#all of which is what happens when women and queer people create love stories

[makingqueerhistory]

Queer Books Challenged in Florida Schools and Libraries

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Gender Queer: A Memoir, Maia Kobabe: Now, Gender Queer is here. Maia's intensely cathartic autobiography charts eir journey of self-identity, which includes the mortification and confusion of adolescent crushes, grappling with how to come out to family and society, bonding with friends over erotic gay fanfiction, and facing the trauma and fundamental violation of pap smears.

The Color Purple, Alice Walker: Separated as girls, sisters Celie and Nettie sustain their loyalty to and hope in each other across time, distance and silence. Through a series of letters spanning nearly thirty years, first from Celie to God, then the sisters to each other despite the unknown, the novel draws readers into its rich and memorable portrayals of Celie, Nettie, Shug Avery and Sofia and their experience. The Color Purple broke the silence around domestic and sexual abuse, narrating the lives of women through their pain and struggle, companionship and growth, resilience and bravery.

Julián Is a Mermaid, Jessica Love: While riding the subway home from the pool with his abuela one day, Julián notices three women spectacularly dressed up. Their hair billows in brilliant hues, their dresses end in fishtails, and their joy fills the train car. When Julián gets home, daydreaming of the magic he's seen, all he can think about is dressing up just like the ladies in his own fabulous mermaid costume: a butter-yellow curtain for his tail, the fronds of a potted fern for his headdress. But what will Abuela think about the mess he makes -- and even more importantly, what will she think about how Julián sees himself? Mesmerizing and full of heart, Jessica Love's author-illustrator debut is a jubilant picture of self-love and a radiant celebration of individuality.

Drama: A Graphic Novel, Raina Telgemeier: Callie loves theater. And while she would totally try out for her middle school's production of Moon over Mississippi, she can't really sing. Instead she's the set designer for the drama department's stage crew, and this year she's determined to create a set worthy of Broadway on a middle-school budget. But how can she, when she doesn't know much about carpentry, ticket sales are down, and the crew members are having trouble working together? Not to mention the onstage AND offstage drama that occurs once the actors are chosen. And when two cute brothers enter the picture, things get even crazier!

Cemetery Boys, Aiden Thomas: Yadriel has summoned a ghost, and now he can't get rid of him. When his traditional Latinx family has problems accepting his true gender, Yadriel becomes determined to prove himself a real brujo. With the help of his cousin and best friend Maritza, he performs the ritual himself, and then sets out to find the ghost of his murdered cousin and set it free. However, the ghost he summons is actually Julian Diaz, the school's resident bad boy, and Julian is not about to go quietly into death. He's determined to find out what happened and tie off some loose ends before he leaves. Left with no choice, Yadriel agrees to help Julian, so that they can both get what they want. But the longer Yadriel spends with Julian, the less he wants to let him leave.

I Am Billie Jean King, Brad Meltzer: This friendly, fun biography series focuses on the traits that made our heroes great--the traits that kids can aspire to in order to live heroically themselves. Each book tells the story of one of America's icons in a lively, conversational way that works well for the youngest nonfiction readers and that always includes the hero's childhood influences. At the back are an excellent timeline and photos. This volume features Billie Jean King, the world champion tennis player who fought successfully for women's rights. From a young age, Billie Jean King loved sports--especially tennis! But as she got older, she realized that plenty of people, even respected male athletes, didn't take women athletes seriously. She set to prove them wrong and show girls everywhere that sports are for everyone, regardless of gender.

This One Summer, Mariko Tamaki: Every summer, Rose goes with her mom and dad to a lake house in Awago Beach. It's their getaway, their refuge. Rosie's friend Windy is always there, too, like the little sister she never had. But this summer is different. Rose's mom and dad won't stop fighting, and when Rose and Windy seek a distraction from the drama, they find themselves with a whole new set of problems. One of the local teens - just a couple of years older than Rose and Windy - is caught up in something bad... Something life threatening. It's a summer of secrets, and sorrow, and growing up, and it's a good thing Rose and Windy have each other.

Marriage of a Thousand Lies, Sj Sindu: Lucky and her husband, Krishna, are gay. They present an illusion of marital bliss to their conservative Sri Lankan-American families, while each dates on the side. It's not ideal, but for Lucky, it seems to be working. She goes out dancing, she drinks a bit, she makes ends meet by doing digital art on commission. But when Lucky's grandmother has a nasty fall, Lucky returns to her childhood home and unexpectedly reconnects with her former best friend and first lover, Nisha, who is preparing for her own arranged wedding with a man she's never met.

And Tango Makes Three, Peter Parnell: At the penguin house at the Central Park Zoo, two penguins named Roy and Silo were a little bit different from the others. But their desire for a family was the same. And with the help of a kindly zookeeper, Roy and Silo got the chance to welcome a baby penguin of their very own.

More Happy Than Not, Adam Silvera: In the months following his father's suicide, sixteen-year-old Aaron Soto can't seem to find happiness again, despite the support of his girlfriend, Genevieve, and his overworked mom. Grief and the smile-shaped scar on his wrist won't let him forget the pain. But when Aaron meets Thomas, a new kid in the neighborhood, something starts to shift inside him. Aaron can't deny his unexpected feelings for Thomas despite the tensions their friendship has created with Genevieve and his tight-knit crew. Since Aaron can't stay away from Thomas or turn off his newfound happiness, he considers taking drastic actions. The Leteo Institute's revolutionary memory-altering procedure will straighten him out, even if it means forgetting who he truly is.

Melissa, Alex Gino: When people look at Melissa, they think they see a boy named George. But she knows she's not a boy. She knows she's a girl.

Melissa thinks she'll have to keep this a secret forever. Then her teacher announces that their class play is going to be Charlotte's Web. Melissa really, really, REALLY wants to play Charlotte. But the teacher says she can't even try out for the part... because she's a boy.

With the help of her best friend, Kelly, Melissa comes up with a plan. Not just so she can be Charlotte -- but so everyone can know who she is, once and for all.

A Quick & Easy Guide to Queer & Trans Identities, Mady G, Jules Zuckerberg: In this quick and easy guide to queer and trans identities, cartoonists Mady G and Jules Zuckerberg guide you through the basics of the LGBT+ world! Covering essential topics like sexuality, gender identity, coming out, and navigating relationships, this guide explains the spectrum of human experience through informative comics, interviews, worksheets, and imaginative examples. A great starting point for anyone curious about queer and trans life, and helpful for those already on their own journeys!

This Book Is Gay, Juno Dawson: This candid, funny, and uncensored exploration of sexuality and what it's like to grow up LGBTQ also includes real stories from people across the gender and sexual spectrums, not to mention hilarious illustrations.

Little & Lion, Brandy Colbert: When Suzette comes home to Los Angeles from her boarding school in New England, she's isn't sure if she'll ever want to go back. L.A. is where her friends and family are (as well as her crush, Emil). And her stepbrother, Lionel, who has been diagnosed with bipolar disorder, needs her emotional support. But as she settles into her old life, Suzette finds herself falling for someone new...the same girl her brother is in love with. When Lionel's disorder spirals out of control, Suzette is forced to confront her past mistakes and find a way to help her brother before he hurts himself--or worse.

King and the Dragonflies, Kacen Callender: Twelve-year-old Kingston James is sure his brother Khalid has turned into a dragonfly. When Khalid unexpectedly passed away, he shed what was his first skin for another to live down by the bayou in their small Louisiana town. Khalid still visits in dreams, and King must keep these secrets to himself as he watches grief transform his family.

It would be easier if King could talk with his best friend, Sandy Sanders. But just days before he died, Khalid told King to end their friendship, after overhearing a secret about Sandy-that he thinks he might be gay. "You don't want anyone to think you're gay too, do you?"

Sorted: Growing Up, Coming Out, and Finding My Place: A Transgender Memoir, Jackson Bird: An unflinching and endearing memoir from LGBTQ+ advocate Jackson Bird about how he finally sorted things out and came out as a transgender man.When Jackson Bird was twenty-five, he came out as transgender to his friends, family, and anyone in the world with an internet connection. Assigned female at birth and raised as a girl, he often wondered if he should have been born a boy. Jackson didn't share this thought with anyone because he didn't think he could share it with anyone.

The Black Flamingo, Dean Atta: Michael is a mixed-race gay teen growing up in London. All his life, he's navigated what it means to be Greek-Cypriot and Jamaican--but never quite feeling Greek or Black enough.

As he gets older, Michael's coming out is only the start of learning who he is and where he fits in. When he discovers the Drag Society, he finally finds where he belongs--and the Black Flamingo is born

Explore the full list here.

#queer history #queer #lgbt #lgbt history #gay history #lesbian history #transgender history #transgender #making queer history

[melonteee]

About Sanji being feral with men/older men, I remember reading once in a fanfic how an OC or SI (I can't remember which ^^; ) suggested that the reason why Sanji is nice to women and rude to men is because of his family. That at a young age he formed the mindset that women tended to be good people while men tend to be bad people because when he was young only women (his mom and to an extent his sister) were the only ones to treat him with kindness while the men in his life (his brothers and father) treated him like shit.

That kind of makes sense and I can no longer unsee it.

I'm so sorry this got so long because I have so much to say about Sanji and his perception of gender so read under the cut LMAO

Anon the SECOND his WCI story was revealed, that was the literal first thing I noticed. As always, Oda has an incredible show don't tell ability - and while it is implied (and maybe Oda didn't have the intention), there's certainly an idea that Sanji puts women on a pedestal due to how men abused him.

But considering Reiju helped Sanji, and how there were maids around Sanji who were also kind to him, along with his own mother, I'd say it's extremely intentional. Reiju also isn't exactly the nicest person either, like she's presented as a total grey area. It's not that Reiju was kind to Sanji just because she was a 'nurturing' big sister, but because she was the only one who didn't have her emotions literally programmed out of her. Reiju still gave Sanji a tough time, and still didn't help him unless it was behind Judge's back, but she still showed him more kindness than Sanji's father or brothers EVER did.

While there's an obvious misogyny in Sanji, and it IS undeniable, it certainly slides much further up on the misandry scale. When he was first brought into the world, the only people nice to him were women. His first memories and first acts of care and love came from women. He was allowed to cry around his mother, he was allowed to let his guard down around Reiju, and he was allowed to be his 'emotional' self with the women that surrounded him. It is undeniable Sanji has elevated women up to a being higher than men, and much higher than his OWN existence. This has all mixed and formed inside him due to his time with the Vinsmokes AND his time with Zeff.

After all, combine Sanji's first and only real acts of affection coming from JUST women, with Zeff's ideology that women are NOT to be harmed, of course you're going to create a boy who idolises women as this holy deity.

Not to go a bit off track, but it's why this idea that Sanji HATES himself, and why he has ZERO self worth, is ALSO something people tie to his gender. Does Sanji take pride in being a 'manly man', or does he think that's what he needs to be for women? Does Sanji compensate his hate for his own self by being this extremely overdone, heteronormative gentleman? By projecting his love onto beings he believes he can never be nor measure up to?

When of course, these 'beings' are just women. Just people, like himself.

