#media studies and mass communications

[not-poignant]

I’ve been having conversations with an acquaintance of mine who’s very against taboo content. So like, I managed to swing her around to dead dove stuff in fic since fanfic doesn’t effect real life and those fics are always tagged. But she isn’t swayed on dark content in mainstream films and media. She talked to me about the Netflix movie 365 Days which had a lot of women’s groups protesting against it. It’s pretty misogynistic and glorifies sexual assault so I can see why it would be concerning that it’s one of the top streamed things on Netflix. And the show 13 reasons why was apparently linked to an increase in suicides among teens (can’t find any ironclad research for this but it did promote suicide-for-revenge-and-lulz). Basically, I’ve been an anti-censorship person for fanfic forever but idk how to feel about censoring stuff like 365 days and 13rw. The groups that would like these shows to be censored do have a point...? I’m pretty young and I never took media literacy stuff so I feel like there’s a correct opinion here I’m not able to arrive at. Could you help me out?

Okay yes, let's talk about this! (A heads up to everyone that this post will obviously include discussions about suicide, along with murder and rape). (Also fanfic does affect real life, it's just not a 1:1 'this thing caused that crime' affect).

Firstly, I want to talk about a phenomenon called suicide contagion. We've known about suicide contagion for a long time, due to a novel published in 1774 published by Goethe, called The Sorrows of Young Werther. Werther, in the book, commits suicide in a particular way, and there was a spate of suicides of a similar nature among young men when the book was released. Suicide contagion for this reason is also known as 'the Werther Effect.'

This is still very debated in academia, but one strong conclusion that academia is generally showing about suicide contagion is that it does not affect anyone who wasn't likely to commit or attempt suicide anyway, what it does is influence is the manner in which the act occurs. Sadly, hundreds of people die by suicide every day, but most of the time we're not paying attention to those people, and if all of the folks influenced by Werther had killed themselves in more 'regular' ways no one would have found that act notable beyond their loved ones.

Suicide contagion research has been around for hundreds of years in both psychology and media studies (and also all the other ologies that hang around mass media). The general consensus is that works that feature suicide or even glorify suicide should not be banned outright, but that the content should be appropriately censored (i.e. not made available to babies and children etc.) and warned for with content warnings.

Now let's get to the bulk of my actual post, which talks about this from a broader perspective.

Generally speaking, there is no single 'correct' way of looking at things, except that it's usually safe to say that the two extremes of thought around banning media content are non-nuanced and the closest to being incorrect and uneducated. The first extreme is 'no one should be allowed to make or watch this (dark) content.' There's like a billion books, articles and more on why extreme censorship/banning is bad on every level for society (especially oppressed minorities), and a simple search on 'why is banning books etc. bad' will enlighten you.

The other extreme is 'everyone all the time should be allowed to see and access all (dark) content (even toddlers and children).' Clearly this isn't a solution either, because different types of media are more safely accessed by certain demographics who are (presumably) more educated and capable of handling what they're seeing.

The second thing to address is the fact that a single media property cannot remove someone's agency over their own actions. Multiple serial killers said they were inspired by TV's Dexter series, but they're still responsible for themselves and their agency. The show didn't hypnotise them. Those killers went to jail, the TV show creators didn't, that's an appropriate and correct allocation of responsibility, especially when you factor in all of Dexter's content warnings and its rating.

The same can be said for any show provided the content is appropriately warned for. This includes documentaries about sexual assault including helpline numbers at the beginning/end of their show. It means Law & Order placing 'disturbing themes' in their content warnings. It basically gives people a chance to have informed consent before watching a show (as does reading show summaries on Wikipedia, talking to friends to vet a show before watching it, or looking at one of the countless comprehensive warning/tag sites before engaging in a show.)

No show has the power to make a mentally well person kill themselves, or rape someone, or kill someone. You need to have significant things going on in your mind and environment already for those things to even be realistically considered or triggered. If we banned shows based on the rates they may have catalysed suicide, the news would have been banned a long time ago.

Don't get me wrong, 13 Reasons Why (esp first season) was highly problematic in part because it didn't give viewers a proper and rounded chance to have an informed take on what was happening. Education, imho, is the problem more than the content itself. If you let a viewer know there's content that can trigger someone, or isn't recommended for those struggling with depression (see my next paragraph though), then they can make an informed choice, similar to epilepsy warnings at the beginnings of video games. This is similar to how old Looney Toons videos now have very clear warnings about their old racist content. Rather than erase the past, they provide context and highlight how problematic and destructive it was, but they do that through education, not banning.

We know through multiple academic studies that 13RW contributed not only to an appearance of suicide contagion, but also created less severe symptoms of depression in those who watched, fewer incidences of suicidal ideation in many people (and self-harm), a decrease in social stigma due to raising awareness among teens about the kinds of things people can experience and the mental side effects, and a better awareness of suicide risk factors (See: One Less Reason Why: Viewing of Suicide-Themed Fictional Media is Associated with Lower Depressive Symptoms in Youth by Christopher J Ferguson - I'm not linking, I'm too tired). A study that surveyed 5,400 young adults and parents found that the majority of teens found the show beneficial to watch, and that many teens reported increased positive conversations with their parents and peers because of the show. Around 63-79% actually agreed that the depiction of the suicide scene was necessary. (See, among other things, 13 Reasons Why, Perceived Norms and Reports of Mental Health-Related Behaviour Change among Adolescent and Young Adult Viewers in Four Global Regions by Michael Carter, Drew Cingel, Alexis Lauricella and Ellen Wartella - there are more studies, I'm not linking them, I'm very tired lol. But the studies exist).

Like, generally speaking, we do censor already. 13RW isn't rated as an infant friendly show. It's not screened with kid's cartoons. It's already gone through a censorship board (folks need to learn the difference between censorship and banning). What your friend is talking about is banning content outright, which I don't agree with at all. And frankly you're not going to find many people with a media studies degree who generally agrees with banning outright (they're like the anti-vaxxers of media studies, lol, because it goes against the literal science that says clearly over and over again that we choose how we negotiate our relationship to the media. Yes, there are influences, but the media is not able to put a gun in someone's hand, or give someone the motivation of becoming a literal serial killer, or make a perfectly healthy person abruptly commit suicide. Asshole dudes have tried to use 'but TV / movies / this talkshow host made me do it' when it comes to rape. They go to jail. Our agency is everything.

No one's denying that media can't be problematic (every media piece is, including the ones without perceived 'dark content'), or that it doesn't influence us (it clearly does). But banning a single show, or someone's concept of 'dark themes' they personally don't like, when others are perfectly mature enough to handle them healthily, is not a useful way to approach questionable, difficult, challenging or controversial media, or media in plain bad taste. It's also incredibly condescending to the people who can interact with it healthily, and it removes support to those who are potentially helped by that piece of media existing.

Suicide contagion is a horrible phenomenon, but all signs point to the theory that these people could be catalysed by nearly anything, and that this isn't a strong enough to reason to ban a single show, especially in light of its actual overwhelming positive effects on the majority of viewers, and the useful worldwide discussions that happened around youth suicide and mental illnesses that happened as a result.

If we were all so truly weak to media with dark themes, we'd all be rapists, killers, or would have died by now. We also would have bought every product ever advertised to us.

(I didn't even get to 365 Days but *waves vaguely* I have to go have a heart scan now and I don't have time to keep writing an essay because I can clearly talk about this forever)

#asks and answers #anti anti #purity wank #media studies and mass communications #i don't know how to tag this i used to have better tags lmao #pia on media #pia on media studies #anyway those studies do exist along with like 5 others i didn't link #they're buried beneath all the frankly moral puritanical wank dslkafjdaks about this subject #because scaremongering about a show gets more hits than good science

[thesoftboiledegg]

What makes JKR's shitshow even harder to process is that she didn't just ruin a book series. Harry Potter was an entire subculture. Like Star Wars and Star Trek fans, Harry Potter fans dedicated their lives and careers to the series. I don't know if I'd call it "underground," but liking Harry Potter got you beaten up when I was in school, so it was more of a dedicated indie culture than a mass-appeal fanbase.

Harry Potter was so huge that fan works developed their own followings. Potter Puppet Pals racked up hundreds of thousands of followers and was nearly as relevant as the series itself. For fanfiction, Harry Potter and the Methods of Rationality got so big that it has a Wikipedia page. The band Harry and the Potters spawned the wizard rock music genre. A Very Potter Musical developed a fanbase and launched Darren Criss's career.

Harry Potter also has extensive ties to fandom history. Everyone in my generation (millennials) remembers coming home from school to read Harry Potter fanfiction on the Internet. Today, most people just post their stories on Wattpad or Archive of Our Own. But at the time, the fanbase was splintered between fanfiction.net and dozens of individual websites and forums, some made for specific ships. Since they all had individual hosts, a lot of those sites have been lost to time.

