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mybrainproblems · 1 year

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so like. watching 11x23 after having watched the rest of the show and taking time to chew on what the fuck dabbnatural is all about is so interesting bc there's a certain framing of chuck dying in 11x23 that... i'm not sure if it was intentional by dabb or just the way the editing shook out (either option is insane) but at first chuck seems to imply that his death and the death of the world isn't the result of imbalance, but it's that amara killed him and is now destroying the world. but then we learn from amara that no, the sun is dying bc she hurt chuck to the point where he is dying and that without creation there is only the nothingness that is her nature. the sun dying is the result of her actions but it's not a direct choice, just a consequence that she didn't really foresee. she has come to love chuck's creations, why would she choose to destroy that?

and it just fascinates me. bc watching 14x20 immediately after it's kinda like... was this intentional? there's a certain element of 11x23 that feels like as much as chuck says he doesn't want to hurt amara, he doesn't necessarily feel regret about what he's done, only how it turned out.

which again, could just be that the takes used in editing biased towards a less remorseful vibe from chuck. we don't know if there were other takes where rob played chuck as more remorseful but that's what we end up with. dean asking if chuck wants amara dead and him saying that even after all this, no. but still lying by omission that the sun dying is something amara is choosing to do.

like idk there's just a certain framing of that reveal and the fact that it initially comes from amara that is like. yes, chuck is dying but he's putting on his best meow meow act. if he's gonna die it may as well be as he's comforted by the characters from his favorite show. he may as well snuggle in close and send dean out to one more act of violence; to kill his sister. but this time he doesn't hold the trump card, he can't force dean to act out the violence that he wants from him. he chooses the reprieve he's been given and when amara get sick of his shit, he goes right back to playing with his favorite characters.

after all, they gave him such a good show last time.

and then i just have to wonder... would chuck have died if amara was destroyed by the soul bomb? if chuck dies, then amara lives (presumably bc she's uninjured) but if amara dies... even if he's injured, does chuck die? we only have his word that he would and in light of 14x20 and everything in s15 we have to recontextualize everything chuck has ever said in light of one thing --

writers lie.

#i'm now convinced that 14x20 was written with the expectation that they were gonna get fucked on s15 in some capacity #i need to get back to my timeline spreadsheet bc while the announcement that s15 happened in march 2019 #they would probably have known months before if the cw was gonna try to tee up something new with some of the spn actors (eg walker)#it think it was something that was a decision that was made partly among ppl working on the show and not network edict iirc?#so like. i *do* think that the decision on s15 being the ending would explain the shift in s14 and very sudden reappearance of chuck #what if we gave writers *all* the credit? what if y'all stopped acting like they were monkeys with typewriters occasionally nailing it?#you wouldn't continue to obsess over spn if it were universally bad and poorly written. it certainly has its bad moments but tbh?#to me at least the worst moments aren't necessarily the writing per se but where the show is at its most racist and sexist #i can forgive the occasional 'wait what?' about the plot or some moments where characters are ooc but the episodes that stick out #like sore thumbs to me as being bad and poorly written are the ones like man's best friend with benefits or the bad place #so what if we started giving writers credit for being competent storytellers and started criticizing the bullshit they wrote that #was actually harmful. criticize there will be blood and not carry on. acknowledge the bad place along with despair.#hennyways that's just my two cents. most of the writers were at least competent and many of them had at least one moment of brilliance #let's give them some credit #spn #feathersforcas

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geezerwench · 2 years

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X-Men is about civil rights. If you didn’t get that, you didn’t get X-Men.

Black Panther is about civil rights. If you didn’t get that, you didn’t get Black Panther.

Captain America literally fought Nazis. He is the embodiment of fighting the alt-right. If you didn’t get that, you didn’t get Captain America.

The Empire in Star Wars is fascist. The Rebel alliance are Anti-Fascist. If you didn’t get that, you didn’t get Star Wars.

The Punisher isn’t meant to be a role model for police or armed forces. So much so that the writers of The Punisher made him actively speak out against it in a comic. If you didn’t get that, you didn’t get The Punisher.

Deadpool is queer. He’s pansexual. Fact. If you didn’t get that you didn’t get Deadpool.

Star Trek is about equality for all genders, races and sexualities. As early as the mid-60s it was taking a pro-choice stance and defending women’s right to choose. One of its clearest themes is accepting different cultures and appearances and working together for peace. (It’s also anti-capitalist and pro-vegan). If you didn’t get that, you didn’t get Star Trek.

Superman and Supergirl (and a whole host of other superheroes) are immigrants. The stance of those comics is pro-immigration and pro-equality and acceptance. If you didn’t get that, you didn’t get Superman or Supergirl.

Stan Lee said “Racism and bigotry are among the deadliest social ills plaguing the world today.” If you’re bigoted or racist, you didn’t get any of the characters Stan Lee created.

The stories we grew up with all taught us to value other people and cultures and to treasure the differences between us. Only villains were xenophobic, or sexist, or racist, or totalitarian. I can’t understand how anyone can have missed that.

If you’re upset that there’s a black Spider-Man, or a black Captain America, or a female Thor, or that Ms Marvel is Muslim, or that Captain Marvel was pro-feminism, or any of the other things right wing “fans” say is “stealing their childhood” - you never got it in the first place. The things you claim are now “pandering to the lefties” were never on your side to begin with.

If you consider yourself a fan of these things, but you still think the LGBTQ+ community is too “in your face”, or have a problem with Black Lives Matter, or want to “take the country back from immigrants”, then you’re not really a fan at all.

Geek culture isn’t suddenly left wing... it always was. You just grew up to be intolerant. You became the villain in the stories you used to love.

