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animatedamerican:

leaper182:

kgschmidt:

avelera:

sunspotpony:

prettyinpixiedust:

So one day a dwarf is talking to a human and finally realizes that when humans say woman, they generally mean “person who is theoretically capable of childbirth” because for whatever reason, humans assign social expectations based genital differences. (What a fucked up culture, the dwarf thinks.) But hey, better communication! So the next time the dwarf introduces theirself, they say, oh, by the way, I am what you call a “woman.”

And the trade negotiations just stop. They just stop cold. The tall people insist on speaking to the man, they insist on talking to the lady dwarf about all sorts of irrelevant bullshit, like recipes and childrearing and perfume

so the dwarf goes back home, enraged

and is like “BTW guess what happened, we’re all just going to be men forever now as far as the tall ones are concerned”

and everyone is justly horrified at this barbarism but they all agree to do whatever  it takes to squeeze those tall bastards for all the resources they are worth

and the dwarves get surlier, and the trade agreements less generous

and the tall people are all “what a miserable and greedy race”

but really they’re just still nursing a grudge about how goddamn backwards and sexist the tall people are

because their best negotiator, one of their sacred cave people, got snubbed the instant she said she was capable of childbirth - and a mortal insult like that can never be forgiven

Because Pi’s tags are great:

#yes good #personal headcanon: dwarves have fundamentally misunderstood human pronoun usage #and gender roles #they are very perplexed by it #eventually they went ‘fuck it apparently ‘he’ is the correct word’ #'it's their language and they keep using it for us' #so then you have this situation where dwarves are cognizant of the words ‘mother’ and ‘wife’ #but not the usual use of ‘she’ secondary headcanon specific to Tolkien dwarves #dwarves that choose to bear children are held in high regard #because they are making new dwarves it is the ultimate craft #that’s what mahal did you made a new person #it is very impressive #everyone is impressed

Just as an additional thought, we hear that women dwarves generally stay within the mountain and are a protected, guarded subset of the dwarves. There’s not many of them, so there’s an implication that women dwarves are too precious to be allowed out.

But what if this too is a mistranslation? What if the dwarves were talking to the Men and when asked “where are all your women?” they hit a wall. They whisper amongst themselves, and eventually come back with a question, “What’s a woman?” The Men are incredulous.

"Why, the members of your race that bear children, of course!" 

More dwarven whispering.

They reach the conclusion that Men mean dwarves who are currently pregnant. Well! Of course those dwarves are currently safe within the mountain, well cared for and generally loathe to travel until the child is born. The Men take this to mean that all dwarven women are discouraged from traveling, and that their primary purpose is childbearing. Dwarves find this a satisfactory outcome, especially with the way Men treat their women, and so even when the misunderstanding becomes clear to them they never correct it.

I have never converted to fan-canon so hard before.

Sweeeeet.

may have reblogged this already, don’t care

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shamelessly_mkp: (Default)
queerhawkeye:

themindislimitless:

holymotherofrowling:

I have this theory that The Hunger Games is a story about racial colorblindness gone horribly wrong and basically a warning about how ignoring racism does not help racism, and rather allows racism to grow.  I don’t think this is something Suzanne Collins purposefully did by any stretch of the imagination, unless Suzanne Collins completely went back on her beliefs later on.  But I do think it’s in there, even if she put it in accidentally.

If you look at Panem, there is little to no discussion of actual race.  Most people don’t seem to identify all that strongly with race (they do identify with the Seam, or with the Merchants, but Katniss never explictly refers to these as being racial divisions), but racial divides are still prevalent.  Racial divides are especially prevalent in District 11, which is treated horribly compared to the other districts.  

Quote from the Hunger Games Wiki: Their industry is agriculture; orchards, fields of wheat, and cotton surround the district. Almost everything they grow goes to the Capitol despite their starvation; if any citizen of District 11 is caught eating any of the crops, they are to be whipped in public.

This is an obvious reference to slavery, especially with the members of District 11 being described as Black.  However, when Katniss thinks about the members of District 11 (she does something similar when she describes any skin color), she describes them by comparing their skin color to her own, or merely by saying they’re “dark-skinned.”  She never harps on the fact that there might be any correlation between D11’s treatment and any form of prejudice.  She recognizes that 1) D11 is horribly treated compared to the other districts and 2) D11 is mostly comprised of people with darker skin than her own, but she never implies that this might have been something Panem did purposefully.

Now going to the racial divide in District 12: The members of the Seam are consistently described as having a different eye color, different hair color, and different skin color than the Merchant class.  The Merchants are consistently described as fairer, blonde-haired, and blue-eyed.  The two groups live almost isolated from one another, rarely interacting.  When Katniss’ mother (a Merchant) marries Katniss’ father (a member of the Seam), Katniss’ mother’s family actually shuns her, cutting off all contact.

Yet, Katniss never explicitly says, “Holy shit, Panem is racist as fuck!” and it doesn’t seem many of the members of the Seam or District 11 do either.  Gale is one of the few exceptions to this rule in my opinion.  I think he knows.

