Pharrell Williams can sing about how great Marylin Monroe and Joan of Arc were as much as he likes, he still wrote Blurred Lines
the highlighted area is where Jason Derulo knows what the girls want. london to taiwan.new york to haiti
greenland is right out
ummm no offense but new york to haiti should be measured as the area between the two latitudes, not the longitudes. this graph is incorrect and vastly underestimates the total region of the earth in which Jason Derulo knows what the girls want
Even measuring that way, Greenland remains right out, as does the entirity of Brazil.
Have we considered measuring by neither latitude nor longitude but in all area that would extend perpendicular from the diagonal of the two places?
There are many different interpretations of the data, and until more is available, we ought not conclude anything at this point.
In light of that, I posit this alternative map of regions where Jason Derulo is potentially claiming where he knows what girls want:
As we can see, if we assume that model, the vast majority of the area where Jason Derulo knows what girls want is either open ocean (the Atlantic, the Mediterranean Sea) or sparsely populated (the northern Sahara, the northern Arabian Desert, various desert portions of Iran and Afghanistan, and the southern Tibetan Plateau). Four of the ten most populated countries on the planet have no territory in it (Nigeria, Brazil, Japan, and Indonesia), and two which do have relatively little territory in it (the US and Russia). It is suggested that for all his boasting, Jason Derulo does not know what a probable majority of the world’s girls want.
Perhaps Jason Derulo’s intention was never to proclaim to be omnipotent to the interests of the female gender. Perhaps he was instead expressing his humanity, or the limits of his knowledge. I applaud Jason Derulo. Jason Derulo is not just another 2 dimensional character. Jason Derulo has depth.Jason Derulo has limitations and has come to terms with them. Jason Derulo knows Jason Derulo. Thats why he makes it a point to say his name so much.
girls all go to the bathroom together because that’s where we rap battle
Ladies and gentlemen, and variations thereupon
Russell T Davies wrote these episodes, with these lines:
- End of the World: Ladies and gentlemen and trees and multiforms…
- The Long Game: Ladies, gentlemen, multi-sex, undecided or robot…
- Midnight: Ladies and gentlemen, and variations thereupon…
In Russell T Davies’ futures, gender is always more complicated than today.
Davies also created Jack Harkness, from a future (the 51st century) where sexuality is fluid (also Jack and the Face of Boe have both been said to carry pregnancies).
On the other hand the Moffat years gave us this line:
"We’re the thin/fat, gay, Anglican marines: why would we need names as well?"
Because its so funny and weird that out of hundreds of “anglican marines” in Demons Run in the 52nd century, that a fat guy and a thin guy would be a couple…ok….
And they’re literally credited at the end as “Fat One” and “Thin One”. They’re purely a joke.
Is that how straight people see us?
No, because the joke about the Thin One and the Fat One is obviously satire. The pair know it’s ridiculous that they’re only known by the others for their labels, and they deliver the joke with irony.
So why on Earth would Moffat want to show such a culture of sexual, religious and sizest discrimination on Demon’s Run? Because the soldiers on Demon’s Run, by and large, were villains. They helped kidnap Amy and her child. They were going to murder the Doctor simply because their bosses had given him fearsome labels. Just as they chose to bully the couple, based on labels.
In ‘The End of the World’, the Doctor took Rose to a civilised gathering of the death of Earth; they were all good-natured characters, aside from Cassandra. In ‘The Long Game’, Satellite 5 was a well-meaning organisation, who didn’t know they were being played by the Editor: again, they weren’t the villains. And as it’s been so correctly pointed out, the unnamed stewardess in ‘Midnight’ was a hero. On these three occasions, Russell took the Doctor somewhere progressive, exciting and eye-catching. ‘A Good Man Goes To War’ alternately, is set on an intergalactic army base, guarded by headless, hooded maniacal killers.
Steven Moffat didn’t choose to make a joke about gay people so that we could all laugh at gay people. He created a gay couple to make a joke at the expense of the villains, to show their ignorance. That’s bloody good writing.
On the subject of Moffat writing the future with sexual fluidity though, this is an insightful quotation… “Surely the point about Jack is that he is so totally relaxed about sex that it isn’t part of his character at all – no hang ups, no problem. Writing Jack I found I had to have the other characters (the Doctor and Rose) talk about his epically flexible sexuality, rather than him – because for him it’s background noise. All he’d do is shrug and ask what the big deal is.”