Selar?
i did not even know this was a thing but indeed, according to memory alpha:
Tracy Tormé wanted to develop a romance between Selar and Worf, but he was forced to drop the idea when the character of K'Ehleyr (also played by Plakson) was developed for "The Emissary". (Captains' Logs: The Unauthorized Complete Trek Voyages)
i ... want to know what the concept was? i both deeply hate and deeply love the whole k’ehleyr romance plot because on the one hand, worf is such a fucking edgelord but on the other, uh, k’ehleyr. she totally shows him up for and makes him out to be absurd because of what a fucking edgelord he is. but then of course it’s ridiculous that she should be sacrificed as she is to further ... what, exactly? what did k’ehleyr even die for? i really couldn’t tell you. not that i acknowledge that k’ehleyr is dead, mind you, but hypothetically speaking.
so i wonder if what we might have gotten with selar would have been oriented toward similar character work on worf (demonstrating that the rather severe downside of his whole honor schtick is an unsustainable inflexibility), and how you’d have to do that differently with a vulcan character. k’ehleyr’s let-the-world-burn approach to a life she lives as a one-woman melodrama is thrilling to watch, and makes an obvious foil for worf, but you can’t do that with a vulcan. ASSUMING (big assumption for any trek but especially s2 of tng) they didn’t just go down some horrifying pon farr path, it could have been really fun to watch plakson do the much more restrained but still camp as fuck withering vulcan routine that we love so much in selar, at greater length.
but honestly i’d rather have just had more selar without any romance plot to weigh her down, and especially not a romance with worf specifically. i deeply hate the worf who emerges in every romance he has with a woman, deeply hate whatever he’s meant to be an endless apology for in the stable of Shitty MRA Fallacies the Fuckin Incels Who Write Star Trek Can’t Get Away From, and deeply resent every minute of airtime sucked out of a female character’s story to further idealize his terrifying possessiveness and his programmatically ideological attitude toward relationships. ¯\_(ツ)_/¯