****

Kenny Boyle - Actor and Playwright

07 June 2020

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eastgaysian · 1 year

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okay here's one post i have to make. Finally racism confirmed real in succession. other people have talked about this before but it is a huge blind spot of the show not to acknowledge the intersection between racism and capitalism, and the excuse that the characters are the 1% and the 1% are vastly white is pretty weak. the fact that the show sidelines its existing characters of color while every now and then broadly gesturing towards race makes this worse, especially as the show more directly focuses on fascism and just Doesn't bring race into it. like i don't even think race is totally absent as a concern of the writers but it's clearly not a priority. i think a lot about how mo's widow is a filipino woman

anyway. ken and rava's conversation in this sense doesn't really qualify as, like, revolutionary in terms of succession's commentary on race esp since it's a discussion between two white parents about their brown daughter without her present. the point of interest to me really is that kendall completely fails to recognize racism as a systemic issue, much less that he works for and is trying to sustain a company that actively works to perpetuate that hegemony. his questions are why was sophie on the street? why wasn't rava there? in the same episode where he calls matsson homophobic for saying the numbers are gay. socially aware king

it's not particularly revelatory to say that a rich white man doesn't grasp the concept of systemic racism LOL but i do think it's more than that for kendall, and i also think this trait is something his siblings don't share. it's like how he doesn't realize he's in a position of power over anna and she was pressured into attending the recny with him, and his adoption of a faux-feminist stance in s3 while continuing to treat women like shit. kendall's whole concept of Everything, including systemic social issues, goes back to logan. there's no system outside of dad. the doj doesn't find the cruises evidence compelling? that's because they're scared of logan. logan's the source of the evil in the world, therefore opposing him is inherently progressive, leaving kendall with even less of a coherent moral framework after his death. and he's completely unable to process the idea that he could be participating in and benefiting from the greater racist or sexist system, because that's fundamentally incompatible with his logan-based idea of his own identity.

i don't think roman or shiv or even connor share this particular nearsightedness. roman 'we do hate speech and roller coasters' roy knows what's going on but he doesn't really care and he doesn't believe it can be changed (or, maybe more accurately, that there's any point in trying). he doesn't buy into fascism on the ideological level, exactly, but the spectacle appeals to him and he does believe it's profitable to align with it, so he's perfectly happy to do so. i think he's the most similar to logan in this regard. and shiv and connor have actual political ideologies, even if they're far from being meaningfully opposed to fascism, which requires a base awareness of the fact that We Live In A Society and That Society Has Systems In It. for kendall it really boils down to logan and logan alone

#chalkboard

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pluckyredhead · 1 month

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Can you please say more about the Lanterns' politics?

I am so glad you asked me about this because I've been thinking about it since I reblogged that post but also I'm definitely about to get yelled at lol. ANYWAY THIS IS GOING TO BE LONG.

Tl;dr: John is the only one with a coherent political position or an up-to-date voter registration.

Hal:

So something interesting about Hal is that his stories are often very political but his character is not. With one extremely obvious exception, he rarely talks about politics; rather, he serves as a means through which to tell political stories, usually unintentionally.

What do I mean by that? Well, for example, in the Silver Age, his love interest would occasionally be possessed by a misandrist space jewel that would force her to attack him, but always lose because women are inherently inferior to men and prefer to be subjugated by them anyway. That's the original Star Sapphire concept. It's wildly misogynistic, but it doesn't mean Hal the character is misogynistic. But it's also a very political story, even if I don't think the writer was deliberately trying to make a point so much as...being an average, thoughtlessly sexist guy living in the 60s. (Carol continues to be the subject of mindbogglingly sexist writing and art well into the 2000s. Fucking comics.)

And so you have Hal Jordan, whose love life was ruined by his girlfriend getting promoted above him and who called his best friend by a racist nickname for decades; Hal Jordan, poster boy for chest-thumping post-9/11 kneejerk patriotism; Hal Jordan, lightning rod for a certain kind of regressive bigoted fanboyism. Choosing Hal as the Lantern for a particular story over John or Kyle has come to signify something very specific, but none of that is necessarily reflective of what Hal himself believes.

So what about Hal himself? Well, when we first meet him, he's the epitome of privilege: a white, straight, cis, Christian (I know he's canonically half-Jewish now but that's only as of the past decade or so), ablebodied, upper middle class (Geoff Johns retconned him to have a working class background, but in the Silver Age, he had one uncle who was a millionaire, another who was a judge, and a successful politician brother) man with a flashy job. Privilege tends to lean Republican; even if he is from California, I suspect Hal voted for Eisenhower in 1956.

In GL/GA, the word "Republican" isn't used to my recollection, but Hal is definitely presented as...I'm going to say conservative by I mean lower-case C. He doesn't have deeply held political beliefs, but he's traditional. He doesn't question the system, because he's never had to. He resists things that challenge the way he's always understood the world works, and that's very relatable - most people do! And he will absolutely argue with Ollie, who certainly isn't always right about everything. But he's also willing to listen, and have his mind changed, and certainly reachable via appeals to compassion and fairness.

Once the "relevance" trend of the late 60s-early 70s was over, Hal's stories default back to ostensibly politically neutral, although obviously nothing is actually politically neutral. In the late 80s and early 90s he's the most unpleasant version of himself, and that has political manifestations, like when he allows John to be imprisoned in apartheid South Africa for a ridiculous and unnecessary crime Hal himself committed. It's extremely fucked up, but again, it's less because of Hal's actual opinions and more because Christopher Priest wanted to write about apartheid, even if it does make Hal look incredibly, horrifically racist.

Then jump to the mid-2000s and Green Lantern: Rebirth, and you might imagine that losing his hometown, getting possessed by a giant space bug, becoming a supervillain, dying, and becoming the embodiment of God's vengeance might have some effect on Hal's politics, but that is not what Geoff Johns is here to write. Johns is writing a Hal who teleported in from, like, 1967 - no nuance allowed. He's a summer blockbuster that walks like a man. He's a Baja Blast. He's never had a coherent political thought in his life. In his defense, he has had more and goofier concussions than any superhero I can think of and his brain is smooth like an egg. Still.

Anyway, all of this is to say that I think Hal tends to default to center right positions but can be easily coaxed over to center left. That said, he has never not once in his life had his shit together enough to vote in a single election, not even for his own brother.

Guy:

So Guy's deal is a little bit complicated because his most vocally political era was also in part due to severe and personality-altering brain damage.

When Guy was originally introduced in the 1960s, he had the pleasantly bland personality of all superheroes. Many years later, he suffered a series of major injuries, torture, and a lengthy coma, and he emerged from the coma in 1985 with the aggressive, abrasive personality he's best known for today. Justice League International took that even further, using him to parody the jingoistic, red-blooded American action hero of the 80s.