The discussions surrounding Sanji and gender, combined with his abusive male environment and this clear confusion/hatred for men, is WHY there are many who have picked up this idea Sanji perhaps does not want to BE a man. It can be called a stretch, or wishful thinking, but it's something people within the queer community have seen nonetheless.

After all, we have SEEN Sanji's happiness upon being perceived as a woman - TWICE.

Sanji quite literally has a deadname he refuses to be referred to as.

And now, with his current mutation happening, he is becoming afraid of - and displaced IN - his own body.

Sanji is such a weird and complicated character to fathom, honestly. It could VERY well be these were all things Oda just accidentally tripped and banged head first into, but WCI as a whole had a pretty big focus on not JUST familial roles, but expectations and roles of GENDER as well.

Katakuri's need to be stern and emotionless as an older brother, Pudding's abuse due to the fact she wasn't 'pretty' enough, Big Mum's daughters being married off unless they proved they can serve some OTHER purpose, Sanji's brothers forcefully cold and emotionless, Reiju needing to bottle her own emotions with fear of being bullied, SANJI'S bullying due to being an emotional boy, Judge HIMSELF being made fun of for his crying.

Combined all with Reiju telling Sanji "You're a boy, don't cry!"

WCI was fucking RIDDLED with gender discussion and gender expectation that comes with blood family, but this idea is pushed to the side due to the themes of familial abuse being the most prominent. Yet a BASE of familial abuse IS expectations of gender roles that comes WITH a nuclear family.

As much as people don't want to see it or CAN'T see it, Sanji's character and arc includes areas of toxic gender norms JUST as much as it covers blood family abuse. It's just something that's taken to an extreme in this hyper fiction setting, and thus, it can become invisible beneath the surface. But I see it! And obviously, you see it too anon!

Sorry for the rant I am just VERY passionate about Sanji's complicated relationship with gender LMAO

#ask #melonask #Sanji #SORRY AGAIN LMAO

[hilsoncrater]

The Tedependent Tinhat Thesis

Welcome! Welcome to The Tedependent Tinhat Thesis.

As of writing this, only Episode 1 of Season 3 has been released so far. If you feel the need to send me an anon about how Ted/Trent won’t happen, I implore you to remember when fandom culture used to encourage people to ship characters freely — even when those characters never interacted. This is all written in good fun, and to critically analyze Ted Lasso through a queer lens.

Disclaimer: This meta compiles various topics discussed by people in the Tedependent camp. I cannot take credit for everything. If anything, this is a love letter to them. 

To make this a bit easier to digest (and write), I’ve divided this meta into the following sections:

Queerness in the Media. Ted Lasso and His Subtextual Bisexuality. Trent Crimm, Independent. Tedependent Evidence. Rom-com Tropes and Structure. Narratives and Storytelling. Unexpected Ending.

So let’s begin on a base level of understanding about queerness in the media and how that history does and doesn’t tie into Ted Lasso.

Queerness in the Media

The presence of queer people in film has been a contentious topic since the enactment of the Hays Code in 1934. The Hays Code sanitized/censored what could be shown on-screen, and catered to an audience of white, straight men. This sanitization/censorship of media went hand in hand with the American societal shift into conservatism at the end of the Great Depression and WWI.

The Hays Code remained in effect until 1968, when the political landscape of America once again shifted — this time into a more progressive light. Until 1968, filmmakers and creatives within the industry sought out ways to bend and push the Code’s rules. The invention of television helped play a role in the dissolution of the Code, as did the growing number of foreign films which depicted things like queerness and women’s sexuality. 

Why is this relevant to Ted Lasso, a television show made in 2020?

30 years of conservative censorship and catering to straight, white men does a number on what people deem “acceptable” to show in film. This thinking extends into the world of television. The Hays Code was rooted in conservative ideology and created a system in Hollywood that prioritized white, straight men’s stories — to the point where there was little representation of anyone else. Its effects are still felt today, 55 years on from dissolution. There still is a terrible underrepresentation problem in Hollywood that runs from POC stories to women’s stories to queer stories. Even worse if any of those stories intersect with each other.

Before we dive into the topic of queer-coding in television, we need to understand the history of queer signaling. Queer signaling emerged so that queer people could identify themselves to other queer people without outing themselves to danger. It is by nature subtle to ensure safety within a homophobic society. Men wearing green carnations on their lapels, women giving other women violets, and the use of lavender are all queer signals that were used back in the day. Fashion choices are another signal (the old hanky code), as are certain phrases (“Are you a friend of Dorothy?”).

When you leave things to be subtle, it allows for people on the outside to interpret the information in a way that is easiest for them to digest. That has ramifications on queer history to be erased or explained away or rewritten to better push a heterosexual "default". You see it time and time again when historians call women who lived together for decades "good friends" or when historians laugh at the possibility of someone like Abe Lincoln being queer. There's this homophobic undercurrent of: How can this beloved, well-known person be queer? Why would you even imply something like that?

The same thing happens to queer characters on-screen. Queerness in television, specifically, has a history of being coded. Queer-coded characters are characters who are not explicitly queer — sometimes even are mentioned as straight —, but through their mannerisms and traits can be perceived as queer to the audience. Well known queer signals help aid in queer-coding. Harmful stereotypes also are utilizied to code a character. Therefore it is important to discern the intent and the use of these signals and/or stereotypes. 

(Please note: Queer-coding is different than Queer-baiting. To code a character as queer is inherently neutral, while to bait a character as queer is almost always negative.)

The ambiguity of coding allows for the show/studio to not have to present overt representation at the risk of alienating its audience. Hello, Hays Code.

Queer-coding is a reflection on society's stance on queer people at the time the character is written. In the 1980’s, when the AIDS Crisis was labeled a “Gay Cancer”, Disney films queer-coded their villains (notable ones include Ursula and Scar). In the 1990’s, Chandler Bing in Friends became a queer-coded character, but instead of villainizing him, it served to ridicule him. Even jumping forward to today, characters (such as Deborah in Hacks) still remain coded despite other characters within the same show being explicitly queer. 

And while the queer-coded characters of today are not targets of outright villainization, there lies an undercurrent rationalization to their subtextual queerness. For example, characters like Wednesday and Enid Sinclair from Wednesday are explained away as: “Well they’re just friends”. 

Characters like Ted in Ted Lasso can be explained away as: “Well he isn’t toxically masculine”.

Ted Lasso and His Subtextual Bisexuality

Ted? A queer-coded character? Afraid so, bucko. 

He isn’t the only one in the show, either. Keeley, Colin, and Trent are also queer-coded for their own reasons. Colin most notably for his Grindr comment; Keeley most notably for her various sapphic comments. Trent…we will get to later on. 

(It is worth noting that as of writing this, there are still no explicitly confirmed queer characters in the show. Although the case can be made that Keeley is confirmed bisexual already).

Focusing back on Ted, there is a good amount of evidence for bisexuality that can admittingly be explained away. People can point out that he’s secure in his heterosexuality, that he isn’t toxically masculine, that that is just how his character is. And yes, those viewpoints are all true and well and good, but I want to pose a question: 

Why are we so adamant that Ted Lasso isn’t queer?

Explaining away a queer-coded character’s subtextual queerness is perhaps the easiest route fans can take. Whether there is (implicit) homophobia attached or simply because of the fan’s strict adherence to what’s been canonically established so far, quite a few people’s knee-jerk reaction to reading a theory their beloved main character could be queer is: “Nope! No way, José!” 

Let’s challenge that reaction for a second. Let’s put down the explanations. Let’s take a look into what, exactly, I am talking about when I say that Ted can be read as a bisexual man.

“Rugby. What a game. It’s like if American football and sumo wrestling gave birth to a baby with huge muscular thighs all caked in mud.” — Season 3, Episode 1.

This is a peek into how Ted views the sport of Rugby, and it sure is telling to what he pays attention to. It’s also said in the context of asking if Sharon is seeing anyone. The phrase “huge muscular thighs all caked in mud” draws up quite the image, which when paired up with the direct conversation context, lends itself into an erotic visual. Rugby is known to be a homoerotic sport, too. 

(Please note: The “baby" in this sentence is Rugby personified to help segue the listener from imagining the sport as an abstract to imagining the sport as tangible. “It’s like if ___ and ___ gave birth to a baby” is a common figure of speech used to mean the combination of two things. The focus in this sentence is not the baby, but rather the muscular thighs.)

Ted could have said anything else about Rugby. But he didn’t. The first association he has with the sport is “muscular thighs caked in mud”. Why is that?

“Guys have underestimated me my entire life. And for years, I never understood why. It used to really bother me. But then one day, I was driving my little boy to school, and I saw this quote by Walt Whitman, and it was painted on the wall there. It said, ‘Be curious, not judgmental.’ I like that.” — Season 1, Episode 8

Walt Whitman was an openly gay poet in the 1800’s. His famous body of work Leaves of Grass has clear homoeroticism within it. The quote Ted references, though, isn’t a Whitman quote. But Ted believes it to be. “Be curious, not judgmental” is an aspired quote that reminds us to be more open-minded. 

Added layer: Not understanding why peers underestimate you or treat you different is a common experience in the queer community.

“That’s funny, when it comes to small talk I often ask myself what would Dolly Parton do? Start with the 9 to 5 and end with God Only Knows” — Official Twitter. Sept 28, 2021

“And next week is, if I remember correctly, Shania Twain.” — Season 2, Episode 1

Dolly Parton and Shania Twain are gay icons, especially to country folk.

“Shoot, I know I got goosebumps. I remember being a little kid, sitting in front of the television and watching Queen perform right over there during Live Aid.” — Season 2, Episode 8

Queen is not only an iconic band, but interwoven with queer culture. Freddie Mercury was bisexual.

“Last time I saw equipment this impressive, I was about 20 minutes into Boogie Nights.” — Official Twitter. Aug 30, 2022.

Boogie Nights is a 1997 film about a man becoming an adult-film sensation in the 1970’s. Twenty minutes in, there is a scene referencing the main character’s dick.

Boogie Nights also draws heavily from the disco genre for it’s soundtrack. Disco is a staple in queer culture as it allowed people freedom to express their identities in the nightlife scene. It didn’t matter who danced with who in the clubs.

“I feel like you two [Beard and Nate] are about to do some improv comedy or tell me that you’re dating each other. Either one’s cool with me. ‘Cause your suggestion is: ally.” — Season 1, Episode 9

Ted is supportive of queer relationships. An ally, as he says. But maybe he isn’t just an ally.

He repeatedly calls members of the Diamond Dogs pet names/terms of endearment. “Sweetie” “Baby” “Honey”, the list goes on. When this began in Season 1, Episode 6, Beard found it out of character for Ted to do so. (Nate asking him if Ted’s alright and Beard laughing, “No!”). What makes me pause on this is that the origin of Ted’s terms of endearment stem from Michelle leaving him. Ted’s looking for emotional comfort or familiarity in other men that he can no longer give to or receive from his ex-wife.

Other straight men in the show (like Roy) don’t engage in this behavior.

