Toxic Ships
Before I get to the meat of this thought I can’t get out of my mind, this isn’t about Toxic Ships in the sense that ‘characters harmful to each other’ as that’s not what I care about, and often that’s good storytelling with a purpose. Lost on parts of the audience due to poor critical media literacy but that’s a fight for another day.
This is about Ships toxic to the show as a whole. With a larger ‘excuse to talk about old ABCFamily/Freeform series’ as the main course but an overall wide topic under the cut here about how these sorts of things happen to shows, books, and movies.
So overall, a toxic ship on this rubric is one that, through focus, actively harms the story it’s in. Either actively because the show is putting time into it when it has other more important plot beats it should focus on. Or passively because the nature of the ship is antithetical to the themes and message of the work.
It isn’t a measure of how pure and good the romance is, because I will say this right now: Romeo and Juliet isn’t detrimental to the plot of Romeo & Juliet. It is in fact *the plot*. And all things in it web off from this nineteen year old and this fourteen year old who really want to bone.
Like- yes, a ton of death could be avoided if they didn’t, but that’s the plot.
I’d say the most basic is a forced heterosexual love interest to avoid the active leads being seen as gay because if it was just two dudes hanging out in an adventure plot without a girl that’d be kind of gay. Usually it isn’t that damaging because those sorts of love interests aren’t given a ton of time or plot energy, but it would count as what I’m looking for.
But my comparison will be two relatively comparable ships from shows on the same network in close to the same time frame. Where both ships are equally ‘bad’ for the involved characters, held up as good in their respective fandoms, but one of the two hugely hurts its show.
Study One: Switched at Birth
Bay and Emmett
So Bay & Emmett get together halfway into Season 1, break up before the end of the same season, are awkwardly possessive of each other through S2 and S3 while broken up, get together in S3 by Bay cheating on her current boyfriend with Emmett. Have the worst possible break-up in S4 for the worst possible reasoning all around. Bay gets called out on her shitty vindictive behavior, then end S5 not reunited.
They are messy, complicated, actively harmful to each other, and completely fine as a baseline relationship for the show as a whole.
While Bay and Emmett aren’t together, it’s clear they care about the other’s health and happiness (save that S4 thing I alluded to), and when they are together it’s generally sweet outside of pressures from outside of their relationship. Emmett spends all of S1 struggling with his parents divorce. And then Bay is suffering through being a main character in an ABCFamily series in S2 and S4.
It’s messy but it’s also *fine*, it doesn’t hurt the show overall, their chemistry is strong. And outside of their relationship are about the best written characters in the main cast.
And our other (less shining example)...
Study Two: The Fosters
Callie and Brandon
So similarly they get together in S1, break-up afterwards. Are off most of S2 but perpetually pining for each other while trying to do their own things. Pine more for each other in Season 3 before sleeping together when both are having a rough go. Then can’t be together cause of the lede I am burying right now. Spend Season 4 doing their own thing, and then we revisit this will they won’t they in the series Finale in S5, at Brandon’s wedding. To someone else.
Because they started as foster siblings and become adopted siblings.
Now, if this was just the first two seasons. Callie wanting to blow her life up in spectacular fashion because Callie’s bad at self-preservation, realizing things can be good, then letting this die and never touching it again I’d be okay. It’s a messy teenager feeling plot and I am fine with those. It is doomed out of the gate and not a good tension mark for the series as a whole.
But the plot kept going. Forever. All five seasons. And that’s the problem. They can’t be together it undermines the very message of the show. It’s not a great Brandon character beat because his sudden lust on first meeting her is just that. It doesn’t do anything. Every time it blows up a ship with an actual chance it just feels insulting. Because of how clandestined it is they can’t be called out on their behavior.
And the writers really liked it and I cannot get behind that at all!
And both of them have better tension points to come back to. Callie’s a self-destructive mess due to years of being ground down by a system that convinced her she doesn’t matter, so she fights tooth and nail to protect others at the detriment of herself. This is a much stronger line to explore, but we can’t as we have to keep going back to this plot.
And Brandon is trying to save every pretty girl that crosses his path, which never really gets addressed out loud? The why of it. But he dates Talya (insecure basketcase), Callie (see above), Lou (token normal girlfriend), Cortney (single mom), and Grace (literally dying). Brallie makes Brandon a weaker character through how his plots warp into moony-eyed possessive jerk.
I’m not going to go so far as to utopia.meme if Brallie wasn’t a major plot beat. But it’d be way better. Callie’s plots are better without this ship. Brandon’s plots could be amazing without it. Callie and Brandon interacting outside of this specific plot would be better without this plot looming over them in the eyes of the rest of the cast.