And there's the infamous My Immortal fanfiction, which is an Internet legend with people still searching for the author. Everybody read that one (and laughed at it) in middle school.

Pre-social media, fan sites like The Leaky Cauldron and Mugglenet had massive followings because they were one of few sources for news, theories, essays and fan content. Some of these sites still exist after being around for over a decade and building their own legacy.

Before Deathly Hallows came out, fans were so desperate to know what happened that Mugglenet published a book called What Will Happen in Harry Potter 7: Who Lives, Who Dies, Who Falls in Love and How Will the Adventure Finally End? Yep...Harry Potter was so big that people wrote separate books about what would happen in an upcoming book.

And that's not mentioning all the book release parties, Harry Potter-themed events, monuments, fan films, restaurants and even a theme park. A lot of fandoms have those, but Harry Potter infiltrated every aspect of popular culture.

Today, there's a thriving culture of "Harry Potter adults" with themed weddings, baby showers and Etsy stores. Putting your Hogwarts house in your Instagram bio is pretty much a prerequisite for joining the "bookish" community. Warner still produces new content, like the Fantastic Beasts series, although we've all seen what a disaster that's been.

Everyone has at least a few memories associated with Harry Potter even if it's just watching the movies. I had great memories associated with Harry Potter. But looking back at the subculture, history and thousands of fan works, it doesn't seem fun anymore. Studying the fandom or being part of it comes with an awkward tension because you don't want to seem like you're condoning JKR's bigotry but can't divorce her from the series. This subculture was spawned by a woman who turned her legacy of magic and wonder into one of abuse and hatred.

I don't expect people to write paragraphs about how much they hate JKR every time they post about Harry Potter, but it's still uncomfortable to see people make new content or wear their Harry Potter Etsy tote bags like nothing happened. Even if they clarify that they don't support her, it's just a weird, tense situation for everybody.

People dedicated years of their lives to running Harry Potter fan sites, writing fanfiction, cosplaying characters and making fan movies. If I were in that situation, I'd have a mild identity crisis. I'd ask myself "Did I waste all those years? Should I delete my content? Where do I go from here?"

So ultimately, JKR didn't ruin "just" a book series or even "just" a fandom. She tanked an entire culture, which inspired people to look at Harry Potter more critically. The issues that people brought to the light tainted the series's legacy even without JKR's personal issues.

Once, Harry Potter was a series for generations. Now, former fans hope that the series fades into irrelevancy. Unfortunately, JKR didn't just tarnish her legacy--she took decades of history, millions of fans and a worldwide subculture along with her.

#anti harry potter #anti jkr #anti jk rowling #harry potter critical #anti hp #text #jk rowling

[reasonsforhope]

"Parents of tweens will likely be aware of the daily battle over when to give their child a smartphone. They are probably forced into discussing it over breakfast, on the school run, at bedtime – after all, no kid wants to be left out if their friends all have one.

Which is why a town in Ireland came together to devise a solution.

Parents and teachers in Greystones, County Wicklow, launched a town-wide ‘no-smartphone code’ in May, when headteachers from the town’s eight primary schools wrote to parents asking them to sign up to the ban. By coming together en masse, the thinking went, parents could do away with the peer pressure around smartphone ownership.

Now, ministers in the Irish cabinet have approved new guidelines on the banning of smartphones in school, which were brought by education minister Norma Foley on 7 November. The proposals would help parents to collectively implement smartphone bans, with government support. Ministers are also considering outlawing the sale of smartphones to all children of primary school age.

“We can already see smartphones creeping into our primary schools,” explained Rachel Harper, headteacher at St. Patrick’s school, which led on the initiative. “Parents, even at the junior end, were already getting worried about what age their kids were going to be asking for smartphones.”

Parental concerns around the dangers of smartphones are justified, according to the latest scientific research. In 2020, a systematic review of academic studies investigating smartphones, social media use and youth mental health found that, in the last 10 years, mental distress and treatment for mental health conditions had risen in parallel with the use of smartphones by children and adolescents...

There’s also a desire, said Christina Capatina, a Greystones parent whose daughters are aged 11 and nine, to prioritise face-to-face interactions over digital ones for as long as possible. “Childhood is getting shorter,” she said. “It’s really important for them to be in a place where they can be happy and enjoy being out, just being children.”

Parents in Greystones are now empowered to hold off giving their kids access to the devices until the age of 12, when they transition to secondary school in Ireland.

Eight months since the ban came in, what has its impact been? “It has completely solved the problem,” said Capatina. “Instead of having long conversations about it, this is so simple.”

The code is voluntary, so some parents have chosen not to take part, but enough have signed up to create a sense of phoneless-ness being the norm. While some in the media have argued that the code demonises technology, Harper refutes this: “We’re not against technology. We’re not against phones. We’re just simply asking them to wait till secondary school.” [Again, that's age 12 in Ireland.]

She said the launch of their no-smartphone code led to school principals all over the world getting in touch with messages of support, an indication it seems of how universal parents’ fears over childhood smartphone use are.

And with ministers now working on guidelines for communities that wish to follow in Greystones’ footsteps, Harper is proud of all she and fellow parents have achieved. “It’s nice to be an ambassador in a positive way,” she said.

-via Positive.News, November 17, 2023

#smartphone #parenting #primary school #technology #big tech #mental health #teen mental health #ireland #peer pressure #protecting children #good news #hope

[neil-gaiman]

Dear Mr. Gaiman, I saw your Wired interview on mythology support on YouTube, and I would like to ask a question regarding mythological studies if I may: being a British white man as you are, is it okay to study Christianity's mythologies like it's a set of story elements that can be treated as decorationa of commerical products like video games, comic books and novels, or is Christianity something that cannot be toyed with with a light attitude for a Westerner? I'm East Asian myself (my first language is Mandarin and my family is Buddhist) and in East Asia mythological elements are talked about like material to be used in video game design or storytelling, and I know that that can be troubling for the truly Christian communities. So basically what I'd like to ask you is your view on the propiety of using biblical references in commercial fiction or products, especially with regards to taboos like the names of demons, which is often seen in Japanese video games and popular media. Is it okay to view such usage as harmless to the audience such as children or teens?

Good question. I don't know. I was a Jewish kid who was a scholarship kid at a Church of England school, the kind with chapel services every morning, so I was more familiar with High Church Protestant songs and services than with Jewish ones. I was top of the class, always, in religious studies, even though for me they were all just more mythology.

I suspect that my attitude was "if I have to learn this then it's mine to use". If they didn't want me to use it, they were free not to teach it to me.

When Terry Pratchett and I wrote Good Omens, we put a lot of Christianity into it, with me being the one that had actually read the Revelation of St John of Patmos, and made notes on what we needed to include. Good Omens began as humorous look at The Omen, which was itself a mass market film about the coming of the Christian End Times, so we felt one of us needed to have read it for research. Good Omens was also inspired by a particularly antisemitic moment in The Jew of Malta, John le Carre's spy novels and most of all by Richmal Crompton's William books.

I would need a deep dive into what you mean by "harmless" before I could hazard a guess as to whether it was that or not and whether fiction should be harmless or not.

#i guess this is a long way of saying your mileage may vary and I wouldn't dream of setting rules

[probablyasocialecologist]