This version of Guy is a vocal fan of Ronald Reagan and despises the USSR. He's pro-war, proudly xenophobic, and treats women badly enough that it crosses the line into repeated sexual harassment, both physical and verbal. (To be fair...ish, this last also applies to Wally West and arguably a number of other men, and was always played for laughs. It was gross all around.)

Again, this is partially a manifestation of his brain damage. There's also a running gag in JLI where if he gets hit on the head, his personality changes to this cloying, timid, gentle one, sort of halfway between a child and a flamboyant gay stereotype. Hit him again and he goes back to Asshole Guy. I'm not going to pretend I don't find some of the gags funny, but it's obviously all highly problematic, and not just from a medical standpoint.

That said, I don't think we can dismiss Guy's politics or his usual personality as simply a manifestation of brain damage. We see in later flashbacks that he developed the abrasiveness as a defense mechanism from growing up in an abusive home, and as he matures through the 90s, he doesn't actually become a significantly different person, even after his Vuldarian healing factor kicks in and heals his brain. (It's a thing.) I think it's more accurate to say that the brain damage probably affected his impulse control, his filter, and arguably even his paranoia levels.

All of which is to say that as much as I would love to go "Guy's better now, so he's not a Republican!"...that dog won't hunt. I think a really good canon writer could make the case that Guy is pro-union-style working class and also a former teacher so he's at least center left, but as of now canon evidence is pretty firmly on the red side. It doesn't help that the GLC has been written as fetishistically pro-cop and pro-military since Johns got his grubby hands all over it. I will happily ignore the New 52 retcon that Guy was a cop, and you could even try to argue that he dislikes cops because his brother was a corrupt cop who became a supervillain, but I think it's much more likely that he identifies with cops as a Corps member. Although I don't think he would have any patience for killer cops. ("You were afraid for your life even though you were the only one with a weapon? Then fucking quit, coward.")

All of that said, I think Guy is similar to Hal: defaults to center right, can be talked into center left on certain issues but he's more stubborn about it. (They would also both be enraged by Jan 6 and disgusted by the current Republican party - I can't quite argue that Guy Gardner is a Democrat but Green Lanterns don't have any patience for traitors or cowards.) It's also kind of a moot point because he never knows what is happening on Earth and hasn't voted since his pre-coma days.

John:

Oh John Stewart, thank god for you.

John was introduced as an explicitly political character in an explicitly political story. The first time we see him, he's stepping in to defend Black men from a white cop, citing his own knowledge of the law to do so. He shows a much more perceptive and informed perspective on the issue's main plot (a racist senator running for president) than Hal does. Even in the little moment above, we see that he's sensitive to exactly what it means for him, a Black man, to be taking on this role.

None of this is a surprise, since we'll later learn that John's parents were civil rights activists. Not only would he not have had the privilege Hal and Guy did to assume his existence was politically neutral, he was explicitly educated about political realities and progressive advocacy from childhood. He's well-informed, he's passionate, and he's going to tell you when you are being fucking stupid.

John isn't immune from the GL cop/military...thing, although I can't blame Johns for that - it was the cartoon that made him a Marine, and the comics followed suit. But that's never outweighed his origin or his upbringing. Like, he's friends with the DCU's fictional version of Nelson Mandela.

This one is straightforward: John is a staunch progressive. He is, however, in outer space 90% of the time, so he's always at least a little bit out of date. I imagine every time he comes back to Earth he spends the first 24 hours watching the news in abject horror.

Kyle:

Kyle doesn't talk about politics a lot, but when he does, he lands pretty much where you'd expect a young California-born artist living in New York City to land: to the left. My read on Kyle is that he hasn't really thought any of his politics through, which makes sense - he's a character who is led by emotion over reason every time. He doesn't have John's carefully thought-through arguments or knowledge of the law behind him. I feel like when something political upsets him, he's more likely to splutter angrily than make a coherent argument (which: same). When he's given the time to think things through and speak from the heart, though, he can be very eloquent, like in his speech to Terry after Terry accidentally comes out to him.

It's also worth pointing out that his solo appearances were mostly in the 90s, which were prone to avoiding politics or only addressing them in a halfhearted both sides-y way like the story above.

That said, I don't think he ever actually does anything about his political opinions. He never votes in midterm or primary elections, and probably only voted in a presidential one because Alex dragged him along one time. I feel like Donna tried to do the same when they were dating and that was when Kyle realized he'd forgotten to change his voter registration from California to New York. Jennie wasn't responsible enough to Mom him into doing his civic duty, and he's been in space pretty much nonstop ever since, so...

Simon:

In that other post, I said Simon's experiences should have radicalized him, but instead he was created by Geoff Johns. Simon is a Muslim, Lebanese-American man who came of age in the post-9/11 era, and was wrongfully convicted of terrorism and waterboarded at Guantanamo Bay. His reaction to this was...to put on a ski mask and wave a gun around. Like, it's been a while since I've read these issues, but aside from the "ripped from the headlines!!!" of it all, I feel like Simon's experiences largely don't inform his actions or perspective except that he's super angry (fair enough).

The thing about Simon (and Jessica) is that he hasn't been around very long, and most comics don't have characters directly expressing political opinions. It's not a coincidence that these characters are in chronological order and each write-up is shorter than the last. I can think of about three times where Kyle has ever said anything I can interpret as political, and he's been around for 30 years. Simon only has a third of that history. So while one could certainly extrapolate what Simon's opinions are likely to be, I can't think of any canon where he actually says them.

Jessica:

Jessica has even less to go on in terms of explicitly political comics. You'd think she wouldn't like guns because of what happened to her friends, but she has one of her own and doesn't seem bothered by Simon's. I'd imagine she has opinions on immigration as someone whose family is from Mexico and Honduras, but it never comes up. If I were writing for DC, I'd make both Simon and Jess leftists, but as for actual canon proof? I got nothing.

I will say that she probably avoids political discussions because anxiety, and I bet she got really good at voting by mail during her years not leaving the house. She probably votes by mail from space. Maybe John's not the only one with an up-to-date voter registration.

