very glad no other land won and seeing it at a local palestinian film festival last year was one of the most impactful experiences i've ever had in a theater like when the text of final end card came up on screen you could feel it hit the whole room, but even in that moment while watching it it was so obvious why the film was framed the way it was and every time i've seen yuval speak during the press tour or read his writing since it's made it more grating… truly hate that to get this film to see the light of day and get even the limited distribution it's had that basel has to like. humor him in this way. and constantly share every stage and platform the film affords them because it is a Shared Project even though it's absolutely basel's story it's his community and family and home and his fucking life

basel even comments on it in the film itself, the lib zionist perspective yuval has about the problem and how it's going to be solved, but that framework is what the entire premise of this film's existence is built around and especially central to how it's been promoted and talked about globally. it's about their friendship it's about them coming to an understanding, the underlying implication you can fix oppression by making friends with an individual Good Guy who materially benefits from your oppression, whose place in society depends entirely on the existence of this oppressive structure, who decries violent resistance as Just As Bad as the violence committed by the occupation, but he feels bad about it so he has a dream where everyone can one day just get along. that the best way forward is to get this story in front of the right eyeballs in the West, to appeal to the sympathies of global audiences that they might speak out enough to change something… in that way it's very much an oscar film that hollywood typically loves, but because it's about palestine it feels like a miracle that it was acknowledged at all. idk just feels bad man

good article

The film’s title begs the question, no other land for whom? We hear it in the Palestinians pleading with the Israeli soldier aiming a bulldozer at their homes. But its echoes are also the film’s subtext, the possibility of a future shared between settler and native. A settler has come to help the natives, hoping to redeem himself and, implicitly, the horizons of the settler-state. Where are we supposed to go?, we can imagine an Israeli asking a Palestinian, having been made a guest in their home, once political reality enters their conversation. 

Much of the film, which is ostensibly about the ethnic cleansing of Palestinian villages, is spent tracing the friendship of Adra and Abraham. Several scenes find Adra and Abraham driving in a car, smoking hookah in a restaurant, sitting simply in conversation about the present and the future (the past, beyond that of Masafer Yatta, is generally left alone). Toward the film’s end, during one of these heart-to-hearts, Abraham offers a vision of Israel that no longer denies Adra his rights. He asks Adra to dream with him of a future in which Palestinians and Israelis live side by side. “Inshallah,” Adra half-humors his friend. Over the course of the documentary, by talking to Palestinians and witnessing the actions of fellow Israelis, we see the settler growing, learning from the native. We see the settler recognizing, in his limited way, the nature of Zionism at a pace the Palestinian, here exceedingly patient, can’t afford.

While No Other Land tells the story of one Palestinian community’s depopulation, it also stands in for the liberal’s long-sought-after Roadmap for Peace. Abraham introduces himself to the Palestinians with whom he works as yahudi, Jewish. He offers them his time and energy, and risks his safety, to tell their story. “I need to write something about the protest today,” Abraham tells Adra from the passenger seat, while the latter, driving, focuses his eyes on the road. “I have to write more. The article I wrote on Harun’s mom didn’t get many views.” “I feel you’re a little enthusiastic…” Adra says, and Abraham asks him to clarify. “You want everything to happen quickly … as if you’ve come to solve everything in ten days, then go home.” Adra snaps his fingers before returning his hand to the wheel. Abraham remains committed to ending the program of ethnic cleansing committed in his name, but in the film and elsewhere, he attributes those horrors to the “occupation” rather than to Zionism. His condemnation of the former serves to preserve the latter. This distinction is artificial: from the standpoint of its victims, Israel is its occupation, the Zionist project necessarily one of ethnic cleansing and genocide, of total erasure.

Abraham attempts a rehabilitation of an iteration of Zionism that doesn’t exist but could, a familiar settler hope (think, imagine what America could be). In one clip, Abraham appears on Democracy Now! to say, “As an Israeli, it’s very, very important for me to stress that I don’t think we can have security if Palestinians do not have freedom.” The possibility of this future depends on the actions of individuals like Abraham, although the film itself reveals the futility of this vision. After the Democracy Now! clip, the film cuts to Abraham on Israeli TV. Here, Palestinians are the other: “They have no voting rights under military occupation,” Abraham says. “Basel, a guy my age who lives there, can’t even leave the West Bank, and we destroy their homes every week—” Here, he is cut off by another Israeli on the panel, calling in remotely: “You’re against Jewish people, in everything you do.” Abraham sighs, then pushes back, calling the man a liar, only to be interrupted by him again: “They’re invaders in a military training ground.” This thinking, not Abraham’s, is at the heart of Zionism. Israeli soldiers and settlers taunt Adra and Abraham repeatedly, goading them to upload the videos they record to see if this might change anything on the ground. In the final footage recorded for the film, we hear Adra on the phone with Israeli authorities, asking for protection. We see armed settlers descend on Masafer Yatta, then Adra’s cousin shot point-blank in his abdomen by a man in a T-shirt. Words flash across the screen, informing us that, since October 2023, many such attacks have continued to take place, prompting Palestinians to flee their homes.

…

The film doesn’t engage with other ways this suffering might end. The only resistance we see is nonviolent demonstration. Adra is an activist, a term whose configurations are vague except vis-à-vis violence. The film matter-of-factly captures plenty of violent Israelis, settlers and soldiers, armed and sustained by the state, their bulldozers and their unmoved expressions, or their twisted smiles as lives are destroyed, but no Palestinian fighters, no direct Palestinian response. Instead, Palestinians and their supporters are “armed” with their cameras, committed to capturing an aftermath to which a sympathetic Western audience might choose to respond on their behalf. At the film’s start, Adra’s father, who has been imprisoned and abused by the Israelis multiple times, describes a desire to throw rocks at Israeli soldiers, then apologizes to his Israeli guest, explaining that sometimes he finds himself so angry. The woman’s son was shot at a peaceful protest. 