Israeli president Isaac Herzog insisted that “an entire nation” was to blame for Hamas’s actions, and that the idea of “civilians not being aware, not involved” was “absolutely not true”. While Rageh Omar reported on this for ITV News, it did not make the BBC or the New York Times or Sky News. Nor did it make most anglophone outlets. Ariel Kallner, in a now-deleted tweet, called for another Nakba on the Palestinians, repeating the crime of 1948 in which 700,000 Palestinians were ethnically cleansed. “Right now, one goal: Nakba!” He exhorted. “A Nakba that will overshadow the Nakba of 48.” This was picked up by Associated Press but missed by most anglophone broadcasters and press. When Tally Gotliv, a Knesset member for Likud, called for a nuclear strike on Gaza – “Jericho Missile! … Doomsday weapon!” ­– and for “crushing and flattening Gaza … Without mercy! Without mercy!”, this also went curiously unnoticed. Again, when an anonymous Israeli defence official briefed Israeli broadcasters that Gaza would become “a city of tents” where “there will be no buildings”, it was largely ignored. When Sara Netanyahu’s advisor, Tzipi Navon, said that it would not be enough to “flatten Gaza”, and that Palestinians suspected of involvement in the Hamas attack should have their nails pulled out, their genitals removed and their tongues and eyes saved for last “so we can enjoy his screams”, “so he can see us smiling”, that too was curiously overlooked. The studied obtuseness of Western media includes carefully ignoring the most severe warnings about what is about to be done by Israel to Gaza. On Friday 13th, Israel ordered residents in the north of Gaza to “evacuate” to the south within 24 hours on pain of being bombed. Former Israeli ambassador Danny Ayalon suggested with a cynical smirk that they could go to the Sinai desert and live in “tent cities”. The Biden administration appears determined to enable this to happen, lobbying Egypt to take the refugee population. The language of evacuation, widely used by newspapers, was euphemistic. Over a million Gazans had just been given a death threat. They were being told at gunpoint to flee in an unrealistic amount of time, on just two roads that they were assured were safe from bombardment, only for a convoy fleeing south to be bombed, killing seventy people. They had no reason to believe they could ever return to their homes or that their homes would even exist. Here was the second Nakba that Ariel Kallner shouted for. A UN press release warned of “mass ethnic cleansing”, that would repeat the Nakba of 1948 “yet on a larger scale”. Two days after that warning, only the Independent among British newspapers had covered it. One honourable exception to the general omerta on explaining what the “expulsion” order means is the BBC’s Victoria Derbyshire who, interviewing former Israeli ambassador Mark Regev, quoted former UN head of humanitarian affairs Jan Egeland, saying: “The Israeli order for civilians to move from north to south is impossible and illegal. It amounts to forcible transfers and a war crime.” No anglophone newspaper, of course, mentions the word “genocide” in this context, though that is the term used by both Palestinians and Jewish groups opposed to Israel’s war, and is clearly what is implied by Israeli statements and actions. As Mustafa Bhargouti told CNN’s Christiane Amanpour, Israel is inflicting the triumvirate of “siege and collective punishment”, “genocide” through bombardment, and “ethnic cleansing”. The Israeli historian of the Holocaust, Raz Segal, describes Israel’s indiscriminate war on Gazan civilians and its assault on the conditions for life for the whole community, as “a textbook case of genocide” unfolding in front of us. For the press and the majority of pundits, the problem cannot be named. At most, liberal dissent attains to the insight that vengeance is not justice, as though what Israel is now threatening is merely reactive rather than programmatic.

#israel #palestine #gaza #liberalism #zionism

[finelinens]

allow me to think out loud for a bit

it absolutely kills me every time i see people talking about sapnap and kick saying things like "bench creators who are tied to sites that have fully platformed bigoted views and individuals" and "centered around transphobic racist homophobic stuff."

do you not browse the internet beyond your faves? do you not know how many conservative bigoted people are extremely successful online? on the platforms YOU use? this is a 2021 report about right-wing extremist twitch streamers. some of them have been removed from the platform now, but many remain. some examples of conservative or alt-right people on twitch include alex zedra (2A activist, trump supporter, 519k twitch followers), donut operator (2A activist, pro-cop, right-wing, 518k twitch followers), keemstar (is keemstar, 135k twitch followers). before his ban 7 months ago, adin ross had 7.25m followers on twitch.

the number of right-wing voices on twitch has reduced over time due to stricter community guidelines! but don't worry, you can find them all on youtube. the platform we all use every single day. (here is a 2020 study about radicalization on youtube [there are many], and a convenient list of 100 conservative youtubers.) you don't even need to seek out the channels, just watch youtube shorts for a few minutes and a white nationalist will pop up sooner or later.

i take issue with some of the conduct i see on kick and in its community guidelines, just as i take issue with some of the conduct i see on twitch and youtube and in their community guidelines. your anger at kick is understandable and justified, but it's also somewhat misplaced. i understand that you want a tangible conclusion to your frustration with the state of things, but that will not be attained by mass-qrting scottsmajor telling him to ban sapnap from future mccs due to his contract with kick. that will give you some momentary catharsis from what feels like a just achievement, but it doesn't accomplish much when it comes to the key issue of right-wing extremism being so common and accepted (or even encouraged) online. you genuinely have good intentions in your heart, i believe that. but this issue is simply not that surface-level.

campaign for sapnap to be banned from mcc if you'd like, but that will accomplish absolutely nothing for the goal of deradicalizing social media or making it a less volatile and dangerous place. it will simply take it slightly out of your direct line of sight. but it will still be there. if you're unwilling to, for example, recognize punz's growth from when he used a transphobic slur three years ago and allow him to continue growing in an encouraging environment, then i fear you may not be well-suited for the act of helping people deradicalize just yet. as said in the following link, a callout is not an invitation for growth. it's the expectation that you've already grown. this is the culture we're trapped in now.

"most of us want all of this violence to stop, but we don't know where to begin. and most of us stay silent, because we're afraid that we'll become the next target. so even if something feels unfair, we're silent. and if you're unlucky enough to have something that you regretted captured on a cell phone or in a tweet, you're walking around with an unexploded 'gotcha' bomb just waiting to blow up your life. or your career. or your reputation."

[arkus-rhapsode]

Are We Returning To 2000s Era Shonen Anime/Manga (A Discussion)

So this is going to be way more of a thinkpiece than I usually do for this blog, but recent trends in the space and niche that I devote a lot of time to, Anime/Manga, have been showing themselves that got me thinking. This is not meant to be a serious sociology case study taken as fact, it's going to be more a theory based on observations of the community that I, like many others, devote a lot of time into than a full on claim, but I do want to ask, is the anime and manga community is experiencing a resurgence in 2000s era shonen manga?

Background

Now let me get this out of the way, there is bias in these observations as I am a western anime fan, but also a North American anime fan. Meaning my gateway and gauges of pop culture are mostly determined by the history of my area of the world’s relationship with anime. From the OVAs of 80s hyper violent and hyper sexual sci fi that you had to purchase from the backs of video rental stores, to the Toonami era of 90s and early 00s programming block the centred around action anime and cartoons, the 4kids era of mass market japanese animated kids shows that were really just giant commercials with some of the earliest memetics in western sphere, and the explosion of shonen battle series in the western sphere in the mid to late 2000s marked by the rise of the colloquially named “Big 3” of shonen jump. I understand that continents like South America or Europe may have undergone a different exposure to the Japanese medium, but as I am going in with some bias in this observation, I would like to make it clear on where the formula is coming from. I also would like to lay down a certain clarification before making this, when discussing the topic of nostalgia I think a lot of people have forgotten what it actually means. If we go by the Cambridge dictionary definition, Nostalgia is “a feeling of pleasure and also slight sadness when you think about things that happened in the past.” This is often invoked when talking about pop culture because people from say 20 years ago don’t seem to enjoy or relate to the interests of today. The belief is that nostalgia is generational ergo if you grew up in the 80s you’re likely wishing to recapture the feelings of childhood that you associate with those trends from 20 years ago. In fact, most revaluation in media has often been catalyzed by a difference of those who grew up in an era rebuffing the opinions of those who didn’t. 

There is the well known “20 Year Rule” regarding pop culture nostalgia. That every decade it longs for what was popular 20 years ago. Probably no better example than “That 70s show” being popular in the late 90s, the return of many beloved 80s-90s franchises like “Ghostbusters” returning in the 2010s as well as series like “Stranger Things” that wrapped itself up in 80s aesthetics. DC's New 52 relaunch that seemed to bring back trends from 90s era comics.

Now it goes without saying that the 20 year rule isn’t a “real” rule, rather an observation that certain trends make a return to popularity because the ones who grew up with a certain media will be the ones who add to the discourse when they come of age and will be the ones having a chance to create consumable art for the masses and that may just be revivals of once popular IP. This isn’t necessarily wrong in regards to nostalgia, but I do believe that one doesn’t need to have been born in a certain era to be nostalgic for something when we discuss pop culture. Pop culture is really just trends and preferences that become en vogue and people can acquire a taste at any given time. Sometimes it can be due to those who grew up with something now having the chance to create and drawing upon their own childhoods, sometimes it's just due to not being exposed, other times it can be a certain feeling of disillusionment of the now, and seeking something that peaks your interest, and even sometimes it can be major corporations or networks looking for things with existing audiences to draw upon that actually expand the audience. In fact one of the most prominent Netflix adaptations of the 2020s has been live Action Avatar the Last Airbender and One Piece, both shows that got their start on American televisions in 2004 and 2005. One of the biggest animated shows right now is Invincible, based on a comic book from 2003

So I want to stress this is not necessarily about how if you grew up with the original Mobile Suit Gundam show you are being replaced by the kids who were watching GetBackers. And or if you are a fan of shows that came out in the 2000s you yourself were born in the 2000s.

But what was the landscape of the English speaking anime community like back in the 2000s? Well let me paint a portrait for you.

What was the 2000s like for anime fans?