Kilowog:

#green lantern #hal jordan #guy gardner #john stewart #kyle rayner #simon baz #jessica cruz #meta

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freevoidman · 2 months

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Well, I think the writing's been on the wall for a while, but it's a very odd, bittersweet feeling seeing RT getting shuttered. I've grown to hate the company due to the YEARS of exploitative actions towards employees and their racist + sexist behavior, not to mention their transphobia and other bigotry that I am bound to be forgetting. I'm glad that the corporate level of this is being most likely closed.

However, a sudden closing like this means a lot of people's lives and homes are now in jeopardy, and my heart goes out to the employees. I hope that they're able to find jobs quickly, and that their new positions will treat them better than RT ever has. RT has taken many great talents and chewed them out, but that doesn't mean their talents and skills can't be appreciated in new environments, and that doesn't mean that this is fair to anyone who was working under them. I hope the best for them going forward.

As for RWBY... well, I've had mixed feelings about the show for a long damn time. I saw immense potential in the show, otherwise I would've never watched it, which I personally have felt has been squandered with poor writing over the years. I feel like that can absolutely be linked to the general treatment of employees--writers and animators alike--and though the future of RT's IPs and continuing shows is currently murky, I do hope that, if the shows return, they come back better and brighter despite years of fumbling.

When #GreenlightVolume10 started trending, I made the general statement that this would be ineffective. While fan presence can certainly be a factor in renewing a show, the guarantee of an audience is not often not enough to get a show budgeted. I doubt this post will reach many people but, if it does, I would implore people to take the time to look up who worked on which of your favorite episodes from RWBY and see if they're looking for work. Try to support them in this time, either by RT-ing resumes or through other means. RWBY would not exist without its animators, its story boarders, its technical lighting crew, literally any part of the actual crew. Use that same energy you did tweeting that hashtag and put it into supporting employees who learned today, just like the rest of us, that they're out of a job.

This is a sad thing, but RT had a hell of a run. I can only hope things get better moving forward for everyone impacted.

#rwde #rwby #rt #rooster teeth

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aingeal98 · 9 months

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Thinking again about the al Ghuls and how DC deliberately tanked it's own writing to turn them into ooc cartoony villains because the anti Arab racism post 9/11 was just too potent for them to resist. You take a villain whos love for his family is one of his core characterisations, he's sexist and evil and runs a cult but he forgives his daughter every time she betrays him to help Batman. He lost his godson fighting nazis in world war two, he wants Batman to be his heir, to be family. Because he respects Batman's mind.

And DC looks at this and gives him a Jewish daughter who Ra's left to die in a concentration camp because in Death and the Maidens he found the Nazis to be useful allies. Nazis, who not even Joker would team up with. Who Ra's had talked about fighting against in older continuity. Whoever came up with that plotline needs to never work in comics again.

Nyssa tortures Talia into insanity and turns her into a willing member of the LoA who believes in Ra's vision for the future. Because it wasn't bad enough to assassinate Ra's, every single Asian character in DC had to be one dimensional racist evil villains. It's no coincidence this was the time period they tried to make Cass Cain evil too.

In Cass's case, the backlash to the awful writing forced them to retcon it. In the al Ghul's case, Morrison used it for Damian's story as if evil Talia and evil Ra's who didn't care about his family at all were always canon, and not just a disgusting racist retcon. And now it's the go to characterisation for them. Talia drugging Batman is still what a lot of dc fans assume is canon, even though it was retconned. And there was no reason for it to exist in the first place other than racism.

For DC to actually fix the al Ghuls, they'd have to acknowledge that Talia was brainwashed into being evil, and come up with some retcon for Ra's oocness. The Lazarus Pit is right there as an excuse. Robin Son of Batman managed it with Talia.

But instead DC seems to be working off the impression that their shitty writing for the past 15 years was the character's natural state. It's why "holding Talia accountable for her crimes" doesn't work any better than holding Cass accountable for all the terrible things she did during the garbage evil era.

DC needs to hold itself accountable instead of the characters. More of Ra's Talia and Damian bonding. Ra's runs a cult he is not a good person and it's a good thing that Damian got out but if you can't show that without relying on racist stereotypes and 00s character assassination then why are you even a writer lol. More clarification that what the Ra's and Talia did was not in character for them. Less "I helped torture baby Damian as part of his training but I felt really sad about it." That's never been what gave the al Ghuls their complexity.

Basically, stop trying to add nuance to the racist post 9/11 al Ghul characterisation and just give us back LexCorp era Talia and pre DATM Ra's. You're one of the top two comic book brands in the industry surely you can find someone who can make Damian's backstory work without destroying the rest of his family in the process.

#dc #dc rambles #ras al ghul #talia al ghul #batfam #damian wayne

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sergessuperbsanctum · 11 months

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X-Men is about civil rights. If you didn’t get that, you didn’t get X-Men.

Black Panther is about civil rights. If you didn’t get that, you didn’t get Black Panther.

Captain America literally fought Nazis. He is the embodiment of fighting the alt-right. If you didn’t get that, you didn’t get Captain America.

The Empire in Star Wars is fascist. The Rebel alliance are Anti-Fascist. If you didn’t get that, you didn’t get Star Wars.

Deadpool is queer. He’s pansexual. Fact. If you didn’t get that you didn’t get Deadpool.

Stan Lee said “Racism and bigotry are among the deadliest social ills plaguing the world today.” If you’re bigoted or racist, you didn’t get any of the characters Stan Lee created.

Geek culture isn’t suddenly left wing... it always was. You just grew up to be intolerant. You became the villain in the stories you used to love.

*copied and pasted*

#marvel #stan lee #x men #captain america #black panther #star wars #star trek #superman #supergirl #deadpool

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ifiwere-idbe · 1 year

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Yaz’s Representation Was Kind of Amazing

There’s a common assumption among non-queer folks that I’ve seen that queer people should essentially always know what their sexuality is/if you were ever unsure, your identity is somehow a little less valid. But that’s just not true. Whether you realized you were gay when you were 9 or 90, your identity is valid.

The debate over whether Yaz was always written to be queer is something only the writers can answer. But is it an answer we really need? What we know is that Yaz was incredibly focused on tackling sexist and racist barriers in her career - a career she pursued to help others fight back against their bullies. Romance was not a priority for her (something refreshing to see), so I would guess she also wasn’t fretting too much about WHO she wanted to be romantic with.

