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schleierkauz · 3 years

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Q&A Highlights

Ok so bad news first: My questions were ignored. Cornelia did not clarify any of our death-related theories. Maybe next time.

There was A Lot of other stuff, though so... Enjoy!

- The stream starts with everyone wishing us a happy women’s day! Usually women in Erfurt (where the bookstore people are) get flowers but not today because... you know. Cornelia says America is starting to go back to normal, meanwhile Germany... :| Anyway. Don’t look over here.

- Cornelia says she probably won’t get the vaccine anytime soon because she’s just chilling on her farm anyway and people who have to be out in public/are vulnerable should get it first

- Question: When will Cornelia visit Germany again? In response to this, she gives us some exclusive news, not official yet, heard it here first: She’s gonna move to Italy! Apparently she bought an olive farm there which is cheaper, better for the environment (her current farm will be sold to some people who want to turn it into an organic farm) and obviously closer to Germany so she’ll be here more often. :)

- The 4th Reckless book will be released in English at some point this autumn

- There’s no definite release date for TCoR because she’s busy with Dragonrider but she hopes she’ll have finished writing it by the end of this year

- If she’s still alive after all that to work on Reckless 5, it’ll be the last book of the series... probably. She’s also working on a bunch of smaller projects with her artists in residence

- Question: What are Cornelia’s favorite stories by Jane Austen, the Brontë sister and Shakespeare? She’s not a huge fan of Austen or Brontë because she finds all those repressed emotions too exhausting to read about. With Shakespeare on the other hand she struggles to name a favorite because there’s so much greatness to choose from (she does name MacBeth and Romeo and Juliet though)

- The Black Prince’s legacy in the Reckless timeline may play a role in the next Reckless book or it might evolve into a whole other story. Either way, she’s thinking about it 👀

- Someone asks about Reckless characters and Cornelia says that Kami’en and the Dark Fairy felt very familiar to her from the start in that she always knew who they were as people. She’s not sure why that is. She thinks the Dark Fairy represents many aspects of womanhood, like the ancient forgotten Goddess. Same with Fox, who embodies different sides of that.

- If Cornelia had to date a man from the Mirrorworld, Kami’en would interest her

- Rainer Strecker randomly joins the chat to say hi and everyone is delighted

- Cornelia’s favorite book series is still Lord of the Rings

- Question: Why has the Black Prince never found his true love? Cornelia says she’s not sure that’s true - maybe he did found true love at some point and then lost it again? ‘...and they lived happily ever after’ isn’t a guaranteed outcome after all. Since he’s such a passionate man, she’s pretty sure he’s had at least one big lovestory at this point. She hasn’t asked him about that yet but hopes she’ll find out when she continues writing his story.

- Jumping off that question, Cornelia says she respects her characters’ privacy and lets them keep their secrets until the time comes to ask about them, just as she would with real people.

- Someone asks if Cornelia has ever written herself into a story and she says a part of her is in all her characters. Except the villains because she hates them. She feels closest to Fox because she also always wished she could shapeshift

- The bookstore lady jumps in and asks about Meggie, is she similar to how Cornelia was as a child? Cornelia says yes, especially because she also had a very close relationship with her father and they would bond over books. However, she always envisioned Meggie with dark hair and as a different kind of girl than she was. (Ok sidenote from me on that, I wonder what she means by ‘dark hair’? Because Meggie is explicitly blond, so like... dark blond? Or did we just unlock brunette Meggie in 2021? Cornelia-)

- Continuing the conversation, Cornelia says she doesn’t consider herself the creator of any of the characters in her stories, she feels like she met them and wrote about him but she would never say something like ‘I invented Dustfinger’ because that’s absurd. How would that even work. That’s disrespectful. No.

- Some characters pretty much demand to be written about and are very impatient (like Jacob), others are more shy and elusive and take effort to understand (like Will or Dustfinger)

- There probably won’t be another book like The Labyrinth of the Faun because it was created under such unbelievable circumstances. Cornelia does enjoy writing film scripts, though, like she did for the Wild Chicks recently

- Question: How does Cornelia come up with character names? She has a bunch of encyclopedias and when she knows where a story takes place she checks if there are any artists from there whose names she can steal. She always wants names to have meaning and to paint a picture of whatever character it belongs to. However, she says that sometimes the vibe of a name is a tricky thing: When she wrote The Thief Lord (which takes place in Italy), she thought ‘Mosca’ was the perfect name for a big strong boy. However when the time came to translate the story into Italian, the Italians told her that ‘Mosca’ sounds like the name of a tiny little fly. Oh well.

- Cornelia says a lot of readers have written to her about The Thief Lord because at one point Victor (the detective) calls Mosca (who is black) a “Mohrenkopf”. Context: ‘Mohrenkopf’ is a German slur towards black people and also an outdated name for this goddamn marshmallow cookie:

Fuck this cookie.

- Cornelia says yeah, Victor is being racist in that moment but that doesn’t mean that she, the author, is racist. Similarly, she used the term ‘Indians’ in Reckless and a lot of readers were upset which she did not anticipate. To her it’s a positive word since she admires ‘Indians’ so deeply and finds terms like ‘Native/Indigenous Americans’ very complicated. She wonders how much longer she’ll be allowed to say ‘Black Prince’

- She thinks it’s right to be vigilant about bigotry but simply searching for problematic words is dangerous because context matters

- Bookstore lady brings up Pippi Longstocking and how the N-word has been removed from modern copies (think Pippi’s father). She think’s it’s wrong because the original text is part of the cultural heritage and shouldn’t be hidden from children but instead explained.

- Cornelia says that in America she sees the hurt that’s connected to that word but she doesn’t think it’s right to simply remove the slur and expect everything to be fine. After all, the text in which it was used is still the same so any harmful ideas would still be in there and that needs to be discussed. Simply whitewashing things doesn’t make them any less racist.

- Cornelia brings up a visual example: The Asterix comics. She always liked them but the fact that the only black character is drawn as a racist caricature is harmful and wrong. It’s time to listen when black people express how hurtful depictions like that can be. Many white people never noticed racism growing up because it never affected them and that’s why it’s important to learn

- The ‘from rags to riches’ American dream was usually reserved for white people and Cornelia thinks a lot of (white) people are waking up to that fact. The way black people are still being criminalized and the way prisons use inmates for cheap labor is horrible and like a modern kind of slavery

- The bookstore people try to say something but Cornelia is not done: We Europeans are not off the hook either because the sins and wounds of colonialism are still felt around the world, not to mention the way other countries are still exploited today. Our wealth rests on the shoulders of poorer nations. Many doors are opening and it’s difficult to step through but we have to do it and admit to the things we may have been blind to due to privilege.

- The three of them agree on that and go back to reading questions

- Question: What are Cornelia’s tips for young authors? She advises to never start writing a story on a computer, always get a notebook and collect ideas & pictures for your story. Don’t rush things. If you have more than one story, give each story its own book and feed whichever one is hungry. It’s important to follow the idea where it leads, if you use cliches your readers will recognize them. And then it just takes time and passion. And trust in your own unique voice. She paraphrases a quote by Robert Louis Stevenson who once said no one cares about stories or characters or whatever, people read books to see the world through the goggles the author puts on them. I’m sure he said it prettier, I’m paraphrasing the paraphrase.

- That said, Cornelia thinks authors who say things like “I’m writing to express my innermost turbulences” are kinda dumb. She thinks it’s important to write about the things that happen everywhere else and around yourself and to try to find voices for others, not just yourself. Just like how carpenters build furniture for everyone else, a writer should use words to build things for others, whether it’s a window or door or a hiding place.

- Speaking of notebooks, as most of us probably know Cornelia has a lot of those and occasionally publishes them on her website. She says she’d love to let people look through them in person, maybe at the new farm in Germany (Cornelia sure does love farms)

- Speaking of writing things on paper, all three of them stress that everyone should write more letters because one day they’ll be old letters and curious people will want to read them, just as we like to read old documents now.

- Last question: How come both the Inkworld and the Mirrorworld feature a character called Bastard? Cornelia thinks that’s a good question and she should probably think about that. (Am I stupid? Are they talking about Basta? I’m confused)

...And with that, the livestream ends. They’ll get back together to do this again two months from now, until then: I’m going tf to sleep

#its 4am fuck me this took SO LONG-#cornelia funke #info #reckless #inkheart #man this was a long one #a lot to unpack here #thanks cornelia i have more questions now hdfhkjghd #i googled way more slurs than i had planned for today ngl #i really really hope i managed to accurately translate especially that part of the conversation #honestly i cringed a bit hearing them talk about it #but it is an important discussion i suppose #also @ the people who actually read my tags:#thank you for the good luck wishes for my interview today!! it went really well!#i was vibrating the entire time bc its been so long since i talked to a stranger #but i got the job :) so all is well

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onebadwinter · 3 years

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Magneto Tropes

Taken from here

Adaptation Dye-Job: In the comics, he has been shown to have had white hair for the vast majority of his adult life, presumably as a side-effect of his mutation. In the films, he's introduced with grey hair (though only because, lacking Comic-Book Time, the screenwriters had to make him the realistic age of a Holocaust survivor) and he has dark brown hair as a younger man in the prequels.

Adaptation Name Change: In the comics, his original name was Max Eisenhardt and Erik Lehnsherr was an alias. In the films Erik Lehnsherr is his real name and the alias he uses is Henryk Gurzsky. To be fair though, Max Eisenhardt was not revealed as his true comic book name until the 2008 miniseries X-Men: Magneto Testament, long after the first X-Men movie was released in 2000.