And why bring it up in the Series Finale!?
And I guess my lesson is...
It’s great to have romantic subplots, friendships, friendship+, love, and what-have-you ground and humanize your character whatever ways you get it. But make sure that the narrative doesn’t undercut or overstay it’s welcome.
It doesn’t need to move your story forward on it’s own, but it absolutely can’t have it hold your story back. That’s kind of the gist of this.
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Laios's three Boy Best Friends. And yes, they hate him.
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There's something so funny about the fn*f creator (Scott) being an openly unapologetic pro life, republican, Trump supporter while still having big YouTubers play his games AND having a movie being made, meanwhile JKR is critical (not even doesn't support) of one thing and nobody can even talk about Harry Potter anymore. She wasn't even in the fucking anniversary special of her own goddamn series. Scott literally donated money to trump's campaigns. He is an open republican. I have heard zilch against his movie. Nobody is hating on Josh hutcherson for being in it. No YouTubers is being slammed for playing his game. It may as well be like it never happened. Meanwhile there are posts on here with thousands of likes talking about how if you so much as think about Harry potter then you're a bad person and should kill yourself. Everyone is bummed about the fact M*rk*pl*er won't be in the movie, meanwhile there are people who are giving earnest pleas not to hate on the children cast in the HBO version of HP. Why does nobody care? What fucking gives? What the hell is this? Scott literally openly supports Trump and he's more beloved than a democratic woman who thinks maybeeee taking people to court for saying 'sex is real' is a bit far? Why aren't fn*f fans labeled as bad people? Why isn't their support of fn*f seen as support of Scott and his views? The fuck is this double standard.
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I have a gripe about the Star Trek mugs...
Picard's teacup is a delicate, fragile little thing held by a strip of plastic and a dream. That thin glass will break if you look at it sideways. And where do they put that ridiculous tiny cup? On the Enterprise, which is always being dragged into conflict
The DS9 raktajino mugs are hefty, wide-based things that are meant to not tip over. They're called no-spill mugs. They have a foam piece on the bottom so they don't slip. They're incredibly sturdy – meant for ships and traveling! Where do they put them? At the station, which is arguably the most stable place they could be cause DS9 rarely gets knocked about.
Far as I'm concerned, Janeway's the only one doing practical space mugs correctly. Come on, a metal travel mug that's as strong as her coffee is black? Takes a beating through 70,000 light years of bridge shakes fighting off the Borg and the Hirogen and still holds a hot drink? Now that's a space mug
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"Oh no, someone's attracted to the aesthetics of my -punk movement but doesn't know the praxis and history behind it like I do--"
OK. Tell them. Make it a teaching moment. Everyone who's in your movement learned the background from somewhere at some point, maybe this is that point for that person. Give them a jumping off point that they can dive into later.
"Oh but I shouldn't be responsible for teaching baby -punks about the history and the how-tos and--"
OK. Then don't tell them. You don't have to be responsible for teaching people with a budding interest in your group the ins and outs and how-tos. That's fair and valid! It can be a lot of work. Someone else will handle it
"But I'm annoyed that they would try to claim to be part of/be interested in my community without knowing all the details that I know after being in it for months/years/decades, they're dumb, they're posers, they're--"
OK. Then don't engage with them, if it's that bad. Maybe someone else will come around and tell them the history, maybe they'll pick it up on their own, maybe they'll just enjoy the fashion elements for awhile.
"But they shouldn't claim to be part of the -punk community if they don't know the--"
I feel like we have a few options here. People can either talk to them, share the history, share the values, share the praxis. Or they can just chase off anyone who even thinks about dipping a toe in their community, and then wonder why it's dying off later down the line.
I dunno, maybe I'm too naive and patient or whatever. But if people are entering your -punk spaces without knowing The Rundown of what you feel they need to know, maybe being nice about it and informing people instead of immediately assuming stupidity and malicious intent could help you make a new friend. Even the loudest voices in a space had to learn from somewhere, and not everyone has the luxury of being in the space as the History was Happening--whether it's an age thing or a not being aware of the space thing. Or maybe I just don't see what the big deal is behind people hating people who like the aesthetic of something and don't know the behind the scenes history about it yet.
Because I believe in the word 'yet.' No one comes into this world knowing everything about everything, and we're all constantly learning new things. I'm not gonna degrade someone and call them a poser for not knowing what I know. Because if it were me, interested in a scene but getting chased out and called a poser? I wouldn't hit the books and study up, I'd go 'that fuckin sucks, those people sucked' and then avoid anyone and anything having to do with it.
