Hey, just want to let anyone considering following me that I look at blogs when the follow notif comes in to make sure they’re not bots. If you haven’t made any posts or reblogged anything, only like posts and haven’t changed your blog appearance, most likely I’ll end up blocking you. This goes triple if your avatar is the default or a photo of a random human face.
This site requires engagement. If you don’t engage with it in full, I will assume that you’re not a real person. It’s as simple as that.
I know child trafficking is important, but the movie Sound of Freedom is kind of making me raise my eyebrows. I heard that the movie has some QAnon adjacent stuff.
and like mel gibson is a raging racist, sexist and antisemite. and this isn’t the first article I’ve found that connects mel gibson to the sound of freedom I just can’t find the other one right now. so that’s enough for me to not want to watch the movie in theaters.
Jim Caviezel, who stars in this movie, is a QAnon simp (and generally a far right weirdo). He was in Gibson’s PassionoftheChrist and it wouldn’t surprise me if the two of them rubbed off on each other.
Caviezel seems to believe that “the cabal” - who of course don’t exist, it’s just QAnon nonsense - are child traffickers. This makes him possibly the worst person in the world to star in a movie about child trafficking, as it’s bound to fuel his bullshit beliefs.
Ahhh thanks for this!!!
BTW here is some additional context about this movie from a Youtube commentator who usually puts out work addressing disinformation and misinformation
Nothing in Hollywood has made me angrier than seeing Mel Gibson rehabilitated. He’s a fucking antisemite. And Jim Caviziel is his pet and has been for 20 fucking years. If both of them can be in hollywood, surrounded by the most creative, educated, open conversations on earth and NOT grow and stop? Then he likely isnt going to. Tell everyone.
“Silk is a noun. All nouns are very lonely. They’re like
crystals, each enclosing its own little piece of our knowledge about the
world. But examine them thoroughly, in all their degrees of
transparency, and sooner or later they’ll reveal their knowledge. Say
the word silk, and it vanishes with the sound, but your senses,
your memory and knowledge cast back an echo. Write it on a piece of
paper, and it stays there, unmoving, but your thoughts and feelings are
already on their way to the farthest corners of the world. That’s what I
mean about the loneliness of nouns; each one has to be self-contained,
as if it were the only word that existed. As if silk were the
only word, and is therefore able at any time to awaken our encapsuled
knowledge not only of silk, but of the world itself. Even of forgetting.
Just try to forget the word silk, and you’ll be reminded of it
next time you see the summer sky, a flower petal, or the membrane
between two muscles in a butchered chicken.”
Inger Christensen, “Silk, the Universe, Language, the Heart,” trans. Susanna Nied, Poetry (September 2018)
All your favorite things that you’ve been watching for years, and you know those actors that you go, “Oh, there’s that guy on that show.” You may not necessarily know their names—you may see me on a show, you may not know my name, but you’ve seen me on a lot of things. Those actors, those actors are working-class actors. We’re literally working paycheck-to-paycheck.
It takes $26,000 to qualify for your health insurance for SAG-AFTRA. A guest star on a show, producers will do top-of-show—this is a verbiage that they created, it’s not in our contracts, it’s what they created—so they’re not gonna budge above whatever their top-of-show is. Top-of-show, generally, could be anywhere from $5,000 to $7 or $8,000 an episode. Maybe that sounds great. So say I cobble together 2 or 3 guest stars during a year. People, our audiences, sees me on 3 or 4 different shows, and they’re like, “Wow, that actress is working, she’s doing all this stuff.” I still, by doing that with top-of-show, I have still not qualified for my health insurance. We literally are going paycheck to paycheck.
Back in the day, we used to have quotes. That once you’ve been working for a certain amount of time, you’re working really hard to get your quote up, to get your salary up. They decided to get rid of that, so they no longer acknowledge or respect that. This industry is one of the few industries that seniority, that being in this industry for a long time, that gathering up an amazing resume, doesn’t mean anything to them.
Yes, there is some very wealthy actors. Absolutely. There’s 160,000 members in our union. 160,000. 1% are the top grossers. 1%. And of that, maybe 2% are the ones that literally support and uplift our union, and keep the insurance going. Everybody else is below the line.
People don’t realize that SAG-AFTRA is not just actors. We’re broadcasters, we’re stunt coordinators, stunt workers. We’re dancers and singers and voiceover artists. There’s a huge umbrella that we encompass, and 98% of those people are below the line? Are struggling to make a living? In an industry that we all know is making billions?
I think about this all the time, we talk about this in our caucuses. Back in the day, we used to talk about millions, everybody wanted to make millions, and oh wouldn’t that be amazing. These people are making billions, and yet they don’t have money to give us just a scooch more? To contribute to our pension and health? To allow us to qualify for our health insurance?
We have actors that you all will recognize. You will know us from that guy on that show that have lost their insurance, no longer qualify, and are hustling just to get a day on a job to just pay their rent. Not even their insurance, their rent.
This is a serious, crucial moment. This sounds hyperbolic or whatever, but it is a life-or-death situation. Because we’re talking about, you know, taking care of our families. Taking care of our loved ones, you know, our parents, if they’re getting older. You always, as a child, you want to be able to contribute. Should I be at this age, still asking my parents for money? No. I should be taking care of my parents. It’s painful.
I’m trying not to reblog posts on this blog but I feel that this is important to post here.
on a related note:
And for the people asking “Well if you don’t support it irl then why would you like it in fiction?!” Because when it’s happening irl real people are suffering and dying and that’s horrible and I’d never want that. But when it’s fiction, when no real people are being hurt or killed, it’s interesting to explore the experience, the effects it may have, and to an extent experience the emotions involved without actually having to experience the horrible thing. You explore scary, dangerous things from a safe distance.
Asked by Anonymous