Adaptational Wimp: To varying degrees. Magneto's power set in the comics varies Depending on the Writer, but among his traditional powers are the ability to generate force fields and electromagnetic pulses, a resistance to telepaths and psychic attacks, and he's a genius in multiple scientific fields. In the film his powerset is scaled back to just control over metallic metals (though after Apocalypse's boost, he's capable of doing so on a global scale and maintaining a powerful forcefield), he needs his helmet to block out telepathy, and his scientific knowledge doesn't seem to be as extensive.

Affably Evil: With Xavier. They still play chess games together a good 40 years into their conflict with each other. Hell, if you are on his side, he is rather chatty and friendly to you.

Antagonist in Mourning: In X-Men: The Last Stand, he sincerely grieves over Xavier's death and cuts off his Dragon Pyro's irreverent talk about the deceased abruptly. As in most versions of X-Men, he and Xavier were very close friends who eventually found themselves on separate sides due to their ideological differences.

Anti-Hero:

Anti-Villain: Has an unquestionably sympathetic backstory and very good reason to believe that humans are out to eradicate the mutant race. However, he is a dangerous individual with few limits on his devotion and what must be done to ensure the survival of his kind. Even his best and oldest friend isn't safe from his extreme methods and beliefs.

The Atoner: Ian McKellen invokes this while discussing his character in the "Double Take: Xavier & Magneto" documentary on the X-Men: Days of Future Past Blu-Ray release."The Magneto that you see with me is a man of conscience, and a man with an unhappy life behind him. He's come through a great deal, and isn't taking on single-handedly, or even with the help of his Brotherhood, society as a whole. He's joined up again with his old friend, Professor X, and together, they're going to try to move things forward."

Badass Baritone: Both Ian McKellen and Michael Fassbender pull this off.

Badass Cape: Part of his supervillain outfit is his iconic crimson cape.

Played straight in Dark Phoenix, where he makes a point that the Phoenix is dangerous, but his methods involve injuring anyone who gets in his way as he tries to kill Jean.

Subverted in X-Men: First Class and X2: X-Men United, where he seems to join the heroes against a common foe, but is ultimately revealed to have ulterior motives and turns against them in the end.

Badass Longcoat: Magneto typically wears a long black coat in civilian attire, such as his appearance at the mutant hearings in the first film, the attempt to stop Mystique in X-Men: Days of Future Past, and his Roaring Rampage of Revenge in Dark Phoenix.

Berserk Button: Does not like people who 'just follow orders’. This is heavily implied to be because it was the excuse many Nazi officials gave for their actions during the Nuremburg trials.

Big Bad:

Big Bad Ensemble:

Big Brother Instinct: By the time of the Cuban Missile Crisis, he had already begun to view Charles as a brother figure. When the Blackbird spiraled out of control, Erik used his body to shield Xavier from injury, and he immediately halted his attack on the American and Soviet naval forces when Charles was shot. Even after they become enemies, Erik continously shows both respect and affection for Charles, consitantly referring to him as ‘Old Friend’. He was immensely saddened by his death in X-Men: The Last Stand, and deeply insulted by those who where disrespectful to him. He would also routinely put his own life on the line to help or save Charles, and the two kept very close in their later years, despite often being on opposing sides of the battle field.

Big Good: Old Magneto shares the role with Charles Xavier in X-Men: Days of Future Past, acting as the wise, protective mentor of the future team. This is in sharp contrast with his younger self, whose bigotry almost catapults the world into an even worse timeline than the one they are currently living in.

Byronic Hero: In X-Men: First Class—morally troubled, emotionally damaged, attractive, and very charismatic about his pro-mutant beliefs. Particularly to some of the impressionable younger characters like Mystique.

The Chessmaster: Invoked several times. He is seen playing Chess with Charles Xavier several times throughout the original trilogy, and references Chess during his attack on Alcatraz, to his benefit as Juggernaut was about to pull a Leeroy Jenkins and would have been depowered in the first wave had Erik not stopped him. Erik (stopping Juggernaut): In Chess, the pawns go first. (the defenders reveal their plastic dart guns filled with the cure serum, leading to the first wave of attackers getting depowered) Erik: Hmm, plastic. They've learned. That's why the pawns go first.

Color Motifs: He dresses up in various shades of red and purple.

Combat Tentacles: He can turn metal cables and pipes into such things, the most notable in X-Men: First Class when he uses a cable to snag the telepathy-blocking helmet and pull it off Shaw’s head, enabling Xavier to take control.

Composite Character: Has Juggernaut's helmet in this adaptation. This makes sense, as this Magneto's twisted, Cain and Abel relationship with Charles (Juggernaut's brother in the comics) is played to the hilt.

Cool Helmet: Wears his famous telepathy-blocking helmet. Technology wired into the helmet prevents telepathic intrusion, making Magneto difficult to control or impossible to find via Cerebro.

The Corrupter: Although he convinces Raven to accept her mutant appearance, he also pushes her into committing murder against human enemies and truly becoming Mystique. Charles believes Erik is a large influence for Raven leaving him.

Cultured Badass: He speaks several languages, passionately discusses philosophy, shows considerable knowledge of politics and foreign cultures, and enjoys the occasional game of chess with Xavier.

Curb-Stomp Battle: Dishes these out to Wolverine on a regular basis. Wolverine's metal skeleton makes him nigh-unstoppable against other opponents but is a huge liability going up against Magneto, who either immobilizes him or flings him away (or both) with ease every time they encounter each other as foes. Even when he faces a time-displaced Logan lacking the adamantium in his bones, Erik still dispatches him and nearly drowns him by impaling Wolverine with metal pipes and flinging him into a river.

Dark and Troubled Past: "Holocaust survivor" is about as dark and troubled as it gets.

Dark Messiah: In X-Men: Days of Future Past, his younger self prepares to kill Nixon while declaring mutant supremacy in front of a live broadcast.

Deadpan Snarker: The biggest one in the series, natch. X2: X-Men United is largely his snark-fest at everyone else's expense.

Death Glare: Young Magneto, portrayed by Fassbender, gives a calm murderous look killing the Nazis and Shaw, and also ripping a filling tooth from a banker in X-Men: First Class. Also, a good stare carrying the RFK Stadium towards the White House in X-Men: Days of Future Past.

Demoted to Dragon: He isn't the leader of the supervillain team in X-Men: Apocalypse; this time around, he plays second fiddle to Apocalypse. He becomes The Starscream and pulls a Heel–Face Turn, though.

Determinator: In the '70s, he asks Logan how fighting him for years has worked out for him and Logan responds they're both "survivors" which only serves to motivate Erik to later demonstrate how much more powerful he is than the Wolverine later on when he runs metal pipes through his body and leaves him to drown, muttering contemptuously, "so much for survival."

Disappeared Dad: To Quicksilver. Despite them sharing a few scenes and Quicksilver entering the plot of X-Men: Apocalypse just to find him, Magneto shows no signs of recognizing him.

Dissonant Serenity: He's disturbingly calm, even cheerful, during the scene in the bar in Argentina, just before he murders three ex-Nazi's.

Doesn't Like Guns: His younger self uses guns when he needs to, while the older Magneto sneers at them. This is partly because of his background as a holocaust survivor, and partly because humans rely on guns to fight, and he sees it as a sign of their inferiority. Of course, that's a bit hypocritical when he has the power of magnetism, and those who don't possess such an advantage have to defend themselves somehow.

Do Unto Others Before They Do Unto Us: His motive in almost every movie is to wipe out humanity before they can do the same to mutantkind.

Emotional Powers:

Enemy Mine:

Even Bad Men Love Their Mamas: Despite all that he's done, his love for his mother is one of his defining characteristics. Unfortunately, it's also the reason why he killed Shaw in cold blood, truly becoming Magneto.

Even Evil Has Loved Ones: He does care deeply for certain characters - in the prequel films most obvously for Charles and Mystique. The memory of the good times he and Charles shared in their youth is enough to make him turn on Apocalypse, while Hank informing him of Mystique's death at Jean's hands sends him on a Roaring Rampage of Revenge.

Even Evil Has Standards: Magneto always considered Xavier a friend and never wanted him dead. In X3 when Pyro says he would have done so if Magneto ordered it, Magneto is clearly angered at the idea. Whatever their qualms, neither wanted the other dead.

Evil Former Friend: Naturally while remaining on Friendly Enemy terms with Charles Xavier, the X-Men and Brotherhood are at great conflict in the majority of films regardless.

Evil Genius: With truly amazing schemes. In X-Men: Days of Future Past, he was able to steal a file containing the details of the Sentinels, after reading it over he was somehow able to reprogram them while inserting metal tracks within the bodies.

Extra-ore-dinary: His impressive mutant ability to control metal. Guns are a joke to him and throughout the films he's accomplished feats capable of lifting a submarine from water, the Golden Gate Bridge, and the RFK Stadium, the last without showing any real sign of effort. In X-Men: Apocalypse thanks to Apocalypse's enhancement he's shown ripping practically every metallic structure on the planet apart via control of the world's magnetic field and with Jean, putting the Xavier Institute back together from scratch.

Fantastic Radiation Shielding: His helmet protects him from various mutants' psychic powers.

Faux Affably Evil: If you aren't on his side, he can be downright terrifying and still sound unfailingly polite. When Pyro expresses disappointment that he wasn't the one to kill Professor X, Magneto gives him a rather grandfatherly talking-to...with an unspoken, but very real assurance that the next ill words Pyro speaks of Charles Xavier would be his last.