So chase people off and call them posers if you want. But if your community starts dwindling, don't be fucking shocked.
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Hey you said something about the my hero academia creator being unhinged about sexism, do you mind explaining?
I tried to write like, a thorough explanation of this and it just got longer and longer and longer and I have not touched this series in actual years and yet I've still got all these receipts a;lkjk;lfasd.
So rather than trying to build the whole massive case, here's a pared-down version. It's normal to have sexism in media, and shounen manga especially. Everyone does it. The level and mode and intentionality and so forth all vary, but of course it's there.
What's not normal is to have lots of varied and interesting female characters with discernible inner lives, and on-page discussion of how sexism is systemic and unjust and holds them back in specific ways, and then also deliberately make consistent sexist writing decisions even where they don't arise naturally from the flow of the narrative.
Horikoshi is actively interested in gender and sexism, he's aware of them in a way you rarely see outside of the context of, you know, fighting sexism. He is hung up on the thorny issue of what women are worth and deserve and how power and respect ties into it. He genuinely wants, I think, to have Good Female Characters, and not be (seen as) A Sexist Guy!
But. He doesn't actually want to fight sexism. He displays a lot of woman-oriented anxieties, and one of the many churning paddlewheels in his head seems to be that he knows intellectually that morally sexism is bad, but emotionally he really feels like it ought to probably be at least partly correct.
There are so many things I could cite, and maybe I'll get into some of them later, but the crowning item that highlights how the pattern is 1) at least partly conscious and deliberate and 2) about Horikoshi's own weird hangups rather than simply cynical market play, is Mineta Minoru.
The writer has stated Mineta is his favorite character. Mineta is also designed to be hated--that is, he is a particularly elaborate instantiation of a character archetype normally deployed to soak up audience contempt and (by being gross and shameless and unattractive and 'unthreatening') make it possible to include a range of sexual gratification elements into the narrative that would compromise the main characters' reputations as heroic and deserving, if they were the actors.
Good Guys don't grope girls' tits and run away snickering in triumph, after all. Non-losers don't focus intense effort around successfully stealing someone's panties. Nice Girls don't let themselves be seen half-dressed. And so forth. You need an underwear gremlin for that. So, in anime and manga, longstanding though declining tradition of including such a gremlin, for authorial deniability.
Horikoshi definitely uses him straight for this purpose, looping in Kaminari as needed to make a bit work. And yet he has Feelings about the archetype itself.
The passages dedicated to the vindication of Mineta, then, and the author's statements about him, let us understand that Horikoshi identifies with the figure of the underwear gremlin. He understands the underwear gremlin as a defining exemplar of male sexuality, at least if you are not hot, and finds the attached contempt and hostility to be a dehumanizing attack on all uh.
Incels, basically.
It's not fair to write Mineta off just because he's unattractive and horny (and commits sexual harassment). Doesn't he have a mind? Doesn't he have dreams? Doesn't he have human potential?
So what's going on with Horikoshi and gender, as far as I can figure out, is that he knows damn well that women are people and are treated unjustly by sexist society, but however.
He also understands the institutions of sexism as something protecting him and people like him from life being nebulously yet definitively Worse, and therefore wants to see them upheld.
So you get this really bizarre handling of gender where obviously women's rights good and women cool, women can be Strong, and the compulsory sexualization imposed by the industry isn't them or the author, and so forth.
But also it's very important that in the world he controls, women never win anything important or Count too much, and that jokes at their expense that disrupt the internal logic of their characters are always fair game, that women asked about sexism on TV will promptly get into catfights amongst themselves, and they are understood always in terms of their sexual and romantic interests and value, and sexual assertiveness and failures to perform femininity well enough are used to code them as dangerous and irrational, and that the sexy costumes are requisite and will never be subverted or rebelled against--at most they might be circumnavigated via leaning into cute appeal.
And that Yaoyorozu Momo, who converts her body fat into physical objects, is being frivolous when she wants to use money to buy things instead (rather than as sensibly moderating her Quirk use) and is never encouraged to eat as much as possible at every opportunity to put on weight and even shown being embarrassed by hunger (even though Quirk overuse gives symptoms that suggest she's been stripping the lipids out of her cell walls or nervous system to keep fighting) and always, no matter how many Things she has made, has huge big round boobies.