So, where I’m going with this is that the Capitol has essentially somehow brainwashed the members of its society to not explicitly think of race, while simultaneously instituting huge racial divisions.  Despite how blaringly obvious those divisions are, the members of Panem are brainwashed enough that most of them don’t notice.  This allows the Capitol to keep racial divisions in place without people questioning them, and not surprisingly, racism is still a thing in Panem despite the fact that many of its members do not think of race in any in depth way.

My reply isn’t showing in the notes? =(

#Y E S #panem considers itself to be post-racial when it is anything but #the capitol punishes people for talking about controversial subjects and RACE is one of them #katniss is colorblind which is why her narrative is emotionally neutral when it comes to race #re: her commenting that gale’s anger towards madge in the beginning of the book was misdirected #but not only are gale and thresh compared in text #two men of color #there’s this theme of OWING that katniss understands from explicitly black thresh #seeder is from district 11 a black district and said to look as if she could fit in the Seam #haymitch befriends chaff and seeder and those two are the first victors he introduces to katniss before the quarter quell #there are so many obvious patterns of color in the books #WHY DO PEOPLE NOT SEE THEM (via haymitchisnotwhite)

And just like with the world we live in the intersection of race, class and gender make it very unique for the position of everyone involved. And think about the Careers too, they’re described as white, and they’re also allowed to pass off with doing things that are ‘illegal’ for the games, like training for the games, and no one actually stopping them. There’s the matter of the Careers and the way Peeta is allowed to join them (he’s white too) but the Careers are after Katniss, to get her first. There’s the matter of Katniss getting a high score…and showing up the Careers…when she’s a woman of colour. There’s Rue trusting Katniss. Only because of her pin, but also because she was a woman of colour, albeit a lighter one, too?

There’s the way the Careers volunteering for the place of another kid in their district is celebrated…with very ‘white saviour’ undertones. Look instead at the way they treated Katniss when she volunteered for her sister. The people of her district understood that what she’d done was a great sacrifice, but everyone else treated it like an attention-seeking-trick she’d pulled, as if it never really mattered, hello Katniss, why the fuss huh?

At the way Katniss comes off as that ‘angry woman of colour’ and bitter. She’s right to be bitter, but unless she plays likeable for the audience that’s about to find entertainment in her fighting for her life, they won’t like her. Even Haymitch puts emphasis on it, maybe because he gets it too. As the woman of colour, is she doesn’t play nice, she isn’t going to get sponsors. But it’s when she’s willing to play their game that she gets their adoration, and only then.

…and then the last book. “IF WE BURN, YOU BURN WITH US!” Here her anger is different. She’s not trying to appeal to the Capitol. So she doesn’t have to tone down her anger to be liked. Here, she reflects the anger of the Districts.

Look at the way Katniss had to manipulate her way to victory (and for Peeta). And of course, everyone gets angry at her for it, those who know the story, Peeta is hurt and thinks she played him, but she’s a woman of colour. WoC do what we have to do in this world to survive. Haymitch got that. Perhaps the only one that did.

I don’t know if Suzanne Collins did it on purpose, but I think she definitely had something going there. And I really hate the way Hollywood messed it all up, because they really could have an amazing movie.

#another reason casting a white actress as katniss was a SUPER BAD IDEA

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lurkdusoleil:

tchrgleek:

dontbefanci:

lizinprogress:

sararye:

if glee were food hehe ♥ [more]

#this is great except Kurt is not pizza #he’s something fancy and put-together #but also everyone’s favorite #maybe he’s a parfait #it has layers #everyone likes a parfait #you ever heard anyone be like no I don’t want no parfait (via nadiacreek)

A+++++ tags.

Let’s consider Kurt as pizza, though. It’s a layered dish. Crusty on the outside, which let’s be honest—Kurt can be crusty. Ooey and gooey on the inside and we know that to be true…even, dare we say…cheesy on occasion. And then, this meaty top. Have we all SEEN him shirtless lately? Have we seen his sexuality—his meatiness—in the last couple of seasons? Yes, we have. And, and, and, you can decorate a pizza in so many different ways, some healthy, some colorful, some purely decadent, but always, always delicious.

While I’d never have picked pizza on my own for Kurt, I’d have to say it’s truly something to consider.

Woah, that’s a lot of meta! I love this so much!

This hiatus is really really long isn’t it.

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“I don’t mind them writing about the characters, but when they write about us, doing things, with each other… It’s, it’s just, it’s uncomfortable. It’s way too far. ‘Cause it’s like, I mean like, they’re co-workers, they’re like siblings, y’know, you don’t want to read things about you… doing stuff. It’s, oh, god, it’s just, no, terrifying.”
-

Chris Colfer on fanfiction (x)

Are people actually surprised about this quotation?  I know I’m not.  Of course he is uncomfortable about it (and I’m pretty sure he’s more repulsed and disturbed than just uncomfortable).

