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#*le sigh* – @margotgrissom on Tumblr
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Nasty Little Nerd

@margotgrissom / margotgrissom.tumblr.com

"Do me a favour? Don't scream. Just hear what I've gotta say... and then scream." Margot | old | she/they | mostly reblogs heavy on MILFs, sci-fi, horror, sitcoms
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raylangivins
One or two bad movies does not make for an inflection point in these troubled times, true. But there is something about this accumulated slippage of quality, and the emotions and ideas presented to us, that reflects something cheaper in the culture. We have been awash in remakes of nerd shit for nearly all of the 21st century, and the loop between past and present grows tighter. Every couple of years, they give Ghostbusters another shot; three actors have played Spider-Man in the last 15 years; the charming and seminal Disney cartoons become laughably crappy live-action interpretations; there’s a fucking sequel to The Shining, which climaxes with the phantasms of the Overlook Hotel, now in CGI form, showing up to exact vengeance on the film’s villain; they did another Space Jam, one that conceptualized every Warner Bros. movie ever made — The Matrix, Casablanca, Harry Potter, etc. — as existing within the same interconnected metaverse of marketable IP.
The homogenization of Hollywood, and the race to monetize every piece of intellectual property under the sun, is nothing new. In 2017, The Ringer dedicated a week of coverage to “good bad movies,” the zany action movies and hokey dramas that are objectively sort of ass but subjectively enjoyable, and how they no longer exist. More than any referendum on taste or quality, I think what characterizes a good bad movie is the ease with which you can just… watch it. It doesn’t require any prior knowledge, any informed context. Meanwhile the highest grossing movie of 2019 was Avengers: Endgame, a three-hour film that would be completely incoherent without having memorized at least a half-dozen movies before it.
The banal credo of “let people enjoy things” that’s often trotted out to dismiss any criticism of the modern goop that I am complaining about avoids the basic reality that the only people who get to enjoy these things are the ones who don’t need to read up on Wikipedia beforehand. I think of someone like my mom, who could be your mom, or anyone else — a person who just likes to go to the movies, and watch something that doesn’t feel like it was autogenerated by an AI, or something that doesn’t require knowledge of 16 other movies to understand, or something that doesn’t joylessly stretch beyond two hours with no justification. Pleasure should be a democratized pursuit, not exclusively claimed by the nerds. The world gets worse and worse, and the very basic entertainments meant to provide some temporary distraction become more of a punishing, involved experience requiring your fealty the moment you walk into the theater.

bass motherfucking boosted babey

from this

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Anonymous asked:

if villaneve doesnt happen in season 3, we have been queerbaited. harshly.

There are many variations of this ask in my askbox, so I’ll just answer this one and hope to satisfy everyone else as well.

Here is my proposition to you :

In my opinion, Killing Eve, regardless of whether it will end with Villanelle and Eve battering the cod (doing the hanky panky, bla bla), will, in fact, not be queerbaiting.The show isn’t throwing you some tempting bone and using queer characters as a plot device or a mere marketing strategy and then taking it rudely away from you as if you were hallucinating the chemistry all along and now you have to deal with a queerless, meaningless show pandering to non-gay audiences.

These women are the show. The chemistry is the show. Their complex relationship and interaction with other people IS the show. Villanelle is explicitly depicted as bisexual in the show. She is literally marrying a woman next season. Her queerness is not a suggestion. It is a reality. The relationship with Eve is not merely some fishing gays trick played by the writers. It is being explored.

There is no “baiting”. There is multi-dimensional writing and ambiguous characters and relationship heavily explored which may, or may not be sexual. It is a non-perfect but nevertheless well-written female-led show. I would rather have a hundred of these than a lot of other shows put together.

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rabdoidal

i just saw someone completely seriously, without a hint of irony, refer to it as “Q-slur Eye” and my intestines started melting like so many Salvador Dalí clocks

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elisamaza

I’ve seen “don’t call the show Qu**r Eye if you’re a cishet and can’t reclaim the q-slur” so nothing surprises me anymore.

“Don’t normalize this word that people fought really hard to normalize! Let it keep its oppressive power because I don’t understand queer history”

God I literally fucking hate this rhetoric. It’s exclusionary, gatekeepy, TERFy, and supports a totally revisionist queer history that erases so many marginalized people, especially people who are marginalized on multiple axes.

“LET IT KEEP ITS OPPRESSIVE POWER BECAUSE I DON’T UNDERSTAND QUEER HISTORY”

Wow that really sums it up.

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aphony-cree

I lived through the “take back the word queer” movement, so let me further sum it up

The entire point was to strip the word of the power to hurt us. We embraced it by refusing to be offended by it. We were saying “you can’t hurt us with that word, we now feel empowered when we hear it.” 

During this time I saw an interview with a gay man who’d been arrested while wearing a “We’re Here, We’re Queer, Get Used To It” t-shirt. He was put into a holding cell with other detainees who tried to verbally abuse him. They started out by calling him queer but after seeing his t-shirt, and him not reacting to that word, they started stumbling over their words trying to find a name to call him. They finally settled on repeatedly calling him a “sissy” which, by the late 90s, had become a very out-dated slur toward queer men and was a laughable effort by these hyper-masculine and sexist bullies

When they tried to call him a queer it had no power because embracing the word, no matter who said it, had taken away that power

tl;dr We took back the word Queer with the intent of it no longer having the power to hurt us, but people now calling it the Q-slur are giving power back to the people who hate us  

The people who started this know all that. They’re a bunch of old FARTs (Feminism Appropriating Radical Transphobes) and the reason they are doing this is specifically because trans, nonbinary, and gender nonconforming people  are embracing queer as a way to describe sexuality and identity which doesn’t fit within the binary. People who say queer is a slur are doing so because they want to take that away from us. It’s that simple. The only thing “wrong” with the term is that it doesn’t reinforce the binary.

Queer is not a slur. It’s never actually been a slur. It was a word we used for ourselves before it was anything else, and it was picked up as an insult because we used it, and then it was dropped because we didn’t hate it.

I’m sorry if anyone out there had this word used to hurt you, but your personal discomfort does not justify manipulating the language to exclude other people from the community, which is what you’re doing. It was used to hurt me too. It was used as an insult in the time and place where I was exploring my identity. When people asked me if I was a queer, intending it as an insult, I just said yes and kept walking. So with all due respect, if it bothers you, don’t use it for yourself, but other than that you can take one for the team, because it’s not going away.

We’re here, we’re queer, and we have been since before you were born, so get used to it.

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I hear that, according to Netflix’s data, beyond Season 2-3, middle-of-the road series — even those with loyal fan base like One Day at a Time — would not generate significant new signups.
But shiny new things will. Netflix’s strategy to grow subscription base is focused on introducing new series all the time, sometimes multiple ones each weekend. According to industry observers, fans of some of the canceled series would be disappointed by their demise but not upset enough to drop Netflix as there is new product coming out all the time that catches their attention.

THIS is why great shows get cancelled all the time. This article goes into some great details about how their contracts work, but at the end of the day it’s basically that if something doesn’t make a big enough splash to get new subscribers, it gets cancelled. They just keep making more new stuff, to get new subscribers. They don’t care, and ODAAT won’t be saved.

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wordybee

The more I read about how Netflix works, the less faith I have in its future as a “channel”. It just doesn’t seem logical to base everything on new signups – what happens when you reach market saturation on those signups? Do they account for people remaining on Netflix at all, or are new subscribers the only ones with value? I’ve had Netflix for years, so I don’t know if it changed, but there was never a “why are you subscribing?” option during sign-up – so how does Netflix even know which shows are “draws” and which aren’t?

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