Ted also really enjoys musical theatre. He references musicals a lot. I mention this information now because it is important later.

There are more examples in the show, but I hope I’ve laid out enough to get you to at least see the repeated mentions of queer culture. They’re spinkled in, sure, but they are there. And they’re given in a way that gives an impression that maybe, maybe Ted isn’t as straight as we’re led to believe.

Keep in mind that sexuality is fluid, bisexuality exists, and characters evolve over the course of their stories. Is it really so out there to imagine Ted developing into his own?

Let’s move on to Trent.

Trent Crimm, Independent

We do not know much of Trent’s backstory. Yet. James Lance has said in interviews that Jason Sudeikis brought it up to him early on. Interesting, as Trent hadn’t yet become a series regular. Was there always a plan in store for his character?

Well what do we know of Trent? From other character’s reactions and comments about him, we know he is someone who writes scathing exposés as a journalist. We know he’s highly obervant, blunt, and at times aloof. He takes his job seriously and he loves the sport of football. A “tough cookie” as Ted put it. People listen to what he writes about, as Rebecca mentions in Season 1 Episode 3. He’s established in his profession.

We also come to discover that he’s grown dissatisfied with his career. He’s “looking for something deeper”. He goes from disliking Ted (“Is this a fucking joke?”) to burning his source out of personal respect for Ted (“My source was Nate”). This shift in character is pretty drastic, though believable if you pay attention to how he acts in the press room and the questions he asks throughout Seasons 1 & 2.

He has a je ne sais quoi about him that queer fans of Ted Lasso have picked up on. Perhaps it’s the way he dresses, his hair, or his overall vibe. Perhaps it’s the way he looks at Ted like he’s endlessly fascinated by him. Trent Crimm, Independent inexplicably reads as gay.

Tedependent Evidence and Speculation

Keeping everything we’ve established so far in mind, let’s go through some of their scenes together. Keyword: some. This meta is long enough as is.

Lasting First Impressions

In the Pilot episode, one of the first things Ted says to Trent is, “I like your glasses.”  To which Trent takes them off, looks at them, and replies, “Oh, thank you.” And then it becomes a recurring move he does nearly every time he talks to Ted.

In Season 1 Episode 3, Trent greets Ted, “Hello Coach Ted Lasso from America.” to which Ted replies, “Hello Trent Crimm from the Independent.” And then that becomes a recurring joke between them.

Speaking of Season 1 Episode 3, if you jump to 18:29, you’ll catch Trent giving Ted a full body check as Ted finishes getting ready. 

Bring It On!

“Make like Dunst and Union and Bring It On, baby!” Ted says to Trent in Season 2, Episode 3.

The 2000 film Bring It On! includes a storyline about a gay cheerleader who is comfortable in his sexuality. The movie addresses issues of racism, appropriation, and systemic inequality. It’s become a beloved cult classic.

It is also the first time Ted uses a term of endearment on Trent. He doesn’t do that to any of the other journalists, indicating that they’re on personal friendly terms. Most of their interactions seem to happen off-screen. Ted baked birthday biscuits (and decorated them) for Trent’s daughter. Trent and Ted may have swapped phone numbers somewhere along the way too, seeing as Trent’s able to text him about Nate later on in the season.

The Tie Between Oklahoma! and Casablanca

When Ted references Oklahoma! in Season 1, Episode 5, it’s to specify that the musical is ruined for him due to it becoming a safeword in his marriage with Michelle. The direct quote is:

“So if either of us says ‘Oklahoma,’ the other one has to tell the God’s honest truth… Did ruin the musical for me though. So now every time I hear, ‘Oh, What a Beautiful Mornin’,’ or, uh… what… ‘Surrey with the Fringe on Top,’…”

“Surrey with the Fringe on Top” makes an appearance in the 1989 rom-com film When Harry Met Sally. Harry and Sally sing it together impromptu on a karaoke machine in an electronics store. Sally’s profession in the film is in journalism.

What else is referenced in When Harry Met Sally…? So glad you asked. Casablanca is referenced in the film a couple times. In the beginning and in the middle. It serves the narrative purpose to indicate how Harry and Sally’s outlook on love has developed over the years.

Casablanca is a hallmark of the romance genre. And it’s also been referenced in Ted Lasso. In Season 2 Episode 7, when Trent leaves his date to go over to talk to Ted, he says, “Of all the pub joints!”

The Casablanca quote is: “Of all the gin joints in all the towns in all the world, she walks into mine.” It is said by Rick about meeting Ilsa again.

Season 3 Episode 8 is allegedly titled “We’ll Never Have Paris”, which is a subversion of the Casablanca quote “We’ll always have Paris”. 

Now for the absolutely insane bonkers speculation. That quote is said in the final scene of the film right after Ilsa asks Rick, “What about us?”. Rick isn’t getting on the plane with her, they’re separating, this is the end of their story. “We’ll always have Paris” is a reassurance that they’ll always be together in their memories. 

So if “We’ll always have Paris” is a signifier to the end of a romance, it is possible that “We’ll Never Have Paris” is a signifier to the start of a romance. And who else in Ted Lasso has referenced Casablanca? No one. The only reference in the entire show so far has been said by Trent to Ted.

Twelfth Night

Want to get even more insane in the membrane? Of course you do.

Before Trent walks over to where Ted sits at the bar, Mae makes a reference to the Shakespearan play Twelfth Night. Her direct quote is: “If music be the food of love, play on. Give me excess of it.” 

To which Ted replies: “If that's your fancy way of asking if I want another one, you guessed right.”

Sidebar here — because I love connecting the dots even if it turns out I haven’t connected jackshit — Ted’s reply could be a double entendre. He doesn’t say “if I want another drink”, he says “if I want another one”. Another one of what? It’s clear in the context of the bar it’s another one (beer), but it could also foreshadow to mean another one (love). The latter makes sense when combined with Mae’s reference.

Because Twelfth Night is a love story. It’s a romantic comedy. It’s a queer romantic comedy.

So Mae makes a cryptic reference — unprompted — to the opening of a queer love story, and then immediately afterwards we get Trent greeting Ted with a reference to another famous love story. 

Remember how Trent did a full body check on Ted in Season 1 Episode 3? Well now it’s Ted’s turn. He does a full body check on Trent around the 31:50 mark in this episode. And he seems genuinely happy to see Trent until Trent puts his journalist cap on. 

This happiness is also short-lived if we jump forward to Season 2 Episode 12. When Trent texts Ted initially, Ted smiles at his phone. The smile goes away as soon as Trent sends him the article he wrote.

Burning A Source

Trent burned his source for Ted. This serious, established journalist burned his source.

The Carpark

“Hey! There he is. I was worried about you. I thought you might’ve been in a bike accident or something.”

“Actually, I don’t know how to ride a bicycle.”

“Really? That surprises me.”

“Why? Cause of the hair and the whole vibe?”

“Yeah, I guess so.”

— Season 2, Episode 12

Let’s break this down. 

Remember how I said certain phrases are used as queer signaling? Bicycle is one of them. Bi-cycle used to be slang for bisexual (an example of this in pop culture is Queen’s song “Bicycle Race”). Trent saying he doesn’t know how to ride a bicycle could be a double entendre, with the hidden meaning that he isn’t bisexual. He then goes on to ask Ted about “the hair and the whole vibe”, which could be another double entendre. This time with the hidden meaning to ask if Ted’s got a gaydar. The pause at the end of his question and the way he asks it is equally important. He’s testing the waters with Ted. 

And Ted passes the test with, “Yeah, I guess so.”

They are also in a carpark, which is a callback and parallel to not just Ted and Michelle, but also to Roy and Keeley. 

This entire scene is coded and contains heavy foreshadowing. There’s a lot to unpack. From Trent’s choice of words to locking himself out of his car to Ted saying, “Do what The Man says and try to follow your bliss.”

Speaking of Ted, this is the last scene we see of him in Season 2.

Rom-com Tropes and Structure

So how does that evidence fit in with the story structure? We all know Ted Lasso is a rom-com. So let’s dissect the genre’s tropes and how its typically set-up.

Perhaps one of the most common rom-com tropes is the journalist falling in love (sometimes with who they’re writing about). Sleepless in Seattle, When Harry Met Sally, He’s Just Not That Into You, How to Lose a Guy in 10 Days, etc. This profession is popular.

There are also the friends of the romantic leads who help guide them. Diamond Dogs, anyone? 

The anatomy of a rom-com is typically done in three acts.

ACT ONE: Meet-Cute

Every rom-com has a meet-cute. It’s integral to the structure. And oftentimes — if the rom-com includes someone who is a journalist — that meet-cute happens in the workplace. During this act, the two characters get to know one another and start to fall in love.

ACT TWO: Lose

This stage typically happens two-thirds of the way through. There’s a dissolution of some sort. One character betrays another or they argue or something gets in between them. Either way, one of them leaves.

ACT THREE: Declaration

Whoever left realizes “Wait a minute…I’m in love.” and then the rest of the film leads up to an iconic declaration of love. The characters reconcile and it’s — generally speaking — a happy ending.

It would make sense for Ted Lasso — which references rom-coms and rom-communism out the wazoo — to incorporate this structure. And I think that it already has somewhat in regards to Ted and Trent’s storyline, if you view each act as a corresponding season.

Narratives and Storytelling

Before we saw Ted’s panic attacks and now chronic depression, we got inklings of it. The writers consistently sprinkle foreshadowing into every major plot point in Ted Lasso. The situations in the show feel plausible and real because they’re given the space and the time to breathe, grow, and develop. Pacing is integral to this.

For a show to be so progressive yet not have an explicitly queer character seems strange to me. It feels off. We are given hints, though, which lead me to believe that sexuality will be a major plot point in Season 3. For it being the last season, it’s not going to be enough to potentially only have Colin be the One Gay in the entire cast of characters. That would feel uncharacteristically dismissive from the writers on a show about inclusion and found family.

It would also completely throw out a chance to further enrich the story and deepen the characters. Think about the wasted comedic potential of Trent becoming an accidental gay mentor to Colin. Or the wasted dramatic potential of the Richmond team banding together against homophobia. Or, I don’t know, the wasted dramedy in Ted talking to the Diamond Dogs about how he’s realizing he’s got feelings for men, and there’s a moment where they’re like, “No shit.”

Beyond foreshadowing, another common style the Ted Lasso writers love to utilize is the red herring. A red herring is a misleading bit of information used to distract the audience from the relevant information. We saw it in Season 2 between Ted and Rebecca and Sam. Some people didn’t connect the dots between Sam’s Bantr storyline and Rebecca’s Bantr storyline because Ted — the red herring in this example — was shown also texting on his phone. Editing played a part in this too, as some shots cut to Ted directly after Rebecca had a Bantr Moment.

I honestly think we’re going to get a subversion of this in Season 3. Only this time Rebecca will be the red herring to distract from Ted and Trent. Here’s why:

There are multiple parallels between scenes where Ted interacts with Rebecca and with Trent. This gifset captures those parallels. He gets through both of their barriers (hopping over Rebecca’s “fence” and softening Trent’s “tough cookie” exterior). It’s the Lasso Effect, baby!