The term I used, “shonen boom period”, is somewhat mythologized in the western anime sphere. There was a glut of high profile shonen anime running around the same time that most people identified with this time period and was arguably when we saw the most influx of people getting into the hobby. One Piece, Naruto, and Bleach served as big series known for their massively large casts, MCs with a level of attitude, some of the most hype centric power supernatural/extraordinary power systems, and certain brand of “Japanese-y” humor. We can’t deny that it wasn’t just these series however, as series like Fullmetal Alchemist became many people’s introduction to more narratively intricate series interspersed with a somewhat gothic action style. The gothic and somewhat edgy Death Note became many fans' first ever “battle series that’s not a battle series” that also incorporated many biblical and gothic horror elements into its presentation. And things like Code Geass also incorporated this combination of hyper stylized cat and mouse with ornate and gothic aesthetics and fighting robots. 

Series like Ouran Highschool Host Club and and Haruhi Suzumiya were basically gateways to the more hyper extraordinary slice of life series that didn’t shy away from fanservice and loud comedy. With ecchi like Rosario + Vampire taking it to an even greater extreme. For people willing to go even deeper, series like Fairy Tail began to pop up and share a distinct similar flavor to series like One Piece and Naruto which arguably started the popular conception of it coming from the same magazine as the latter. That’s not also discounting the amount of holdovers from the 90s like Dragon Ball z, Trigun, and Yu Yu Hakusho, which also had an edge towards fantastical combat and comedic oriented series.

All of this is to generally illustrate the media diet of what an average anime fan was expected to have some level of access to. As this was far before the eras of Funimation or Hulu having online services. Not a homogenized spread by any means, and im certain plenty of readers could name more underground or smaller series like Mushishi or Elphen Lied, but generally the popular mainstream you could tell that there was a consistent theme of long form media with a very loud, very flashy, and very action oriented type of series. Which I think is fair to say had skewed some people’s perception. And while I cannot claim with utter certainty that Japan was the same in this regard, you can look at magazines like Shonen Jump and notice a somewhat synchronistic trend. With series like Hitman Reborn, Gintama, D. Gray Man, Eyeshield 21, Bobobobo, etc.making a clear marcation of what was commercially successful at the time. Even series not inside the magazine but had smaller nicher, Tokyo-pop-esque series like Rave Master, Flame of Recca, Air Gear, History’s Strongest Disciple Kenichi, Soul Eater, etc all had a similarity to the shonen jump magazine. To the point it was not uncommon to see so many jump characters in a collage and one from shonen sunday or shonen magazine in there as if this was all coming from the same place.

Changing Landscape

Now with the advantages of the modern internet, we have the ability to actually keep up with the jump magazine in real time as opposed to the common practice of relying on scanlation site and fansubs that were often devoted to the most popular works. But with simultaneous publication and services like Crunchyroll, being able to access a wider variety of shows and series that we may or may not have access to. I believe that the 2010s in the english speaking fanbase was the decade we saw a somewhat expansionism of what people perceived as anime. Anime could be One Piece and Naruto, but it could also be Erased, it could be the Promised Neverland, Attack on Titan, K-On, Haikuu, and Durarara. With the representatives of the 90s no longer being holdovers in syndication like dragon ball but rather full on revivals of the likes of Jojo’s Bizarre Adventure and Hunter x Hunter. 

All of these could be "shonen" but also other genres like Seinin, Josei, and Shojo all had their own varying layers of what they could be in their demographic

The mood of what was popular was also changing, not just in the fact that more flavors of anime and manga were becoming mainstream, but new works from shonen jump showed a rise in almost subversive series like My Hero Academia and Demon Slayer that seemed to consciously deviate or place new spins from traditional tropes of the 2000s characters, and we saw works that were derivative of previous serious like Black Clover drawing upon Naruto the same way it was known that Naruto had drawn upon Dragon Ball before them. Series like The Promised Neverland and Doctor Stone offered up more dramatic series that still infused a certain energy of the shonen genre. 

And of course the series like Attack Titan whose much more darker and gorey storytelling seemed to have become one of if not the biggest hit of the generation with a well regarded adaptation, but something that had felt so removed from what were once contemporaries like the then ending Bleach or Naruto. We can also note that the late 2010s saw the rise of series like Chainsaw Man and Jujutsu Kaisen that began a trend of popular urban fantasy stories. Where fantastical concepts were now in contemporary Japan and the stories that focused on concepts like self identity and the harshness of maturing were juxtaposed to the real world inhabited by monsters. 

It seemed many tropes of the previous decade were still alive in the rise of Isekai anime. Which was particularly the only popular outlet for fantasy stories with an action orientation. But these almost felt disconnected from the wider world of manga as things like heavy harem action series had actually decreased in mags like shonen jump. There was also new tropes being established in this subgenre that became unique popularizations of tropes all on their own, such as the overpowered protagonist whose power everyone believes is weak. But many of these were based on light novels, a form of media that only in the last few years western readers are having official access to and not simply scans found on the internet.

We in North America truly have gone from anime being a niche that was primarily accessible through dedicated TV blocks like Toonami, to a full blown cultural relevance shift.

We also need to talk about this era in its perception of the past also shifted. The 90s and the early 00s often blend together as classics of the anime community. Somewhat encased in amber. However, there is no denying that “feels like a 2000s series” had become a bit of a shorthand for very goofy, Very horny, very action heavy series. Series like Fire Force and and Undead Unluck had their show what more problematic elements be equated to the problematic trends of the past that people just accepted as “a part of the medium.” But lets keep in mind, this is not really describing a time, more a trend. Superficial elements that invoke similar feelings of the past. 

Speaking of anime fans…

Fan Culture

So while I wanted to paint a picture of creatively the landscape has changed, there’s no denying that in the age of internet accessibility, the anime fan community has also changed. It is much much easier now to get in contact with people who are anime fans now than it was to rely on word of mouth like it was back in the day. I can still distinctly remember my anime club which wasn’t even really a club devoted to anime but rather other geek stuff like D&D and TCGs. Our hobbies just happened to have similar overlap.

Now though, anime fan culture is much more relevant and thriving. Going from just posting weekly reviews, to long retrospectives, comedy videos, abridged series, clickbait articles, fan theories, and podcasts. However, I think a defining feature of fans of the 2000s era of anime that were at their most prominent was hype culture. 

Due to many of the biggest anime series at the time being released weekly and focusing on action, many many many discussion boards and videos were often about staying in this cycle of wanting to see what happens next and the action made people very excited to see just how characters were going to win fights or even if they’d have fights at all. 

I want to make it clear that this type of activity doesn’t belong to a certain era, but you can see it shaped by the 2000s era. Especially when discussing “what is the next big 3.” As if it were a true position and title, rather than a moment in time where there were just three very distinct shonen series in the fanbase.This doesn’t necessarily have a “negative” effect on the discussion of anime/manga but you can see that certain genres lend themselves to hyping fans up more and more. 

Someone isn’t reading the most recent chapter of a romance like Blue Box with the same level of anticipation of who will face who like it was One Piece. But there have certainly been series that try.

The Present

Now we reach the 2020s and this decade is still young, so it is hard to say what the future will hold for certainty, but we can look at the last four years and notice some significant waves being made recently in Shonen Jump alone. I already spoke of Undead Unluck, a series that almost wears it would now be considered retro inspirations on its sleeve. With an opening chapter that establishes an MC that seems motivated by a sexual joke, A power system follows a verbal naming gimmick, and a loose enough world that allows for characters of varying aesthetics and to be incorporated into groups. With groups of these powerful characters splitting up to face each other and use their ridiculous power to the extreme. Even in the series' own meta arc about creating manga, the in-universe analogy for Undead Unluck’s manga is commented on as feeling retro. There is no doubt the biggest viral hit of the decade so far has gone to Kagurabachi, a manga about sword fighting and magical crime lords that seems almost indulgent in its stylistic slicing and or dicing of baddies. Its memetic success was primarily due to a somewhat sincere and somewhat ironic belief that it would be the “next big thing” as it promised to be a stylized action series. Another surprise viral success has been the manga Nue’s Exorcist which sees another supernatural swordfighter boy harness the powers of his sexy spirit lady while getting into harem shenanigans that echo a particular form of ecchi of anime’s past that had actually been somewhat absent in the past decade in jump. Both of these series have a somewhat noticeable similarities to Bleach, a long running shonen action series that has seen its own revival in the last few years of writing this with the long awaited adaptation of the final arc of the bleach anime. 

While the other members of the “big 3” never truly went away and became almost inter-generational, Bleach truly did feel like a “come back” as it was absent for so long. And unlike Hunter x Hunter and Jojo which were never really popular in the west and even their older anime are more regarded as anime deep lore. Bleach was one of the most popular series in the west at the time to never receive a conclusion animated. 

Speaking of anime of the 2000s Trigun Stampede was a reimagining of the original late 90s show. This errs a bit similar to Hunter x Hunter’s style of revival, but also seems uniquely its own in actually trying to find a balance between the original series but adding in things cut from its original late 90s early 2000s counterpart. 

