Flying to the border between fact and fiction

This is my new second favourite tumblr post

(Source: niknak79, via chaifootsteps)

draqua:

Throwing my own personal bias on the table here since I spent the better part of the last 6 years studying the subject… I like a story focused on communication and all the myriad ways people can communicate, the ways they can get it right, and the ways they can get it wrong. Disney’s The Little Mermaid, a personal favorite of mine from the Renaissance, has been tackled every which way in both critical and casual literary discourse, mostly in terms of how it frames the choices and actions of its protagonist. But, just to shake things up a little, I’d like to discuss the way it explores the importance communication via the two major male figures in Ariel’s life.

The main problem underlying Ariel and Triton’s relationship is poor communication and a lack of respect for Ariel on Triton’s part. The picture of a loving-but-overprotective-father, Triton constantly bellows orders and criticism towards Ariel, all while dismissive towards her interests/worldview. Triton only offers Ariel positive attention when her behavior conforms exactly to his expectations. Any attempts on Ariel’s part to speak for herself, try as she might, are quickly shot down with her father flat out refusing to engage with her.

The culminates in the iconic “destruction of the treasure room” sequence, wherein Triton violently tears apart Ariel’s beloved collection of human trinkets all while she is tearfully pleading with him to stop. After the rampage, Ariel collapses in despair and Triton (though he admittedly wears a brief expression of regret) exits the scene. He commits one of the greatest, but unfortunately common, mistakes in parenting: disciplining as a means of establishing power relations and not as a means of establishing the parent’s responsibility over the child’s safety/development. He deliberately chooses to leave Ariel in an emotional place of visible distress rather than comforting her and following through with the crucial conversation of “Here is why I did what I did…”. Because to do so would mean acknowledging Ariel as a person who could engage in such a discussion. Triton constantly refuses to listen, and when he sees Ariel drifting away from him, he relies on displays of violence and force to keep his child in check rather than a heart-to-heart.

With Eric however, the situation is very different. Even though at this point in the tale Ariel cannot verbally speak, Eric still “listens” to her. He sees when she is in discomfort, responds to her needs, is supportive of her interests, and respectful towards her as an individual. Even though initially Ariel is comically out of touch with acceptable human social mores, Eric simply educates her politely. Rather than putting restrictions on her, Eric is happy to provide Ariel with the opportunity to interact with new environments, take control over things, and explore anything she likes. They delight in each others company and have great fun together. The pair are able to communicate and work together in a productive way all in spite of the fact that Ariel is missing the power of speech.

Eric heard more of what Ariel was saying in two days while she magically lacked a voice box than Triton did in 16 years all while she could literally speak.

The Little Mermaid is not a perfect movie, and I certainly feel it is valuable to be critical of some of the messages it may or may not be projection onto young female viewers. Of course, that doesn’t necessarily mean it is of poor quality. However, it is also useful to look for other elements that may have been glossed over in popular studies.

jamietheignorantamerican:

WHY DOES NO ONE TALK ABOUT THE QUETZALCOATLUS?!

I MEAN, JESUS F. CHRIST.

PTERODACTYLS AIN’T SHIT NEXT TO THESE MOTHER FUCKERS. QUETZALCOATLUS FUCKING ATE BABY DINOSAURS FOR BRUNCH.

LITTLE-FOOT, NOOOO!!!

JUST IMAGINE SOMETHING AS TALL AS A MOTHER FUCKING GIRAFFE

SOARING THROUGH THE SKIES AT 80 MILES PER HOUR, AND THEN SWOOPING DOWN AND FUCKING EATING YOUR FACE OFF. 

FUCKING QUETZALCOATLUS

(via kawree)

sheepyapples:

zalein:

that-laj:

turtlecannon:

fabulous.

Ruffles!  Ruffles and buckles!  Gimme gimme gimme!

See THIS IS what you do with ruffles!!

I WANT IT

(Source: briturtlecannon, via kawree)

automotivated:

Into the Cosmos… Again… (by This will do)

(via fuckyeahsexycars)

did-you-kno:

Source

goddamnitriot:

(whoa you think i’d skip this chance to quickly draw otp)

he’s fine, now kiss

;~;

mikegirod:

Summer Afternoon by Mike Girod

(via onecricket)

(Source: drunkonstephen, via comradewodka)

Jane Espenson (from interview with Advocate.com)\

I dunno how many which ways this needs to be said

(via walidhani)

(Source: mowliegrowlie, via comradewodka)

kellysue:

chiloconcarne:

shadowise:

A Lonely God - a series of slightly sad superhero posters.

Source

I’m in love with this

I was just talking to an artist yesterday about the tendency to crop things really close and tight in order to enhance drama.  If it’s overdone — which happens frequently with artists—you start to feel like you’re watching a movie through a hole in a sheet.  

Pull the camera out.  Be brave enough to let the reader orient. 

Occasionally, in the right moment, pull the camera way, way out even. How does that effect the emotional beat? 

(via fannishcodex)

fixatedonfashion:

Magazine: Allure Russia February 2013
Photographer: Raymond Meier
Model: Crystal Renn

aviculor:

SOME

BODY ONCE TOLD ME

(via adorablesnakes)

we-no-sincity:

Honey, I’m home.