What’s more, a larger portion of the audience watching Ted Lasso are primed to expect Ted and Rebecca as endgame. It’s what happens in shows between two main characters of the opposite gender, right? They get together, live happily ever after. Especially if they’re good friends. 

Anyone expecting the Ted and Rebecca ending will probably disregard anything developing between Ted and Trent even if its right in front of them. Because historically two men don’t end up together on-screen. Especially not in a show as big as Ted Lasso.

But what if a queer endgame is what Jason Sudeikis means when he says in interviews that the ending is not what we’ll expect?

Unexpected Ending

Before we look at the ending, we must look at the beginning.

The first shot of the season is of Ted’s depressed face in an airport. Since Ted Lasso has so far began and ended each season with a juxtaposition shot, it would make sense for the last shot in Season 3 to be of Ted’s happy face. Whether or not that’s in an airport remains to be seen.

The teaser trailer for this season dropped on Valentine’s Day, which was our first look into Season 3. Season 3 ends on May 31, 2023, one day before June. Or, in other words, one day before Pride Month. The combination here of Valentine’s Day and Pride Month lends itself to an interesting choice.

The official Season 3 playlist dropped on Apple Music. So far all the song’s have been in order, and as there are 56 songs on the playlist, I’m inclined to believe that it’s the entire season. 

“Wigwam” by Bob Dylan is the first song of the season. It’s got a melancholic, drifting feel to it, with no real lyrics. If it still stands that the songs are in order, then the last song on the show is “I Am What I Am” by Donald Pippin & George Hearn from the 1983 Broadway musical La Cage aux Folles. It’s got a purposeful, proud feel to it, with meaningful lyrics.

Remember how I said that Ted is a huge musical theatre nerd? La Cage aux Folles is an insane pick — in the best way — to end the show. It’s cultural impact was huge when it came out, as it was the first hit Broadway show that centered on a gay couple, Albin and Georges. “I Am What I Am” quickly became a gay anthem. I can’t give notable lyrics because the entire song is a love letter to being out and proud of who you are. It’s also worth noting that Albin and Georges are fathers to a son.

But why would they pick this particular song from this particular musical? Why choose a gay anthem? 

I cannot say for certain that Ted and Trent will end up together by the end of Season 3. All I can say is that it would make sense if they do. From the set-up to the Rom-com tropes to the unexpected ending. And if it doesn’t, if all this ends up being wrong, that’s okay too. 

Still, though, I can’t help but root for them.

#ted lasso #ted lasso meta #trent crimm #tedependent #ted lasso speculation #tedtrent #can you fuckign believe this is over 4k words....jesus #there was so much i did not include such as interviews from both james and jason #hope this made sense LMAO

[genericpuff]

Hello, I am a huge fan of your work and I’ve been following you for a while! I am a gay Greek student at the History & Mythology department from Aristotle University. I had to do a lot of research and homework regarding certain subjects and one of them was Κρόκος (Krokos/Crocus). Crocus was in fact in love with a nymph named Smilax, but was never, in any valid story, involved with Hermes romantically. Contrary to popular belief, homosexuality was something that was condemned in the majority of most city-states of ancient Greece, especially Athens. In fact, they even had the derogatory term for gay people “kinaidos” (κίναιδος) and they were banned from participating in politics, banned from the Olympics, banned from participating in the war, banned from being priests and in worse cases, they were sentenced to death. :( “Αν τις Αθηναίος εταιρήση, με έξεστω αυτω των εννέα αρχόντων γενέσθαι, μηδέ ιερωσύνην ιερώσασθαι, μηδέ συνδικήσαι τω δήμω, μηδέ αρχήν αρχέτω μηδεμιάν, μήτε ενδημον, μήτε υπερόριον, μήτε κληρωτήν, μήτε χειροτονητήν, μηδέ επικυρήκειαν αποστελλέσθω, μηδέ γνώμην λεγέτω, μηδέ εις τα δημοτελή ιερά εισίτω, μηδέ εν ταις κοιναίς σταφονοφορίες σταφανούσθω, μηδέ εντός των της αγοράς περιρραντηριων πορευέσθω.

Εάν δε ταύτα τις ποιή,καταγνωσθέντως αυτού εταιρείν, θανάτω ζημιούσθω.” Translation: “If an Athenean performs this, he will not be allowed to become member of the 9 lords, he will not be able to become a priest, he will not be able to become an advocate of the people, he will have no authority inside or outside of Athens, he cannot become a war preacher, he will not be able to express his opinion, he will not be allowed to enter the sacred public temples, he will not be able to take walks happening in Agora. If he ignores any of these laws he will be sentenced to death.” - Solon Laws in book 5, chapter 5

Also, the term “Pederastry” actually meant “Mentoship” and it had nothing to do with sexual relationship between a male teacher and a male student. Many of the homosexual depictions regarding historical and mythological figures are created in modern times without any evidence to back it up. For instance, Achilles and Patroclus are often assumed to be lovers in modern media when in all actuality they were just cousins. Patroclus’ father Μενοίτιος (Menoetius) and Achilles’ father Πηλέας (Peleus) were brothers.

Alexander the Great was never in a relationship with his best friend Hephaestion as there’s no evidence to back it up besides him telling him his secrets and mourning his death.

The only historical figure that could be a legit bisexual was Sappho from the island Lesbos (which is why Greece now calls the island “Mytelene” to avoid any association with lesbians, despite it being the name of one of the cities there). She was accused of being a promiscuous woman who was sleeping with many men and that she was a woman-lover due to her poems, but this is still up to debate to this day.

The worst of all is that most pictures involving homosexual activity used as evidence to prove queerness have been modern remakes of an ancient artifacts depicting heterosexuality (or even the rape of women). Eros Kalos is responsible for many of these “queer copies”.

This deeply saddens me as I am a homosexual myself, but I don’t think Ancient Greece deserves credit for being “open-minded” on the subject knowing that they would treat me badly if I was born in my country in that era. I don’t feel comfortable with people trying to prove that it was gay when that’s not true at all. Anyway, I am very happy that artists like you exist and make their own fictional versions of the characters in ways that feel comfortable for us to look at. Stay amazing. <3

Wow, this was a super interesting read !!! Thanks for all the helpful info :3 It's sometimes difficult to discern what "love" between gods and mortals means in the translated texts, as sometimes it can mean romantic/sexual love, and other times it just means godly love, i.e. mortals who were "chosen" by gods to be their patrons (so just having a very strong spiritual connection in the same way the Christian God "loves his children") and I feel like sometimes those two things become conflated a lot in discussion around those stories, but that's why it's always important to listen to other interpretations and translations to try and get the most accurate recounting possible.

Mind you, I am not Greek so take ALL of my opinions on this topic with OLYMPUS-SIZED-MOUNTAINS OF SALT LOL

I actually had no idea about the Alexander the Great x Hephaestion thing, and upon searching it up, it brought up articles about a Netflix production? Would I be wrong in assuming that's what motivated you to clarify on that ? 😆 (or is it just a common sentiment these days? genuinely asking haha I'm not so sharp on my Alexander the Great lore these days 😔🤡)

I absolutely agree that Greece itself isn't exactly a pillar of LGBTQ+ representation or rights (it is, after all, predominantly Orthodox Christian and they just legalized gay marriage in this, the year of our suffering 2024) and it's important not to put on blinders or use our connection to the gods and myths to erase what's going on historically. It's certainly not a magical imperfect wonderland - no culture or country is - and the more people are aware of that, the more they can become aware of ongoing issues and fight for things like equal rights (as they should!) so they can move towards positive change.

I think there's definitely lots to be said about the fandomification of Greek myth as well, where a lot of people take fun in the cute / funny / easy-to-headcanon parts of the myths without recognizing where they come from, why they were written, and who they were written for. It's easy to be a non-Greek person consuming and engaging with all the fun parts of the myths, because we get the privilege of being outsiders looking in who can interpret the myths in our own way free of consequences or the reality of the culture these myths are from. And I say that as someone who's not Greek and absolutely falls into that camp! Some of us use that privilege responsibly, others... not so much. And again, that's something that can happen with any culture (though I can definitely name a handful that have become notorious for how fandomified they've become through pop culture cough Japan cough Korea cough Canada, yes I fucking said Canada-)

That said, as with any culture that becomes more popularized with people outside of it, as much as that can lead to harm and misrepresentation in many ways, it can also lead to a lot of joy and appreciation. I'm glad that so many people have found themselves in the myths and find their hope through them and reclaim their power through them even if they've had a messy history. I see this sort of reclamation thriving in Christian mythology as well, through those who want to reclaim the beauty of many of its stories and messages and express the joy and love and compassion in them, rather than using them for hate and discrimination as they're so commonly and systematically used. In that way I think you can easily have adaptions that aren't historically accurate, but are more reflective of the culture and hopes and dreams of the people who are retelling them in the modern day. I think it's important to keep both in mind.

IMO it's one of those "if we don't find joy in it and use it to spread love to others, that means the bigots get to use it for harm" type things, if that makes sense :'0 But that doesn't mean we should pretend like history never happened, because in doing so, we're doomed to repeat it. We should always do our best to respect where these stories came from, and do more to learn about them when we get the opportunity to do so, because not doing so is how we end up with adaptions and "retellings" that are so far removed from the source material - but still ingrain themselves so seriously without a shred of transparency - that they almost become erasure in and of themselves. As I say a lot here, balance is key, and we should always be making efforts to learn ( ´ ∀ `)ノ～ ♡

#idk if any of this was actually worded well it's like 3 AM here lmao #ama #ask me anything #anon ama #anon ask me anything

[provincial-girl]

Yeah, so A League of Their Own continues to live in my head rent free, and lately I’ve been really fascinated with what the show does with Sergeant Beverly. There’s one scene in particular in episode 7 which really strikes me as a moment that does some really great, subtle work towards helping us understand the ways in which she fits in the show’s larger goal of exploring queer and marginalized communities.

 It’s right after Jo is escorted into the house by the police, the moment Beverly asks to speak to Carson privately. I feel like this is the scene where we get our first solid hint at the fact that Bev is queer, because she speaks as if she knows. Bev knows how this works. She understands that the names will be in the paper unless someone gets paid, and she clearly knows how to go about paying the right person. She understands the danger of keeping Jo in Rockford in a way that doesn’t even seem to occur to Carson until Bev explains it. Bev discourages trades all season in an attempt to keep the team together, but she pushes this trade through overnight, because she knows that getting Jo out of town ASAP is the best way to keep her safe. Bev is very matter of fact about the whole thing, like she knows these facts of queer life, and has  known them for a long time. 

This scene also takes place in the same archway where Bev all but comes out to Jess, an interesting parallel which suggests that Bev often exists in a sort of in-between space. On one side of the doorway, we have the kitchen, a more private personal space. It’s the only place inside the house where we see Greta try to kiss Carson, where Carson asks Greta on a date, and Greta asks Carson to move to New York with her. It’s also where Bev shares the most she ever has about her service in the Marines as she has a heart to heart with Carson about learning to stand up for herself and find her power (even if that advice is a bit misguided). The kitchen is very clearly a private space, though one vulnerable to intrusion, as we see right after Greta asks Carson to come to New York, and where we can still see people milling around behind Bev and Jess. On the other side of the archway is the much more public space of the staircase and main entrance, the place where Jo is very publicly escorted in by police, as if to indicate that this is what can happen when a person’s private queer life becomes part of a public space. 

