There was more, I didn’t include the whole thing! It was from the comments section on some review of Hell Bent. Ah, thanks to the magic of Googling exact quotes, I’ve found it again:
‘Dr. Who has become a show about “girl power”. In this episode the Dr. was emasculated and reduced the role of a sidekick in his own program. The Dr. is supposed to be the smartest person in the room, but every season we continue to meet female characters who outwit and out think him at every turn. Christ they turned the Master into Missy. And I hate the idea that regeneration now can change someone’s sexuality. That was never ever a part of the original canon, but I digress. I thought it was completely foolish that Ashilda and Claire would be able to operate a TARDIS. I thought they were al telepathically linked to their Timelords. I want this show to be about science fiction again! It’s been too caught up in the importance of the Dr’s companions. Adric died, and the Doctor was severely wounded by that death, but he never ever once thought about breaking the laws of space time to resurrect him. There are millions of multiple versions of Clara in the timestream, why get fixated on one? Unless Moffat is purposefully creating a progression where the Dr. becomes the evil version of himself (the Valeyard) I didn’t understand the purpose of the episode at all. I was deeply disappointed and I think I’m dropping the show after the Christmas Episode. This could have been so much of a better story if the Dr. would have gone rouge for a noble reason. But to betray Galifrey and the trust of his own people for one companion that’s not the Doctor.’
We, as a people, determine what is and is not of value mostly through what we believe to be legitimate and worthy of significance. And in late capitalism, we have all basically agreed to allow the market to dictate what is and is not of legitimate value. (This is what social critics recognize as neoliberalism.)
But what the market deems valuable is not necessarily aligned with what is ultimately good for us as a society, or even what we want. Because under conditions of extreme inequality, the market is biased toward people who have lots of money, at the expense of virtually everyone else.”
friendly reminder not to support lindt this easter season, or apparently ever again, because they support autism speaks.
can someone please explain why autism speaks is so bad?
because they’re adamant that autism is a disease that can be “cured”. They don’t have a single autistic person on their board. Autism Speaks produces advertisements, small films, ect. about what a burden autistic people are to a society. They only spend about 4% of their money on “family services.” They create a stereotype that makes it hard for actual autistic people, like myself, be heard and recognized as actually autistic. I was diagnosed with Bipolar Disorder before they realized that I actually showed signs of Asperger’s. They don’t actually help us.
That’s the problem with Autism Speaks.
(tw for violence, ableism, abuse, murder, and death)
It goes deeper than not having any autistic board members. Many of the allistics running the organization promote the horrific notion that you’re better off dead than autistic, and their influence and “activism” only supports the ideology resulting in the continued murder of autistic children and adults by their parents and caregivers.
Former Autism Speaks board member Harry Slatkin, whose wife, Laura, continues to serve on the Board of Directors, stated in an interview with Town and Country while still a board member that sometimes he hoped their autistic son David would drown in the backyard pond rather than “suffer like this all his life.” Evidencing a pattern of similarly violent rhetoric, Autism Speaks is also responsible for the 2006 PSA “Autism Every Day“ in which their then Vice President states on camera that she considered putting her autistic daughter in the car and driving off a bridge, and that the only reason she refrained from doing so was because her other, non-autistic daughter would have been waiting for her at home—her autistic daughter was in the room as she made these statements. Furthermore, the producer of this PSA explicitly admitted that the film was intentionally staged to portray negative images of autistic people and their families.
Only four days following the release of “Autism Every Day,” pathologist Karen McCarron smothered her autistic daughter with a garbage bag. McCarron stated that she murdered Katie because her “autism had not been improving,” had thought about killing Katie, that made an earlier brief attempt at suffocation, wanted to cure Katie, thought killing Katie would make her “complete” in heaven, and wanted to live without autism and thus had to kill Katie. Investigators found that McCarron was obsessed with different treatments for Katie. (See People v. FRANK-McCARRON, 934 NE 2d 76 - Ill: Appellate Court, 3rd Dist. 2010.) Though it is not presently possible to draw a direct connection between Autism Speaks’ PSA and Katie’s murder, this crime and dozens like it only underscore how the kind of rhetoric that Autism Speaks favors only serves to recklessly endanger the lives of autistic people.
