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Dump more stuff! - February-March 02019
Mar. 19th, 2019 08:34 pmGreetings. Let's start with Javier Grillo-Marxuach on the reality of becoming a Fandom Ancient.
Netflix has decided to reboot the Baby-Sitters Club, and the Mary Sue is really hoping that we'll finally get a canonically queer Kristy. Given that we now know the creator of the series is gay herself, it seems like a good time to go forward with the idea, given that Kristy reads very much like a sporty and possibly a bit butch lesbian once you are old enough to have the vocabulary to understand and describe her that way, the various dating partners available to the Club aside.
And also, Fred Rogers has become the ultimate unicorn, after the Internet discovered (rediscovered?) that he made statements that are pretty unambiguous about being bisexual. So not only is he the winner of the Ultimate Showdown of Ultimate Destiny, he can also be a queer icon, admittedly posthumously, but since Fred Rogers built himself on the idea of being kind to your neighbors, and seeing everyone around you as your neighbors, it seems fitting that he has a strong tie to just about every marginalized group there is.
A thing I occasionally have to keep in mind so that I don't start sliding back into blaming myself for how terrible relationships ended - emotional intimacy also requires consent, and several of the tools used to foster communication between people having trouble in relationships forget this or weaponize someone's unwillingness to consent to make the problem about them.
( And there's still more )
Last for tonight, A Hurt/Comfort plot generator, based on the delightful ways that various tags in a hurt/comfort exchange were accidentally lining up with each other. Probably equally usable for crack as for trying to write something serious.
Postmodern Jukebox does Pinky and the Brain. With the two actors for Pinky and the Brain as part of the song, playing bartenders.
Postmodern Jukebox is a lot of fun to watch and listen to, but I think they also represent a challenge or a dare to the idea that music-making is uniquely human in some way and that it can't be fully captured by algorithm or artificial intelligence.
Netflix has decided to reboot the Baby-Sitters Club, and the Mary Sue is really hoping that we'll finally get a canonically queer Kristy. Given that we now know the creator of the series is gay herself, it seems like a good time to go forward with the idea, given that Kristy reads very much like a sporty and possibly a bit butch lesbian once you are old enough to have the vocabulary to understand and describe her that way, the various dating partners available to the Club aside.
And also, Fred Rogers has become the ultimate unicorn, after the Internet discovered (rediscovered?) that he made statements that are pretty unambiguous about being bisexual. So not only is he the winner of the Ultimate Showdown of Ultimate Destiny, he can also be a queer icon, admittedly posthumously, but since Fred Rogers built himself on the idea of being kind to your neighbors, and seeing everyone around you as your neighbors, it seems fitting that he has a strong tie to just about every marginalized group there is.
A thing I occasionally have to keep in mind so that I don't start sliding back into blaming myself for how terrible relationships ended - emotional intimacy also requires consent, and several of the tools used to foster communication between people having trouble in relationships forget this or weaponize someone's unwillingness to consent to make the problem about them.
( And there's still more )
Last for tonight, A Hurt/Comfort plot generator, based on the delightful ways that various tags in a hurt/comfort exchange were accidentally lining up with each other. Probably equally usable for crack as for trying to write something serious.
Postmodern Jukebox does Pinky and the Brain. With the two actors for Pinky and the Brain as part of the song, playing bartenders.
Postmodern Jukebox is a lot of fun to watch and listen to, but I think they also represent a challenge or a dare to the idea that music-making is uniquely human in some way and that it can't be fully captured by algorithm or artificial intelligence.