And now we must examine other shonen magazines. Series like Gachiakuta created by a former assistant of Okubo, the creator of Soul Eater, carries with it much of the similar energies of that series. Its also noticeable as being a truly dark fantasy series. Not an urban fantasy, but rather a completely new world that had a very grunge and dirty world building. And then there is Daemons of the Shadow Realm, a series by Fullmetal Alchemist creator Hiromu Arakawa. This series is also set in modern day japan with supernatural elements, however Arakawa’s style of writing is practically unchanged from her time on FMA. With an emphasis on action, intricate mysteries, and character building comedy with her trademark over exaggerated blocky style. There is of course Hiro Mashima who has started another new series, Dead Rock, and his style has also not changed that much. Then there is just flat out sequels to 2000s series like Gamaran Shura.

This to me shows that we are  seeing a bit of a combination of people who are now entering the workforce inspired by creators of the past, but also that creators of the past still exist 20 years later and are still making content that hasn’t really undergone significant change. 

Of course, we can’t also forget the implementation of the Manga Plus/J plus service which has opened up a very interesting ground for creators to have some of the most creatively out there series than what you may have expected from the shonen jump brand. I genuinely don’t think series like Make the Exorcist Fall in Love or Fire Punch would’ve ever been acceptable in the pages of a weekly shonen series. However one series in particular does feel like it could've and boy its been quite the success. Kaiju no 8.

Kaiju no 8 almost feels as though it is the AoT of a new generation with the amount of anticipation this one series has as well as the similarities between the series superficial elements. However, I'd say the key distinction between the two has been the tone. AoT took a dark and practically dour tone on its titan infested world. With an MC declaring war on all of his enemies. The pain was realistic, with human bodies being brittle and vulnerable. And the belief that just because you were a good person you weren't going to make it out alive. Kaiju no 8 instead opts for a more action oriented tone. Down playing the bleak realism for more "Hell yeah!" moments. With super science weapons that feel more akin to a tokusatsu show and fights and battles between humans an kanji the feel like the Dragon Ball style wrestling matches of old.

And of course, that’s not to say Jump hasn’t continued with series that feel more modern like the realistic and mellow romance of Blue Box or the dramatic coming of age story of Akane-Banashi. 

But the presence of these series has caused somewhat of a friction with the popular conception of the magazine. Its safe to say that while “shonen” tends to think of action male oriented series, it can really just mean works aimed more at adolescents. But I think many tend to associate this familiar feeling of “what is shonen” with their popular introduction of the magazine. With a saturation of action and brash comedy series. This is further complicated by the fact many action series in jump are actually ending over the last decade. With new ones not popping up to replace them as frequently and series like One Piece and MHA and Black Clover basically stretching out across an entire decade or longer. In fact, I don’t think it's unreasonable to believe that the hype for something like Kagurabachi was in part a belief that it signaled a return of a type of familiar series and genre that had been missing. Or at the very least, looked to fill an inevitable gap the magazine was obviously going to be facing. Followed by the other commercial success of Nue’s Exorcist, we are likely to see these series last for a long time. At the time of this writing, Tokyo Revenger’s author Ken Wakui has released Astro Royale, a series that feels very similar to his previous work yet infused with this almost GetBackers flavor.

So that leaves us with the question at the start, are we seeing a rise in 2000s nostalgia in anime and manga?

Conclusion

So I'm sorry if I disappoint, but the best I can say is, I’m not certain. I do believe that from my observation I think it is reasonable to say that we are seeing a rise in creators in the shonen space being ones inspired by series from 20 years ago. However, I think we are also seeing creators who are from that time period also returning to write how they have always written. 

On the consumer side, I think we can see that fans of anime and manga have changed in the sense their tastes can now be shaped by a much larger catalog of series at their disposal. But in the case of shonen, I think we are simply seeing those who likely got their start in anime at around the 2000s resonating with newer series drawing upon those series, but also with younger fans now likely to grow up with the tail end of what was popular in the 2010s now being influenced by the 2020s. I also believe that one of the defining features of the anime community in the last decade is hype culture. And currently we are seeing a rise in series that actually feel more catered to hype, be it a revival of a series they liked or predicting what will be the next success. 

All and all, this piece was trying to tunnel on the shonen demographic in general, which is more likely than not going to have similar traits relative to itself. I do see us as a community endorsing trends of the past and there’s an excitement for these things to “come back” even if they may or may not have left. If you liked this please drop a like or reblog because I may do more of these think pieces in the future.

#anime #manga #think piece #discussion #shonen #shonen jump #kagurabachi #gachiakuta #nue's exorcist #undead unluck #kaiju no. 8 #bleach #one piece #naruto #yomi no tsugai #attack on titan

[mixelation]

Once again I am Posting to give you all a friendly reminder that most popular Covid-19 posts on this site contain some level of misinfo. Common types of misinfo include:

"heard from a friend of a friend" medical advice, including "twitter thread of things a nurse told me" or "opinion of a random unverified doctor on social media"-- NEVER follow this type of health advice without checking with proper sources first

anecdotal data provided as fact

misunderstandings or misrepresentations of what disease agencies like the CDC are doing, should be doing, or what it would even be possible for them to do

assigning numbers and statistics to things OP just made up. this ranges from saying something like "only 2% of people mask" to mean "anecdotally i see only a very small number of people masking in my community"* but the actual number is misleading to seem to seem like a real statistic.... leading all the way to people just making numbers up

overly dramatic language**

assigning moral values to things which have no moral weight (e.g., "I haven't gotten covid because I'm a good person who....")

misrepresenting the conclusions of current research. this one is tricky because you'd think linking a study in a high-tier medical journal would be a good source, but I frequently see the following mistakes: overly definitive language, including asserting causation when causation has not been established, or claiming a single study definitively has definitely proven something; not understanding appropriate extrapolations from a study's design (something that happens to cell in a petri dish is NOT definitive of what happens in a body); incorrect biological conclusions/assumptions, or else oversimplification that loses nuance; cherrypicking studies. Remember that Covid-19 is still a very new disease and the research is still evolving. A study that seems extremely important in one year might turn out to be bunk later, not because the study was poorly designed, but because we were missing key info. There is a lot we simply do not know and cannot know and we need to careful of our language when reporting on it.

just straight up made-up facts

Please keep this in mind if you choose to interact with a covid-19 post. Remember to click through on any sources to verify them, to be wary of a lack of verifiable information, and that a post making you feel overly emotional is a sign to double-check the facts and message.

*Clarification: assigning an estimated number to things you see is an innocent rhetorical device in terms of informal communication, which is what tumblr is for. I say things like this in casual conversation too. It only becomes an issue when whatever post is mass reblogged. I'm not saying don't post like this..... I'm saying know to recognize this in things you choose to interact with.

**Again, emotive language is fine for blogging. It's a natural part of human communication, and I do it too. I'm not criticizing that. I'm warning you to be aware of it as a potentially misleading rhetorical device before you hit reblog.

#brought to you by a post claiming measle infections are on the raise bc covid nukes your immune system #and makes you susceptible to measles again i guess? #except if you look it up the rise in measles cases is mainly driven by lower vaccination rates #which IS linked the covid-19 in that lockdown lead to people missing vaccines #ripping my hair out etc

[not-poignant]

Thinking about the post on media and film distribution I added to yesterday, what I forgot to add is simply that a lot of you now spend the hours that you would have once spent on cinema and television on Tiktok and Reels and (to a degree) YouTube. If you know you spend 1-3 hours on Tiktok each day, well, in the 90s, nothing like that existed. You only had books, cinema, television, radio. So people weren't hyping memes and random dances and Good Emu Person and Shitty Emu Person etc. and everything folks talked about - even on early internet - when it came to mass media, centred on those specific forms of mass media.

Cinema will never ever be the same again so long as people give 12+ hours of their week to Tiktok / Instagram and similar sites, instead of cinema and television. You can't cry out for a golden age that's gone when it's gone because the audiences moved on. The fact is, one of the most common media watching memes on places like Tumblr is a version of 'everyone is recommending shows or movies to me and I don't have the time / energy / inclination to watch them.'

I'm part of this, I spend a lot more time on Tiktok than I do watching television or cinema, and this obviously only applies to the folks who do spend huge chunks of time scrolling through short pieces on the internet. And there's also nothing wrong with that until you go 'omg why aren't we getting shows like we used to / why is fandom so different now / why aren't we having these experiences anymore.'

You took the time and investment away, and that's why. It's way easier to get rabidly hyped in a fandom if you don't have Tiktok, or YouTube, or Instagram**, because what's left over (film, television, etc.) is all you have. And that's a pretty huge and significant reason why a) the budgets for film and TV are smaller (overall, it's similarly extreme on the other end, re: Sandman and Marvel etc. But I'm including everything here) and b) fandoms aren't as huge or long-lasting as they used to be.