This is the in-between Bev works within for the entire time she is with the Peaches. On one hand, she’s an employee of the league, tasked with enforcing rules and maintaining their image for the public. On the other hand, she’s a queer woman doing her very best to protect these vulnerable women. Standing in that doorway as she has these conversations is symbolic of her straddling that line between her public and private self, brief moments where we can very clearly see one bleed into the other. One of the main difference in the shots is that she stands on the left as she talks to Carson, and the right as she talks to Jess. My theory is that this is symbolic of the fact that, in one case, she is taking something away from the team, even if it’s in Jo’s best interests, and in the other, she’s giving something back. It’s a literal give and take that Bev constantly has to balance as she tries to take care of her girls.

Bev may not be a main character, but this character arc acts as an important part of this broader portrait of the lives of queer and marginalized characters living out their own unique, often untold stories. Bev often hovers in the background, but the show treats her with thought and care,using small, subtle moments to create an interesting character, someone we grow to love and remember. By the end of the season, we learn that she’s an older, closeted, queer female Marine who doesn’t care about baseball, but is as devoted to protecting her baseball girls as she is to her fellow Marines, maybe even moreso. I can’t think of an occasion where I’ve ever seen a character quite like that, particularly one where we’re given the time to learn about her organically. I just really love that the show puts in the time and effort to allow a character like that to be seen and included as part of this larger portrait of the lives of marginalized people in 1940’s America. A League of Their Own is just so thoughtful and sneaky smart in how it does that, and I’m so grateful that it exists in this world.

#aloto #a league of their own #sergeant beverly #queer representation #meta #seriously though #the more I engage with this show the more I realize #how smart and thoughtful and well-researched it is #I forgot how much Ilove reading and writing meta #and I love this show so much for reminding me #(among other things) #this show has me in an absolute chokehold in the best possible way #my stuff

[clearancecreedwatersurvival]

Look the real reason so many book fans are mad about the wheel of time adaptation instead of having a great time with it regardless of changes, is that the production is putting a very strong focus on updating the worldbuilding and characters in specific ways, as well as changing individual events in favor of a more streamlined way to make The Same character beats happen.

Because this is an adaptation to film, and of course they have to change stuff. Come on people. Be realistic. You know how long the series is.

And there are parts of the book series that Do need updating. RJ was trying to be as progressive as he could in a lot of his approach to the series, but what was progressive in the 90s is not as progressive now so of course they are updating it. If you didn’t think this show was gonna have queer people and polyamory then sorry about it. Dear Mr. Jordan was Really Good at writing romantic relationships between women when he thought he was just writing friendships, he did it A Couple times. I would Bet Money on Avilayne becoming canon. This series is being created by a queer showrunner he is absolutely doing a queer reading of these books. Which I am Very Here For.

And he is doing a reading, and changing things. Which again, is Necessary. The book series is Super long and they have 8 seasons to do it in. They’re gonna change individual events to make sure that the main characters go through all the necessary character beats. And you’re just being recalcitrant if you can’t admit that season two Rules in a lot of ways. They are still making sure every important character has all their moments. And each individual episode has focused on some of the most powerful themes of the Entire book series. Including the inherent tragedies inherent to channelers such as: being cut off from the one power in various ways through shielding and stilling, having their own control of the one power taken over by others through weaves and ter’angreal, and living extended lifespans and thus leaving behind their loved ones. They’re doing a Very good job of keeping to the core themes and character beats and also changing stuff around to make the story work on a shorter time frame.

Also they’re working really hard to make sure Every character is as well fleshed out as possible. Meaning that yes, a lot of focus is being spent so far on the other main pov characters and all of the important aes sedai who will matter in the conflicts to come. That’s a good thing. Sorry to the people who only cared about the ta’veren boys or whatever but RJ wrote a ton of interesting and powerful women and they’re all getting their Due in this adaptation that is a feature not a bug.

It’s not like there isn’t stuff to be improved in the original! There is a huge chunk of the wheel of time that a lot of fans refer to as the slog! Where most of the main characters are separated and the plot is barely moving so some characters only show up in like two chapters of a single book, because there are so many individual things happening, before the plot starts moving faster again towards the end of the series. (And then there’s the crimes committed by Mr. Sanderson on the last three books but we’re not going to talk about that right now.

Which personally I would disagree that the slog is where the series is least enjoyable. The section I usually skip when rereading is the first two books, #having a great time right now actually with the show skipping through as much of the minutiae of books I and II as they can. The wheel of time is not a perfect series and Robert Jordan kept trying to finish it in one to three books at first and the first two books suffer as a result.

If you stopped reading in books one or two PLEASE just try to make it to three Trust Me. Or just watch the show and then read the battle of falme in book II and then read book III. You will appreciate books one and two more on a reread after all the stuff he does bring up there has really paid off. And also just have fun watching your faves be more happy than they are in later books ¯\_(ツ)_/¯

The show is not Trying to be the books and frankly I’m glad it’s not! This is another turning of the wheel, another version of events, a parallel universe to the randland of the books. And I think they’re doing a pretty brilliant job of telling a version of that story so far this season.

Adaptations will change things. That’s a good thing. Judge it on executing the ideas it is bringing up and staying true to the core of the character arcs and themes of the original. And frankly it’s enhancing a lot of character arcs right now. There are many things that I think the show is already doing better than the books did tbh (Min, Liandrin, Selene, making Perrin spend less time dithering about the Wolf Stuff, speeding up Mat’s healing from the dagger so my best boy gets more time to shine)

Adaptations are transformative works. To lesser and greater degrees they reinterpret a work through a different artistic lens and medium. The changes are not bad because they are changes. Judge it on the execution of the story it’s actually telling instead of a close comparison to the books. And they are keeping as true to the books as they can whether you acknowledge that or not.

If you’re a person who reads fanfiction but you can’t judge a film adaptation for what it is instead of what it’s not then please try Slightly harder.

And if you’re just mad that it’s all queer and polyamorous now and the boys aren’t the only main characters then die mad I guess. I will continue having a pretty great time watching this show chock full of extremely powerful (and sometimes evil) women. I think RJ would have liked it tbh.

#my only criticism is they got rid of the weaving opening #bring it back #the wheel of time #wot on prime #wot show #wot #unreasonably attractive fandom #Caitie speaks #this is a mat cauthon stan account #I know I know I’m still talking about this #well people are still acting affronted that they’re not telling the exact same story as the books in the tags so

[lesbianboyfriend]

can i ask for lesbian book recommendations 🥹🕺

yeassss ofc my love <3

erm and obligatory disclaimer for any who might read that i don’t think “queer” or “lesbian” is a necessarily coherent category of books or adequate descriptor for a novel which is why i’ve also provided the actual genres here (sorted into which ever one i felt best fit) and descriptions. and these books have much more going on than just being about lesbians. however all books are undeniably awesomer with lesbians so yayyyyy

FANTASY:

-the salt grows heavy by cassandra khaw: fantasy horror; murderous mermaid and plague doctor come across a cult of children (could be read as not lesbians bc one character is nonbinary but i choose to read as. lesbians)

-the empress of salt and fortune by nghi vo: political fantasy; monk unravels the tale of exiled empress’ rise to power

-when the the tigers came down the mountain by nghi vo: political fantasy; monk unwinds the tale of a tiger and her scholar lover to prevent other tigers from eating them (stand alone sequel to empress of salt and fortune)

-ship of smoke and steel by django wexler: ya fantasy; girl has to steal a ghost ship to save her sister’s life

-the mermaid, the witch, and the sea by maggie tokuda-hall: ya fantasy; pirate falls in love with one of the ship’s hostages, a girl being sent to an arranged marriage against her will

-tremontaine created by ellen kushner: political fantasy; there’s a lot going on in this one okay just trust me that it’s really good esp if you love political intrigue (this was released serially and is easiest to acquire an electronic version)

-the deep by rivers solomon: fantasy/spec fic; African slave women thrown overboard gave birth to mermaid-esque descendants. one holds these traumatic memories for her whole people and must grapple with that pressure

-wild beauty by anna-marie mclemore: ya magical realism/fantasy; a family of women who can create flowers and whose lovers always tragically vanish fight to keep their land and to unravel the mystery of a strange boy who appeared

-siren queen by nghi vo: historical magical realism/fantasy; girl’s rise to stardom amidst the monsters of hollywood back in the days of the studio system

-gideon the ninth by tamsyn muir: sff; um. how to explain briefly. gideon wants nothing more than to leave the ninth house, but her nemesis harrowhark needs her sword skills to pass the emperors trial and become immortal. sure. (caleb i know you’ve read this just adding for any other viewers yayyy)

HORROR:

-white is for witching by helen oyeyemi: horror fantasy/magical realism; a house with women in its walls calls to miranda silver while the people she leaves behind struggle to make sense of what happened to her

-plain bad heroines by emily a. danforth: historical horror; when filming a movie about the macabre history of a boarding school, its past starts to become the reality for the stars and author of the novel it’s based on

LITFIC:

-girl woman other: contemporary litfic; the intersecting stories of Black british women told in verse

-nightwood: classic literary; i feel like i can’t describe this one well but nora and jenny are obsessed with robin, whose penchant for wandering and inability to commit drives them crazy. toxic dyke drama at its best

-the thirty names of night: lit fic; transmasc syrian american unravels the history of artist laila z who encountered the same rare bird his mother saw right before her death and realizes their pasts are intertwined

-under the udala trees: historical lit fic; coming of age set against the backdrop of civil war in Nigeria, two girls from different ethnic communities fall in love

-everyone in this room will someday be dead: contemporary lit fic; that moment when your ocd lands you a job at the catholic church even though you’re an atheist and also your relationship is falling apart

-stone butch blues: historical lit fic; butch lesbian realizing and grappling with her identity throughout the 40s-70s

-the color purple: classic lit fic; story of two sisters separated in their youth—one is forced into an abusive marriage and falls in love with her husbands mistress, wondering what became of her sister

-oranges are not the only fruit: semi-autobiography with slight fantasy elements; exploring growing up lesbian in a deeply religious pentecostal sect

SCI-FI:

-the weight of the stars: ya sf romance; aspiring astronaut is forced into friendship with a girl who waits on the roof every night for radio signals from her mother in space

-the seep: sci-fi/spec fic; what if aliens invaded and formed a hive mind of everyone and also your girlfriend turned into a baby again. wouldn’t that be fucked up

-the stars are legion: political science fiction; an awakes with no memory amid a group of people calling themself her family who claim she is the only one who can save their world

-not your sidekick: ya sci-fi; superheroes are real and they fucking suck

SHORT STORIES:

-sarahland: contemporary/spec fic short story collection; various stories about people named sarah

#jules.txt #asks #bookshelf

[delistravaganza]

I swear I relate to everything you have written about the enemies to lovers trope and lesbians.

it’s not even about lesbian representation, at least in fandom, of course that’s important but it’s not the point here, it’s about having wlw stories that are as...complex? Messed up? Intricated? as straight or even (in more recent years) mlm romantic storylines are allowed to be. I feel like I am constantly hungry of complicate stories with lesbian or bisexuals female characters involved in messy relationship. But almost every popolar ship that I meet on fandom or tv shows either is watered down, made all soft and sweet and not threatening and so not complicate enough to be appealing. (or in the fews that are not like that in the original media they get made in this way by the fandom- it’s so unnerving). it seems to me that’s it is either “tragic dead lesbian” or “soft sapphic story all is sweet uwu”. As someone who love stories with romance only when the romance is very complicated and not necessarily healthy and full of ambivalent feelings (don’t judge me as you said it’s just a matter of preference ashahaha) I sometimes read slash (mlm) fanfiction on ao3 that feature very complicate and not necessarily healthy dynamics and I go damn I wish that there was a fanfiction exactly like this but with two women instead of two men.

