munakwin reblogged
Clients’ names and personal information have been omitted to retain their privacy.
trying-really-hard-ok
“That boy ain’t right.”
There’s more to abuse than hitting.
tbh, I was kinda waiting for someone to point this out and yes, you’re absolutely right. Abuse doesn’t have to be physical, it can be emotional and/or verbal.
This comic came about because I‘d read several commentaries comparing Homer Simpson and Peter Griffin, specifically in regards to how they treat their daughters.
Almost everyone I know who takes the time to think critically about The Simpsons or Family Guy hones in on the fact that Peter physically and emotionally abuses Meg, whereas Homer is incompetent, neglectful, and absolutely does not understand Lisa – but he loves her and he tries.
In the commentary about how Peter and Homer treat their daughters, I didn’t really see anyone bring up the physical/emotional abuse of their sons.
To lay it out there – I loathe Family Guy. Fucking hate it.
I grew up watching The Simpsons and can have entire conversations purely through quoting the show. But as much as I love The Simpsons, I think the overall cultural attitude to corporal punishment (physical abuse) has changed enough that it’s time to retire the running “joke” of Homer choking Bart. It may have been a culturally acceptable joke ten years ago, but more and more research is showing seriously negative outcomes for kids that have experienced any form of physical punishment. We need to stop normalizing it.
As for King of the Hill, Hank and Peggy are hardly perfect parents and both have a tendency towards stifling Bobby’s more flamboyant and/or “feminine” behavior. But they both love Bobby; they have both, at different times during the show, been able to connect to Bobby through his various interests. While not perfect, they are a much healthier depiction of a family.
As a queer transgender dude who grew up in Texas and is totally unsuited for Southern concepts of masculinity, I have a real soft spot for King of the Hill and for Bobby. It’s a far more real and complex depiction of family, compared to the pointless cruelty of Family Guy or the lesser cruelties of The Simpsons.
darth-darling
“That Boy Ain’t Right” Hank said this a lot, but if I remember correctly, he’s never said this to Bobby’s face. He doesn’t understand him sometimes, but he’s never treated him like Homer and Peter have.
Another thing on Hank. A big part of the show is Hank learning to be a good father while dealing with his experiences with his own shitty, racist, abusive father. If Hank has a scene where he is extremely uncomfortable, it’s almost entirely with showing emotions. When someone is crying or upset around him (Peggy, Luanne, Bobby, John Redcorn, Bill, etc) he shuts down because that’s what his father molded him into.
And by the end of the series you see him behave differently. He learns to be openly romantic with his wife (even having sex on a freaking train), he deals with his father’s issues, HE DRESSED IN DRAG IN FRONT OF THE NEIGHBORHOOD FOR BILL, and most importantly he learns that his son will always be “different” and gets over his own unease so that Bobby can be happy. Hank’s a good dad on the pure measure that he tries and that’s damn more than Peter or even Homer.
But Bob Belcher will always be #1 dad anyways.
felina-marlena-vasquez
I’m glad I searched the notes long enough to find this addition since it’s great and covers all the issues I failed to word myself because I just can’t words sometimes.
my-sfw-ships
Worth a reblog just for the commentary.
munakwin reblogged
Art
marzipanpieplatebingo
munakwin reblogged
blackness-by-your-side
That’s how American export democracy works.
munakwin reblogged
the-real-eye-to-see
“this is the 90’s"
But in 2017 this shit is still the same.
You can tell how upset and uncomfortable they were. So sick.
they?? I aint see no "they" saying shit but mel b
Source: twitter.com
culturenlifestyle
Beautiful Bengal Cat Suki Adds Magic With Her Dazzling Sea Blue Eyes Against Nature
munakwin reblogged
This is Lesbian Money Lincoln. Reblog to enhance your chance to find a lesbian or $$. Or a $$$ lesbian. Also good for protecting your favorite girlfriend jeans from tears or shrinkage.
myheart-istheworstkindofweapon
The Money Tubbs only comes around every 5628 seconds. Reblog the Money Tubbs and you’ll find money!
Bitttchhh the last time I reblogged some bullshit like this I booked a 2k 30minute shoot lmao
munakwin reblogged
Love Jones (1997)
This part always makes me smile.
mentalorgasm
Fucking love this movie
munakwin reblogged
Hell Nah! Rolling! 😂😂😂 #Repost @trickdaddydollars ・・・ A lil something to calm yo nerves #irma #sfl
munakwin reblogged
And people dare call these jobs “unskilled labour”
me: i hate country music
shania twain: let’s go girls!
me:
me: i hate country music
carrie underwood: right now, he’s probably-
me:
xelamanrique318
me: i hate country music
dolly parton: jolene jolene jolene jooooleeeeeeeeene
me:
me: i hate country music
Lady Antebellum: It’s a quarter after one!
me:
idkipoststuff
So what y'all are really saying is this: country music is amazing but people pretend it sucks
xelamanrique318
no we’re saying female country music is the only country music that matters.
munakwin reblogged
Deepa Dhanraj is a filmmaker and feminist whose extensive filmography spans issues of gender, labour, education and women’s position in Indian society. In 1980, she founded the Bangalore-based filmmaking collective Yugantar, an organisation that produced films about women’s labour and domestic conditions in Southern India. With searing imagery, Dhanraj’s highly influential 1991 film, Something Like a War, presented the gender and class violence of the population-control policy of the Indian government. In this interview, I talk with Dhanraj about the historic relationship between activism and documentary film and the ways in which she addresses contemporary industrial as well as aesthetic shifts in this cinema.
Deepa, you were closely associated with the Indian women’s movement during the 1970s and the 1980s. How did your involvement with this movement lead you towards documentary cinema? I became a documentary filmmaker because of my association with the women’s movement.
When we started our collective Yugantar in 1980, the intention was to make films on various struggles, agitations and issues that were being raised by the women’s movement at that time, particularly the shifts in consciousness, politics and the kind of contributions that both the activists and the academy were making in public discourse. A lot of theory was being generated and one of the things we asked as a collective was: how do you communicate this back to the audiences and particularly women audiences so that there is a continuous loop? How do you tell these stories and talk about this politics at all levels from the grassroots to the academy?
Personally, the intention of the collective was to document the struggles and then return these stories to the constituency, which could be women’s groups of all classes and as many institutions as we could tap into – trade unions, universities, high schools and film clubs.
Coming to the documentary medium from activism, how did you conceptualise the documentary form? What could the documentary film accomplish in the social collective?
We did not come to a ready-made understanding of documentary practice; we were creating a process as we worked. When we started this collective, our intention was to be collaborative and to stand with the women, not only to transmit their story.
With Something Like a War, we spoke about issues that were important to many women’s groups. I am often surprised at how much of my work is used for teaching in universities – but, at that time, it wasn’t our intention. With Something Like a War, we wanted to stop the government of India’s coercive targeting of poor women to achieve state sterilisation targets.
But we also wanted to address the structural consensual belief that the poor were responsible for their poverty because of excessive breeding. So in the film we also talked about why poor women made the reproductive choices that they did – they were not foolish, but various social factors influenced their decisions. So we not only had to address the state agenda but also this political consensus that made it acceptable to have a eugenics notion about the poor. The films produced with this political understanding acted as a medium between the activists and the academy and brought these issues into a space for discussion. So I see documentary films as building a bridge between these two worlds.
munakwin reblogged
gaystation-4
when everyone else is enjoying an audio post that tumblr won’t let you play
munakwin reblogged
hoemami-deactivated20171229