I'm still noodling on this, and obviously there are a lot of factors going on here (many of which I went into yesterday, it's so fucking opaque to say 'we don't have films like we used to' because like, we do, people just don't know where to find them anymore, what we don't have is indie films hitting the zeitgeist like they used to, which is a different issue and it's multifactorial, and some of it is that people are now screaming about Emmanuel the Emu instead of the latest indie movie that came out). But I do think where Tiktok is making billions off of people, those billions are not going to more 'classic' forms of mass media.

If you want it, you have to give it your time. It's that simple.

** (Obviously these things can also be used as tools for fandom, it's just so much of fandom has also now ported over to transformative works around real people (i.e. dueting / stitching / replying / remixing / meme-ing etc. are all a form of transformative work that take time and labour, they're just different to what we classically think of as transformative works) and/or Tiktok fandom moves really fast by the nature of the format).

#thoughts #media studies #mass communication #the mass migration of audiences to reality social media #from fictional mass media spaces #this makes me miss my masters #please remind me not to go back #i don't want to do a PhD #fdsalkjfsa #anyway i'm 100% a part of this #there was a time when i watched nearly every pilot episode at the beginning of pilot season #to check out fringe television #ih aven't done it in years #you know what i do now? #i check youtube and tiktok every day #think about it

[illnessfaker]

According to the Max Planck Institute for the Study of Crime, Security, and Law: “stochas­tic terrorism involves ‘the use of mass media to provoke random acts of ideolog­i­cally motivated violence that are statistically predictable but individually unpre­dict­able.’” Self-described stochastic terrorist Chaya Raichik, owner of the social media account Libs of TikTok, has become infamous for her viral harassment and moral panic campaigns targeting minorities— with an emphasis on vilifying LGBTQ+ existence. Since 2021, Raichik’s posts targeting advocates for and members of the LGBTQ+ community have been followed with a deluge of violent death threats (including lynching threats against the Los Angeles Unified School District).

Children’s hospitals and school districts in the crosshairs of Raichik and her devoted fans have collectively suffered over 20 bomb threats so far, according to various law enforcement agencies. Detective Hanna Dvorak of the Coralville Police Department, who investigated one of these bomb threats against a junior high school in her city, told her superiors that “it appears this all stems from a post made earlier this week by Chaya Raichik and her ‘Libs of TikTok’ account.”

This month, a non-binary 16-year-old student at Owasso High School was brutally murdered in the girl’s restroom. According to local news outlets and family, Nex Benedict was beaten by three older female students. The mother of Benedict’s best friend told KJRH News that "one of the girls was pretty much repeatedly beating [Benedict’s] head across the floor.” Reports say Benedict was unable to take themselves to the nurse’s office after a teacher finally intervened in the brutal assault. For reasons that remain unclear, Owasso High School refused to call an ambulance for 16-year-old Nex Benedict, who died from their injuries in the hospital the next day. A motive for this killing has not been shared by law enforcement, but we know that schools in Oklahoma have been specifically pushing violent eliminationist rhetoric against transgender and non-binary youth— a fact exemplified by the state’s hiring of Chaya Raichik following her incitements of terror against the state’s schools over LGBTQ+ rights.

[...]

According to their obituary, Nex Benedict loved “nature and caring for cats” (especially their own cat Zeus) and “enjoyed a variety of pastimes such as watching the Walking Dead, reading, and playing Ark and Minecraft.” They will be sorely missed by friends, family, and the LGBTQ+ community.

feb. 18th, 2024

none of us are safe anymore are we

#op #transphobia #transphobic violence - #transphobic hate crime -

[casuallyferal]

It's been announced that Elon is reflecting on making X membership exclusive, ie where you pay to have an X membership.

With the upcoming death of X, I find myself having meta thoughts about my fandoms, the art community, and where they intersect; and, how much those things radically-and-completely changed after the death of Tumblr -- and still haven't recovered.

(this does relate to Cross!Sans' recent win I prommy just give me a minute)

...

To start off with an example:

Some folks still remember the mass death of Tumblr.

It's hard to describe it to people who didn't see it.

There were actual casualties. Y'all remember that, too? The deaths?

Most of them were because for many people, their ~5-10 years of portfolio disappeared overnight with no recovery. Even for folks who had backups, the little things that mattered most, like reblog-chains, had been compromised. I remember reading a vent post that stuck w/ me of a college applicant sobbing because their blog was going to be their portfolio to apply, and the needed morning, it was gone. They lived through an abusive home and lost their out. They stopped posting after that.

There are keystone works that now only exist in our minds.

Cornerstones of both fandom and people's real lives were erased by a mega corp afraid of organic Human sensuality, the artist's familiar muse. A kiss, a shirtless photo, a man lounging in the sun, didn't matter. Gone with no explanatory messages. Everything was very unstable about the rules for a disturbingly long time with ghost-edits to the sitewide rules, and vague lettering. If you posted a single dangly bit, you're out. If you posted male or female nypples at any point, you're out. The rules now aren't the rules that were for a little while, long enough to carve up careers and sink fandoms.

As a case study:

Try to understand that if you're a new arrival into an old fandom from the Before Times, like say Undertale,

... you arrived into a fandom carved into quarters.

Everything we cared about and definitive blogs & art pieces vanished. I was temporarily surprised that Cross!Sans won the AU contest instead of the longtime fandom favorites like G!Sans.

For years, he was our fandom mascot.

I had a harrowing realization and began doomscrolling to confirm that nobody can find 👌the showstopping sensuality 👌😩 of G!Sans. It's gone.

G-o-n-e gone, can't find it anywhere, like that mfker into his smoke.

Our fandom values and cultural pillars that we built ourselves were deleted off-site by some Suits.

Everything the young people inherited was bleached-out and fucking sanitized by a corporation. We had no choice but to tolerate that, even as self aware as we were about it.

...this cultural-drift was not because of natural evolution, but because we weren't sterile enough to "make the cut;" and now, it's definitive with a clear before/after gap.

...

I'm of the opinion that the online art community has never really recovered from these repeat events.

It's never been the same:

I see a lot less WIPs unless it's teasing a piece.

I see less reckless abbandon in artwork. There's less scribbles.

There's less breath on the canvas.

People tightened their shit up into hyper polished presentation-pieces.

There's less shitposting in general. People used to post doodles and silly faces and polished pieces were in between.

I think this new media relationship comes from a place of collective hurt. I think many of us realized all society gives a fuck about is money money money money for something that for many of us is a necessary biproduct of being alive. The people who couldn't handle that never came back. They Told Us So when they left, and coincidentally, never came back -- or came back different.

❕ (brief cw cp)

As necessary aside, I'm not lumping in the CP -- it's that every platform has CP, and addressing CP head-on on a platform like Tumblr also meant having regulations that corporate with legal, consensual sensuality, and that's not feasible without endorsing that exists... AND, is deeply influential to many artists. Tumblr wasn't willing to do that.

Tumblr wasn't willing to accept ads from orgs that are okay with that, either.

❕ (cw over)

I feel like this keeps happening... Facebook, Tumblr, Twitter/X... because it comes from a cultural climate of fear towards the veritable Human qualities, some raw, beastial, or even vestigial, of which is the Creative's foundational wellspring. What inspires is often transgressive, and there's no room for such things on a corporate level due to the sterile inhumanity of present day economics. If it's not palettable enough that it can be sold to stockholders with polished floors and dry-cleaned suits, we're a weed between the concrete.

Get too tall and we're seen as a disordered presentation of society instead of just... just, Human. Raw, beastial, vestigially Human.

...

At the end of the day,

our inherently-self-expressive Human potential keeps getting butchered alive by fear of sex & sensuality and love, and the bitter taste of culturally dominant hatespeech; to really spit on the situation, the biggest driver behind both of those is economic. There's a desire knit into the social fabric to squeeeeeeze every fkn penny possible out of an inherently involuntary part of the Creative's experience.

For many, creating freely is a necessary part of a Creative's self-regulation, regardless of whether it's just a hobby or a career path. Creatives create things. We have to or we wilt. It is counter-intuitive to the nature of Wall Street, as it stands, and so it will never favor us -- let alone begin to understand that, without overhaul.

For me, painting is like breathing, I have to do it or I become ill.

...

...It's like... they bottled our air.

Dammed our wellsprings and sell our own work back to us in plastic jugs. Elusive, ominous "they," vague because it's a lottery for whoever plays "them" next; executioner with hanging-rope in hand to strange the creative experience.

There's nothing sacred left when it's all about making money.

...so, where's next?

(: Might as well grit our teeth about it and stay organized. Mastodon, I think? Dreamwidth also? Misskey? Where have you heard? Where do I go, now?

I miss the reblog-artfights and having Tumblr friends before it was deleted by a suit, and I don't want to lose that.

