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"Diana’s lack of cultural and accumulated background trauma is perhaps what makes this version of her..."

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Diana’s lack of cultural and accumulated background trauma is perhaps what makes this version of her so iconic compared to other superheroes, across both Marvel and DC. While all superheroes personify various fantasies of power, in this iteration Diana represents the fantasy of freedom from structural violence and harassment. It’s not just that she can fight her way out of danger—it’s that she’s a vision of what could be possible if women weren’t in danger as often as they are.

Over the course of Wonder Woman, Diana is also continually shown listening to and respecting other women, when the men around her are eager to underestimate or dismiss them. This is particularly noteworthy, since Diana is a warrior and a princess and the women she meets are not only ordinary 20th-century residents, but lack institutional power.

It would be easy to portray Diana as valuing strength or courage, finding the women who grew up under patriarchy confusing. Instead, there’s Trevor’s secretary, who Diana treats with kindness and respect from the moment they meet. There’s a woman from a destroyed village, ignored by the soldiers in the trenches and seen as another acceptable victim of the war, whose plight Diana takes seriously. Even the female villain of the piece, Doctor Maru, is spared by Wonder Woman in the hopes that she could be reformed.

Diana will argue with other women and fight against them, but she’ll never be their rival or feel threatened by them, and refuses to condescend to them as well. In a genre of film that glorifies strength and fighting skills—particularly in the rare instances that women are allowed to be action stars—Diana’s kindness and respect is a deliberate subversion.



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https://www.vice.com/en_us/article/wonder-womans-best-superpower-is-destroying-sexist-tropes

“It’s not just that she can fight her way out of danger—it’s that she’s a vision of what could be possible if women weren’t in danger as often as they are. “ like this whole excerpt is magnifique but that part right there made my heart clench

(via finnglas)

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MaryEllenCG
3 days ago
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YES.
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adamcole
2 days ago
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Philadelphia, PA, USA
bibliogrrl
3 days ago
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Chicago!
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DESCRIBING LIBRARIANSHIP TO NON-LIBRARIANS

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11 days ago
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12 days ago
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This Farmer Wants To Give Animals A Better Life — And Death : The Salt : NPR

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Jon McConaughy, owner of Double Brook Farm, stands in the field with his flock of sheep. Paige Pfleger/WHYY hide caption

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Paige Pfleger/WHYY

Jon McConaughy, owner of Double Brook Farm, stands in the field with his flock of sheep.

Paige Pfleger/WHYY

As farmer Jon McConaughy wades through his flock of 400 sheep, lambs bleat, seemingly saying "maaaaa" as they look for their mothers in the huge pasture.

"Between seven and 10 lambs a week is what we use," McConaughy says, looking across the field. "That's what goes through the slaughterhouse."

McConaughy's Double Brook Farm in Hopewell, N.J., has one of only two U.S. Department of Agriculture certified on-premises slaughter facilities in the country. That means that, instead of taking his animals to a large commercial slaughterhouse, he can slaughter his own pigs and lambs each week, all within the confines of the farm.

"When it comes time for them to be harvested, we walk them to the slaughterhouse. So they never get on a trailer, they never have to experience the stress that goes along with most slaughterhouses," McConaughy says.

His livestock live their entire lives on this farm, from birth to harvest.

Double Brook works to reduce the stress on its animals for a few reasons: McConaughy thinks the quality of the life of an animal is just as important as the quality of its death. And, secondly, stress can ruin meat.

"Stress hormones affect the acid levels, which affect the meat to the point in some cases where it's inedible," he explains.

On slaughter day, lambs and pigs are walked to the back of the slaughterhouse, which looks like a barn from the outside. The pigs grow up in the shadow of the building, and it's a short walk from their pasture to the holding pen. Then about 10 of each animal are selected for harvest.

"I would say that's probably the hardest thing for me, is that on that particular day, why are those the ones chosen?" McConaughy says.

The last pig of the day is waiting in the holding pen, snorting and walking around the enclosure that held nine of its litter mates before. He has beady black eyes like marbles and is covered in dirt and coarse black hairs. Butchers herd him down a curved path into the slaughterhouse. Once inside, a gate is closed behind him and he stands in what's called the knock box.

The butchers pet the pig and talk to him, while another butcher prepares the captive bolt — a bullet that is shot into the pig's head to render it unconscious.

"In a commercial slaughterhouse, there is a pig every 15 to 20 seconds. We're watching the process right now and we have probably been sitting here for a minute and a half, watching this whole thing going on," McConaughy explains.

The butchers get the pig in place and the captive bolt fires with a loud crack. They open the gate and the pig falls to the floor. They take a knife and slice open its jugular vein, and the pig's blood spills out.

"The heart will continue to beat for another three or four minutes after the brain has been killed. And so the animal will continue to move and convulse," McConaughy says.

The pig twists and writhes in its own blood until it stops moving. The butchers, clad in heavy aprons and black rubber boots, lift the lifeless body into a metal machine, which boils its hair off. When the pig comes out it looks less like an animal and more like meat — its flesh is pink and clean.

A butcher then pops the toenails off with a knife. Another takes a blowtorch to scorch the remainder of the hair. They saw into the breast plate until the bone cracks, and use a giant serrated knife to cut the head off. Chains jangle as they hoist the body to the ceiling. One butcher slices the stomach and the guts plop into a metal wheelbarrow.

"I happen to think that the slaughter process is something that most people should watch if they're going to eat animals, and if it turns them away from animals, then that's probably a good thing," McConaughy says.

He thinks being exposed to the slaughter process helps people connect the meat on their plate to the animal it once was.

"One of the big differences with our kids versus other kids is that they very, very rarely waste anything," McConaughy says. "They understand that these animals gave their lives for us."

Paige Pfleger reports for WHYY's health and science show, The Pulse. This story originally appeared on an episode of its podcast called The Meat Show.

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adamcole
11 days ago
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bibliogrrl
12 days ago
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Chicago!
satadru
14 days ago
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New York, NY
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minderella
11 days ago
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"'I happen to think that the slaughter process is something that most people should watch if they're going to eat animals..."

thinksquad: Actually, that is wrong, more people didn’t vote for...

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thinksquad:

Actually, that is wrong, more people didn’t vote for either candidate

http://brilliantmaps.com/did-not-vote/

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adamcole
17 days ago
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Hey, national shame! I see you there!
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sirshannon
18 days ago
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1 public comment
toddgrotenhuis
13 days ago
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We are the 97%
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Plutocracy: The Gathering

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ryanbrazell
29 days ago
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@smithpres @bkeniray @cartlando
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digdoug
23 days ago
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Louisville, KY
adamcole
24 days ago
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Ramen Rock: These Japanese Punk Legends Sing About Food

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For our interview, Risa, Naoko and Atsuko changed into their signature outfits: geometric-patterned dresses, designed by Atsuko, reminiscent of a Mondrian painting.

For over 35 years, the all-female Shonen Knife has been serving up catchy punk titles like "Wasabi," "Hot Chocolate" and "Sushi Bar." But don't mistake them for bubblegum pop. These ladies are legit.

(Image credit: Ariel Zambelich/NPR)

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adamcole
24 days ago
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I haven't listened to Shonen Knife in YEARS. Gotta rectify that today.
Philadelphia, PA, USA
acdha
26 days ago
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Washington, DC
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