Now, writers can sometimes fall into a trap when they write women who aren’t focused on love: they write cold, closed off women who refuse to be emotionally vulnerable. This is my favorite thing about Yaz - she LOVED. She was vulnerable, and compassionate, and affectionate. It was just that romance was never forced on her.

A sexuality was never forced on her either.

Some folks interpreted her mom asking if Yaz and Thirteen were seeing each other as a nosey parent, or a joke from the writers. I heard that line - followed later by Yaz’s mom asking the same thing about Ryan - as a beautiful normalization of NOT assuming heterosexuality. Each time her mom asked, Yaz responded with “We’re friends,” not “I’m not [gay, straight, whatever]!” This not only left her sexuality open for exploration, it also drove home the point that this wasn’t something she was caring about.

Throughout series 11 and 12 (some of 13) Mandip captured all of this beautifully. From my deep-dives, there seems to be confusion about when Thasmin was planned/when Mandip knew. I kind of like that. And I kind of like that it didn’t seem to matter to Mandip. She just played to that genuine love. So when her admission with Dan finally came, I thought it was a lovely moment of acknowledgement. Some people don’t know, or don’t think about romance/sexuality/gender until it comes along. And that moment can be shocking, and scary, and absolutely beautiful. I thought Mandip depicted that really well.

All this to say, I’m not mad that Yaz wasn’t rocking a lesbian pride shirt from day one. I’m not frustrated that Mandip says she didn’t really know how Yaz felt until she read it on the page. I love that Yaz loved Thirteen. I love that Yaz never had to defend her sexuality to anyone, including her mom. I love that Yaz was just - Yaz... focused, affectionate, open-hearted, WOC(!!!!) Yaz.

I say all of this as a lesbian hungry for good representation.

I’m totally open to dialogue on this perspective so long as it is kind and respectful.

#yaz khan #yasmin khan #doctor who #13th doctor #thasmin #queer #lgbtq #representation #brain dump #mandip gill #jodie whittaker

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chaifootsteps · 2 months

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I honestly think the fandom is focusing all their unhinged fury at you because they constantly need someone to be a villain. First anyone who was a critic as a racist/sexist/homophobe. Then Erin came out about SH and suddenly she was the evil mastermind eating babies and trying to destroy their precious show. Then Ken came out and they were now the comically evil boogeyman of the week. Kedi got shit for defending the victims who came forward. Tracy and Goose are apparently villains now simply for existing in Viv’s field of view.

They always need a ghoulishly evil strawman to sling mud at and divert attention from the increasingly apparent fact that Viv is an awful writer and an even worse person. They’ve sunk years of emotional investment into what ultimately amounted to a huge letdown and for some people it’s just easier to double down than reconsider their original position. So they choose to make it someone else’s fault.

Erin’s gone. Ken is mostly just doing their thing. Kedi is doing their thing. Tracy and Goose refuse to engage with them. So they reach for the nearest possible thing and there’s you. You refuse to let everything Viv’s done get swept under the rug and that’s inconvenient to her and her stans so they’re making you the center of their next hate campaign. It’s the sort of behavior Viv has groomed them into because she refuses to be an adult for five seconds and tell them to knock it off.

Idk how she doesn’t see how bad it looks for her to sit back and allow this kind of behavior. Obviously she can’t control what her fans do, but refusing to denounce objectively repugnant behavior is not a good look.

I think you're 100% right. They need a supervillain for their own comfort, need to believe that if I just stop talking about this or go away, then criticism of Vivzie will too.

They don't realize that Vivienne Medrano's glaring flaws as a writer and a person will exist even if every critic currently shining a light on them disappears, and it will only be a matter of time before someone else notices and speaks up. No matter how hard they try, they can't protect her from herself.

#Anonymous #vivziepop #vivziepop fandom #vivziepop critical #viv stuff #actual blog post

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butwhatifidothis · 4 months

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It really is strange how Edelstans simultaneously dig hard into people that don't agree with their specific interpretation of 3H to the point of being happy they manage to drive those people away... and be so upset and baffled that people become generally disinterested/actively hostile towards 3H content.

If folks get repeatedly driven out of a fandom, and that group of people repeatedly calls anyone who disagrees with their specific interpretation of 3H stupid/illiterate/"acting in bad faith"/sexist/racist/homophobic/etc., and it is repeatedly done by a group of people who insist that 3H's fandom problem is a "both sides" thing, with all of this being dragged into spaces that have nothing to do with 3H, well... obviously people are then going to start to dislike interacting with either 3H in general or its fandom in particular?

Edelstans are the ones spreading the idea that 3H's fandom in totality is shit. They keep trying to make their hands look cleaner than they are by claiming that everyone else's hands are just dirty as/even dirtier than theirs. Of course people who are unaware of everything are going to then assume that everyone's hands are dirty, thus making people not exactly want to shake hands with anyone.

Like, really now. What did they think was going to happen when they directly go after fanartists/fanfic writers who create/say things that go against the Approved Edelstan Status Quo, to the point that a non-zero amount of these creators just up and leave social media entirely? Or after they nitpick every single Disapproved Post and then lie about the post's OP? Or after it becomes a consistent pattern that people who even remotely disagree with Edelstans' opinions are always, without fail, buried with insulting and harassing anons? Or after they're shown time and time again to defend their worst actors with "well their/our victims deserved it because they said a 3H opinion we didn't agree with"? Or when they say that everyone does this shit in 3H's fandom except for them (which is either not believed because it's demonstrably untrue or is actually believed and now those people think the overwhelming majority of 3H's fandom is filled with shit)? Or when they drag 3H discourse into literally actually everything no matter how unrelated?

That with less fandom creators within the fandom space they'd get more content? That harassing and insulting people and accusing them of being this-and-that bigot is going to magically "correct" their minds into seeing The One Truth about 3H? That people are going to just look over all the shit they did just because they allocate the blame of their action on all of 3H's fandom? That people would like 3H more if they constantly remind people of the inarguable worst thing to come from 3H? That this would help 3H's general perception?