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a 2 act tragedy starring me: i’ve been making fruit smoothies in the morning for a few days which has been great because it’s getting me to actually eat fruit for once, only to go on the internet and be told that it apparently releases all the natural sugars so it's actually Not that great for you and i am devastated
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Every time you think, "Oh, I don't have [x condition], I'm basically cured!" that is the devil talking. You aren't cured, you are likely going through periods of your symptoms waning. Don't cease whatever you're doing to help yourself, like medication, for instance, because it's likely you still have the conditions or symptoms, even if you aren't noticing them as frequently or severely.
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for moshang week
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not that anyone cares but the fact that this is what Nami's face looks like right after Sanji flirts with her is making me very happy
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did some vesperia chibis, i always forget how happy i get drawing these guys. i love them dearly
[id in alt text]
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I saw a bunch of posts saying - what if Crowley and Aziraphale were female-presenting and Crowley was played by Catherine Tate?
And honestly I'd be down for it but....
What if Alex Kingston played Aziraphale?
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my very serious writing advice for people who are trying to write more morally complex characters is to stop caring about their morality and focus instead on their individual motivations
it’s hard to articulate exactly what I mean, but the essence of it is basically: when a character does a murder, not only do I not care about whether they’re justified in doing so, it’s straight-up irrelevant. a character’s moral standing from some nebulous universal standard has no bearing on the plot or their interactions with other characters and has no use in the story for me as a writer. what does matter is why the character thought they were justified and then if it comes up to other characters, what they think about it.
you can obviously think about your characters’ morality but it’s not your job as a writer to interpret your stories for your readers and tell them how to judge your characters. your readers can see the evidence for themselves and draw their own conclusions. your job is just to understand why a character is motivated to act in a certain way and have it make sense
focusing on character motivations is a much more versatile framework than trying to give them specific personality traits or moral alignments, and frankly more useful to understand why a character would do a certain thing instead of just what they do. that way when something fucked up happens and your character starts acting differently, there’s an actual logical reason for it that isn’t you forcing characters to do things because it’s what’s required to make the plot go
when you write your characters with the understanding that people are not static and they act differently under different circumstances, complexity in character and morality follows naturally.
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What if S2E05
Ew. Genuinely do not recommend watching, purely from a writing point of view. It feels like I've just watched someone wanking off to themselves and walked away covered in goo.
I'm just saying 90% of the fanfics on AO3 is less stomach-churning than this crap.
Cut for language.
This episode starts off with just...the most wankerish introduction ever from The Watcher. What is this, 6th grade creative writing? His speech was basically "the bestest Mary Sue to ever Mary Sue is to Mary Sue in this upcoming Mary Sue episode! Did I tell you she's a Mary Sue?"
They really just...cut Sam out of his first and major appearance in the MCU. I mean...between Sam's glaring omission and somehow having the lead Widow antagonist (other than Melina) being a Black woman, in an episode featuring Ms Brexit...I'm not saying you should join the dots but the dots be damn there.
How come she gets to yell at Fury and Nat for hiding Steve from her but everyone is pretending that Steve would be fine with Peggy never telling him about Bucky. The math ain't mathing.
Fury tells her to sit out of the fight and Peggy whirls on him with the most possessive Karen snarl, "I'm Peggy Carter and we're talking about ~Steve Rogers~" Just. EW.
Steve literally has no personality or character beyond "UwU I just wanna be your lover~" the whole way, which. The writing was just not good enough to carry off and it just comes across like a juvenile self-insert fanfic.
OH FFS Not only is she stealing this whole Winter Soldier storyline she gotta steal NAT'S MOVES of beating up the Winter Soldier just FOR FUCK'S SAKE GET YOUR OWN PLOT WOMAN.
"Even in Russia girls grow up dreaming of being Captain Carter."
EWW WHY???
I can't believe this script got greenlit. She's the best she's flawless she's got a perfect love story and everyone wanna be her! Without showing you anything that proves that.
Pffft the shield dropping and the sob story (which Steve fanfic did they lift that monologue from because it sounds awfully familiar). At least they didn't try pulling the end of the line.
Oh and Steve saves her ass at the end of the day.
So not only is she a Mary Sue, she's a Mary Sue who still fucking needs a man to finish off her job. Like. This is the dumbest kind of story telling.
Sebastian doing an old man voice was the much needed breath of fresh air in this episode until I remember that it was probably a trial run for his Trump voice.
*Scrubs brain*
BTW Bucky clearly was not a morally corrupt character like Pierce and I guess...no shit, he wasn't the one who used Operation Paperclip to recruit Zola into the organisation, but I'm not sure the general audience would make that distinction.
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having fun with colors for once :P
thanks @creepycoffins for the awesome dtiys :D
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