Autism Speaks also publicly supports the Judge Rotenberg Center, a group home for autistic and neurodivergent students that uses “treatments” like food and sleep deprivation and electric shock to try and train the residents into acting neurotypical. The center has changed states three times in an attempt to bypass regulation against abusive treatment, and their practices have resulted in the deaths of more than one student.
It’s not just an issue of Autism Speaks making it harder for us to get proper diagnoses and treatment. Autism Speaks is actively killing us.
I was eyeing up their strawberries and cream lindor the other day but this is more important than delicious chocolate.
you all need to know this. You really do. Please do not support Lindt or anything that supports autism speaks. Please.
I have a sneaking suspicion Lindt is probably not aware of how terrible a group AS is and donates to it because it on the surface sounds nice, so it seems to me campaigns or petitions to raise awareness and asking them to stop supporting would be awfully helpful in addition to boycotting the gold rabbits (which, if I’m right, is the only thing directly leading to AS donations, right? I don’t think they donate for all of their chocolates).
Yeah, the thing about the usual line of attack on AS is that, while not wrong, it gives the sense that the horrifying eugenics/eliminationist bits are the bulk of what AS does, when in reality they’re mostly just a shitty professional charity in the Komen Foundation style that’s notable for their stunning lack of concern for the actual population they claim to speak for, and the biggest practical problem they cause is that their skill at being “the autism charity” sucks the oxygen out of actual advocacy or philanthropy.
The result tends to be something of a mismatch in practice, because AS is really good at not looking like a bunch of eliminationist eugenicists, not least because they way in which they are is subtle and unlike what most people expect from eugenicists. And so calls to action like the ones above look like ridiculous overreactions to anyone who isn’t already pretty familiar with the issues. Which, of course, makes it easy for companies like Lindt to ignore them and listen to the nice professional-looking men in suits with the PowerPoint presentations that AS sends.
tl;dr boycott strikes me as an ineffective tactic here. (Indeed, the effective tactic here is basically just called ASAN, and if one were to engage in activism against companies that ally with AS the smart move is probably just to say “please support ASAN instead.” AS is deep in the charity-as-business model, and will fear competitors much more than boycott.)
This is the best description of South Park (and their brand of apathetic conservatism) I ever read.
It’s difficult to communicate quite how awful it is, in deep and fundamental ways. Its fractal badness is constantly reinforced by its moral bankruptcy in a weird and pathological way. The experience of watching it six days after The Caves of Androzani 4 must have been one of the most astonishing experiences in television history.
I feel like such a hipster when it comes to the Hamilton musical because I saw it at the Public before it went to Broadway and can’t help the snooty voice in my head that’s like I liked Hamilton before it was cool.
Honestly, when I first heard of Hamilton I thought it was going to be a retread of Bloody Bloody Andrew Jackson. Another musical from the Public about an American historical political figure using contemporary musical idioms. But I was actually okay with that because I LOVED Bloody Bloody Andrew Jackson.
The thing is, BBAJ is a really great musical and one I love. Hamilton is a masterpiece, and one of the greatest shows I’ve ever seen.
It’s clear that BBAJ came out while Miranda was still working on Hamilton, and one wonders if he thought it was stealing his thunder or would negatively impact the reception of his show. Maybe he knew enough not to worry. There are a lot of differences between the two shows, but the key one is probably the core detached irony and at times sophomoric humor at the heart of BBAJ (Ex: “I’m going to fill you with popula-jism!”) which probably has a lot to do with why it failed when it moved to Broadway. Hamilton, on the other hand, has its heart firmly in the world of human emotions and the plight of its characters. It’s not that it’s more serious, per se, but that it’s willing to be earnest about its characters emotions, while BBAJ has Jackson and his wife sexually cutting each other and talking about Susan Sontag.