Fuckin' no, of course that's just going to make everyone fuck off from 3H. And would you look at that, a shit ton of people have fucked off from 3H since everything has been swept under a "well it'sth a bolth thides ithue tho what can ya do?" rug. And it's been swept under that rug by pretty much the only people who are pulling this shit, who then get shocked - utterly gobsmacked! - that that made them look bad too. That crying "both sides!" included themselves too and not just the people they've been harassing. That saying that the entire fandom is bad everywhere made the entire fandom look bad everywhere.

If Edelstans are really so upset that no one talks about 3H positively anymore, then maybe they should stop being the reason no one likes 3H anymore. Just a thought

#edelgard discourse #just to be safe #like I'm sorry the other parts of the fandom are of course not perfect and should ALSO be called out when they pull shit #but NO ONE is as bad as Edelstans as a group (in 3H's fandom). like. objectively #I say this as someone who is ALSO sad to see 3H become such a heated topic:#it's honestly annoying as hell to see them bitch and moan about how nobody seems to want to talk about 3H anymore #cuz like I'm sorry you do NOT get to whine about people leaving your house after you forcefully pushed them out #like this is obviously what YOU wanted!! a fandom space that is bereft of anyone you disagree with!!#if that means that the fandom is way more empty of new art maybe that says something about YOU and the people YOU wanted to be around you #maybe no one likes y'all because y'all are insufferable and not because y'all like a certain set of pixels and lines on a screen. perhaps #''they hate us because we like Edelgard'' actually it's the harassment and open sexism and victim-blaming and superiority + victim complexe #the entitlement the refusal to ever admit you're wrong about literally anything the dogpiling #the never-ending need to remind people of discourse they want to move away from #and about a million other fuckin' things #simply stop being the problem you're complaining about

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hyperlexichypatia · 4 months

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I read this extremely disturbing article about weight loss “treatment” (drugs and even surgeries) for children. I do not recommend reading it if you struggle at all with internalized sizeism or body image unhappiness. It is extremely upsetting. Really, don’t read it.

The focus of the article is a teenage girl called Maggie who has been pathologized for her weight her entire life, literally since infancy, and then, as a 13 year old, was given weight loss drugs and bariatric surgery. The writer of the article, Lisa Miller, is clearly framing child weight loss as a reasonable medical practice and “radical fat-acceptance advocates” as somehow going too far. Miller is also clearly framing child weight loss interventions as necessary for “health” reasons.

My partner alerted me to a journalistic trend we started noticing around 2015 – when a writer is trying to express that the people they’re writing about have one motivation, but all the actual quotes from the subject express a different motivation. This often happens when a writer is trying to argue that support for a racist/sexist/bigoted policy position or politician isn’t motivated by racism/sexism/bigotry; it’s motivated by Some Other Thing – and then every actual quote from a supporter is some strain of racist/sexist/bigoted (see: almost every mainstream article from the mid-2010s about the alt-right, men’s rights, gamergate, or the Trump movement).

In “Ozempic Era,” Miller is trying to convey that child weight loss interventions are necessary “treatments” for “medical problems,” not the result of forced aesthetic conformity due to systemic sizeism – but the actual parents and kids she quotes all cite aesthetic and social reasons for wanting their children or themselves to lose weight. They talk about fitting in. Fitting clothes. Being accepted. Gaining confidence. Wanting to look like thin, popular kids. One of the parents explicitly rebutted the fat-acceptance movement by saying “The world is not built for overweight people” as though acknowledging and changing that fact isn’t the entire point of the movement.

But really, fat acceptance barely got acknowledged at all. The bulk of the contrast, as usual, was between the “judgmental” view that “blames” fat people for being fat, and the supposedly more progressive medical view that blames genetics, environment, and other factors outside an individual’s control for fat people being fat. It’s so much easier to start the conversation at “Whose fault is it that fat people are fat?” and “What’s the best way to make fat people stop being fat?” than to step back and question “Why is being fat a bad thing?”

I don’t even think the parents being interviewed are being disingenuous, necessarily. So often in discussions of fat liberation, disability liberation, mad liberation, neurodivergent liberation, whatever, people clinging to the medical model will insist, as though they’re the first ones to think of it, “What about the problems with being (fat/disabled/etc) that aren’t caused by social factors? What about the suffering intrinsic to the condition itself? Social change wouldn’t fix that!” and then, when asked for examples, will immediately cite examples of problems caused by social factors and systems. Clothes not fitting is a social problem (clothing is made by humans!), not a problem intrinsic to fatness. Bullying is a social problem (humans are the bullies!), not a problem intrinsic to fatness. Fat children lacking self-confidence is a social problem (self-confidence largely comes from relationships!), not a problem intrinsic to fatness. People are really out there trying to come up with non-socially-caused problems intrinsic to fatness and citing “airplane seats” as though airplanes are naturally occurring.

A perfect example of this in Miller’s article is that now that Maggie has lost weight, she can be a cheerleader – she’s still not small enough to be at the top of the pyramid, but she’s strong enough to be at the bottom of the pyramid!

How, exactly, is weight loss necessary for that? There’s no size limit to the bottom of the pyramid! That’s where your heavy people are supposed to go! There are, at least, actual physics-based reasons why a heavy person might not be suited for the top of the pyramid. If the claim were “Before she lost weight, she was on the bottom of the pyramid, but afterward, she’s small enough to be on the top,” that would at least be a change directly connected to her physical weight. But for any physical activity that doesn’t directly involve being lifted, weight should have very little connection to ability. Fat people can and do run, lift, swim, and do every physical activity that thin people do. Of course, various medical conditions and disabilities can affect those abilities (in fat people, thin people, medium-sized people, and everyone else), and not everyone is particularly interested in athleticism, but it’s just dishonest to pretend or imply that thinness is a prerequisite for any kind of athletic activity.

“But, Hypatia,” you, the straw reader who lives in my head, might be saying, “You’re always talking about youth rights and autonomy! If the 13 year old consented to have her body surgically and chemically altered, shouldn’t we respect her choice?”

Great question, straw reader who lives in my head. Consent has to be informed. And uncoerced. I do not believe that a 13 year old who has been pathologized for her weight since she was an infant, who has been told by her parents and doctors and every authority figure in her life that her body is a problem, who has been relentlessly bullied and ostracized for her weight, is making an uncoerced choice. Nor, if she has never been exposed to the fat acceptance/liberation or health at every size models, is she making an informed one. There is no indication that accepting her naturally fat body was ever an option for her.