First-Name Basis: In the films, just like in the comics, he and Charles Xavier always use their first names when speaking to or about each other. Only a handful of others are on a first-name basis with them.

Foil:

Freudian Excuse: A former victim of the Holocaust believing humanity will subjugate mutants the same way.

Friendly Enemy: To Charles Xavier. Their relationship stretches the definition of "friendly" about as far as it will go but it's there. They have the utmost respect for one another and used to be close companions but just about every differing point between them comes from a place of vitriolic and passionate division (to the point both refuse to see a future where the other's point of view can exist, it is a mutually exclusive matter of black-and-white difference in opinion).

The Fundamentalist: Without a doubt believes mutants are the superior species and humans will fight against their extinction.

Gaining the Will to Kill: When he meets Raven in X-Men: Days of Future Past, he appears noticeably distressed before picking up a gun and apologizing then claiming mutants will never be safe with her alive before shooting at her.

Heel–Face Revolving Door: His moral standing across the films has variously been Nominal Hero, Anti-Hero, Anti-Villain, The Atoner, and Well-Intentioned Extremist. Magneto is rarely a straight villain and even more rarely a straight hero, but in the meantime he wavers all the way between the two.

Helmets Are Hardly Heroic: In Dark Phoenix, he starts off as a neutral figure, and then dons his trademark helmet when he becomes an antagonist shortly afterward. He teams up with the X-Men at the beginning of the third act right after his helmet is destroyed in a fight.

Heterosexual Life-Partners:

He Who Fights Monsters:

Hijacked by Ganon: He has a tendency to hijack the plans of the villains of the films in retaliation against them.

Hoist by His Own Petard: Invokes this on so many occasions, such as threatening dozens of policemen with their own guns, using Dark Cerebro to kill all humans after it was just used in an attempt to kill all mutants, as well as killing multiple soldiers by pulling off the pins on their grenades, hurling missiles at ships that just fired them, and using the Sentinels during the DisasterousDemonstration in the past to attack the spectators.

Humans Are Bastards: Believing humans will continue to grow and despise mutants he maintains this belief. Though it doesn't really help his case when he keeps doing actions that make people fear him.

Hypocrite:

Magneto is responsible for the main conflict in X-Men, as he intends to sacrifice Rogue to power a machine capable of turning normal humans into mutants, but is unaware that the artificial mutations are unstable and will kill the affected.

In X-Men: The Last Stand, Magneto builds an army and prepares to attack Alcatraz island, where a cure for mutations is being developed. His efforts lead him to recruit the unstable Phoenix, who goes on a rampage during the film's climax and causes countless deaths.

Magneto shares the antagonistic role with Stryker in X2: X-Men United, but their goals are opposite of each other: the former intends to use the machine called Dark Cerebro to rid the world of normal humans, whereas the latter intends to do the same to the mutants.

Trask, Mystique and a younger version of Magneto are the main villains of X-Men: Days of Future Past. Trask invented the Sentinels, mutant-hunting machines that turned the world into an apocalyptic dystopia. Mystique goes on trying to get revenge on Trask by killing him after seeing the pictures of her deceased fellow mutants. Magneto opposes both Mystique and Trask by promoting his own ideals of supremacy, which only serve to amplify humanity's fear of mutants and push the Sentinel program forward.

In X-Men: First Class upon seeing the mansion Charles grew up in.Erik: Honestly Charles, I don't know how you survived living in such hardship.

In the original X-Men, when Magneto has the X-Men trapped and bound within the Statue of Liberty, he points out a foolish tactical error on Scott's part with withering contempt.Cyclops: Storm, fry him! Magneto: Oh yes, a bolt of lightning into a huge copper conductor. I thought you lived at a school.

He also really enjoys mocking Wolverine in general.Magneto: Why do you always think it's all about you?

In X-Men: First Class, he is originally only able to use his powers when extremely angry. The first two times, it involves maternal separation. However, he can't properly focus it until Charles coaches him to concentrate on happier emotions.

In X-Men: Apocalypse, his power hike into Physical God territory is initially assumed to be Apocalypse enhancing him like the other Horsemen, but Charles contradicts this, contemptuously asserting that all Apocalypse has done is tap into his rage and pain.

X2: X-Men United: He and Mystique team-up with the X-Men to stop a human villain from killing all mutants. Right up until he decides to invert the attack and have all the non-Mutants killed instead.

X-Men: Days of Future Past: He and Xavier unite against the Sentinels that threaten all of mutantkind with extinction. Although he ends up attempting his own plans for mutant superiority and, ironically enough, winds up jeopardizing the plan to save mutantkind.

Dark Phoenix: Magneto initially attempts to kill Jean for killing Mystique, but he and his lieutenants join forces with the X-Men to fight the D'Bari when they come for the Phoenix Force in the climax.

In X-Men: Days of Future Past, while the public and most other characters refer to him and Raven (Mystique) by their mutant code names, Charles and Hank still remain on a first name basis with both of them, and vice versa. This is also presumably true for Alex, who still addresses his former ally as Erik.

X-Men: First Class: He and Charles are juxtaposed in their respective Argentinian bar and Oxford pub scenes. The sober Lehnsherr is all business when he's hunting down Nazis, and he murders three men (including the bartender) in cold blood after taunting his prey. The inebriated Xavier is the life of a party when he and his fellow graduate students celebrate the successful defense of his PhD thesis, and he later tries to flirt with Agent MacTaggert. Producer Bryan Singer gives a very basic summary of their differences in the "Magneto the Survivor" featurette:"Ultimately, they come from different places. Erik Lehnsherr is a victim of the Holocaust, he probably left the war with nothing, and is very much a solitary man, while Xavier had a life of privilege, became a professor at Oxford, was surrounded by peers, has an intimate relationship with Mystique since childhood, so he's quite loved, and therefore quite idealistic, less embittered, and just has a very different view from Lehnsherr."

X-Men: Days of Future Past:

Both past and future Magneto contrast each other in the film. 1973 Magneto continues to move forward with mutant supremacy and attacking Charles and his group, while future Magneto was fighting to protect both mankind and mutants while lamenting his pointless struggles with Charles in their younger years. Past Erik is very much on his own, but his elderly counterpart is a valuable team member.

Past Magneto and Past Xavier were both inactive and isolated in between 1963 and 1973 (the former due to imprisonment, the latter due to depression). Erik shows signs of wanting to repair some of their previous friendship, but a bitter Charles isn't interested for the most part. Magneto tries to kill Mystique while Xavier tries to protect her. Hank remains unwaveringly devoted to Charles, but Erik loses Mystique's loyalty after the murder attempt. In X-Men: First Class, Erik personified "rage" while Charles embodied "serenity," but their roles are reversed in 1973. Xavier is now the one who is full of pain and anger, and therefore has great trouble wielding his telepathy, whereas Magneto is (relatively) calm and controlled, still possessing great mastery over his power despite being deprived of metal for a decade. (We even see Erik adopt a meditation pose in his prison cell, which makes him appear Zen-like.)

Wolverine and the younger Magneto are violent individuals who love Xavier, but whereas Jerk with a Heart of Gold Logan possesses Undying Loyalty towards Charles, Jerk with a Heart of Jerk Erik is quick to betray him, until he finally does the reverse and pulls a Heel–Face Turn in X-Men: Apocalypse.

X-Men: Apocalypse: After he loses his family, he's in so much grief that he's willing to follow Apocalypse, who convinces Erik that he's God, and God has granted Magneto a divine purpose.

The version of Magneto from the second timeline in particular embodies this trope, having changed sides eight separate times over the course of the series.note

Considering that his and Charles' friendship only lasted a couple months, at most, in X-Men: First Class, it was unusually intimate on an emotional level.

Played straight in X-Men: Days of Future Past, with his older self and Professor X (the moment where they're holding hands is the closest that we've seen them since First Class), but averted with their younger selves. In 1973, Charles never once calls him "friend" (although Erik uses the endearment twice), which goes to show how broken their relationship is.

X-Men: Director Bryan Singer explains in the September 2000 issue of SFX:"...the paradox in Magneto's character is that he was the victim and then becomes the aggressor. It's like he's slowly become these people who persecuted him and murdered his family right in front of him. He became embittered. You get angry enough and you start forgetting."

X-Men: First Class: He hates Shaw and wants to kill him, but he eventually embraces Shaw's beliefs about mutant supremacy. It's even spelled out through the villain wearing the same helmet that Magneto is associated with. Justified at the crucial moment because he separates revenge from his ideals, which is why he's able to compliment Shaw's vision while still hating the man to his core. Shaw the man wronged him terribly, but Shaw the visionary is inspirational.

X2: X-Men United: After stopping Stryker's plan to kill all mutants with a fake Cerebro, he decides to reprogram the machine to kill regular humans instead.

X-Men: Days of Future Past: Young Magneto hijacks the Sentinels to attempt killing both Bolivar Trask and President Nixon.

X-Men: First Class features a variation: once Erik kills Shaw, he basically embraces his evil nature and attempts to wipe out the American and Soviet fleets.

Despite claiming to help his fellow mutants, Magneto has no qualms on attacking and even killing other mutants who stand in the way of his anti-human crusade.

Magneto is motivated by his memories of enduring the Holocaust during World War II and believes mutants will be subjected to the same treatment as the Jews in Nazi Germany if they do not fight back. This leads to him falling victim to He Who Fights Monsters, becoming a genocidal racist just as bad as the Nazis.

In X-Men, he is willing to sacrifice Rogue but not himself in the advancement of his cause. Beautifully called out by Wolverine, who tells him: "You're so full of shit. If you were really so righteous, it would be you up in that thing." Erik levitates away without replying, but the expression on his face makes it clear the remark hit home.