And fundamentally earnest emotions are always going to carry your narrative farther and make it more approachable than ironic detachment and intellectual references, as much as we might appreciate those things.
The self-evidently correct way to do a new Star Trek is to set it in the 25th century while stubbornly refusing to answer banal questions like “but in which of the two universes.” And to drop in the AI singularity that is obviously the biggest absence in Star Trek as a conceptual entity. Lampshade it with something completely preposterous like “yeah, after we defeated the Borg we just…” And everyone is a posthuman trans-species cyborg in a post-scarcity economy in space, which is what Star Trek basically was anyway.
(Eagle-eyed readers will note that I’ve just invented the Culture novels.)
Except the Culture novels are emphatic in their rejection of the “Prime Directive”.
So I feel like we’re past getting a Star Trek show with merely a non-white male captain. How about a whole non-white-male cast? Isn’t the Federation supposed to represent the whole planet?
I just poked through my old arguments on this to see if I could reduce the case to a bare minimum that could just be linked to. Here’s what I got, in four parts.
1. The original “Definitive Moffat and Feminism” post, in which I sketch the broadest outline of the feminist reading of Moffat.
2 & 3. My TARDIS Eruditorum posts on A Good Man Goes to War and Let’s Kill Hitler, in which I apply this reading to what is self-evidently the edge case of Moffat’s work; where he grabs some serious and difficult feminist issues with both hands and plows forward.
4. My trollingly named “Steven Moffat is a Feminist and You Are Wrong If You Disagree,” where I tackle the bulk of the common arguments against Moffat’s feminism directly.
To my knowledge no detractor of Moffat’s has ever substantially engaged with these posts or offered anything like a refutation to them. They are, so far as I can tell, still the most definitive take on Moffat’s feminism to exist, one that takes into account essentially all counterarguments and deals with them.
I would be fascinated to read a refutation. Indeed, I wrote much of this in the hopes that the moffat hate crowd would respond, but they did not. But in any case, please, by all means, link this if you ever feel the need to throw down the gauntlet at a “Moffat is a misogynist” argument.
I have no idea; I’ve long since stopped buying Big Finish stuff.
No. Get a damn job.
@your-uncle-dave (tagging because of chronic Tumblr issues with reblogs on my end that cause people not to get notified):
To be clear, I mean this on a very fundamental, philosophical level: why ought one’s basic survival be contingent on one’s performing wage labor? Particularly given that centuries of technological advancement towards automation have dramatically reduced the amount of human labor that we actually need in order to function as a society, and that excessive industrial production is directly responsible for looming ecological catastrophe? What is the value of this “get a damn job” ethos when it simultaneously appears that we cannot actually supply enough jobs for the whole society and that the carbon emissions caused by trying to do so are devastatingly destructive?
Saw someone cosplaying as the 6th Doctor at NYCC. I’m like, who cosplays as 6? It was @brightcoat of course. Well done, sir.
I think both Army of Ghosts/Doomsday and Stolen Earth/Journey’s End are properly great. Smith has it slightly rougher, but then, much as I loved it at the time and still do love it, I’m not 100% sure the Smith era is great outside of S6. And the Capaldi era is yet young, but I’m sure I can convince myself that Magician’s Apprentice/Witch’s Familiar is great if I have to. (As I’ve been fairly adamant, my reservations about it were as two weeks of television in September of 2015, not as ninety minutes of Doctor Who.)