I get this 1000%. To be fair, I don't think it's just the wlw couples being UwUified in recent films and shows, this happens to all queer representation because of the pressure to create "good rep". To some extent, it's even happening with straight pairings because people are more aware now of sexism and what it really means to consent, though everyone still seems to be willing to let this knowledge fly off if teh guy iz HOT.

But there seems to be a particular issue with writing f/f interactions that are manipulative, dark or somehow more adult, not necessarily meaning sex but rather a more nuanced portrayal of the relationship. Whereas all the straight toxic romances went to specific (and thriving) genres such as "dark romance" (which at least seems to be more self-conscious as the Reylo fic I mentioned before), and we get glorious epics of m/m fanfiction stories (and books that feel like fanfiction), it sometimes seems like the women characters are treated as little girls.

Even in a dark, creepy, cannibalistic, adult-oriented show such as Yellowjackets, I found myself more interested in the hypothetical Jackie/Shauna pairing because oh boy that was complex! than in the actual lesbian pairings involving Tai, who is a great and somewhat nuanced character except when it comes to her (sanitized) relationships. Is it really just me favoring problematic and unhealthy dynamics or is there some truth to this? (It may be me.) Is Tai a bit tamed down because she's gay AND black?

Also, to be completely fair, I think that I have more expectations when it comes to wlw plots, maybe because I subconsciously think of them as more "me" than the others. I've read a lot about how women use slash to slip away from the narrative and write more freely, and the fact is - I've read a lot of trash when it comes to m/m. And I definitely don't remember it with the resentment I save for f/f media like First Kill ("you fucking set out to be everything I wanted and turned out to be a pile of dog shit!").

I have also read extremely interesting books featuring f/f dynamics on the latest years, which I could post here instead of whining à la Louis de Pointe du Lac, but the fact is that these books already set out to be a work of literary merit and weren't written to dwell on the romance or possible romance itself. I'm not even counting MBF here as I read it a while back for the first time, but it could be an example - I don't know, but it definitely wasn't written with UwUification in mind. I'm still thrilled at how much the marketing DID and DOES UwUify our girls and their relationship. Sometimes the marketing is like: Wouldn't you just love to have such a special friendship like these two? Uhhh what? No, thank you, I had my share of that shit?!?

Oh, and also - I'm not even sure it comes down to self-identification either. I said I identify with Catradora, but the fact is I don't necessarily identify with either Catra or Adora. I just identified with their feelings, and I felt empathy for them, and I worried and I suffered and I felt frustrated and I so, so, so hungered and feared for their fights and God, you should really check this one out because it's really on the edge between UwU and dark, and I think it's this mixture what made it work in today's world. It seemed to appeal to both parts of me - the one who lowkey wants the positive, young-and-healthy-oriented rep she didn't have as a teen, and the more prevalent one who prefers angst and twisted things. And yes, it's a cartoon. A cartoon did what many real, adult-oriented shows and books couldn't do with me.

But Catradora probably also worked because we, the audience, were purposefully kept in the dark about them, so we got to experience their story as it developed and without any clear expectation as what the end would be (compared to: here's your wlw romance of the day! Ship them! Hope they don't die!), something I'm sure you wouldn't be able to achieve now that all the info is out there.

Anyway, I'm rambling now and already taking too much time off work. But I find this topic fascinating. If anyone else wants to join in the conversation or point me somewhere that isn't Buffy/Faith or Catradora or Villanelle or Nicky/Lorna (YES I STILL SHIP THEM AND WILL ALWAYS DO) or our Neapolitan toxic friends, please do. And as always, nice talking to you. <3

---

P.D.: Here's a long video analysis that I really liked that tackles why "good" LGBT representation is boring (not wlw representation exclusively).

#queer representation #my brilliant friend #yellowjackets #jackie x shauna #catradora #f/f #sapphic #first kill #wlw

[queer-ragnelle]

I would love your opinion on Black Sails! I was never able to finish it (even though I want to). Seasons 1-3 felt linear and natural in the way the characters were driven and motivated. Season 4 changed so much... undoing character growth, scrapping character beliefs for new motives that were narratively weaker, and using way more shock/gore than there had been used previously. I would love to know your opinions on it, and if I'm talking out of my ass on this. Love the show! Would love to finish it. Would genuinely love to hear you do a character analysis, if you felt up to it. Ty!

Hi Anon! I'm going to put this below a cut since it's not strictly relevant to this blog and yet I have much to say about it lol

It's been over a year since I watched Black Sails in it's entirety, but I'll go on record saying it's the best show I've ever seen. I love the writing, the acting, the costuming, the filmography, the music, the everything. It is [almost] perfectly balanced. Ironically I felt season 1 was the weakest and didn't take the same issues with season 4 as you did. My biggest criticism of season 1 involves the plot regarding Max's captivity on the beach. I think connecting her with Anne could've been achieved some other way (or even a similar plot just overall less sexual violence/quicker resolution). But even so, I still stand by that I recommend it, particularly to those who love a blend of historical and fiction/mythic characters.

I would love to see an Arthurian retelling on that scale and with that tone. Starz had produced their show Camelot in 2011, three years before Black Sails, and while that first season also has some issues, I'll forever be heartbroken it wasn't renewed. I fully believe they would have developed Camelot into an epic tale ala Black Sails, particularly with strong female characters and queer storylines. We could've had it all....

On that note, Black Sails was absolutely vital in my journey as an author adapting Arthurian legend in a historical 6th century. The meta about ambiguous storytelling subject to biased perception or outright misinformation and thus misconceptions about people involved in historical events fascinated me. On one hand you have Jack Rackham's obsession with his legacy, almost uncannily aware he's in a story and his limited time to leave his mark. Then there's Charles Vane's hanging in Nassau, when the history books say he died at Port Royal. It circumvents expectations, not with shock value (looking at you, Game of Thrones finale), but in service to the narrative by calling into question the validity of our accepted reality. Beyond that, it seamlessly blends historical figures, the cast of Treasure Island, and original characters created to incorporate more women and people of color into the narrative. Everyone's developed and fascinating and complex with clear motivations and fleshed out backstories (except for Silver, lol, which itself makes him compelling). Bernard Cornwell's Warlord Chronicles does similar things. He utilized Saint Derfel as his point of view character to analyze the Arthurian legend through a [semi-]historical lens. But I think Black Sails does it better. It also seems to transcend genre at times. It's adventure and action, but it's got everything from romance between a network of characters in all different Stiuationships to the horror of Flint's past haunting him (literally). And yet it never feels like too much. It doesn't lose track of what it's doing. Nothing set up is dropped or forgotten about. It's frustrating when the goal post moves yet again, but in a way which draws us in closer to the characters and makes us all the more driven to see it through. When another hiccup arises we must overcome, or even a devastating and insurmountable shock (Miranda....), it feels earned. Of course that was liable to happen. How could we have been so foolish to think things would have worked out?

This show gave me permission, and frankly, the determination, to experiment with my own retelling. The people who made Black Sails knew when to stay true to the past, drawing on facts to develop the story in accurate ways (such as utilizing the colony of escaped slaves to bring Madi and her people into the story (which also ties into Treasure Island in which Silver had a black wife!)) and when to follow the rule of cool (Jack Rackham in his definitely-historically-unviable-but-undeniably-cool shades). Literally life changing.

I don't think I could narrow down the characters enough to do a full analysis of one of them, I love them all for different reasons. But I did name my borzoi Long John Silver, so, I kind of have to talk about him, right? Well I think the character's lack of a backstory, ie his unwillingness to disclose it, acts as a surrogate for the viewer. We ride the wave with Silver, thrust into this predicament with the map and the gold and the very culture of Nassau's pirate trade whilst Silver somehow remains a blank slate mystery as he navigates this dangerous world with a quick mind alone. While Flint could certainly be considered the main character, and we're quite often in his head, his memories, his nightmares even, I don't think the viewer's supposed to identify as him so much as with him. Flint is Flint. But we are Silver. (Scary thought lol)

If you couldn't tell already, I'm long winded. :^) So I'll stop here and the real deep dive character analysis happens in my books. Gawain is just landlocked Flint if you squint<3 Thanks for asking about Black Sails! Everyone go watch it.

#black sails #arthurian legend #ask #anonymous

[ceo-of-kimona]

What to do with Scott…

A question that many many Kimona enjoyers face in our time is thus: “where the hell do we put Scott Pilgrim?”

The guy is a weird case. He’s the main character, the damn series was named after him, he’s integral to the life and stories of both of these women. Although; he is also a massive cockblock (or vag block?? Idk) and must be obliterated in order for the two to be happy. So, to prevent Kimona fic writers (also known as the greatest and most noble heroes of our time) from needing to contend with this great query again, I shall compile a list of potential things you could do with Scott to get him the hell out of the way. In no particular order.

1. Break Scott and Ramona up

Probably the most direct and simple answer, especially if you’re going for a more cannon compliant, post cannon universe. Though it does kinda invalidate all of the shit they got through to get together if they just split up like that. So I suggest that if you do break them up, make it on good terms. Make it so that it’s mutual and mutually beneficial and mature. Less of a “I hate you and I never want to see you again” and more of a “it was fun, you helped me a lot, but now we gotta go our separate ways in life.” Their development shouldn’t be rendered moot by the breakup, instead make the breakup part of their development.

2. Create an AU where Scott does not exist

A fairly easy one, if Scott doesn’t exist, you can just go along your merry way with your shipping. Fics where Kim finds Ramona before Scott or fics where Scott doesn’t ever fall in love with Ramona for whatever reason also fall under this category. These are good, but a bit bland. There isn’t a great lot you can tell here cause Scott’s douchery kinda holds together the plot pretty much. It is only by him being a rat-ass fuckboy that anyone ever meets anyone in the comics. Also, without having her relationship with Scott, Ramona just doesn’t have her vital character arc that the relationship brings. She’s always gonna be the same ol Flowers when she comes to Kim.

