#amazon prime

Writers of the past warned us about letting Big Brother and alike in our lives, either with or without consent for a generous and obvious amount of reasons. Today we have compromised quite a bit with the triangulation of privacy between us, government, corporations, and where the value should be placed at; however, there’s also a great deal in politics that comes with it.

This week Amazon publicly bloomed another interesting idea in terms of delivery and privacy polarization which involved the users receiving his/her goods, with theAmazon Keyservice where the delivery person has access to your home via a kit costing $249.99. This service requires Amazon Prime and the bundle includes a smart lock and a cloud cam to monitor the delivery personnel to your home, which basically translates into Amazondropping your package entering your doors.

Paying to have strangers in your home?

I’ve heard different complains up until now about couriers dropping packages to the front door and eventually getting stolen by someone else. We are talking about packages which cannot fit in the common mail box and are delivered the homeowner aren’t in. Here we have a common problem where there’s data missing in the form of service between the user and the business. But delivering a package without anyone stealing it is more an issue of drop-off timing and setups.

Ever since the internet became widely and commercially available we stepped backwards in terms of privacy rights and user rights. There’s an ongoing battle to protect not only the neutrality of the internet but also the privacy of the user. This is not a confrontation to safeguard what we go online for, it’s a struggle to keep sensible data away from those who might use it against us. Social Security numbers, credit cards information, shopping habits, health status, and so on; the struggle gets more and more intense every time

The extension of 3rd party body into our privacy is now a reality…

In terms of privacy users aren’t helping the cause as they are voluntarily giving up personal information at no cost to online social platforms. Facebook knows a great deal of every user and it crosses such data with other apps like Instagram to provide exact persona and behavior; great amount of data sold to corporations for business purposes comes from platforms like Twitter, Tinder, Snapchat, Youtube . 

By using Amazon Key we remove the last boundary of security we hold by letting strangers in our homes despite being monitored; however, how secure will these locks be? If modern cars can get hacked, how long do you think it’ll take to remotely open a door? But ultimately, how much are you willing to give just to have your package inside your door. Is this all worth it?

One of the problems with the “politically relevant” fantasy genre is that it frequently offers “representation” and “relevant” critiques of social problems in ways which favor the representation of the oppressions people face, rather than of the people themselves–meaning metaphors which parallel fantasy races to people of color while using a predominantly white cast. Often times this further reifies the unmarked categories of the cultural context the work is produced in (ie whiteness as the dominant & default category), further marginalizes and dehumanizes people of color, andpositions white folks as the victims of metaphorical white supremacy. Amazon’s new streaming original Carnival Row is an unfortunately clear example of this continued fetishization of white poverty/desperation/vulnerability at the expense of communities of color. 

Spoilers below. 

While one might rightly critique the “trauma porn” genre and the way that people of color are often brutalized on screen or depicted only as victims of violence in discussions of oppression, with the solidarity and resistance of communities of color erased from dominant narratives, substituting white bodies into these sequences of violence does not offer us a useful subversion. In her book What You Are Getting Wrong About Appalachia, Elizabeth Catte talks about the historical and contemporary use of a particular image of white poverty. The focal example of Catte’s book is J.D. Vance’s memoir Hillbilly Elegy (2016) where Vance consistently uses the image of the bad, dependent poor white to reify racist images of poverty and undermine the need for programs and systems to support poor folks–just one example of this is the way he insists that the “welfare queen” is real and implicitly argues that the use of this stereotype to undermine welfare programs is not racist because he has known white welfare queens. Outside of contemporary use, Catte also gives examples such as how in the 1960s “white poverty offered [white people uncomfortable with images of civil rights struggles] an escape–a window into a more recognizable world of suffering” (59), and the quotes Appalachian historian John Alexander Williams comments on the way that, in the displays of Appalachian poverty, “‘the nation took obvious relish in the white skins and blue eyes of the region’s hungry children’” (qtd Catte 82). This obsession with white poverty has little to do with addressing the actual problem; instead, it is a tool used to obscure oppression, resistance, and transformative solutions to these problems. 

Carnival Row offers a discourse on colonialism, racism, and xenophobia intended to mirror the political climate of the real world, namely the violence experienced by refugees and undocumented immigrants. It also attempts to comment on the way that Global North/colonial nations often create or are implicit in the creation of catastrophes which cause Global South/colonized nations and regions to become unsafe and result in refugee migrations, as well as the subsequent way that many times when refugees end up immigrating to the very nations that played a role in the collapse of their homelands, they are met with violence on multiple levels and their traumas are ongoing. In this current moment, this kind of discourse/intervention is “relevant” (I use scare-quotes because while the treatment of refugees in many Global North nations is horrendous in this current moment, this is not a new problem the way it sometimes is imagined) and I’m even willing to concede that there are some things which I think are done well. However–and this is a big however–the choice to make a predominantly white non-human population the metaphorical stand in for real life people who are predominantly of color greatly undermines what the series is attempting to accomplish. The implicit message is that it is easier for general audiences to sympathize with and recognize the personhood in non-human white figures than it is to sympathize with and recognize the personhood in real life people of color who are actively experiencing the violence fictionalized in this series. Furthermore, even as the victims obscure the real role white supremacy plays in xenophobia and the violence experienced by migrants and refugees, it still is a form of trauma porn. The only real difference is that because of the dominant whiteness of the victims, this version of trauma porn allows for the voyeuristic participation in systems of violence wherein many who are passively complicit (or even actively responsible) in the very systems causing violence are able to relate to the victims and experience a sort of cathartic release which allows them to maintain their complicity, feeling “good” that they consumed “politically relevant” content which allowed them to “care” safely, without having to address the reality that they are part of the brutalizers not the brutalized.

