🌸 Sunneva Joh 🌸

A farce is a broad satire or comedy, though now it's used to describe something that is supposed to be serious but has turned ridiculous.

[🌸 Sunneva Joh 🌸 @SunnevaJoh]

@StuffWorthSee Hey - does anyone know what espresso machine is being used here?

[Michael Warburton @For_Film_Fans]

The late great BOB EINSTEIN and his real life Brother - ALBERT BROOKS - in

MODERN ROMANCE (1981)

[DiscussingFilm @DiscussingFilm]

Jonathan Banks has returned as Mike in a new video celebrating 250 years of America.

[🌸 Sunneva Joh 🌸 @SunnevaJoh]

@masuzafi notsoErudite as she is known on youtube and twitch is simply amazing - admire everything about her! Thank you for posting this, hadn't come across this!!

[єℓαιηє @elainesim28]

Best place to live in Ireland 😂

[Liberty Pill Memes @LibertyPillMeme]

I need this for my car

[🌸 Sunneva Joh 🌸 @SunnevaJoh]

@TheTNHoller @karaswisher Thank you so much for posting this. I went and looked for the whole thing - Marc is such a delight to listen to!

[🌸 Sunneva Joh 🌸 @SunnevaJoh]

@awkwardgoogle Crazy beautiful!!!

[SportsCenter @SportsCenter]

Edward Norton talking to himself at the USA-Türkiye game 😅

[Brittlestar @brittlestar]

America Explains Canada To Itself

[Picard Looking @Picardlooking]

New vid - Star Trek but the Borg are Australian

[🌸 Sunneva Joh 🌸 @SunnevaJoh]

@Jefersonnasa_ Report this post as spam - this bullshit has been posted before, word for word and been taken down - it's just to get attention. There is absolutely nothing wrong with Judy! Will you spamming assholes fucking stop this and go get a fucking job or just stop using the internet.

[The Farmer's Dog @FamersDog]

An update and a message from Jeremy.

“Thank you so much for all the kind messages I've had but now, an announcement.”

[SubRosa )✿( Magick @subrosamagick.bsky.social @SubRosaMagick]

She was 57 years old.
White hair. No carefully managed image. No media training designed to make her more palatable. Just thirty years of accumulated knowledge and the calm, unhurried authority of a woman who had spent her life mastering her subject.
She sat on a BBC panel, answered questions about immigration and politics, cited evidence, made arguments — and then went home.
The next morning, her inbox looked like a crime scene.
Her name is Mary Beard — Cambridge professor, classicist, one of the most respected scholars of ancient Rome and Western civilisation alive. And the internet had decided that a woman speaking with quiet authority on television needed to be punished for it.
The messages were not criticism. They were not debate. They were rape threats. Death threats. Coordinated campaigns of personal destruction targeting her appearance, her age, her voice — anything that could be used to remind her that spaces like the one she had just occupied were not meant for her.
Most people would have gone quiet.
Mary Beard went further in.
She did what scholars do when they find a pattern that disturbs them: she followed it backward. Through decades. Through centuries. Through millennia. All the way back to some of the oldest texts in Western civilisation.
And she found it had always been there.
In Homer's Odyssey — one of the foundational works of Western literature, nearly three thousand years old — there is a scene that most readers pass over without registering its quiet violence. Penelope comes downstairs and asks the poet to sing a different song. Her own son, Telemachus, cuts her off. He orders her back to her room and tells her plainly: speech is the business of men.
She goes.
Mary Beard read that scene and recognized it immediately.
Not as ancient history. As a pattern.
In ancient Rome, women who dared to speak in public were not described as orators or thinkers. They were described as noise — disorderly sound, something that did not deserve to be called language or argument. Their voices were not speech. Their thoughts were not thoughts.
In the medieval world, women who claimed public authority were labeled as witches.
Elizabeth I — Queen of England, ruler of a nation — had to rhetorically reshape herself into something masculine just to be taken seriously as the leader of her own country.
The silencing of women who speak with authority was not invented by social media. It was not a modern pathology or a cultural accident. It was built deliberately, over centuries, into the very foundations of how Western civilisation defined who gets to speak, what authority sounds like, and who is allowed to take up space in public life.
Mary Beard had found something important.
In 2017, she published Women & Power: A Manifesto — short enough to read in an afternoon, substantial enough to reframe everything you thought you understood about why this keeps happening.
Her argument was precise and devastating.
The problem is not that women lack the ability to lead. The problem is that the model of leadership itself — the template for what public authority looks, sounds, and feels like — was built by men over centuries and has never been redesigned. When a woman enters public life and doesn't fit that template, she is not failing. The template was never built for her. It was built specifically to exclude her, and it has been doing exactly that, efficiently and continuously, for three thousand years.
The solution, Beard argued, is not to teach women to perform power the way men have always performed it. The solution is to dismantle and rebuild the very concept of what power is allowed to look like.
She kept teaching. She kept writing. She kept appearing on television — white-haired, unhurried, carrying her decades of authority without performing it, without packaging it for comfort, without apologizing for it.
The threats continued.
But other messages began arriving too. Letters from women and girls who had spent their entire lives feeling that every door was slightly too narrow, every table slightly too high, every room slightly reluctant to make space for them. Women who had spent years wondering what was wrong with them — why they couldn't quite fit, couldn't quite belong, couldn't quite be taken seriously no matter how much they knew or how hard they worked.
They read the book and understood, perhaps for the first time, that nothing had ever been wrong with them.
The room had been designed without them in mind.
That is not a personal failing.
That is a three-thousand-year-old architectural decision.
And one Cambridge professor with white hair and a calm voice — who refused to go quiet when the internet told her to — spent her career documenting it, naming it, and handing that knowledge to everyone who needed to hear it.
Telemachus told Penelope that speech was the business of men.
He was wrong then.
He is still wrong now.
And Mary Beard has three thousand years of evidence to prove it.
via The Inspireist