At the climax of X-Men: Days of Future Past, his past-self sics a Sentinel on Wolverine and Beast, after a grand speech about how he will protect mutantkind.

In Dark Phoenix he tells Jean about the futility of killing for revenge, and how it never made the pain he felt go away. Then, when he finds out Jean killed Mystique, he almost immediately decides to kill her in revenge - though that could simply be the difference between knowing it intellectually and his emotional reaction.

I-Y

Improvised Weapon: As long as it's metal, Magneto's powers let him use anything as a weapon. He has killed people with such things as a coin and a locket.

I Did What I Had to Do: In X-Men: Days of Future Past, he tells Raven he tried to kill her because he was aware of the impending Sentinel menace and came to the conclusion that the only way to prevent it would be if she was permanently dispatched.

I Hate Past Me: In X-Men: Days of Future Past right before Kitty sends Wolverine back in time, he worries that his and Charles' past-selves won't understand the nightmarish situation in the Bad Future and be able to fix things. Erik: It's not [Wolverine] I'm worried about, it's us. We were young, we didn't know any better.

Ineffectual Loner: Was one in X-Men: First Class until Charles convinced him he could do better with friends of his own, and in the ending he begins building his brotherhood of mutants.

I Was Quite a Looker: He was a classic example of Tall, Dark, and Handsome when he was a young man (and he has aged gracefully over the years).

Jerkass Has a Point: He did make the fair point towards Charles that he grew up with Raven, and shouldn't have entirely claimed responsibility for raising her, which did in part drive her away from him.

Just the Way You Are: In X-Men: First Class, he is able to persuade Raven to his side finding her mutant appearance to be "perfection" in contrast to Charles and Hank, who feel she should look more "normal" to gain acceptance within society.

Karma Houdini:

Kick the Son of a Bitch: Some of his victims include Nazis, Sebastian Shaw and the corrupt, violent slob in charge of his prison cell. He also chained William Stryker back up and left him to die at the end of X2: X-Men United.

Knight Templar: Wants to stop mutant prejudice... by subjugating humans.

Lean and Mean: Magneto seems to have little-to-no fat on his body. It makes sense, given that he's a Holocaust survivor who spent his early life on the road.

Loner-Turned-Friend: In X-Men: First Class when he met Charles Xavier and his group.

Made of Iron: His younger self is quite capable of taking a beating. In X-Men: First Class he gets thrown off a boat by Emma Frost in diamond form and was being thrown across a room by Shaw crashing into mirrors. In X-Men: Days of Future Past, he took head injuries from Beast and nearly drowned before restraining him only needing a head stitching after - a head stitching he performed himself while examining the schematics of the Sentinel's and without even twitching at the pain. His older self also survived a blast from Cyclops in the first film, and in X-Men: Days of Future Past continued to protect the group from the Sentinels with a shard having pierced his abdomen.

Manipulative Bastard: Best demonstrated as he convinces Pyro and in the prequel series, Raven, to defect to his side.

Meaningful Name: Erik means "ruler" and Lehnsherr can be roughly translated as "feudal lord" (lehn = fief, herr = master). Magneto's birth name betrays his ambition to rule over humans.

Mook Horror Show: Several films have him performing one.

Motive Rant: Delivers one to Senator Kelly after capturing him in X-Men.Magneto: Are you a god-fearing man, senator? That's such a strange phrase. I've always thought of God as a teacher, as a bringer of light, wisdom, and understanding; you see, I think what you really are afraid of is me. Me and my kind, the Brotherhood of Mutants. Though it's not so surprising really. Mankind has always feared what it doesn't understand. Well, don't fear God, Senator, and certainly don't fear me. (in an undertone) Not anymore.

My Greatest Failure: The death of Xavier in X-Men: The Last Stand, which he directly caused by awakening Dark Phoenix.Magneto: Charles Xavier did more for mutants than you'll ever know. My single greatest regret is that he had to die for our dream to live.

My God, What Have I Done?: X-Men: The Last Stand features him saying the line, when he finds himself on the other side of the Mutants vs. Humans war he's been pushing for, and Phoenix finally goes crazy and starts killing people.

Nazi Hunter: He spends the first twenty minutes or so of his screentime in X-Men: First Class tracking down and killing Nazis. In fact, his reason for joining the X-Men is so that he can find and kill Sebastian Shaw, the mutant Nazi who killed his mother.

The Needs of the Many: In X-Men: Days of Future Past.Erik: Forgive me Mystique, as long as you're out there we'll never be safe.

Never Be Hurt Again: He is both a Holocaust Survivor and mutant "lab rat" which pushes him towards Do Unto Others Before They Do Unto Us regarding mutant suppression by the humans.

New Era Speech: Gets one in Days of Future Past, delivered on national television before the Presidential cabinet.Magneto: You built these weapons to destroy us. Why? Because you are afraid of our gifts. Because we are different. Humanity has always feared that which is different. Well, I'm here to tell you, to tell the world, you're right to fear us. We are the future. We are the ones who will inherit this earth, and anyone who stands in our way will suffer the same fate as these men you see before you. Today was meant to be a display of your power. Instead I give you a glimpse of the devastation my race can unleash upon yours. Let this be a warning to the world. And to my mutant brothers and sisters out there, I say this; no more hiding, no more suffering. You have lived in the shadows in shame and fear for too long. Come out, join me. Fight together in the brotherhood of our kind. A new tomorrow, that starts today.

Nice Hat: Occasionally wears a fedora while in civilian garb, as shown in X-Men when he attends the hearing on mutants at the beginning of the film and in X-Men: Days of Future Past when he raids the vault for his helmet.

Nice Job Fixing It, Villain!: Attacking Mystique at the Paris Peace Conference bought Bolivar Trask a couple extra days and gets Nixon to fund the Sentinel program, but his betrayal and attack on the White House sets up a situation where a mutant is seen saving Nixon's life on live TV. Mystique performs a Heel–Face Turn, Nixon cancels the Sentinel program, and the Bad Future is averted.

Nightmare Fetishist: Everyone in X-Men: First Class, tells Raven that her true form as Mystique is horrifying, but Eric tells her that she is beautiful as she is, and that taking on a more normal looking appearance is wasteful of her powers, and limits her concentration against unexpected attacks. In X-Men: The Last Stand however, when Mystique shields Magneto from being struck by darts containing the Mutant Cure, he coldly abandons her now that she's human, regretfully telling Pyro that she used to be "so beautiful."

Noble Demon: At his fundamental core, Magneto wishes to protect innocent minorities from genocidal persecution at the hands of murderous racists, no matter what it takes.

Not So Different:

Outliving One's Offspring: His daughter is killed by Polish policemen in one of the most heartbreaking moments of the whole film franchise.

Overarching Villain: Magneto is the central antagonist of the first trilogy. In the prequels, he usurps the role of Big Bad from Shaw and Trask, before pulling a Heel–Face Turn at the very end of X-Men: Apocalypse. However, he comes to oppose the X-Men once again in the following film, only to ultimately join their battle against Vuk during the climax.

Parental Abandonment: His father is nowhere to be seen, and his mother is executed before him by Shaw to try and induce his magnetism powers.

Pet the Dog: He was the first person in Raven's life that complimented and truly admired her natural blue form. Also, upon reveal he compliments Hank, although it isn't met with a kind reaction from Beast, who believed he was being mocked.

Physical God: While always immensely powerful, he becomes this in X-Men: Apocalypse, being on the verge of tearing apart the planet (as one character puts it, "destroying everything built since the Bronze Age") while maintaining an impenetrable forcefield. Moreover, Charles implies that unlike the other Horsemen, Apocalypse didn't actually enhance him, he just tapped into his rage and pain, meaning that he had this potential all along.

Power Floats: Can fly by manipulating the Earth's magnetic field.

Pre-Mortem One-Liner: He delivers one to Sebastion Shaw as Charles holds control of Shaw's body."This is what we're going to do. [holds up the coin] I am going to count to three and I'm going to move the coin. One. [moves the coin towards Shaw's head] Two. Three." [puts the coin through Shaw's head, Charles screams].

Protagonist Journey to Villain: X-Men: First Class revolves around him seeking revenge for the murder of his mother and his increasing acceptance of mutant supremacy.

Red and Black and Evil All Over: His outfits typically have a lot of dark red and dark grey. The dark grey is accentuated in the older Magneto's costumes.

Red Oni, Blue Oni: In X-Men: First Class, he is rather hot-headed while Charles is more level-headed. ''Empire'' magazine even color-coded the front covers of their May 2011 issue accordingly.◊

Roaring Rampage of Revenge:

Rousing Speech: On several occasions he's persuaded mutants to follow his cause and fight along himself. Most notably, when he attacked the white house and on a live broadcast declared mutants come out of hiding because they are more powerful than the humans who would try to eliminate them. This is after he discredited the Sentinel program and held the president cabinet at gun point.

Sensitive Guy and Manly Man: In X-Men: First Class, he is the Manly Man to Charles' Sensitive Guy. They display this dynamic in their personalities (Anti-Hero vs. All-Loving Hero) and physique (Tall, Dark, and Handsome vs. Pretty Boy) as well as their philosophies and methods (Pay Evil unto Evil vs. Wide-Eyed Idealist).

Shut Up, Kirk!: Delivered one to Xavier in X-Men: First Class.Xavier: There are thousands of men on those ships. Good, honest, innocent men! They're just following orders. Erik: I've been at the mercy of men just following orders. Never again.