this is a long story but its fucking great
okay so back in 2002 a man named tim buckley decided to start up a webcomic about videogames called ctrl+alt+del. this was its first strip
fucking stunning writing, i know. now it was early days, so you could argue that tim was just getting started, but the level of humor rarely went higher than this. despite proclaiming to be about videogames, the strip tended to focus more upon the idiotic antics of ethan (guy on the right), lucas (guy on the left), lilah, a female character introduced later on and zeke, a xbox robot ethan makes later on in order to be Wacky
the “comedy” usually came from ethan pretty much being so constantly a problem that it’s a wonder any of the characters hung around him at all, let alone extended periods of time. jokes were largely a set up followed by violence as the punchline, which might not be so bad if it wasn’t tim buckley’s go to punchilne when he couldn’t think of anything actually funny (which was a lot of the time). and it continually got worse as ethan continued to constantly be a burden to all his friends, yet they inexplicably couldn’t stop liking him and bowing to his every whim, even lucas, the alleged straight man to ethan’s manchild, and lilah, introduced as a No Nonsense Girl Gamer somehow becoming his boyfriend
in case you haven’t gotten it yet, ethan is very clearly tim buckley’s self insert fantasy.
the thing is, despite the comic being very obviously bad, it was REALLY popular. like it was an absolutely huge thing. teen boys absolutely lapped up the tired jokes and sitcom cliches and thats not even getting into the absolutely DIRE chef brian comics. actually no you know what i will go into them. here
this was about 2 years after the first strip, and you can start to see the art and comedy style that would come to define ctrl+alt+del as tim buckley pretty much officially gave up on putting effort into his comic
this was literally how he put together his comics: drawing hundreds of predrawn graphics and then sticking them into 4 panels
and since ctrl+alt+del was so popular, it REALLY went to tim buckley’s head. he refused (and really still refuses) to take any kind of criticism. he became very egotistical (he sued a fan for making a flash featuring the CAD characters) and there are some reports of him doing pretty shady things over the internet
and then he hit on his greatest idea
instead of sticking with comedy in a 4 panel strip format, he decided to introduce drama. characters growing up, getting married, learning responsibility…while STILL sticking rigidly to the comics newspaper esque 4 panel format.
everyone who knew CAD was awful was already making fun of tim desperately trying to introduce pathos into his verse of xbox robots and manchild antics, but his ego was bigger than it had ever been and he couldn’t be dissuaded, and in 2008 he had the storyline in which ethan and lilah get married, and lilah becomes pregnant
and then, just to ratchet up the drama, tim buckley decided lilah would miscarry.
the internet fucking lost it. a moment intended to carry great drama and meaning instead became the funniest unintentional comedy ever written. thousands upon thousands of edits and parodies were made (a sampling can be found here. some of them are pretty gross tho, being ripped from 4chan, so be careful) and its a moment thats become heavily engrained in internet/videogame culture. its gotten to the point where the most simplistic form of representing this comic (a series of straight lines) can be immediately recognisable as making fun of this strip
i didnt explain this in the greatest way and im sure someone can do it more elegantly since i skipped a few things but really the entire history of ctrl+alt+del is an amazing chronicle of one man’s ego
i looked up who this guy is and it seems like he hasn’t done almost anything of professional substance other than AMERICAN ULTRA, which seems sort of unwatchable. do people have thoughts about him? all i got right now is i hate every single picture of him on his IMDB page.
Conservatives: Let's go back to the good old times of the 1950s.
1950s: Had 92% income tax for the mega wealthy which allowed for households with a single breadwinner. Had minimum wage high enough to get somebody through college.
Conservatives: No... not that part. The sexism and racism part is the one I like...
Melissa Harris-Perry:Â Nothing is riskier than being poor in America [full video]
Have I put this up on my blog before?
Fuck it, here it is again.
I love her.
Let me tell you, this woman is PERFECT. She speaks THE WHOLE ENTIRE TRUTH at all times. Every moment. Of every day.
iâll reblog this forever
- "Saul, Again" (Caped)
- "The Spine of Worlds" (Kaleidotrope)
- "Judges' Cave" (Lakeside Circus)
- "Trials of the Dead King" (LORE)
- "Logos Ex Machina" (365 Tomorrows)
- Loghorrhea Edited by John Klima (New Haven Review)
- Little Brother by Cory Doctorow (Literary Kicks)
- Why Robin Sloan is the Future of Publishing (and Science Fiction) (io9)
- Weird Comics (comiXology Blog)