So unless you plan on retelling the entire story of the… everything with Kim instead of Scott, you’ve gotta very flighty and traumatized Ramona Flowers on your hands for the entire fic. Now, this is perfect for angst fics, as using pre-arc flaws to create a tragedy has been a a tool for angst fics since god damn Shakespeare. Also fluff doesn’t really need the “primest character development” in order to be good, so if you’re planning to either make angst or simple fluff then AU is your best bet. If you wanna make something more cannon compliant or lighthearted yet complicated, you’re out of luck.

3. Polycule

Self explanatory. Why not have both? Keep Scott and Ramona’s cute dynamic; and just bring Kim into the mix. While this can be very fun (I’m actually writing a fic where this happens at the moment) it isn’t great for every fic. Cause let’s face it: if you’re here and queer for Kimona, so maybe you do not want to write for the feelings of the dude who got here first so he’s also tagging along. Some people just don’t wanna write Scott, which is perfectly valid. Also, polycules are messy and complicated, both in real life and in fic writing. While complications can create some good drama, it’s also a lot of moving parts to manage. You aren’t getting a Kimona + Pilgrim fic down to 2k words without sacrificing a lot. This one is not built for oneshots or general Pilgrim-haters.

4. Send him off to be with Wallace

Probably one of my favorite options to use. It’s kinda an extension of the “breakup” idea, but it gives a happier ending for Scott, as it lets the breakup make sense. Scott falls in love with Wallace and can’t bear the pining so he communicates with Ramona about it, and they mutually agree that it’s for the better for them to split so he can be with Wells. It also will keep the Scollace shippers at bay, may their apocalyptic wrath be kept at bay /s.

If you don’t really have much stuff outside of Kimona in your fic and don’t know how to get Scott out of the picture, try this one. Just throw in a sentence about Scott being with Wallace and everything will make sense and be chill. Truly an option for us lazy bitches out there who just want yuri. It can also potentially set up some Scollace content later down in the fic if it comes to be of a larger scale, but if you just want your yuri you can throw out a “Scott is with Wallace” line and not need to elaborate further, we get it. All around a flexible, powerful, potent, and fun option. Though if you have any Wallace pairings already set up in your fic and you can’t fit Scollace in, this option obviously won’t be that useful to you.

So…

That’s all of the “bye bye Scott pilgrim” tropes for Kimona fics that I could think of. Now for which one is the best… prepare yourself, the answer is disappointing.

None of them!

No one of these is always gonna work for everything. These tropes are all just tools in your toolbox at the end of the day, and which one you use is up to what you’re writing and how you’re feeling. So don’t be afraid to try multiple of these for your fics, throw shit against the wall like spaghetti. Maybe you’ll find something new that you’ll like.

But that’s enough yapping from me. Now go forth and WRITE!

#also you can hit her with the transgenderification beam but I don’t know how that would help things #it would make them more funny though! so worth concideration #kim pine #ramona flowers #scott pilgrim #pineflowers #kimona #ramkim #scott pilgrim vs the world #rant post #fic writing

[blackfemmecharacterdependency]

They Should Have Never Given You the Word “Queerbait”

It’s been 5 years and I’m still thinking about this, so now I am going to vent a bit. I hate when there is a Black female protagonist who is queer coded and seemingly in a slow burn setting, and the viewers flag it as queerbait and disengage.

I feel like I have seen so many shows where people can take a character who is never even suggestively queer and nit pick even the smallest glimmers to validate reading them as such and they will be able to ship and create and support all of the ways this is a queer character and trust the writers to possibly give more. 

But, when there are Black women in these areas, it falls down as soon as they aren’t given overt displays of wlw actions. I said its been 5 years, because I’m specifically thinking about Kiss Me First, but I also want to hit on Crazyhead, while I’m here because I feel like it got paid the same treatment in this regard. And both of those shows had such good writing, and as a Black queer woman WITH mental illness, both of these characters spoke to me and seeing them have potential for love stories for wlw stories was so rewarding, only to see the journey get bashed and the shows get cancelled. 

So. Let me talk a minute. Starting with Kiss Me First.  If you haven’t already watched it, you probably aren’t going to, so I’m not sparing potential “spoilers,” as I’ve said, its been 5 years.

Kiss Me First centers around this dynamic of an orphan, Leila, who recently lost her mom and is getting attached to a woman, Tess, that she met in this computer universe, who she also has befriended irl. Leila and Tess start off with some mystery, as you can’t tell what Tess’ intentions are for this woman, but you see very early on that Leila doesn’t necessarily trust people that are in Tess’ life. When Leila realizes that the person who Tess seems to care about the most is a dangerous and manipulative person, she does everything that she can to protect her.

The criticisms of the show were that people were “queerbaited” with the relationship between them because of the romantic and sexual relationships that these characters had with men and not with each other...

This is what is frustrating to me: So much of this series is realistic, INCLUDING the story arcs where these women are in relationships with men that don’t really serve them best. Real life queer people frequently have relationships with partners that they don’t really belong with before finding the love that they had been seeking. But, the moment it happens in media, especially with a Black woman, it is unbearable for audiences. They gotta see her eating box, or it ain’t real.

And it’s aggravating, because there is this fairy tale happening in which Leila literally is on a quest to save Tess. She knows that this guy is dangerous and her entire goal becomes making sure she rescues Tess from him. He lifts Tess on a pedestal and makes her feel like she is the most important person, but he is actually an abuser and preying upon this group that idolizes him, so Leila spends episodes working to get Tess out of his grasp.

In the end, they aren’t IN a queer relationship, but she has absolutely freed Tess and Tess is helping her to escape being framed by the enemy. They are “friends,” but if you have a queer eye, and are not racist, you’d be able to see that this is and was the entire time a fucking love story between these two women! If anything, they tossed in some dudes for the straights to pay attention. I’m livid every time somebody suggests that Kiss Me First is queerbait. To you, but not my Black, gay, bipolar ass. I loved it. I wanted to see them flourish. I wanted to be given the payoff, yes. But, I loved being able to see a beautiful love story between two fucked up people who were side by side at the end.

This happened in Crazyhead, as well.

Raquel is a target for an apocalypse and do you know how Amy saved her and the world? By telling her she loved her and giving her a kiss that brought her back from the brink of destruction...

Now... I will admit, the writers did a “no homo” type thing at the end... but the homo in me seen the homo in thee, so I wasn’t bothered by that. 

I just think that it is an unfair measurement, to expect everything to be served up for you in order to support representation, and not being able to detect subtext or to envision the potential coding shows a huge amount of privilege. I adore the fact that so much queer content as of late gets spoonfed to you, but I also enjoy a slow burn, and it’s not right that Black queer women rarely get one because you give up if there’s not an automatic tonguing and huge declarations. And in the cases of these two shows, there were very clear expressions of love and several moments of intimacy, but I guess they needed to trib for true love. 

Anyways, I love Kiss Me First and Crazyhead, and I consider them representation FOR ME. 

#Kiss Me First #Tess x Leila #Crazyhead #Raquel x Amy #Nesha Rants #black queer representation #black female characters #commentary #Tess KMF #Raquel Francis #Simona Brown #Susan Wokoma #Disability Pride Month

[sapphire-weapon]

Since you talked abt RE's target audience. Do you think these 18-35 yr old guys even care abt the romantic aspect of the games and the ships?

no, i don't.

what was shocking to me was finding out just how many guys in that age range just skip the cutscenes all together. (which is why all the flirting between leon and ashley happens in in-game dialogue and none of it happens in cutscenes. that was a deliberate design choice.) back before neogaf got taken over by neonazis, there was actually a poll, and a whopping 60% of male gamers in that age range skip every single cutscene for every single game they play. and i think about 1500 of them participated. so it's not like it was a small sample size.

and for the remaining 40%...

if you actually go on reddit or resetera or /v/ or even your local game store and talk to these dudes, you'll find that they only care about the ship aspect about as much as they want to fuck the girl in question. some guys get really passionate about aeon, but when you actually sit down and have a conversation with them, you'll find that the only thing they actually talk about wrt the ship is how attracted leon is to ada. because they're projecting.

like, if you were to just randomly ask one of them "what do you think about leon and claire getting together?" the answer you'd probably get would be something along the lines of "ada's hotter."

they care about the power fantasy aspect far more than the romantic aspect. they care way more about being able to do cool shit as leon or as chris than anything else in the series. the criticism against the aeon aspect of RE6 wasn't primarily from people who disliked aeon as a ship -- it was primarily from male gamers who thought that leon was simping too hard over ada, and it made him less cool and seem like kind of a pussy, to them.

that's why leon gets to have an elaborately cool and over the top fight scene in every CGI movie. it's because capcom knows that that's what their target fanbase wants. it's how they sell the product. leon being cool is a feature that they know they have to offer.

of course, hashtag not all men, but. if you look at RE4make through this lens, the game starts to make a lot more sense in terms of its structure.

the leon and ashley romance exists so that guys who project onto leon who want to be seen as cool and fawned over by a hot girl will be catered to. and ada's been removed from that so that she doesn't interfere with it and create a complicated love triangle.

and then, on the flipside, guys who aren't interested in being fawned over and would rather have a hot lady kick their ass have separate ways tailor made to them, while ada is in the driver's seat kicking ass and being put in suggestive positions with luis and wesker.

even the fandom kind of reflects that. most of aeon fandom writes ada as a dommy mommy and leon as a submissive doormat. most of eagleone fandom writes sex god leon taking advantage of a vulnerable ashley.

the fandom was always going to turn out that way with such a stark divide, because that's how the game was designed.

there's a reason why fandom is overwhelmingly dominated by cishet women and queer folk. it's because cishet men just don't care about this shit, by and large. there are some that do, sure. but most of them don't. and that's what we really need to keep in mind when we're discussing RE's story.

[bluedalahorse]

Complicated queer media feelings beneath the cut…

Is anyone else feeling… I dunno… complicated about the part where we have Heartstopper, Red White and Royal Blue, and likely more YRS3 promo happening all in the same month?

I find a kind of enjoyment in each of these, so on one hand, I’m happy about it! (YR is my dearest fandom love right now about which I have many deep feelings, Heartstopper brings me joy and is what I’d watch with my middle school kids if I had kids, and RWRB is more on the “fun popcorn media” side of things for me but also has a lot of government humor that I laugh at as a person living in DC who gets subjected to motorcades etc.)

And I also think it’s awesome that queer rep has come a long way since when I was in high school, and there was only kinda Will and Grace and Willow on Buffy and you barely heard about some kids watching Queer as Folk if they were lucky enough to have HBO and parents who weren’t weird about it.

And and at the same time I know I’m going to be looking at my dash like, huh, that is a lot of mlm romance kissing between photogenic cis men.

Which. Again. Is progress? But also I’m a not-skinny aroace homosocial queer who is very interested in the stories of women and nonbinary people as well, and stories about friendship as well as relationships that reject traditional definitions. I want sweet romantic moments in my stories and decent makeout scenes but I also want stories about how queerness can challenge capitalism and hegemony and how we can create new families of choice and so on.