Slasher Smile: He sports a brief one when he rips iron from a guard's body in X2.

Slave Brand: The tattoo number of a Nazi concentration camp he carries upon his forearm, which he has brought attention towards to serve as a reminder for human cruelty.

At the end of X-Men United, he escapes after attempting to wipe out all non-mutants.

At the end of The Last Stand, he sneaks away when the Dark Phoenix awakens and realizes on his own that the effects of the mutant cure are only temporary.

In Apocalypse, he murders a bunch of policemen and creates a magnetic field that caused a lot of damage across the globe, but is let off the hook because he helped kill En Sabah Nur. However, this could be explained by the fact that he's so powerful at this point that there's way to reasonably contain him.

In Dark Phoenix he instigates a battle against the X-Men in the streets of New York, including his ripping a subway train out the ground and using it as a battering ram against the D'Bari stronghold, all in an attempt to kill Jean, but later fights alongside the X-Men to save her after Charles manages to sway him. By the end of the film he's openly wandering the streets of Paris without any repercussions, and even invites Xavier to come to Genosha with him.

The Nazis at the bar in First Class.

The security guards in Days of Future Past when he reclaims his helmet, done while sharply dressed wearing shades and a fedora.

And in Apocalypse, he does it again to the policemen sent to bring him in after one of them accidentally kills his wife and daughter. With a locket.

In X-Men: First Class, when he confronts the villain Sebastian Shaw at the end: Erik Lehnsherr: If you're in there, I'd like you to know that I agree with every word you said. We are the future. But unfortunately, you killed my mother.

In X2: X-Men United, the first thing he does when he gets inside the second Cerebro? Instructs Jason Stryker to simply reverse the polarity on Professor X's mental attack to target humans instead of mutants rather than free Charles from Jason's mind control.

In X-Men: First Class, he hunts down Shaw and his Nazi underlings to exact revenge for the death of his mother. He succeeds in giving the latter ones horrific deaths, but is effortlessly defeated by Emma Frost when he tries to do the same to the former.

In X-Men: Apocalypse, he uses his family medallion to slaughter the whole Polish police squad that has been sent to arrest him after they killed his daughter and wife by accident. He then goes on to kill his co-workers at the steel plant after one of them denounced him. Apocalypse arrives just as Erik was about to kill them, and sucks them all into the floor.

In Dark Phoenix, after learning that Jean killed Raven in a case of Power Incontinence, he immediately grabs his old helmet and heads to New York to get revenge.

Slowly Slipping Into Evil: In the original trilogy, Magneto starts out as a Well-Intentioned Extremist bent on turning regular humans into mutants. Come X2, he instead wishes to commit genocide against mankind, but still cares about mutant lives. But he is at his worst in The Last Stand, where he recklessly chooses to sacrifice his troops in Alcatraz, comparing them to the pawns in a Chess game.

The Social Darwinist: He believes mutants are the superior species towards humans.

Start of Darkness: X-Men: First Class devotes itself to his gradual transformation into the human-hating supremacist he is today, courtesy of his past as a Holocaust survivor and his affinity with Shaw's ideology.

Stealth Pun: Michael Fassbender kept his natural auburn hair for the role in X-Men: First Class and X-Men: Days of Future Past, which makes him... Erik the Red.note

Super Reflexes: In X-Men: First Class, he's fairly confident he can stop a bullet shot point blank from his head. Later, he more or less holds true to his claim by stopping a horde of missiles fired by the US and Russian army within several feet from the air to him, and deflecting bullets while being shot at by Moira MacTaggert.

Sympathetic Murderer: In First Class, his target being Shaw, who killed his mother and tortured him.

Tailor-Made Prison:

Tall, Dark, and Handsome: In his youth, as shown in the First Class trilogy.

Team Dad: In X-Men: First Class he was the more stern and less nurturing parental figure for the proto X-Men, opposite Charles' Team Mom. This is what makes the "Beach Divorce" scene so much more tragic.

Team Member in the Adaptation: He was never a Horsemen in the comics. This version also forms the Brotherhood by taking control of the Hellfire Club after killing Shaw.

That Man Is Dead:Xavier: Erik, don't join them. Magneto: Whatever it is you think you saw in me, I buried it with my family.

Time-Shifted Actor: He has been portrayed by four actors in three note different stages of his life.

Tired of Running: Inspires mutant followers to stop hiding and accept themselves, while turning on the humans who would target them.

Too Happy to Live: His life in Poland in Apocalypse looks too happy to last as he is spotted and unmasked by authorities and both his wife and daughter die tragically.

Took a Level in Badass: In First Class after Charles unlocks his full potential and in Apocalypse when the titular character gives him a boost.

Tragic Keepsake: When he first met Sebastian Shaw, he was asked to move a Nazi Coin in exchange for his mother's life but was unable to do so and she was murdered. He carried the coin for most of his life until he moved it through Shaw's head, killing him.

Tragic Villain: Possibly the archetypal example.Charles: Listen to me very carefully my friend... killing Shaw will not bring you peace.Erik: Peace was never an option.Erik: Is this what you want from me?! Is this what I am?

Tranquil Fury: In X-Men: First Class, his powers are manifested through anger, until Charles helps by telling him "true focus lies somewhere between rage and serenity."

Traumatic Superpower Awakening: Shaw had Erik awaken control of his magnetism by murdering his mother.

Troubled, but Cute: In X-Men: First Class, pre-supervillainy, he is a Nazi-hunting Byronic Hero with an intensely Dark and Troubled Past (involving the Holocaust, loss of his parents, and being a victim of human experimentation) and bucketloads of trauma and cynicism. He also wears a leather jacket on a few occasions.

Villain Has a Point: Magneto believes humans and mutants can never co-exist and fears the crimes of the Holocaust will be repeated against mutants one day. The Bad Future in Days of Future Past shows he's absolutely right; humans have created the Sentinels to hunt down and exterminate mutants, who are being herded into camps to be killed or experimented on en masse. Far before then, however, in First Class the U.S. and Soviet fleets open fire on the assembled mutants at Cuba simply because they are mutants, making no distinction between the ones that just fought to save them and the ones that were trying to kill them. Even when mutants do things right by humans (Mystique saving President Nixon in Days of Future Past), humans still screw them over, as shown in Logan when the mutants are on the verge of extinction again.

Villainous Legacy: He ends up killing Shaw out of revenge, but he fully agrees with Shaw's goal; that is, Mutants needing supremacy over humans to thrive, and carries it over from him.

Visionary Villain: He wants to create a world safe for mutants by any means necessary.

The Unfettered: If it means the safety of mutants he'll kill anyone from the President or even Mystique.

Was It Really Worth It?: His future self ultimately regrets fighting Charles for so long, and wishes he had some of those years back.

We Can Rule Together: An open door he extends to any mutant willing to see things his way, all the way up to and including Professor Xavier himself. Some accept and the ones who don't usually swing to Xavier's point of view.

Well-Intentioned Extremist: He has always been the archetypal example in comics and the films faithfully live up to that. He puts forth a big effort to allow mutants to come out of hiding and gain acceptance of themselves but at the same time opposes humans who would threaten them, believing war is inevitable. His plan in X-Men, is actually rather benevolent and would finally end the division between Mutants and the rest of Mankind, while sacrificing only Rogue to make it work. It's a good plan (though not necessarily one that would work in the long run), it's just a shame his machine doesn't work!

We Used to Be Friends: The whole premise of X-Men: First Class is to show how he and Charles Xavier became friends and then ended up on opposite sides with different ideals.

What the Hell Are You?: In X-Men: First Class, we have the following conversation:Former Nazi Officer: [in German] Who—what are you?Erik: [in English] Let's just say I'm Frankenstein's Monster... and I'm looking for my creator.

What the Hell, Hero?: In X-Men: Days of Future Past, his past self goes into an outburst about how fellow mutants were being killed left and right while Young Charles has been in hiding with Hank. Erik: Angel, Azazel, Emma, Banshee. Mutant brothers and sisters, all dead! Countless others, experimented on! Butchered! Where were you, Charles?! We were supposed to protect them! Where were you when your own people needed you?! Hiding! You and Hank! Pretending to be something you're not! You abandoned us all!

Wicked Cultured: Mags always enjoy a good game of chess with Xavier or listening to classical music.

With Us or Against Us: Concerning the mutants who choose to fight with him or against him, namely the X-men.

Woobie, Destroyer of Worlds: Each film of the new timeline keeps piling on the trauma that fuels his rage. In First Class he was a Holocaust survivor who had to watch his mother die in front of his eyes, and worse, it was because he couldn't consciously use his powers at the time. In Days of Future Past the Brotherhood were killed and experimented on by Trask Industries. In Apocalypse, after giving living in peace a chance, his wife and daughter are killed after his cover is blown as a mutant. All of this leads to him becoming an extremist willing to kill countless numbers of people. Highlighted in X-Men: First Class and arguably even more so in X-Men: Apocalypse, since he's quite literally out to destroy the world.

Worthy Opponent: He and Xavier have this relationship. Magneto: Charles Xavier did more for mutants than you will ever know. My single greatest regret is that he had to die for our dream to live.

Would Hit a Girl:

Would Hurt a Child: In X-Men: The Last Stand, he orders Juggernaut to kill Leech.

You Are Number 6: In X-Men: First Class, he outs himself as a holocaust survivor to some Nazis he was amicably chatting with (and planning to kill). When they asked for the names of his parents, being from the same town, he answered that they "had no names—they were stolen from them" before showing his own concentration camp number. Violence ensues.

