Race As Social Capital: LGBTmazight’s Blatant Racefaking For Fandom Points

You never need to wait for a Black Friday sale to download NASA images from the Hubble and Webb space telescopes: They’re FREE! 

Images are in the public domain and may be freely used. Search by “observations” or keyword within Hubble’s images:https://hubblesite.org/resource-gallery/images

Or Webb’s: https://webbtelescope.org/resource-gallery/images

“This was not a debate. It was Trump using a technique that actually has a formal name, the Gish gallop, although I suspect he comes by it naturally. It’s a rhetorical technique in which someone throws out a fast string of lies, non-sequiturs, and specious arguments, so many that it is impossible to fact-check or rebut them in the amount of time it took to say them. Trying to figure out how to respond makes the opponent look confused, because they don’t know where to start grappling with the flood that has just hit them. It is a form of gaslighting, and it is especially effective on someone with a stutter, as Biden has. It is similar to what Trump did to Biden during a debate in 2020. In that case, though, the lack of muting on the mics left Biden simply saying: “Will you shut up, man?” a comment that resonated with the audience. Giving Biden the enforced space to answer by killing the mic of the person not speaking tonight actually made the technique more effective. There are ways to combat the Gish gallop—by calling it out for what it is, among other ways—but Biden retreated to trying to give the three pieces of evidence that established his own credentials on the point at hand. His command of those points was notable, but the difference between how he sounded at the debate and how he sounded on stage at a rally in Raleigh, North Carolina, just an hour afterward suggested that the technique worked on him. That’s not ideal, but as Monique Pressley put it, “The proof of Biden’s ability to run the country is the fact that he is running it. Successfully. Not a debate performance against a pathological lying sociopath.””

— (1) June 27, 2024 - by Heather Cox Richardson

"Just kidding, nothing prevented them."

(for all of my updates and ask replies regarding Israel, click here)

Another Jew on here commented that people were going onto Wikipedia and removing references to certain people's Jewishness, and I just saw for myself that this is true. As a Jew and a fan of old movies and history, I was looking up a list of Jewish actors on Wikipedia. I saw Tina Louise (you know, from Gilligan's Island) pop up. So I popped over to her actual page on Wikipedia. And there were zero references to her being Jewish. So I hopped on over to the Wayback Machine (bless you, Internet Archive) and put in the URL for her Wikipedia page. And wouldn't ya know it: before 10/7, there were at least 3 to 5 references to her Jewishness at any given time on her Wikipedia page. Wtf is happening.

https://www.instagram.com/p/C-DAqHXRsW-/?igsh=bnF3MHk2ZW43ZWpw

thinking again about TvTropes and how it’s genuinely such an amazing resource for learning the mechanics of storytelling, honestly more so than a lot of formally taught literature classes

reasons for this:

basically TvTropes breaks down stories mechanically, using a perspective that’s not…ABOUT mechanics. Another way I like to put it, is that it’s an inductive, instead of deductive, approach to analyzing storytelling.

like in a literature or writing class you’re learning the elements that are part of the basic functioning of a story, so, character, plot, setting, et cetera. You’re learning the things that make a story a story, and why. Like, you learn what setting is, what defines it, and work from there to what makes it effective, and the range of ways it can be effective.

here’s the thing, though: everyone has some intuitive understanding of how stories work. if we didn’t, we couldn’t…understand stories.

TvTropes’s approach is bottom-up instead of top-down: instead of trying to exhaustively explore the broad, general elements of story, it identifies very small, specific elements, and explores the absolute shit out of how they fit, what they do, where they go, how they work.

Every TvTropes article is basically, “Here is a piece of a story that is part of many different stories. You have probably seen it before, but if not, here is a list of stories that use it, where it is, and what it’s doing in those stories. Here are some things it does. Here is why it is functionally different than other, similar story pieces. Here is some background on its origins and how audiences respond to it.”

all of this is BRILLIANT for a lot of reasons. one of the major ones is that the site has long lists of media that utilizes any given trope, ranging from classic literature to cartoons to video games to advertisements. the Iliad and Adventure Time ARE different things, but they are MADE OF the same stuff. And being able to study dozens of examples of a trope in action teaches you to see the common thread in what the trope does and why its specific characteristics let it do that

I love TvTropes because a great, renowned work of literature and a shitty, derivative YA novel will appear on the same list, because they’re Made Of The Same Stuff. And breaking down that mental barrier between them is good on its own for developing a mechanical understanding of storytelling.

But also? I think one of the biggest blessings of TvTropes’s commitment to cataloguing examples of tropes regardless of their “merit” or literary value or whatever…is that we get to see the full range of effectiveness or ineffectiveness of storytelling tools. Like, this is how you see what makes one book good and another book crappy. Tropes are Tools, and when you observe how a master craftsman uses a tool vs. a novice, you can break down not only what the tool is most effective for but how it is best used.

In fact? There are trope pages devoted to what happens when storytelling tools just unilaterally fail. e.g. Narm is when creators intend something to be frightening, but audiences find it hilarious instead.

On that note, TvTropes is also great in that its analysis of stories is very grounded in authors, audiences, and culture; it’s not solely focused on in-story elements. A lot of the trope pages are categories for audience responses to tropes, or for real-world occurrences that affected the storytelling, or just the human failings that creep into storytelling and affect it, like Early Installment Weirdness. There are categories for censorship-driven storytelling decisions. There are “lineages” of tropes that show how storytelling has changed over time, and how audience responses change as culture changes. Tropes like Draco in Leather Pants or Narm are catalogued because the audience reaction to a story is as much a part of that story—the story of that story?—as the “canon.”

like, storytelling is inextricable from context. it’s inextricable from how big the writers’ budget was, and how accepting of homophobia the audience was, and what was acceptable to be shown on film at the time. Tropes beget other tropes, one trope is exchanged for another, they are all linked. A Dead Horse Trope becomes an Undead Horse Trope, and sometimes it was a Dead Unicorn Trope all along. What was this work responding to? And all works are responding to something, whether they know it or not

“This thing can’t possibly be an antisemitic dog whistle, it’s just a commonly used phrase!”

My dude you are so close to understanding how pervasive antisemitism is

The last Jews of Bukhara, Uzbekistan, 2019, photographed by Bruno Zanzottera

Located along the Silk Roads and the edges of several former empires, the city of Bukhara has been home to a big and unique Jewish community for over two millennia - one of the most ancient ethnic groups in all of Central Asia. Historically they spoke Bukhori a Judeo-Tajik dialect. In the 1970s, Jews began to leave the Soviet Union, including Uzbekistan, and the synagogues as well as other Jewish institutions were closed by the Communist government. In Bukhara, the community has declined significantly: if in the past it consisted of 46,000 people, now there are just over 100 Jews. Those remaining want to make sure that their history, language and traditions do not get lost.