#I dunno. I had thoughts. #twitter #x platform #art #art community #meta #rant #rant post #vent #undertale #undertale au #sans undertale #cross sans #sanssweep #crossweep #g sans #g!sans #cross!sans #error sans #corporate greed #small artist #anti capitalism #mastodon #lmao so many relevant tags fuck sake #was this even coherent idfk #dreamwidth #misskey

[neotrances]

it’s frustrating bc them knowing they have poor media literacy and finding it funny contributes to my harm, during the blm riots so much misinformation and tone deaf post were made and spread and contributed to my harm, so many tweets and mass posting events were done and contributed to MY harm, but i’m the asshole for not finding it tehe when you say you know nothing about media literacy, white people and americans in general are in one of the most powerful nations politically on the world and you think it’s funny to not know how to read laws that are being passed or atleast google breakdown videos of what they mean or how to watch a court case thru articles with our supreme court and understand what things they are targeting and why or be completely unable to do a fucking wikipedia search to see why the u.s gov is targeting xyz place bc of a decades long tyrant all bc of oil im sick of it, i am so sick of babying you people when you have access to the whole internet and only want to write and read when it comes to fandom shit, i am sick of seeing ppl with leftist and communist in their bio with a rainbow icon get mad when people reference books on how biden hurt the black community i am tired of ppl with voltron fan blogs having melt downs on post criticizing the sexualization of asian men with stats and studies about it bc they refuse to improve, i am so fucking sick of white americans believing themselves to be the best and most important people ever that start malding when you give them the spotlight that has been on them their entire lives

[star-anise]

Pulling a piece out of an already massive post to reply to @zenosanalytic :

Most of this is great, but I feel like this overstates the influence and power of exclusionists; they never took over either Feminist or Lesbian groups or turned them en masse against bisexuals and transpeople, at least not in the US(in Britain it's an accurate description from what I've read). They def were still there, TRYING to(they were majorly annoying in the Fair scene), and you'd meet them or lesbian-separatists moving in wider queer circles, but they were pretty consistently losing that fight especially in academic and political queer orgs and, by the 00s, were pretty much irrelevant. They stayed that way until the Conservative movement deliberately revived/coopted them in the 10s.

Because... here's the bit from the original post I think this is talking about:

That process of expelling bi women from lesbian groups with immense prejudice continues to this day and leaves scars on a lot of bi/pan people. A lot of bisexuals, myself included, have an experience of “double discrimination”; we are made to feel unwelcome or invisible both in straight society, and in LGBT spaces.

It is absolutely true that radfems did not succeed in making exclusionary politics the mainstream policy of LGBT institutions. Hooowever. That's not what I was talking about.

Most people do not engage with the LGBTQ+ community solely by, like... walking into a policy meeting at GLAAD. Generally we do things like finding LGBTQ+ content on social media, or by attending LGBTQ+ social events, or by trying to find people to date!

In those settings, groups that are minoritized within the LGBTQ+ community (bi, pan, m-spec, ace, aro, trans, nb, etc) experience being treated in ways that are invalidating or derogatory. Not all the time! #notalllesbians!! The majority of the community might actually be kind and welcoming, and it might be relatively small microaggressions. But those microaggressions can happen often enough, and in a context where not much is being done to show that we are valued by the community, to create a sense of wariness and unwelcome in a space that ought to be safe for us.

I didn't attend a single LGBTQ+ event, or try to date a single woman, my entire undergrad career, because when I was 16, the first real-life gays and lesbians I ever met laughed and joked, in my hearing, about how bisexual teenage girls are just sluts who are doing it for the attention, not actually gay. It's not that I believed them, since they were obviously wrong; it's just that I went, "Oh okay, so LGBT spaces are still ones where I'll be bullied and shit-talked. I absolutely cannot deal with any more of that, so I'll just never go into those spaces."

Mine is a very small story. There are a lot of little stories like mine, and also ones big enough that they'd look exclusionary even to an outside observer. I know people who actually did get pushed out of their college GSAs, or lost their whole social support network, or had people try to coerce them into thinking they were horrible misguided tools of the patriarchy, in LGBT spaces, because they were bi, pan, m-spec, ace, aro, trans, nb, etc.

If you'd clicked the link in the post labelled "double discrimination", you'd read an NBC article that says, in part:

“This study adds to the growing body of research confirming that bisexual people face unique mental health disparities [that are] closely related to stigma and discrimination [they face] from straight, gay and lesbian communities,” Heron Greenesmith, a senior policy analyst at LGBTQ advocacy organization Movement Advancement Project, said.

(Note: this means "unique" as compared to gays and lesbians, which have been the focus of most mental health research and practice in this area. Namely, bisexuals tend to face certain pressures as a group that cis gays and lesbians don't so much. It does not mean "unique" as in "only bisexuals experience this". Bisexuals are just one of many groups that feel unwelcome or unsafe in LGBTQ+ spaces they ought to belong in.

Maybe you didn't mean to imply that all these experiences didn't happen. I hope you didn't. Because it would be really goshdarn silly for someone who's been on Tumblr for years to suggest that the 2010s were not a fucking golden age of young LGBTQ+ people tentatively reaching out to explore their gender and sexuality, and being deluged with immense volumes of bullshit by other LGBTQ+ people for it.

I don't want to in any way discourage people from reaching out to LGBTQ+ groups, because it's very possible that the reward will far outweigh the risks. It's possible that other people will welcome you and will enforce a code of conduct against anyone who gives you shit. I'm not saying, "Hide forever! You're on your own, kid!"

But on the other hand, it is very easy, in a million different ways, to say "We didn't think very hard about making these groups feel welcome and protected in our space" without ever writing it into official policy.

#staranise original #lgbt discourse #transphobia tw #biphobia tw #aphobia tw

[davidpincher]

i posted last week about how i went to watch oppenheimer as part of barbenheimer & then ended up writing a 900 word essay about it. three people asked to see the essay so here it is:

a three hour anxiety attack

i watched oppenheimer; had dinner, watched barbie and then showered. i cant stop thinking about this movie. the thing about christopher nolan movies is that there’s always a part of them that makes me remember why i love movies, a part of me that is reminded of their power in the way that they make me feel things. most succinctly, yes, this movie is a three hour anxiety attack because i spent the entirety of the movie anxious, knowing little about this film other than that an atomic bomb is going to be made and dropped on hiroshima and nagasaki.

while i was much too dumb to understand the timeline of events, christopher nolan still makes such a foreign experience feel personal and familiar. relatable even, even though the times have changed. people have always been people, flawed and trusting and selfish. there’s the case of the spy, a jewish man, much like oppenheimer, that oppenheimer initially trusts out of community in hard times. you can understand oppenheimer’s devotion to the war, as someone so personally affected by it. there’s something personal, in the orchestration of the betrayal by robert downey jr (i cannot remember his characters name, truly, he was not that memorable), and how oppenheimer goes from respected to blacklisted. people are petty and cruel. i don’t think i’ve ever seen a movie with a sex scene that i found added to the plot of characters, but there is something so powerful in jean’s death being the only one explicitly shown on screen: humans are selfish and will be our own demise because we, more often than not, cannot find the empathy to care for people who we don’t know. it’s the trolley problem - the death of a lover or the death of hundreds of thousands, or even, the very end of the world.

there’s one line of dialogue that hasn’t left my mind since i finished watching this movie, almost ten hours ago now. it’s the moment in which they’re discussing what cities to bomb, and one character goes ‘not kyoto. there’s too much culture. plus my wife and i honeymooned there’ or something of the sort. it’s the kind of moment that shocked me, how the lives of hundreds of thousands of civilians were held in the hands of a guy making decisions based on his honeymoon. it’s the most memorable example of the question ‘who had the right to power’, regarding people’s lives, that consumes this movie. who has the right to create and use a weapon of mass destruction? another that i think of, is the scene with truman. i think that christopher nolan has portrayed a president more accurately than any other piece of media in the past: the president is not just some boss man, he is a guy appointed to look over entire fields he could not possibly understand the weight of, not even if he tried. truman’s depiction in this movie - as does everyone’s, honestly - feels so real because every single person has flaws. everyone here is so deeply flawed and insufferable, even oppenheimer, who likely is only slightly better because he’s aware of it all.

in high school, i was forced to spend two entire years studying world war two and the cold war from every perspective - japan, germany, italy, the united states, the soviet union, china, france and england. so of course, the questions of the ethics and necessity of the dropping of the atomic bomb came up, and there are so many discussions to be had within that. and yet, there wasn’t enough in this film. maybe this is a good thing, given that would require the opinions and analysis of the work of many historians that would likely derail the vision of nolan’s film, it would’ve meant a lot to the little nerd in me specifically.

oppenheimer opposes the hydrogen bomb because if the united states has one; the soviet union, their enemies at the time, would be forced to make one too. on a side note, another moment in this film that made my gut wrench was when this claim is denied on the belief that russia does not have the resources, or knowledge to compete with the united states. and god what a fucking blessing and curse is hindsight, as underestimating russia and the soviet union during a war is just as relevant today. this makes an interesting biopic to me because everyone knows about the atomic bomb. everyone knows about chernobyl and nuclear power. in fact, in the very basic level science classes i took, the world nuclear power became synonymous with chernobyl. bad things happen, and we know it, and this movie helps to warn us a bit about it.

enough on the history nerd stuff i truly did forget how much of my life i spent studying history, even if i only stopped just over a year ago. the sound design of this movie was fucking insane. every piece of audio, the line delivery, everything, made me feel so much (besides rdj - i get what people say about people having faces that know what iphones are) the shots were fucking masterful and despite being a three hour film, there was not a single moment (beyond the sex scenes mayhaps) that i felt dragged on for longer than they needed to. once again, just to end this off, god i fucking loved the sound of this movie, the build up, the anxiety, everything. while i most certainly have not seen enough christopher nolan to say definitively that this is his best work, i can most certainly see why people would say it is so.