You Are What You Hate: He hates Nazis due to being a survivor of the Holocaust, but ultimately embraces racism against non-mutants, this is highlighted in X-Men: First Class.

You Killed My Father: In X-Men: First Class, when he kills Schmidt/Shaw despite agreeing with his Mutant Supremacist ideals because Schmidt killed his mother in front of him as a child.Magneto: I want you to know I agree with everything you just said. We are the future. But, unfortunately... you killed my mother.

Younger Than They Look: In X-Men: First Class, Erik is around the same age as Charles (late twenties/early thirties), but the former appears considerably older because Michael Fassbender looks older than his actual age (he has a lot of lines on his face) while the baby-faced James McAvoy looks younger despite there being a only two-year age gap between the two actors. This can be Handwaved as Erik ageing prematurely because of the trauma and starvation he experienced during World War II.

Also, an alias Magneto himself used once, during the "Trial of Gambit" debacle. And one a Shiar spy on Earth used. Not so much a Stealth Pun as a Mythology Gag.

As an older man, however, his reflexes have notably slowed, as shown X-Men: Days of Future Past, when it takes him several moments to respond to and restrain a thrashing Logan - long enough for him to gash Kitty - and he doesn't quite catch all of the X-Jet's shrapnel.

At the end of X-Men, Magneto is locked in a cell made entirely of plastic. He got out in X2: X-Men United, thanks to Mystique giving one of his guards an "iron supplement," actually at least half a pound of the stuff, in liquid form. In real life, this would have given him iron poisoning, but he didn't survive long enough to find that out.

Subverted in X-Men: Days of Future Past. The concrete cell under the Pentagon was not built specifically for him, but simply constructed that way because steel was being rationed at the time. It still holds him quite well, though.

X-Men: First Class: The film ends with him outright proclaiming that he prefers his new moniker: Magneto.

X-Men: Apocalypse: Charles pleads with him not to join Apocalypse, but Lehnsherr has already reclaimed his Magneto persona.

Even when he genuinely tries to find peace in X-Men: Apocalypse, his family is killed triggering an epic Rage Against the Heavens moment.

X-Men: He forcibly places Rogue into his machine, knowing full well that it will kill her.

X-Men: First Class:

X-Men: Days of Future Past: He would have murdered Mystique if it weren't for Beast's timely intervention.

Dark Phoenix: He attempts to murder Jean when he learns she killed Mystique. Later on, he finds himself alone against Vuk on the Mutant Containment Unit's train, uses his power to pick up every remaining gun, and empties them all into her at point-blank range. Thanks to Vuk's innate Healing Factor and getting an upgrade from absorbing the Phoenix, she blows this off without a scratch.

He cracks Emma Frost's crystalline neck after she refuses to cooperate.

He nearly strangles Moira to death with her own military dog tags, although Xavier manages to talk him out of it.

#MagnetoInformation

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innuendostudios · 4 years

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Here’s How to Radicalize a Normie, a video essay on how the Alt-Right and their fellow travelers recruit. Clocking in at 41 minutes, 6756 words, 633 individual drawings, and 27 sources (including three full books), it is by far the longest and most heavily-researched video in The Alt-Right Playbook. I am very tired.

It took so long to put this behemoth together that my Patreon started to dip. So, maybe a little more than usual, if you want to keep seeing videos like these, please consider backing me on Patreon.

Transcript below the cut.

Say, for the sake of argument, your friend Gabe is starting to worry you.

Gabe’s always been just, you know, a regular guy. Not very political. He likes video games, sci-fi, comics, Star Wars, and anime. White guy shit. The only offbeat thing about him is you suspect there’s like a 20% chance he’s a furry. For all intents and purposes, Gabe is a normie.

But recently Gabe’s been spending a lot of time on some radically conservative forums, and listening to radically conservative podcasts, and picking some radically conservative arguments with you and your friends. You never would have expected this, not from Gabe, and, given the speed it’s happened, it’s worrying to think where it might be headed.

How have the Alt-Right gotten their hooks into your friend?

If you’ve ever known a Gabe, this video is for you. Here’s How to Radicalize a Normie.

Step 1: Identify the Audience

What you need to know before we begin is: around 2013, the Nazis went online.

Hate groups in the US, as tracked by the Southern Poverty Law Center, had been growing in number since the noughts, but, between 2012 and 2014, they dropped by almost a quarter. Patriot groups dropped by over a third. However, hate crimes stayed about the same. Radical conservatism was not shrinking, but decentralizing. Still radical, still often violent, but now full of white nationalist nomads unlikely to join a formal organization.

This didn’t make them harmless. What it did was protect their asses from the typical hate group cycle: getting the public’s attention, making allies in conservative media, swelling their numbers, and then eventually disgracing themselves with failures, infighting, and, often enough, members committing horrific acts of violence, which come with social and sometimes legal consequences for all the other members.

So the Alt-Right and their fellow travelers these days don’t so much have members. They have hashtags, followers, viewers, and subscribers. This insulates them from their own audience. If Gabe, as a member of that audience, were to go out and commit a crime on their behalf, there’d be little doubt they had a hand in radicalizing him, but it’d be very hard to claim they told him to do it. On some of these sites, where Gabe spends hours and hours of his day, he’s never created an account or left a comment; the people radicalizing him don’t even know he’s there.

This distributed nature is what makes the Alt-Right, and the movements connected to it, unique. (You may remember a notable proof-of-concept for this strategy.) Doing almost everything online has, as compared with traditional hate movements, dramatically increased their reach and inoculated them from consequence. The trade-off, as we will see, is a lack of control.

And so we come to Gabe.

Gabe exists at the intersection of the kinds of people the Alt-Right is looking for - straight white cis men who feel emasculated by modern society, primarily, though they do make exceptions - and the kinds of people who are vulnerable to recruitment. Gabe fits the first profile in that he got bullied in high school, and often feels he has to hide his nerdy side for fear of getting ridiculed. The Alt-Right also has success with men who can’t get laid or recently got divorced or feel anxious about an influx of non-white people in their community. These things can make one feel like less than the confident white man they’re “supposed” to be. And it’s the closest they will ever come to being minoritized.

Regarding the second profile, it’s important to know that Gabe is not categorically different from you or me. He’s a cishet white dude - his problems are not unique. There isn’t a ton of research into the demography of the Alt-Right, but there may be a higher-than-average chance Gabe has a history of being abused or comes from a broken home. You don’t know if it’s true of Gabe, he’s never said. But most abuse survivors don’t become Nazis. The things that make people like Gabe recruitable tend to be situational: it happens often during periods of transition, as dramatic as the death of a loved or as benign as moving to a new city. Things that make people ask big life questions. Gabe has concerns like economic precarity, not knowing his place in a changing world, stressful working conditions. In other words, Gabe is suffering under late capitalism, same as everyone, and it’s entirely plausible he could have gone down the path to becoming a Leftist.

This is not to make an “economic anxiety” argument: the animating force of the Far Right is and always has been bigotry. But the Alt-Right targets Gabe by treating his “economic anxiety” as one of many things bigotry can be sold as a solution to. It is their aim that, when dissatisfied white men go looking for answers, they find the Alt-Right before they find us.

Step Two: Establish a Community

Were Gabe pledging an old-school hate movement, there would probably be a recruiter to usher him into an existing community. But that’s the kind of formalized interaction modern extremists try to avoid. Online extremism has many points of entry, and everybody’s journey is unique, so rather than be comprehensive we will focus on what are, in my estimation, the two most common pathways: the Far Right creates a community Gabe is likely to stumble into, or infiltrates a community Gabe is already in.

The stumble-upon method has two main branches, one of which is just “Gabe ends up on a chan board,” which we’ve already done a video about. The other is kind of the polar opposite of 4chan’s cult of anonymity: Gabe ends up in the fandom of a Far Right thought leader.

These folks are charismatic media personalities (that’s charismatic according to Gabe’s tastes, not ours; I don’t understand it, either). These personalities may gain traction on any number of platforms, from podcasts to reportage to blogging, though the most effective platform for redpilling is, and yes I am biting the hand that feeds me, YouTube. They may get Gabe’s attention through fairly standard means, like talking about or even generating controversy to get themselves trending, while some of the more committed will employ dubious SEO tactics like clickbait, google bombing, and data voids (just pause for definitions, we don’t have time).

What they tend to have in common, especially the most accessible ones, is that they don’t present themselves as entry points to the radical Right. In fact, many did not set out to be Far Right thought leaders, and may not think of themselves as such (though they are often selling products, of which the Alt-Right are among their biggest purchasers, and it’s not like they’re turning the money away). How they present is the same way anyone presents who wants to be successful on social media: accessible, approachable, authentic. The face-to-face relationship a budding extremist forms with their recruiter or the leader of their hate group’s local chapter are here folded into one parasocial relationship with a complete stranger.

Why this person appeals to Gabe is they’re not selling politics as politics, but conservatism as a kind of lifestyle brand. They rely heavily on criticizing or ridiculing the Left: feminists are oversensitive, Black people unintelligent, queer folks doomed to loneliness, and trans people insane; I dunno if it’s a coincidence that these are all things Gabe thinks about himself in his low moments. By contrast, they don’t sell conservatism as having sounder policies or a more coherent moral framework, but that abandoning progressive principles and embracing conservative ones will make Gabe happier. Remember, Gabe isn’t looking for white nationalism or misogyny, what he wants is the cure to soul-sickness, and these friendly micro-celebs are here to offer a shot of life advice with politics as the chaser. It is extremely important that politics be presented as a set of affects, not a set of beliefs.

