okay lemme just-
dick grayson:
- eldest brother
- watched parents die, swore revenge on murderer
- raised as a child soldier from a young age (9 y/o)
- complicated relationship with (adoptive) father, lots of unresolved anger but still defends him
- believes he has a better understanding of his father than his younger brother does (has spent more time around him)
- copes with humor, bottles up emotions, feels he has to ‘be strong’ for his family, doesn’t talk about his own issues
- extremely loyal to those deemed ‘family’
- bi coded
- spent his childhood moving around constantly (traveling circus)
- seen as a playboy/flirty, uses it to get information
- had to raise his little brother / was basically a parent to him
- self-sacrificing as FUCK, total martyr complex
- constantly wears a fake persona and rarely shows his true self to others
dean winchester:
- eldest brother
- watched his mom die, swore revenge on the demon that killed her
- raised as a child soldier from a young age (4 y/o)
- complicated relationship with father, they have unresolved issues but he still defends him
- believes he understands his father better than his younger brother does (has spent more time around him)
- copes with humor, bottles up emotions, feels he has to ‘be strong’ for his family, doesn’t like talking about his own issues
- extremely loyal, values family above all else
- bi coded
- moved around his whole childhood
- seen as a playboy/flirty, uses it to get information
- had to raise his little brother, was more of a parent to him than their dad ever was
- self-sacrificing to a worrying degree, definite martyr complex
- constantly wears a fake persona and rarely shows his true self to others
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honestly honestly honestly warehouse 13 had a lot of failings in its writing and its pacing and its plotting and its shark jumping esp in the last two seasons and it was very much a product of its time and its genre in a lot of ways that were to the show’s detriment BUT !!!!!!!! i will say there is something really powerful to me that they killed steve in the end of s3 for an emotional tragic plot moment and THEN put in the work to Bring Him Back. and like. have it feed into his relationship w claudia and like. a large part of both of their stories in the first half of s4 is like!! the consequences and repercussions of steve coming back from the dead!! and like. no its not done as well as it could be. no they dont dig into the trauma and the fear as much as they could have for my tastes, but its SOMETHING. and like. that’s not an arc you see for gay characters very often- especially in 2011, you know? like not only was steve a non stereotypical gay character (other than that one bizarre ep he got split into his?? gay half and his boring half?? iirc?? we dont talk about that one) but like. his sexuality has very little bearing on his character, he’s not there to be the sassy bff to any of the other leads- no matter how claudia kind of tries to get him into that role in the beginning- he’s serious and he’s funny and he’s kind and he serves as a brilliant counter balance to pete and myka and claudia and he HAPPENS to be gay. he doesnt uncomfortably flirt with pete (if anything, pete uncomfortably straight guy flirts with steve) and he doesnt do makeovers and like. its just kind of delightful and fascinating to me that we got this carefully built, mulitfaceted gay character that was killed off for sympathy and tearjerking in the end of s3- and in most other shows, that would have been it (like they do with leena in the mid season 4 finale- oops) but they bring him back!!! and after some fighting for his safety and humanity he’s FINE. and he’s allowed to be gay and to be claud’s big brother and to keep working at the warehouse and he isnt fridged or buried like so many other diversity point queer characters in media, especially of that era! it’s just!! kind of delightful!!! like w13 had its flaws i KNOW it had its flaws. but like. there arent a lot of characters like steve jinks in tv shows NOW you know, much less in the late aughts/early 20teens. and he’s just very dear and special to me <3
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So I've seen a few too many people on twitter talking about The Kiss Scene from the new Scott Pilgrim anime. People saying it's fetishistic and indulgent, people calling it male gazey, etc. And while the kiss itself is certainly a bit exaggerated, I felt like writing a bit about why I disagree, and why context is important, like it always is. But it basically turned into an extended analysis on the metatextual treatment of Roxie Richter. So bear with me. It's a long post.
What really matters about this scene is not the kiss itself, but what precedes it. Not even just the fight scene just before it, but what precedes the whole anime series, really. And that's the Scott Pilgrim comic book, and the live action movie. Because in both, Roxie is a punchline.
She's a joke. Her character starts and ends with "one of the exes is actually a girl, I bet you didn't expect that." Jokes are made about Ramona's latent bisexuality, the movie especially treating it as funny and absurd, and her validity as a romantic interest is entirely written off by Ramona as being "just a phase." There's a fight scene, she's defeated by a man giving her an orgasm which implicitly calls her sexuality into question (come on), and the movie just moves on. It sucks. It really, really sucks.
The comic fares a little better. It never veers into outright homophobia like the movie does, and while the line about Ramona having gone through a phase remains, Roxie actually gets one over on Scott when Ramona briefly gets back with Roxie. But Roxie is still only barely a character. Like all the other evil exes, she's just a stepping stone towards the male protagonist's development. She barely even gets any screentime before she's defeated by Scott's "power of love." But Roxie stands out, since she's the only villain who is queer, or at least had been confirmed queer at that point (hi Todd). In a series that champions multiple gay men in the supporting cast, the single undeniable lesbian in the story is a villain. She's labeled as evil, made fun of, pushed aside in favor of the men, and then discarded. Her screentime was never about her, or her feelings for Ramona. It was about the straight, male protagonist needing to overcome her. And that was Roxie Richter. An unfortunate victim of the 2010s.
Fast forward to current year, and the new anime series is announced. Everybody sits down to watch the new series expecting another retelling of the same story, and.... hang on, that straight male protagonist I mentioned just died in the first episode. And now it's humanizing the villains from the original story. And there's Roxie, introduced alongside the other evil exes in the second episode, and she's being played entirely straight, without a punchline in sight. No jokes are made about her gender, no questions are made of her validity as one of Ramona's romantic interests. The narrative considers her important. In one episode, she already gets more respect than she did in either of the previous iterations of Scott Pilgrim. And this isn't even her focus episode yet... which happens to be the very next one.
The anime series goes to great lengths to flesh out the original story's villains and to have Ramona reconcile with them. And I don't think it's a coincidence that Roxie gets to go first. While Matthew Patel gets his development in episode 2, Roxie is the first to directly confront Ramona, now our main protagonist. This is notable too because it's the only time the exes are encountered out of order. Roxie is supposed to be number 4, but she's first in line, and later on you realize that she's the only one who's out of sequence. She's the one who sets the precedent for the villains being redeemed. She's the most important character for Ramona to reconcile with.
What follows is probably the most extensive, elaborate 1 on 1 fight scene in the whole show. Roxie fights like a wounded animal, her motions are desperate and pained. Ramona can only barely fight back against her onslaught. Different set-pieces fly by at breakneck speed as Roxie relentlessly lays her feelings at Ramona's feet through her attacks and her distraught shouts. And unlike the comic or the movie, Ramona acknowledges them, and sincerely apologizes. And the two end up just laying there, exhausted, reminiscing about when they were together.
Only after this, after all of this, does the kiss scene happen. Roxie has been vindicated, she has reconciled with the person who hurt her, the narrative has deemed that her anger is justified and has redeemed her character. And she gets her victory lap by making the nearest other hot girl question her heterosexuality, sharing a sloppy kiss with her as the music triumphantly crescendos.
It's... a little self-congratulatory, honestly. But it's good. It's redemption for a character who had been mistreated for over a decade. And she punctuates the moment by being very, very gay where everyone can see it, no men anywhere in sight. Because this is her moment. And then she leaves the plot, on her own accord this time, while humming the hampster dance. What a legend. How could anything be wrong with this.
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