Before the footage capturing the settler attack on Masafer Yatta, during which Adra’s cousin was shot, the producers inform the viewer through an intertitle, “We finished this film in October 2023.” The implications here are obvious, a Pandora’s box that the film, committed to the possibility of a future that accommodates both settler and native, must bend over backward not to touch.

also:

From Perfect Victims: And the Politics of Appeal by Mohammed El-Kurd:

Take the genre of Israelis and Palestinians making films together. The Palestinian filmmaker is chaperoned to the film festival, allowed on stage as their authoritative cosignatory's charismatic sidekick. No one—not the producer of the festival, not the columnist writing a review—seems to care about the content of the film, whether it is good or garbage. What matters most is that the film was codirected, a mode that satisfies a libidinal urge in the viewers. They eavesdrop on a forbidden conversation, a titillating reconciliation between the slayer and the slain. Discussions about the film, reviews, the way it is promoted, and our excited elevator pitches to one another all become masturbatory, reducing the film to the fact that it was a collaboration between an Israeli and a Palestinian, fulfilling the viewer's fantasy of a happy ending to an otherwise miserable story. We turn it into a fetish.

Abraham attempts a rehabilitation of an iteration of Zionism that doesn’t exist but could, a familiar settler hope (think, imagine what America could be). In one clip, Abraham appears on Democracy Now! to say, “As an Israeli, it’s very, very important for me to stress that I don’t think we can have security if Palestinians do not have freedom.”

adorno, "...on the contradictions of utopian longing":

bloch, ibid.:

sometimes you need dialogue tags and don't want to use the same four

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For anyone who needs this

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SPOOKTOBER PACKS: FREE CONTENT—on the SOURCE LINK, you will find #110 gifs of the actress RUBY CRUZ in CASTLE ROCK !! all of these gifs were made by me from scratch so please don’t repost them and claim as your own & make sure to check out my guidelines before using my content. please LIKE/REBLOG if you find this helpful & consider BUYING ME A COFFEE ( THAYWRITES ) linked on my theme or COMMISSIONING A GIF PACK from me. ♡ you can access the full gif pack through the payhip link, along with a rar download file, or through my directory.

TRIGGER WARNINGS: blood, eating, bruised eye, babies.

Yes, do it, close the gap between Zionism and Nazism

YOU can write whatever you want whenever however forevrr. i have to write something perfect and earth shattering and i have to do it perfectly the first time or else

Reminder for when he “saves” it. He was the one who wanted this, and now he gets to be the hero and win favour with young constituents. Don’t give him the credit for fixing his own problem.

DO NOT FALL FOR THIS BULLSHIT.

it was a stunt.

they plastered his name all over these alerts. and wasn't even down for a full day.

don't be a fucking idiot. he's not your tiktok savior. they're both playing you.

You've been cast into a fictional setting, and you don't get to pick your genre. This wheel picks it for you.

if you're trying to get into the head of your story's antagonist, try writing an "Am I the Asshole" reddit post from their perspective, explaining their problems and their plans for solving them. Let the voice and logic come through.

It confuses me how normalized it is to be so anti human. The fact that two countries voted no to food being a human right. The fact so many people are against universal healthcare. The fact that it’s normal to believe some people don’t deserve housing because they’re poor, addicts, mentally ill, or any combination of the above. I find it so hard to comprehend that humans who have experienced hunger, thirst, cold, and illness would wish these things upon others, or at the very least not care. It frustrates me beyond belief.

These are the exact values we’re taught as children, to believe all humans are equal in worth and needs, and yet at some point you’re expected to grow out of that illusion. You’re expected to accept that this is what life’s like, that the world is unfair, and attempting to fix it makes you weak and childish.

that’s capitalism for you.

guys. please

both of these simultaneously

Therapy is expensive, but there are free non-chatgpt resources out there

I've used all of these and can vouch for them. Stay safe, love u guys 💖

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Overview of some topics when it comes to drawing characters who are burn survivors.

DISCLAIMER. Please keep in mind that this is an introductory overview for drawing some burn scars and has a lot of generalizations in it, so not every “X is Z” statement will be true for Actual People. I'm calling this introductory because I hope to get people to actually do their own research before drawing disabled & visibly different characters rather than just making stuff up. Think of it as a starting point and take it with a grain of salt (especially if you have a very different art style from mine).

Talking about research and learning... don't make your burn survivor characters evil. Burn survivors are normal people and don't deserve to be constantly portrayed in such a way.

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edit: apparently tum "queerest place on the internet" blr hates disabled people so much that this post got automatically filtered. cool!

Something I find very interesting about this CEO assassination is that the guy who did it has basically become an American hero.

They're probably quite worried about what will happen when they catch this guy, especially with the level of public support he has. If they catch him alive and he gets to air his grievances, he could unite the entire country against the private healthcare system. It could go to trial and result in jury nullification, which would basically send a message to the American public that catching a rich body comes without consquences.

If they kill him to keep his mouth shut, I'd say people will burn cities to the ground, and it could potentially provoke even more anger against private health insurance. In a powder keg, it only takes one person lighting the match.

I know it sounds over the top, but a figurehead is a powerful thing, and that's what this shooter is. The rich understand it. That's why Blue Cross just magically decided they were going to pay for anesthesia again. Those dead-eyed psychopaths were going to take everything they could until someone shot that guy and that's the gospel truth.

Keep the hate fire burning. Watching their fear is the closest I've come to knowing joy since the Bush administration.