The second pathway is infiltration, which is its own beast. Media personalities sometimes become gateways to the Right almost by accident: they do something edgy, a part of their audience reacts positively, and, facing no real consequence, they do it more; this leads to further positive reinforcement from conservative fans, the rest of the audience acclimates, and the cycle repeats, the personality pushing the envelope further and further based on what flies with their increasingly conservative audience. In this way, they become a right-wing figure by both radicalizing and being radicalized by their audience.

Infiltration is deliberate.

The Far Right will reliably target any community that has 1) a large, white, male population, 2) whose niche interests allow them to feel vaguely marginalized, and 3) who are not used to progressive critique of said interests. This isn’t to say progressive critique doesn’t exist, or hasn’t been baked into the property from the beginning, but that it has been, so far, easy for white guys to ignore. As such, progressives within that community probably don’t talk politics much, and women and minorities are perfectly welcome to post, same as anyone, but just, you know, don’t, don’t make identity politics, you know, like, a thing.

Given Gabe’s proclivities, he’s probably already in a number of fan communities where he can geek out and not get teased. And this is where the Far Right will go looking for him

Communities are at their most vulnerable to infiltration at times of political discord. This can happen naturally - say, a new property in the fandom has a Black protagonist - or it can be provoked - say, a bunch of channers join the forum and say provocative things about race to get people arguing - or both. Left to its own devices, the community might sort out its differences and maybe even come out more progressive than they started. But, with the right pressure applied in the right moment, these communities can devolve into arguments about the need to remove a nebulously-defined “politics” from the conversation.

The adage about bros on the internet is “‘political’ means anything I disagree with,” but it’d be more accurate to say, here, “‘political’ means anything on which the community disagrees.” For instance, “Nazis are bad” is an apolitical statement because everyone in the community agrees. It’s common sense, and therefore neutral. But, paradoxically, “Nazis are good” is also apolitical; because “Nazis are bad” is the consensus, “Nazis are good” must be just an edgy joke, and, even if not, the community already believes the opposite, so the statement is harmless. Tolerable. However, “feminism is good” is a political statement, because the community hasn’t reached consensus. It is debatable, and therefore political, and you should stop talking about it. And making political arguments, no matter how rational, is having an agenda, and having an agenda is ruining the community.

(Now, it is curious how the things that provoke the most disagreement tend to be whichever ones make white dudes uncomfortable. One of life’s great, unanswerable mysteries.)

You can gather where this is going: a community that doesn’t tolerate progressivism but does tolerate Nazism is going to start collecting Nazis, Nazis whose goal is to drive a wedge between the community and the Left. Once the Left acknowledges, “Hey, your community’s developing a Nazi problem,” the Nazis - who are, remember, trusted, apolitical members of the community who might just be kidding about all the Nazi shit - say, “Did you hear that, guys?! Those cultural Marxists just called all of us Nazis!” Wedge. Similarly, any community members who say, “but Nazis though” are framed as infiltrators pushing an agenda, even if they’ve been there longer than the Nazis have. They get the wedge, too.

This is how fandoms radicalize. They are built as - yeah, I’ll say it - safe spaces for nerds, weebs, and furries, and are told that the Left is a threat to their safety. Given a choice between leaving a community that has mattered to him for years and simply adjusting to the community’s shifting politics, the assumption is that Gabe will stay. This assumption is right often enough that a lot of fandoms have been colonized.

What is true of both of these methods - Gabe finding the Right or the Right finding him - is that Gabe does not come nor stay for the ideology. He’s here for the community, the sense of belonging, of being with his people, of having his fears validated and his enjoyment shared. The ideology is simply the price of admission.

Step Three: Isolate

There is a vast, interconnected network of Far Right communities out there, and Gabe is, at this point, only on the periphery. In order to keep him in, they need to disrupt his relationships to other communities, and become, more and more, his primary online social space. Having made this space hostile to the Left, they now seek to break his connections to progressives elsewhere in his life.

This is hard to do online. The whole appeal of moving radicalism to the internet is that your away-from-keyboard life doesn’t have to change. You are crypto the moment you log off. Some thought leaders will encourage their audience to cut ties with Family of Origin, or “deFOO,” but, even then, they can’t monitor whether the audience has actually done it the way an in-person movement could. And so alienating Gabe from the Left is less controlled, and, consequently, may be less total. How much Gabe isolates is up to him.

But the vast majority of Far Right media presumes an alienation from the Left. Part of conservative bloggers and YouTubers making the Left look pathetic is doing a lot take-downs and responses. This is a constant repetition of the Left’s arguments for the purpose of mockery, and, for Gabe, it starts to replace any engagement with progressive media directly. He soon knows the Left only through caricature. It also trains him, if he does directly engage, to approach the Left with the same combative stance as his role models. (For reference, see my comment section.) And this is only if he doesn’t partake in one of the many active boycotts of “SJW media.”

In addition to mocking the Left’s arguments, they also, curiously, appropriate them. This is one part sanitization: liberal centrism is more socially acceptable; indeed, many figures on the outer layers think of themselves as moderates, even as they serve as gateways to radicalism. But, also, many of Gabe’s problems could be addressed by progressive leftism, so they sell him racist, sexist versions of it. Yes, there is a problem with workers being underpaid and overextended, but the solution isn’t unions, it’s deporting immigrants; yes, there is a chronic loneliness and anger to being a man in the modern age, but it’s not because of the toxic masculine expectations placed on you by the patriarchy, it’s women being slutty; yes, wealth disparity does mean a tiny percentage of elites have more influence over culture and politics than the rest of us combined, but the problem isn’t capitalism, it’s the Jews. And it’s hard for Gabe to reject these ideas without, in the process, rejecting the progressive ideas they’re copied from; the Right’s “take the red pill” is, to the untrained eye, similar to the Left’s “get woke.” (Or, at least, the bowdlerized version of “get woke” that is no longer specifically about race which came to fashion when white people started saying it, grumble grumble.)

Take the red pill or reject them both; either is a step to the right.

As this rhetoric slips into his day-to-day conversation, even as seemingly harmless “irreverence,” it may strain relationships with people who are not entertained by this shit. Off-color comments about race and gender can certainly be wearying for female and non-white friends, which can lead to a passive distance or an eventual confrontation [“why is everyone but me so sensitive?!”], which only seem to confirm what his reactionary community says about liberal snowflakes. If he says these things on social media, he may get his account suspended, and, if he comes back under an alt, you can bet his new reactionary friends will be the first to reconnect, applaud the behavior that got him banned, and repeat should he get banned again. A few cycles of this and he’s lost touch with everyone else.

Also, his adoption of the insular, meme-laden terminology of this community makes him less and less comprehensible to outsiders.

Over time, sources of information get replaced with community-approved ones: conservative news, conservative YouTube, conservative Wikipedia if he’s really committed. The Algorithm soon takes note and stops recommending media from the Left. He stops watching shows with a “liberal agenda,” which usually means shows starring women and people of color. Now, there is evidence that the human mind responds to fictional characters similarly to real people, and that consuming diverse media can decrease bigotry in ways roughly analogous to having a diverse group of friends, which is one of many reasons we say representation matters. By consuming a homogenous media diet, Gabe stymies his ability to have even parasocial relationships with anyone who isn’t a cishet conservative white dude or one of their approved exceptions.

To the extent that any of this happens, it happens at Gabe’s discretion and at his own chosen pace. It has not been forced on him, only encouraged and rewarded. But the fact that it hasn’t been forced can make him all the more willing to accept it, because it seems safe to consider; even though his life and social circle are changing to accommodate, he does not feel committed. But many Gabes have walked these halls, and, if they close the door behind them, there’s nowhere left to go but down.

Step Four: Raise their Power Level

(...and they say we ruined anime.)

Consider the ecosystem of the Alt-Right as layers of an onion, with Gabe sitting at the edge and ready to traverse towards the center. (No, I’m not just going to reiterate the PewDiePipeline, though, if you haven’t seen it, go do that.)

The outer layer of the onion is extremism at its most plausibly deniable. Without careful scrutiny, the public-facing figureheads could pass as dispassionate, and the websites as merely problematic rather than softly fascist. It is valuable if Gabe believes this as well; that, at this stage, he believe the bigotry is simply trolling, the extremists an insignificant minority, and any report of harassment faked. That he believe where he is is as deep as the rabbit hole goes. And that he continue to believe this at each successive layer.

People in the deepest crevices of the Alt-Right self-report getting redpilled on multiple issues at different times in their journey to the center of the onion. If Gabe’s first red pill is about the SJWs coming for his free speech, he’ll think that’s all anyone in his community believes; there’s no racism here, people are just making a point about their right to use slurs. Then, when he gets redpilled on the white genocide, he’ll laugh at those Alt-Lite cucks who tried to sweep the race realists under the rug, and at himself for having once been one, but acknowledge that those channels and websites are still useful for onboarding people, so he won’t denounce them. At the same time, nobody takes those manosphere betas seriously.

And this process is reiterated with every pill swallowed: gender essentialism, autogynephilia, birtherism, Sandy Hook truth, pizzagate, QAnon if he’s really out there. The heart of the onion is typically the Jewish Question, but these can happen in any order, and in any number. But each layer sells itself as being, finally, the ultimate truth. Each denies the validity of the others; the layers ahead don’t exist, they’re made up my liberals, while the people behind are asleep where you are now awake. That’s why they chose “the red pill” as their metaphor: take it, and everything will be revealed. That’s why it cozies up with conspiracism. But what’s supposed to follow is that this knowledge help Gabe in some way, and it doesn’t. Blaming immigrants doesn’t actually fix the economy, and hating women doesn’t make men less lonely. But, having been alienated from everything outside the onion, once that sinks in, the only recourse on offer is to seek out the next pill.