#barbie #barbenheimer #oppenheimer #christopher nolan #film #oppenheimer essay

[ausetkmt]

Donald Trump's Hate Has No Place in Black America. Let's Remind Him in November.

We are seven months out from the most consequential election in our nation’s history, and Black voters know what’s up: A recent survey conducted by Black pollster Cornell Belcher’s firm asked 800 Black voters in battleground states to identify the single greatest threat to the Black community.

Their answer? A second Donald Trump presidency.

We should not be surprised by this finding. Trump is prepared to enact – and in many cases, reenact – policies that will do great harm to the Black community and to communities of color. He is expected to authorize mass deportations, wage war on the federal civil service (of which Black employees comprise 18 percent), cut taxes for the rich at the expense of the middle class, fight to make healthcare more expensive and less accessible and support an abortion ban that will only worsen the maternal mortality crisis.

While we have focused a lot on what Trump would do during a second term with the stroke of his pen, we cannot forget about the damage he inflicted on our community as president without even lifting a finger. Over his four years in office, Trump normalized a culture of racism and xenophobia that trickled down from the highest levels of our government to everyday interactions in-person and online. The former president’s social media posts and speeches were laced with a mix of dog whistles and outright hate speech.

How could we ever forget his claim that the attendees of a white supremacist rally in Charlottesville, Va. were “very fine people?” Or when he ordered members of the Proud Boys to “stand back and stand by” after being asked to condemn the white nationalist militia group? Or when he suggested that four Democratic members of Congress – all women of color – should “go back…[to the] places from which they came” in a tweet that a Republican congressman even described as racist?

Coming from the mouth of the President of the United States, this kind of rhetoric signaled that hate did indeed have a place in his America and gave top cover to those who realized they no longer had to keep their racism under wraps.

Consequently, racial violence skyrocketed during Trump’s presidency. In fact, this trend started before he even took office. The Washington Post found that counties that hosted a Trump rally in 2016 experienced a 226 percent increase in hate crimes in the months that followed. From 2016 to 2017, hate crimes across the country increased by 17 percent. From 2018 to 2019, deadly hate crimes more than doubled. And in 2020, more hate crimes were reported than in any year since 2001. Perhaps unsurprisingly, alleged civil rights violations went under-investigated under Trump’s DOJ. During its first two years, the Trump DOJ opened 60 percent fewer civil rights cases than did the Obama DOJ and 50 percent fewer than the Bush DOJ.

For those who think that the extent of the harm inflicted by Trump’s racism can be fully captured in those statistics, think again. In a multitude of ways, the Black community continues to suffer from the flames of hatred that Trump fanned while he was president. For example, racism is exacerbating the Black mental health crisis: Black youth experienced a 144 percent increase in suicide rates from 2007 to 2020, with both institutional and interpersonal racism identified as strong risk factors driving this trend.

While Trump was president for only a portion of that period, he was active in spreading racism – including promoting the Barack Obama birtherism lie – for almost the entirety of it.

Speaking of Obama, the election of our nation’s first Black president helps us understand why the election of Trump – which once seemed unthinkable – was actually an inevitable reaction to Black progress. Study after study has pointed to racial resentment as a significant driver of the support Trump received from his voters. His base wanted trickle-down racism, and trickle-down racism is what they got.

Fast forward to today, and like any other proverbial old dog, Trump is clearly stuck on his old tricks. On the campaign trail this time around, he has already evoked Hitler, saying that immigrants are “poisoning the blood” of our country, and suggesting that Black voters appreciate him because he is being “discriminated against” in the legal system. Naturally, Republicans have made him their nominee for the third time. But while he might speak for their party, we do not have to let him speak for our country. Not again.

In 2016, Trump promised his supporters the ability to hate openly with impunity, and he most certainly delivered. Now, he’s ready to do it all over again. And while it might be tempting to give into fear and cynicism, we should take hope in recognizing that thanks to our community showing up for Joe Biden in 2020, we helped elect a president who is committed to aggressively prosecuting hate crimes, who has appointed judges with a respect for civil rights, and who recognizes that “hate never goes away, it only hides.”

Donald Trump has never hidden his hate. This fall, let’s show him once again that it has no place in our America.

#Donald Trump's Hate Has No Place in Black America. Let's Remind Him in November. #trump #white supremacy #white hate #white lies #american hate #homegrown racism #race #race in america

[shoujoboy-restart]

16-year-old non-binary student Nex Benedict was beaten to death at Owasso High School in Oklahoma.

Self-described stochastic terrorist and January 6th Capitol rioter Chaya Raichik, owner of the social media account Libs of TikTok, has become infamous for her viral harassment and moral panic campaigns targeting minorities— with an emphasis on vilifying LGBTQ+ existence. Since 2021, Raichik’s posts targeting advocates for and members of the LGBTQ+ community have been followed with a deluge of violent death threats (including lynching threats against the Los Angeles Unified School District). Nowhere has Raichik’s influence been more visible than Oklahoma, where her anti-LGBTQ+ exploits earned her an official position on the Oklahoma Department of Education’s Library Media Advisory Committee by controversial far-right Superintendent Ryan Walters. Under Walters’ leadership, Oklahoma has been aggressively working to ban books and education on LGBTQ+ issues in schools across the state, with Oklahoma’s Attorney General Gentner Drummond stating that proposed rules to ban LGBTQ+ books and content were “unconstitutional and cannot be enforced.” It’s been confirmed that Raichik’s posts have fueled multiple bomb threats against schools specifically in Oklahoma. Officials from Oklahoma told NBC News that they believe Chaya Raichik’s anti-LGBTQ+ culture warring “sparked threats in their localities with her posts on social media that digitally heckle people such as drag performers, LGBTQ teachers and doctors who treat transgender patients.”   One of these instances was at the Owasso School District (just outside of Tulsa, Oklahoma). In 2022, Chaya Raichik targeted an Owasso teacher for speaking out in support of LGBTQ+ students who lacked acceptance from their parents. Raichik’s post was shared thousands of times on social media and resulted in the teacher getting condemned and harassed until they resigned. The posts Raichik made about the teacher were later deleted, but have been archived. It’s unclear what prompted the deletion of the posts by Raichik. We know Raichik’s Libs of TikTok posts have contributed to a culture of intolerance against LGBTQ+ youth in schools, and now this hate may be manifesting beyond mere threats. This month, a non-binary 16-year-old student at Owasso High School was brutally murdered in the girl’s restroom. According to local news outlets and family, Nex Benedict was beaten by three older female students. The mother of Benedict’s best friend told KJRH News that "one of the girls was pretty much repeatedly beating [Benedict’s] head across the floor.” Reports say Benedict was unable to take themselves to the nurse’s office after a teacher finally intervened in the brutal assault. For reasons that remain unclear, Owasso High School refused to call an ambulance for 16-year-old Nex Benedict, who died from their injuries in the hospital the next day. A motive for this killing has not been shared by law enforcement, but we know that schools in Oklahoma have been specifically pushing violent eliminationist rhetoric against transgender and non-binary youth— a fact exemplified by the state’s hiring of Chaya Raichik following her incitements of terror against the state’s schools over LGBTQ+ rights.  “This is the inevitable result of the anti trans moral panic,” said civil rights attorney Alejandra Caraballo, who shared an article about Benedict’s death published by the Pittsburgh Lesbian Correspondents Blog. “This is horrifying, and comes as lawmakers are increasingly spreading fear over trans people in bathrooms,” wrote LGBTQ+ journalist and advocate Erin Reed regarding this murder.

#discourse #politics #lgbtq community #lgbtq #lgbt rights #lgbtq rights #libsoftiktok #libs of tik tok