#FeministFriday #HERstory

[🌸 Sunneva Joh 🌸 @SunnevaJoh]

@crendor Ok I don't know anything about Warcraft but I'll slide you a 5 dollar bill if you make Jesse play Escape the Backrooms with you again soon 🙏🏻❤️

[Matthew Keys @MatthewKeysLive]

Just one day after ending "The Late Show" on CBS, Stephen Colbert returned to TV — to host a public access show with rocker Jack White in Monroe, Michigan.

Appearances by Jeff Daniels, Eminem and Steve Buscemi.

[oscadysseus @_onthewayjay]

“You cannot quote me a single line from Aquaman” is one of the funniest things anyone has ever said

[Vashi Nedomansky, ACE @vashikoo]

In 2001, Hugh Jackman delivered the most realistic computer hacking scene in film history. To this day, it is used for training at the Cybercrime Division of the FBI.

[Alain Astruc @alainastruc]

The only thing epic here is the aesthetic catastrophe.

Nolan is a cerebral director of the global anglo world, all his intelligence put to industrial ends. Grey matter for a grey world. Nothing in this trailer is Greek. Nothing is Mediterranean. No olive groves and no white stone burning under the sun and no salt and no pine and no sea-glare. A deracinated Odyssey, made for imaginary nobodies from nowhere.

The script feels like it's going to be the work of a diligent student who took down the events of the Odyssey one by one, forgetting that this is not a novel but an archaic poem, from a time when men and women lived each word as a heartbeat, who sang the soul and flesh of a people and of a world at once real and supernatural. A poem in which Telemachus does not say "my dad is coming home."

The Odyssey deserved a Parajanov or a Fellini or a Welles, someone larger than life, a Dionysian ogre, someone hungry, someone who could make a film that smells of figs and raw wool and roasting meat and tar and blood. Monsters that are actually monstrous and seductive witches with real venom and golden shields catching real light and banquets going on for days.

And the women of the poem, who are everywhere in Homer and seem so cold and dull here. Circe in her smoke and Calypso in her cave and Penelope at her loom, the sensuality of witches and the rigid loyalty of wives, all replaced by a fashion-armor Athena and a Penelope played as a strong American woman.

And then there is what the Odysseus of the trailer says: "No one can stand between me and home, not even the gods". The cunning sufferer who knew how to bow to divine forces turned into a defiant individualist who bows to no one. Greek cunning replaced by American autonomy. The poem's central lesson reversed in a single line of dialogue.

I usually don't mind Hollywood slop, but this has made me weirdly angry, and the film isn't even out yet. I feel as if a red line has been crossed, some hubris that has gone too far. The gods have been angered. How could they not be, with the decapitation of that statue at the end of the trailer? An iconoclastic gesture absent from Homer, usual with the monotheistic traditions that have spent centuries smashing pagan images.

Nietzsche said he would believe only in a god who knew how to dance. Apollo without Dionysus produces exactly this: cerebral, cold, unambiguous. I cannot trust a filmmaker who is not hungry enough to banquet with the gods.