RPF is a part of the fantasy life of a lot of fandoms. Lord of the Rings had a particularly active RPF sub-fandom that almost seemed to dwarf (pun intended) the textual movie fandom, but pretty much every fandom from Supernatural to Smallville to Angel has had its own RPF going on.  It’s a fantasy based on the public personae of the actors, another kind of transformative work, and of course it’s a little iffy.  You’re putting words and actions onto a real person.  But when written and shared properly, it’s no more iffy than a mystery novel about Napoleon or Lady Jane Grey.  Everybody agrees that it’s not actually really what happened, even when you get a lot of the situational facts correct.

The problem that every fandom in the social media age and particularly the Glee fandom gets into is that the rules of RPF for so many years have been to draw a very firm line between the fandom and the subjects of their RPFing.  The first rule of Fight Club and all that.  Fans who have mentioned RPF to actors at cons have been hissed and booed at by the people in the room.  It’s for us, not for them.  Of course it’s going to make them uncomfortable.  If people were writing fic about you having sex with your co-worker or friend and sharing it everywhere, you’d be uncomfortable, too.  Napoleon probably wouldn’t like being characterized as a bumbling sleuth, either.  We shouldn’t talk about it with them.  It’s not about them; it’s about our perception of who they are in public.

But where Glee fandom fails and fails spectacularly is that not only does some subset of Glee fans seem to believe their own RPF fantasies are real (although it’s the scope in our fandom that is new, not that behavior) but that they also batter the subjects of these fantasies - Chris in particular - with them online and in person.  They aren’t just asking a single inappropriate question at a con; they’re sending tweets and IG messages, they’re sending hate to real people, and even when they’re sending supportive messages within that fantasy construct they’re breaking that wall and sending them at all.

Look, I’ve been in fandom a long time.  I’m about to hit eleven years here, shockingly enough, and I’ve been part of a nice double-handful of fantastic fandoms.  I’ve read quite a bit of RPF, once I got over my initial discomfort with it, and when I started reading Glee fic I read RPF, too.  Some of it is amazing and really pulls out some interesting issues around celebrity and personality.  They’re transformative works.

I’ve backed way, way, way off from reading it, though, to the point that I pretty much only read one author’s (very clearly not meant to be real) works, because of how our fandom blurs the lines between fantasy and reality to their faces and because of how utterly disrespectful I find that kind of behavior.

I’m sure people are going to unfollow me for writing this post, but honestly if you can’t look in the face how rude it is to tell people that you spend a lot of time thinking about them fucking their friends or even their RL significant others I don’t know how to have a conversation with you, anyway.  We all have our fantasies.  We all have things we like to think and read about.  We can’t police that, even if we don’t all share the same fantasies.  Believe and enjoy what you want.

Just don’t talk about it to the actors.  And don’t expect them to like it.

(via flamingmuse)

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haletostilinski:

#Stiles Stilinski #i really fucking love the contrast in this scene #that Finstock’s talking not just about Stiles’ lack of ability to focus and us seeing Stiles totally in the zone #but also about the whole ~light hearted essay topic that’s completely irrelevant to economics #you know circumcision being something a little different to be looked into #and it’s supposed to be comedic #versus the content of the stuff Stiles is looking into in the scene #ya know he is literally introduced as the comic relief #and then from this moment out he’s //so much more// #you know never again is he gonna be the kid that winds his economics teacher up with essays about dicks #he’s never going to make his dad roll his eyes fondly like ‘oh Stiles i’m secretly laughing whilst pretending to be mad’ #he’s the one who literally had curly fries falling out of his mouth with the bright eyed expectations #we’re literally introduced to him upside down #the idea of him being a predator is hilarious //to him// #and then from here on out it’s like nope #Stiles is gonna make you cry #Stiles’ life is gonna turn upside down #he’s gonna go discover all about curses and the supernatural and the damned #and he’s forever going to blame himself just a little bit #he’s never gonna sit on his bed crossed legged and seem casually focused and casually curious #//everything// he ever has to focus on again is magnified #it’s life or death #the ones that are supposed to make you laugh always make you cry so much harder #because it’s always so much more shocking #it’s always so much harder to see them fall #because you don’t expect it #you cry and you cry and your tears are the dad that walked out of that bedroom with a hyperactive goofy kid #and came back into the house completely unaware that everything was gonna change #and Stiles Stilinski was gonna be a sad kid with a darkness round his heart i mean #ouch (via halesparkles)

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geekypudding:

moniquill:

No guys, I need to stop and talk about something in this movie and how fucking revolutionary it was; something that I haven’t seen in a movie before or since.

This is a movie about a kid who leaves her birth family.

Not a kid who find that they have a secret lineage or something that allows them to find their ‘true family’ - this is a movie about a kid whose true birth family is made up of bad people. So she gets out. And that is played as the right thing to do. She isn’t punished for it or made to feel bad about ‘abandoning her family’. There isn’t an underlying ‘but they’re your family and you have to love them’ or ‘they’re your family and they love you even if they don’t show it well or do hurtful things’ message of the kind that I see OVER AND OVER AND OVER AND OVER in media. Matilda gets out and livess happily ever after because of it.

We need a million more movies like this to counter the metric shit ton of movies that directly counter this message.

Roald Dahl, teaching us that sometimes bad people exist in your life and it’s ok to find good people to replace them :3

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