By popular request, it's here!
FORBIDDEN QUEERIES, my new Question & Response blog is live!
https://hachyderm.io/@mallory_sinn/115029605920637964
I'll be publishing it under my pseudonym, Mallie Sinn, to keep it separate from my career and make it clear what I offer there is personal opinion and not therapy or counseling. You can read it by following @mallory_sinn@hachyderm.io or on the blog site itself: https://forbidden-queeries.ghost.io/
I am currently taking open questions from everyone at forbiddenqueeries@gmail.com or in private mentions to @mallory_sinn@hachyderm.io
If you want to support this effort or get top priority for your own question, please subscribe on the blog itself at https://forbidden-queeries.ghost.io/ or on my patreon for projects under my pseudonym https://patreon.com/MallorySinn
#Trans #Transgender #Queer #Advice #Questions #Writing
I know gridlock can be unpleasant for many, but some of us are happy with it.
I wonder what would happen if I got a tattoo of the word gridlock? 🤔
Hmmm…it seems I’m not the only one who has difficulties with gridlock…
I know gridlock can be unpleasant for many, but some of us are happy with it.
I can no longer read the word “gridlock” correctly…
Hmmm…it seems I’m not the only one who has difficulties with gridlock…
I can no longer read the word “gridlock” correctly…
Big gripe about current employment and labor models: Why can't we just let people do things they are good at and are satisfied in for their jobs?
Our current labor models in the US and much of Europe assumes if someone is good at something, they should be "promoted" to managing or coordinating that thing. This assumes 1) that because someone is good at a task they will be good at managing a task and 2) that they want or will thrive in a manager or coordinator role. We place a hierarchy of status, power, and compensation to these roles too, with people placed in a role of greater respect, power, and higher income because of their title as "manager."
But if someone is really good at a thing and they like doing it, shouldn't we want them to keep doing that thing? If someone is a great engineer, maybe we should reward them by letting them engineer more things and maybe have more leeway or agency in their role, with greater compensation? Some companies do take this approach, but it hasn't spread to the NGO or public sectors.
I am great at planning out and implementing a specific program or event for youth. I am amazing at engaging and mentoring them. I do not thrive when I am expected to keep track of all the follow-throughs and juggle all the balls needed to make those programs happen. And yet, I am now "overqualified" for doing what I am good at and told that I should instead apply for the kinds of jobs that keep burning me out. I don't want that job, and I don't think I am the best suited for it, let me do what I am truly amazing at. And if you think I'm great at it, compensate me for being really great to keep me in the role and maybe give me the capacity to develop similar programs or have more agency in the program delivery.
Another sign transphobes have never met a single real trans person: they insist it is a sexual fetish, and yet seemingly half of my trans friends are asexual or ace spectrum.
The way you can tell I am feeling better finally is that I’ve switched from re-watching a comfort show to binging a series of campy horror films.
Tonight’s series: Return of the Living Dead.
For those that don’t know, Night of the Living Dead by George Romero and John Russo both invented the modern zombie as monster as opposed to occult slave and accidentally fell into public domain due to a flub in the printing of the original reels that left off the copyright symbol (yes, it really used to be that easy).
Well, George Romero built off this series with Dawn of the Dead and Day of the Dead - movies with rich political analysis, horror, and pathos. John Russo on the other hand, decided to double down on campy and frankly silly version with the Return of the Living Dead series (with O’Bannon of Alien and Total Recall fame directing and writing the screenplay of the first).
While the tone of these quickly becomes slapstick, they are almost darker if taken seriously. While Romero’s ghouls are slow and shambling, and rise from some unknown contagion (or because “there is no more room in hell” as one character posits), Russo’s zombies are caused by a government chemical weapon. Furthermore, they move fast, can speak and have some intelligence, and do not die when their brain is destroyed or body is dismembered. And the military’s response is usually to use a nuclear bomb to wipe the infected area clean. By the second movie, it appears electrocution can kill the zombies, but that’s it.
So here’s to giggling at zombies moaning “BRAAAAAIIIINNNNSSSS” while the existential horror sinks in of being unable to die and be cogent enough to feel your flesh rot.
By the third Return of the Living Dead, no one who was part of the first two was involved. I am sure this bodes well for its quality 😅
Ugh, sick in bed with a cold all weekend, and the comfort show I chose to return to in my sick haze: Community.
It’s got plenty of problems, but it does genuinely make me laugh a lot too. And given that I am actually taking community college classes to get used to studying again before grad school, it fits my mood lately. Also, realizing I am now the middle-aged woman who is older than most of the characters has me looking at the show very differently in some ways. 😅
The way you can tell I am feeling better finally is that I’ve switched from re-watching a comfort show to binging a series of campy horror films.
Tonight’s series: Return of the Living Dead.
For those that don’t know, Night of the Living Dead by George Romero and John Russo both invented the modern zombie as monster as opposed to occult slave and accidentally fell into public domain due to a flub in the printing of the original reels that left off the copyright symbol (yes, it really used to be that easy).
Well, George Romero built off this series with Dawn of the Dead and Day of the Dead - movies with rich political analysis, horror, and pathos. John Russo on the other hand, decided to double down on campy and frankly silly version with the Return of the Living Dead series (with O’Bannon of Alien and Total Recall fame directing and writing the screenplay of the first).
While the tone of these quickly becomes slapstick, they are almost darker if taken seriously. While Romero’s ghouls are slow and shambling, and rise from some unknown contagion (or because “there is no more room in hell” as one character posits), Russo’s zombies are caused by a government chemical weapon. Furthermore, they move fast, can speak and have some intelligence, and do not die when their brain is destroyed or body is dismembered. And the military’s response is usually to use a nuclear bomb to wipe the infected area clean. By the second movie, it appears electrocution can kill the zombies, but that’s it.
So here’s to giggling at zombies moaning “BRAAAAAIIIINNNNSSSS” while the existential horror sinks in of being unable to die and be cogent enough to feel your flesh rot.
Ugh, sick in bed with a cold all weekend, and the comfort show I chose to return to in my sick haze: Community.
It’s got plenty of problems, but it does genuinely make me laugh a lot too. And given that I am actually taking community college classes to get used to studying again before grad school, it fits my mood lately. Also, realizing I am now the middle-aged woman who is older than most of the characters has me looking at the show very differently in some ways. 😅
Joscelyn Transpiring