One of the ways that the show attempts to somewhat skirt around this problematic of white victimhood is by giving many of the white refugees, namely the main character Vignette (played by British actor/model Cara Delevigne), Irish accents and setting it in a time period which ambiguously mirrors the time before (as Noel Ignatiev puts it) “the Irish became white”. Celtic whiteness is used both in Carnival Row and with the case of Appalachia, and seems to be a particular favorite flavor for the fetization of white poverty. My personal theory is that this is because, when used in this way, the British colonization of Celtic peoples works to simultaneously obscure the racialized realities of both poverty and colonialism–in this fashion, Celtic whiteness is Othered just enough to justify the creation of white victimhood as a fetish object, but still undeniably white enough to connect this victimhood to the universal construction of whiteness. While there is nothing inherently wrong with including Ireland (or Scotland or Wales) in discourses of colonialism/neocolonialism because Ireland and other Celtic lands were and are colonized by the British and this colonization has had a clear and lasting impact on these regions and these peoples, using it as part of the fetishization of white poverty does not further anti-colonial goals, and again is being used to displace and obscure the way racism and white supremacy are central to anti-refugee and anti-immigrant rhetoric, policies, and popular practices.

During the first few episodes, I tentatively imagined myself commenting on the only semi-positive aspect I saw in the show’s use of whiteness: while obscuring metaphors for white-supremacist politics are deployed in many fantasy works, they often position people (humans) of color as being members of the human-supremacist groups which are meant to reflect real life white supremacy, further obscuring the real stakes of the topic being discussed. For the first four episodes, Carnival Row avoids this problematic and gives a representation of the metaphorical anti-immigrant/“pro-Brexit” crowd exclusively through white humans–and bonus points, they can be found in both the political elite and the working class/poor. While the whiteness of fantasy races means that the real life targets of white supremacist violence (people of color) are obscured, at least this allows us to remain clear on who is responsible. That, unfortunately, changes in episode five. One of the major places where we can see this change is in the introduction of Sophie, a woman of color, who takes over her (white) father’s seat in parliament after his death. Sophie gives a speech where she mobilizes her status as a woman of color to further fantasy-racism, stating that her mother had “desert blood” and experienced racism, but that the city overcoming racism and recognizing the value of racial diversity does not apply to the “Critch” because “our differences are more than skin-deep” (ep 5, 34:15). While this is predominantly intended to differentiate real racism (which I guess has been solved?) from Fantasy Racism™, it also serves to undermine the dehumanizing politics of racism which are continuously deployed. It reassures audiences that real life racism can be solved because race is just skin deep and we’re ultimately all pretty similar. This obscures the historical and contemporary claims about “race science” and “racial difference” which often explicitly and implicitly justify racism. While in this present moment “race science” has become a more latent belief–most people laugh at the idea of measuring skulls–everyone with a White™ Facebook friend who’s taken a 23-and-Me to prove they’re 0.005% African can speak to continuing beliefs in biological race theory. 

Ultimately, like many other “politically relevant” fantasy works, Carnival Row’s use of a white washed Fantasy Racism™ as a metaphor for the systems of oppression that, in the real world, affect people of color remains highly problematic. In both our personal viewing practices and in our practices of creating and curating stories, we must think critically. Storytelling is a powerful tool in shaping how we perceive and consider reality, so when we choose to tell stories that represent marginalized communities exclusively by their oppressions, and especially when we choose metaphors that participate in the fetishization of white desperation and whitewash these communities we are doing real harm. 

I do whatever the **** i want

The Boys TV

The Temptations of Good and Evil

Based on George Hillyard Swinstead’s The Angel’s Message

Back in July I spent a solid four days drawing nothing but Good Omens and I am ashamed it was not longer than that

°For the angel and the demon so lived the world°

Tom BurkeasMichaelinModern Love, Season 2: On a Serpentine Road, With the Top Down

Tom BurkeasMichaelinModern Love, Season 2: On a Serpentine Road, With the Top Down

Tom BurkeasMichaelinModern Love, Season 2: On a Serpentine Road, With the Top Down