And for some of the texts I’m talking about, the canon definitely delivers? Things feel balanced? YR explores the class system with so much skill, and makes me ask powerful questions about justice and identity and such. It also has incredible female characters, including Sara as B Plot Protagonist driving a significant part of the story. (I wish I could find more fanfic from female characters’ POVs. I wish there were just as many “can’t wait until they get their happy endgame” posts about the Sara-Felice friendship as there were about the Wilmon romance, and I adore the Wilmon romance. I just love everything else about the show alongside it, and sometimes I find myself desperately craving discussion about the other aspects of the show while not knowing how to find ways of engaging about it.)

Heartstopper—I love how a multiqueer friends group is so centered in the story. Nick and Charlie are the main characters but Charlie’s friendship with Tao matters as much in the first season as his romance with Nick. I love how the show chose to have Elle carry a significant subplot in season 1 (although they could do better with that) and I am hopeful that we’ll get an ace discovery story for Isaac in season 2 and I’m looking forward to seeing more Imogen and we get a new disabled character and we’ll also get Tara and Darcy being Tara and Darcy! I don’t really follow people for Heartstopper necessarily, because it’s not really something I analyze or write fic for, but, you know, there’s a lot of it that goes around and I have generally positive feelings about it. I’m curious about what parts of the show and what characters people will choose to focus on.

RWRB… well, it’s been a long time since I’ve read the book, but I’m sort of holding off on comments until I see what’s different between the book and the movie.

Long story short I think I’m going to feel great about these various mlm pairings individually, because they’re all distinct personalities with stories and such, but I’m going to be feeling kind of weird and overwhelmed about the attention and gif visibility and squeeing that mlm romances between photogenic cis men get in aggregate.

But also also. Maybe that’s on me for not being into something like Yellowjackets fandom or not spending more time browsing the tag for XO Kitty. So the problem could also be me. I mean who knowsss?????

[evelhak]

What are some series (any media) that aren't well known, but you enjoy, and would encourage other people to seek out?

I love this topic! Thank you for stopping me from aimless scrolling for another hour. It's always a little hard to determine what is well known but I'm just gonna have to go with my surroundings, so I'm gonna talk about some that I've never seen anyone mention on any social media.

Jean le Flambeur series by Hannu Rajaniemi

I feel like it should be quite well known, but maybe it's just not in the spaces I'm in or with people my age. But this is a very intricate and suspenseful sci-fi book trilogy by a Finnish author who writes in English. It begins with a thief trapped in a virtual prison. It's highly conceptual in the design of its world and the author is definitely not holding your hand explaining how everything works, but for me it was part of the charm and a wild and satisfying experience, it really sparked my imagination when I was attempting to visualize it all, and I didn't mind if I didn't understand everything because interpretation is the whole point of reading for me. The characters are also complex enough for a character driven taste. If you are looking for something that is highly stimulating for an abstract thinker, try it.

Syysmaa-sarja by Anu Holopainen

Sorry, this is just in Finnish... and the reason I never see anyone talking about it may just be that every Finnish fantasy nerd read it ten or more years ago like me. Although it would be nice seeing younger people find it now! It's a very overtly feminist fantasy series of 6 books, where people are divided into religions that worship a different tree. The mainstream worships oak which is very patriarchal, and the books focus on people (often women, queer or neurodivergent coded people) in very different and difficult life situations, who come in contact with a small group of rowan worshippers who are trying to create possibilities for a different kind of life and society. These were my favourite fantasy books as a teenager.

Lumikki Andersson series by Salla Simukka

These books have English translations, I don't know what quality, because I only read them in Finnish. But it's a YA "thriller" trilogy you should not read as thriller. It's a character driven modern Snow White with elements of thriller and mystery. Lumikki Andersson is not clear on everything that happened in her past, but she doesn't want to be a target so she has mastered the art of appearing insignificant and uninteresting in any given situation by impressive micro level acting and analysing people's every gesture. The main character is the point of this series and her internal world and observations are wonderfully written. If you like old mystery and gothic novels, if you read Sherlock Holmes for the character, if you love fairytales and satisfying analogies, you should read these poetic and insightful explorations on personality, trauma and survival.

Charity Bishop's books

These are speculative fiction books with a Christian twist, so proceed with caution if you need to. I got into them when I was studying theology and wrote my master's degree analysing different concepts of God in self-published Christian fiction. I am not religious and my interest in religion is psychological and anthropological and as such I often find fiction books written by religious people about religion interesting. In terms of literary merit, I've found these books to be the most enjoyable ones I've read in this genre, with well developed characters and plots where faith works as an organic part of the whole speculative element instead of the story just being a tool for preaching which is quite common in this genre.

I was going to do more than just books but I got tired now, so good night Tumblr. 💙 I'm always ready to give recommendations.

#book recs

[dogsliampaynedoesntinstagram]

hey ralph, hope you’re well. just been pondering the treatment of beards in the fandom and would love your thoughts. beards have been such an important part of queer culture, yet here they are treated with such hate and vitriol rather than a vital component in someone’s closet. do you think the way harry and louis seemed to push against their closet and people believed it was forced on them by the label/management etc in the 1d days created an environment for the hate? like a divide with harry and louis on one side and the beards and label/management on the other? rather than the beard being part of the boys team, helping them navigate their closet how they feel best? as a newer fan who didn’t experience the early days i wonder if i find it easier to consider that the boys have a lot more control over their closet these days, and accept that whatever it looks like is from their decisions and that this will likely include having a beard.

So fundamentally I think fans are responsible for fan environments and fan behaviours, not 1D members. I think fan culture is built by fans and while it's influenced by various things ultimately people choose how to behave. I have very little time for responses that hold 1D members responsible for how fans think, feel, or act. Larrie culture is created by Larries and not Larry. I'm aware that this is a weirdly niche opinion in this fandom, but it's pretty important to me.

But there's also another element to this, which is that I think that the reality of closeted celebrities has always been more complicated and messier than what you're suggesting.

I think calling beards: 'an important part of queer culture', a 'vital component in someone’s closet' and 'part of the boys team, helping them navigate their closet how they feel best' - is a massive over simplification. Those relationships have often been messy and complicated - and the women involved have agency and desires - they're not just a helpmeet. Any discussion of how beards have functioned in celebrity closets have to acknowledge how much we don't know - because when people involved have talked they've told very different stories. It's not all Debbie Reynolds, it's also Mary Austin and Phyllis Gates (and what happened with Debbie Reynolds was heaps more complicated than she likes to tell it).

I really struggle you're framing what we saw in the first years of 1D. I don't really think pushing back on their closet is a useful way of understanding what was happening. It answers the question rather than leaving any space. Because the closet is all about how they're perceived - and a lot of what they were doing was expressing themselves. We can't really know when they said and did things because they really wanted to - and when they were trying to be seen. In addition, I feel like this frames messiness and ambiguity as unusual. It wouldn't make any sense to suggest that their reaction to the closet was an explanation for the huge gulf between fan understandings of bearding and other understanding of bearding - if their reaction was really routine.

But it is really routine - queer celebrities have often been messy about the closet. There are examples of golden age of Hollywood stars taking their boyfriend to interviews and telling the interviewers they're gay - and it just not being published. Elton John and Freddie Mercury were both all over the place with how they talked about their sexuality - and people did pick up on it.

I think there's a real desire within fandom to flatten the options about how Louis and Harry feel about the closet - either they hate it or it's exactly what they want. And I just reject that search for certainty. I think they're probably really unsure. People have messy feelings about their lives - particularly their lives where power, money, status and being seen interact.

#I know that fandom culture is incredibly binary #and trying to tie things down in a black and white way #but it's so much more interesting #if we allow for complexity

[queerticulate]

I gotta say the whole supposed moral panic about fetishizing gay men through fandom seems like a bit of a trojan horse for homophobia to me. People of a variety of sexes and orientations finding gay sex/romance appealing is not a bad thing. What is a bad thing is when women start harassing gay men to join them in the bedroom, or random people disturb gay "couples" in public with sexualized remarks on their displays of affection or lust for each other. Now I have been very active in my local and national LGBT scene for years now, and you know how often I've heard of this happening? Never.

You know what does happen a lot? This being done to queer women. I myself and pretty much all of my friends have multiple experiences of this happening. Men commenting on you when you're kissing a girl in a bar or nightclub, men whistling when you hold hands in public, men who become obsesses with trying to seduce you when you say you're a lesbian. I even was with a lesbian couple when they got sexually assaulted by a man during freaking Pride. So for one, I think the panic is really overbearing, and very misdirected. If you want to help LGBT people and protect them from harm resulting from being fetishized... direct your efforts at protecting queer women.

Absent of real life consequences, I gotta wonder how many people rage about the potential of people of a variety of sexes and orientations getting off on the idea of (attravtive) guys having sex or a romance say this, because truly they cannot cope with gay sex or romance being considered something attractive at all. A lot of homophobia that queer people experience is centered around this belief that we have to cower and beg to be accepted, that we have to present ourselves as the abberation to the perfect cishet folks. If we act like our lifes and loves are just as normal or in our eyes better than cishet stuff, we are often punished as being too much. Queer men especially face a lot of punishment for existing in public and expressing their sexuality. Any public display of affection regularly gets met with disgust, hate, or even violence. I know so many guys who are scared to kiss or hold hands in public. I also know several recent stories of gay men being beat up within my city. Male on male sexuality is also treated as something dirty. Immediately if you participated in it, no matter if you only ever had a 100% safe sex, in my country you immediately get signed up for more extensive health checks. You get barred from blood donations too, also for being in a gay relationship at all regardless of your sex pratices. Heck, even if I as a woman would have sex with a queer man I get the same treatment. So really, people in fandom creating some online buzz about 'wouldnt it be cool if these guys kissed/fucked/were in love' really feels like it does more against real life homophobia for queer men as i see it existing, by normalizing it, by lifting it up as desirable, than it seems to do harm. Cause the main problem is and has been that queer guys are told they cant exist, or need to be scared, or are dirty. All this talk online that so much attention going out to fantasized queer men's relationships is bad, that you're a dirty freak if you do that, i don't know, it mostly sounds like reinforcing the main form of homophobia queer men face.

Now the world is a big place, and i cannot presume to know about all local variants of homophobia and common queer experiences. Maybe there are places in the world where queer men publicly getting harassed as if they're sex dolls is a huge issue. In which case: your complaints are valid. I am sorry people in your life are going through that. I am sorry this post feels like another horror thrown on top of it. But maybe, when adressing a global audience... do as i do here... presume not the whole world works in alignment with your local point of view. Contextualize your complaints. Let your brothers and sisters in another country know you're fighting against stuff happening in your area, instead of just being another demon coming to reinforce homophobia.

#rant #homophobia #shipping #mlm ships #fandom #lgbt #im just grossed out by in how many fandoms a weird combo of 'no you cant talk about them being gay thats bad' with #'but we can talk about the filthiest straight fantasies with the same guys' has arisen #and a lot of talk about how a popular mlm ship must be fetishization #how it must be that people are judt doing it cause the guys are attractive and that this is somehow wrong #it really feels like people are shaming queer sexuality and romance in itself and disguising it in social justice talk to get away with it