Regardless, my point isn’t even “13 year olds shouldn’t be prescribed bariatric surgery or weight-loss drugs” (although I absolutely think they shouldn’t, and I wonder where the people who [falsely] think gender-affirming care is “permanent surgery on children” are on this). It’s “We should abolish the pervasive, unquestioned, widespread systemic sizeism that leads people to think fatness is a bad thing.”

#ableism #sizeism #fatphobia #fat acceptance #liberation #youth rights #body posititivity #body image

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mageofthelibrary · 3 months

Note

Be warned Fire Emblem: Awakening has some very homophobic, transphobic, sexist and racist writing, especially with its villains whom are often racial, homophobic, or transphobic stereotypes.

I appreciate the concern...? But I genuinely don't think it's that big a deal that I need a warning.

Video games don't need to be paragons in terms of representation, though people do have a tendency to flip out if the writers decide to cater to their own experiences and (maybe darker) tastes too much. (I'm mostly talking about games with a queer/lgbt cast, especially if they're dating sims. But that's a different rant.)

Especially considering that it's a 10~ year old game that was written by, and mostly for, a Japanese audience. One of my favorite games, Persona 4, has an absolutely amazing story but it does fumble hard with characters like Kanji, Naoto, and Yosuke.

Kanji, who's pretty much canonically bisexual, gets heavily stereotyped in his arc and outside of it. And that's mostly treated as a joke by the game!

With Naoto, I admittedly don't remember as much about what was going on with them to explain it right, but they certainly weren't handled the best at times either.

And Yosuke! I love him so much but he's very much the one doing most of the stereotyping when it comes to Kanji. I wish that they had addressed that with him, especially since he had a cut romance route with his social link, but the game does nothing but ignore it.

It's important to think about the time when something was created and the culture/audience it was originally made for. Because societal opinions change with time and things might not age well.

I believe I'm mature and well-read enough to recognize a story's faults and not be morally outraged when an older piece of media has negative stereotypes written into the villains.

So thanks for the concern and I'm sorry that this became a bit of a rant. I'm going to go have fun playing a video game now.

#fire emblem #fe awakening #fire emblem awakening #video games #persona 4 #persona 4 golden

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sterakraffulz78 · 6 months

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This is hilarious and fateful

I saw the episode, and I never really thought that wasting time like this would be a suffering that lasted too long. I'm going to get good and bad things from what I saw

first for good, okay?

1. The deaf imp

In itself, I was very surprised by this character and to tell the truth I can consider him better than the other deep and sad Pseudos that only serve to make the panties get wet because of the Fujoshits, and it is something that in this program is seen very little or is scarce in Yes, it made me tender that Fizz treated him well.

2. Fizz and Asmodeus' relationship

What can we say, the relationship itself is healthy, and superior to many of both series and when Asmodeus protected Fizz it is something nice on his part, not like a certain owl who is only interested in the red cock who is a tremendous fucking creep unable to defend his """"little""", this relationship is one of the few salvageable things in this series

Now with the bad things

3. The songs

For the love of God... why? All the songs seem forgettable and super stupid to me, it seems that the only thing this chapter does is create time and necessary filler that will never contribute or amount to anything

4. The imp hater by fizarolli

This was expected, it doesn't surprise me much to tell the truth... just imagine that you are so hurt by harmless criticism of your program that you only hope for a good change and to be guided to do a good deed, but you prefer to spend and overexploit the Poor workers who only want some money to encourage your resentment in a lively way, this is ridiculous and makes others feel sorry for Viviana Medrano

5. Mammon

This is the first most annoying, loudest and most obnoxious thing I've ever seen followed by Chaz, the only thing he knows how to say is pure rudeness in every damn sentence, it's a fucking audiovisual blister that seems to never end, apart from the cringe I feel about it, the Deadly sins of this show will never be taken seriously and more that sexist phrase about "Women are not funny" and then you're dead... Damn you Medrano bitch, can't you at least respect a simple woman even if she has a tertiary role in your shitty program? (And ironic why you make penis jokes and swear words to wait for someone to laugh and praise you)

6. I HOPE THEY FUCK YOU BLITZ

Is it really necessary to put Blitz in every episode? For the love of God, am I already sick of listening and seeing that red cringe guy making those embarrassing faces and hearing his voice why can't I listen to Brandon normally anymore without remember this abusive and manipulative guy swearing!? They shoehorned this guy in just to get "laughs" and make him stick to Fizz when he was given the biggest tragedy of his life

7. Good vs bad, hAha tHeY aRe RiGht wHy tHEy aRe nExT To thE bOyS aNd uwu sOfT

As always, our wonderful writing writing the bad characters, like the black ones in this Turkish soap opera and making them caricatures for mockery and portraying them as the soft boys and uwu the good ones. These characters are already predictable, if there is a soft and sore young gay uwu, he will be the good one because he is the soft and sore young gay uwu and we are all forced to take his side, while those who have the potential to be good villains like Striker, you position them as silly, cartoonish and you are the generic antagonist of a series for children under 6 years old, for example Asmodeus against Mammon

It's good that the views are getting lower and lower, so soon we won't be able to stand this series in decline and the next more ridiculous, repulsive, mediocre, cringe and pathetic chapter written by a ridiculous, mediocre, cringe, pathetic, misogyny, sexist, Transphobic , racist, xenophobic writer who only ruined her own work so that her little friends the Fujoshits (I already saw you SatorRojas, TeaTheKook and Dani) get their panties wet and buy more panties again to get them wet because they can't stand two boys together

#anti stolitz #helluva critical #helluva boss critical #vivziepop critical #helluva boss fandom critical #vivziepop criticism #helluva boss critique #blitzo #Helluva boss

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packet-of-staples · 4 months

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I wanna talk about Elijah Walton and what he and his brother represent in the story because I think it's really interesting.

It's really interesting how Elijah and Don are pretty much an exact mirror of Walt and Roy Disney, even down to their roles in the company. Walt and Elijah were the creatives and Roy and Don were the finance and when Walt died, Roy took over. Atleast this is according to a quick google search. (Though I dont really like comparing Elijah to Walt to a tee just because he was a raging Racist, Sexist and overall bigot while also exploiting his workers and Elijah is propped up to very much be a good person by the narrative, so I'd like to think Elijah wasnt those things atleast for the purpose of this analysis)

Elijah represents those who want to tell stories. The artists, writers, creators etc. He represents the wonder and joy of creating things for others to see and the passion behind it. He is what Walt Disney presented himself as, a fatherly and whimsical story teller sharing art with the masses. His demeanor is warm, inviting and friendly.

Meanwhile Don represents the capital. He looks to what will be profitable, what will make the shareholders happy. He doesnt care about the creativity, evident by the fact their films take a bit of a back seat to American Arcadia and they are willing to let Kovacs go when he is no longer helpful to them. Hes cold, stilted and professional.

In equilibrium Creativity and Money can work, atleast in the society we live in now it does. You need money to create, and creativity makes money, so both are incredibly important. You cant focus too heavily on the creativity otherwise things get too ambitious, people get overworked, it will take too long to finish and you cant fund it. You cant focus too heavily on the money otherwise you will cut corners, exploit people and overall create uncreative pandering art in an effort to make as much money as possible. They need to work together.

And we see them working together with the rise of Walton Pictures.

But what we also see in AA and in our real lives too is the money taking over. We see it in the Arcadians, people who's lives are recorded without their consent, who are brainwashed to remain inside the dome to keep on making money for the company and when they are no longer useful they are basically thrown out. People who are used basically as toys to make Walton more money and for our entertainment. We see it in Disney now, in their under payed Writers, Actors and Animators who have to strike to be payed livable wages. You see it in the sweatshop workers making their merchandise, the exploitation of other people's cultures (see, Disney trying to Trademark fucking Dia De Los Muertos or just the movie Pocahontas) and much more.

The fact that Elijah's death was what caused the turning point for the company to go down into this hellish capitalistic spiral is very poignant. It shows that when Creativity dies and Money takes over, all you are left with greed and suffering.

#american arcadia #american arcadia spoilers #Elijah Walton #Don Walton #staples rambles

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electrificata · 2 months

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here are my house observations, im in season 3

some of the shit house says to foreman is genuinely unforgivable

foreman as a character i generally like. omar epps is giving a good performance of an even-keeled-but-not-without-effort kind of guy, i do like the plotline of a guy who came to learn from an expert whos the worst guy in the world and trying to figure out how to do the same thing without being the worst guy in the world. i also think they way they keep him out of hospital love triangles is racist, foreman is not currently hot but could be with 15% more attention from the writers room.

really sexist as a general rule. i have not encountered the idea of "jailbait" this much in literal years.

hipster racism. its the 2000s. funny to talk abt this because "hipsters" were younger at this point and the character of house is, im assuming, in his mid 40s at the start of the show, but thats the general logic that seems to be on display. "well you know that he's a good guy so its ironic and funny that he's threatening to use the n word as a joke."

a) stupid logic to begin with, doing something ironically is also just doing it, b) doesnt even work on its own terms here because house is widely acknowledged to be an awful person in the context. the entire show is built around the question "how much deliberately annoying, dangerous bullshit will we endure from this dickhead to maintain access to his unique skillset"

i still dont "get" house/wilson. like i do see it, like i can see that theyre a little obsessed with each other and they have a fun mutually manipulative dynamic, and they make sense as foils (guy who's self-consciously awful and often ends up doing noble things accidentally/guy who's self-consciously noble and often deliberately does awful things). but i cannot feel myself going insane about it. if anything i like him better with cuddy

cuddy really really hot. really really really hot. cuddy.

so like yeah i see house/wilson im just not going insane about it the way i thought i might. altho tbh it took a global pandemic and a extended, byzantine renaissance of tumblrina supernatural scholarship to make me have a destiel spiral. i need infrastructure for these things.

cameron's character is such an old school token girl character. i hate how they treat her "niceness" almost as much as i hate how they treat her crush on house.

a better show (written by me) would have some more cuddy and foreman "managing" house plotlines (foreman being a protege allows focus on the legacy of house's medicine, how to replicate it, how to contain damage), probably give him some of the cuddy and wilson time. the three of them together would be good i could do that.

cuddy/foreman. hm. in the remake.

like, i do get how this happened. house is troubled in a durable, interesting way. the writing is good enough to support his layers, the way his snap-judgement psychoanalysis of everyone he meets curls back around to shine a light on his own issues. good balance of competence and patheticness. laurie is giving a masterclass in the niche field of "british comedian comes to us tv drama, grows some stubble, becomes a sex symbol." i read an old review that referred to his "sourpuss charisma" i really like that turn of phrase.

(i was also into josh on the west wing when i watched that last year, i have a type i love antagonism. no im not dating anyone right now, who wants to take me for a candlelit dinner and tell me i smell good and my voice is sexy) (you cant just compliment me, ill be bored or uncomfortable, you have to bury it in a disagreement and make it clear youre kind of mad that youre into me)

that said i think the show kind of misunderstands house's sex appeal. it feels very written-by-men. women characters throw themselves at house in a porny kind of take-me-now way. in my observations guys who are arent traditionally hot but attractive in this antagonistic, talky was dont really get that kind of treatment, but they do get the main cast wilson/cuddy/cameron "i hate this guy but im obsessed with him and i will never make a move or i will and itll go badly" kind of stuff. my phantom house reboot does have cameron and house hook up and its a really mean and destructive fwb thing with like 4 false endings. does this make sense.

right now im in the middle of the plotline where leighton meester plays a 17 yr old girl stalking house because shes so in love. like thats not the vibe. at least from what ive seen. im not omniscient.

lol it turns out she has a spore makign her hypersexual lolllll i literally have this on in the background rn ok i take some of this back.

whenever i mention to someone im watching house theyll recount to me the plot of the one episode they can remember and it always sounds insane and its never made up.

"the one with the intersex teen model who fucks her dad to manipulate him and has testicular cancer" like yeah. yeah thats real. if you talked to me 3 weeks ago thatd be the one i recounted to you.

yes house does leer at her in that episode and its treated as logical and normal for a 45 year old man.

i hate chase, he's awful but boring.

im curious how long im gonna keep watching this, i know the later seasons get kind of soapy plotwise and i dont know if thats what i want out of this

#god this got long.

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