And pills are easy to find. Those within the network have laissez-faire relationships, even as they, on paper, disavow one another. When they need a source or a guest host, they aren’t going to go to the Left; they’re going to feature each other. The Left is the enemy; their ideas are beneath consideration, and the only reason to engage them is for public humiliation. [Shapiro’s book.] But you can interview “western chauvinists” and that doesn’t mean you’re endorsing them, just, you know, it’s fine to hear ‘em out, nothing should be off-limits in the marketplace of ideas. Besides, Nazis are apolitical.

And because these folks keep showing up in each others’ metadata, regardless of what they say, Google thinks there is definitely a relationship between the guy “just asking questions” and the guy denying the Holocaust. Gabe is softly exposed to many flavors of conservatism just slightly more radical than he is now, and is expected, at the very least, to not question their presence. This is an environment where deradicalizing - listening to the Left - would be sleeping with the enemy, but radicalizing further? You do you, buddy.

Gabe’s emotional journey, however, is somewhat more complex. If you’ve spent any time reading or watching reactionary media you’ve probably noticed it’s really. fucking. repetitive. It’s a few thousand phrasings of the same handful of arguments. Like, there’s only so many jokes about attack helicopters! But these people just crank out content, and most of it’s derivative; the reason to pick one personality over another isn’t because they say something different, but because they say it differently. Gabe just picks the affect it’s delivered in.

Repetition dulls the shock of the most egregious statements, making them appear normal and prepping him for more extreme ideas. Meanwhile, the arguments themselves? They’re not good. (BreadTube will never run out of shit to debunk.) They are repetitive because they’re not good. They’re mantric. A good argument you only need to hear one time; if you can follow it, internalize it, and explain it to someone else, you know you’ve understood it. But a bad argument can’t convince you on its own merits, so it will often rely on affect. This can be the snappy, thought-terminating cliche, or the long, winding diatribe that sounds really sensible while you’re hearing it but when someone asks you for the gist you can only say “go watch these 17 videos and it’ll all make sense.” Both these approaches are largely devoid of content, but, gosh, if they don’t sound sure of themselves.

And that mode can be very persuasive, but it doesn’t stick the way a coherent argument does. It needs to be repeated, the affect replenished, because the words matter less than the delivery. There needs to be a steady stream of confident voices saying “we’ve got this figured out and everyone else is stupid” or Gabe’s gonna notice the flaws. They are not well-hidden.

And the catch-22 of returning to that stream over and over is that these communities are stressful even as they are calming. People afraid they will die virgins go to forums with people who share and validate that fear, and also say, “Yes, you will die a virgin.” People afraid Syrians are coming to kill us all watch videos by people who share and validate that fear, and also say, “Yes, Syrians are coming to kill us all.” Others have already pointed out that rubbing your face in your worst anxieties is a form of digital self-harm, but I need to you understand the toxic recursion of it: Gabe is going to these communities to get upset. Every emotion is converted into anger, because sadness, fear, and despair are paralyzing but anger is motivating; Gabe feels less helpless when he’s pissed off. And so, while he’s topping up on reassuring nonsense, he’s also topping up on stress. And, being cut off from everything outside the network, the only place he knows to go to release that stress is back to the place that gives it to him. It’s a feedback loop, pulling him deeper and deeper on the promise that, at some point, relief will come.

It is a similar dynamic that keeps people in abusive relationships.

When someone in Gabe’s community makes a racist joke, they are presenting Gabe with a choice between the human interaction of laughing with his friends and his societal responsibility not to be a fuckin’ racist. And not laughing seems ridiculous; everybody’s friends here; no one’s getting hurt; this is harmless. And so the irreverent race joke draws a line between the personal and the political, and suggests that one can be safely prioritized over the other. One way to look at radicalization is being asked to stick with that seemingly innocuous decision as the stakes are raised incrementally: first with edgier humor, and then comments that are funny because they’re shocking but you couldn’t really call them jokes, and then “funny” comments that are also sincerely angry, but, in each instance, since he laughed with his bros last time, it stands to reason he should keep favoring the personal over some abstracted notion of “politics.”

This is why the progressive adage “the personal is political” is among the most threatening things you can say in these spaces.

I’m not trying to make a slippery slope argument. Most of us who laughed at edgy jokes when we were teenagers didn’t grow up to be Nazis. It is a slippery slope in the specific context of being in community with people trying to radicalize you. Gabe is a lonely white boy in need of friends, and laughing at a racist joke is personal, while not laughing is political. Staying in a community that has Nazis in it is personal, and leaving is political. The personal is what brings people together and the political drives them apart. (The “only if some of them are bigots” part of that sentence is usually lopped off). There’s this joke on the internet that nerds perceive only two races: white and political. Following that logic, what could be more apolitical than an ethnostate?

They are banking on his willingness to adapt his beliefs to suit an environment that meets a need. That same need can be satisfied by white nationalism. There are few things more seductive to people who doubt their own worth than being told you are valuable simply for being white. And you can sub in male, cis, straight, allosexual, or able-bodied. It just takes priming: by the time Gabe officially embraces bigotry, he’s already been acting like a bigot for months. The red pill is simply the moment he says it out loud.

Change Gabe’s surroundings, and you change Gabe.

Step Five: ???

The final step in a traditional extremist group would be getting a mission. But that is one thing the Alt-Right can’t do. Once you start giving clear directives, you can’t play yourselves off as a bunch of unaffiliated hashtags and think tanks; you are now a formalized movement accountable to its followers, and can be judged and policed as such.

To my mind, Charlottesville was an attempt to become such a movement, taking things offline and getting all the different groups working collectively. And, as so often happens when these people get in the same space - especially with no official leaders or means of control over their members - it backfired. Their true colors came out before they were ready and a counter-protester lost her life.

This would be the point where, historically, an extremist group starts to disintegrate. Their veneer of respectability gone, they’re now hated by the public, the media wants nothing more to do with them, and everyone not in jail turns on each other or goes underground. This is also the point where the liberal establishment says, “My job here is done,” and utterly fails to retake control of the narrative, allowing the next batch of radicals to pick up more or less where the last one left off.

But to an already-decentralized group like the Alt-Right, Charlottesville was bad but eminently survivable. People retreated back to the internet, with its code words and anonymous forums, but that’s where much of the work was already done anyway. The platforms where they organized kept tolerating them, the authorities still didn’t classify them as terrorists, and any disgraced figureheads were replaced with up-and-comers.

The major change in strategy is that it doesn’t seem anyone has tried to formalize the Alt-Right since.

So where does that leave Gabe? He’s gone through this whole process of largely hands-off indoctrination - and I should stress his journey may look like what we’ve outlined or it may look different in places, this video is not comprehensive - but now he’s swallowed every pill he cares to, he blames half a dozen minorities for everything he sees as wrong with the world, and no one will give him anything to do. You’ve got this ad hoc movement frothing young men into a militant fervor and then just leaving them to stew in their own hate. Should we really be surprised at how many commit mass shootings?

This is a machine for producing lone wolves.

Leaving men to take up arms of their own volition is a way of enacting terror while being just outside the popular conception of a terror cell. There are also, of course, more classic militias that will offer Gabe clear directives - they’re recruiting from the same pool. And Gabe may stop short of this step, settling in a middle layer that suits him or finding the inner layers too extreme. But violence is the logical conclusion of an ideology of hate, and, should Gabe take this step, he can approach violence in the same incremental fashion he approached conservatism.

He can start with yelling at people on Twitter, and then maybe collective brigading, DDoS attacks, sharing dox, leaking nudes, calling their phone numbers, texting them pictures of their houses from the sidewalk. These acts of cruelty become games of oneupmanship within his community. All this can start as far back as Step 2, and get more intense the deeper he goes. Some people join explicitly partake in harassment and violence the way Gabe joined to talk about anime.

But this behavior can serve as a kind of buy-in. The Left and the feminists and the LGBTQs and the Muslims and the immigrants are all, within his community, subhuman. You’ve maybe heard the conservative catchphrase “feminism is cancer”; well don’t treat cancer by having a respectful exchange of ideas with it, but by eradicating it down to the last cell. Cruelty against the Left is framed as righteous.

From any other perspective, posting someone’s bank information is something you might feel ashamed of. Which creates a psychological imperative not to consider other perspectives. A thing that keeps people in is staving off the guilt they will reckon with the moment they step out. Gabe is also aware that anything he’s done to the Left could be done to him if he leaves; some communities even keep dox on their members as insurance. And the things he’s been encouraged to do to the Left will likely make him feel that the Left would never take him now; the radical Right is the only home he’s got. Harassment becomes another tool of isolation.

Steadily, options for Gabe are whittled down to being a vigilante or a nihilist. There are periods of elation: moments the Alt-Right feels it’s winning - or, more accurately, the people they hate are losing - are like cocaine. They are authoritarians, after all. But the times in between are mean and angry. They are antisocial, starved of emotional connection, consuming incompatible conspiracies that may at any point run them afoul of one another, devoted to figureheads who cater to but cannot risk leading them, and living under constant threat of being outed to the Left or turned on by the Right for stepping out of line. Gabe took this journey for the sense of community and purpose, and, but for the rare moments everything goes their way, the Alt-Right can’t maintain either. They can only keep promising his day will come, a story he could get from a $5 palm reading.

The feeling there’s nothing left but to kill yourself or someone else is so common it’s a meme.

But there is always a third option: Gabe can leave.

Pre-Conclusion: For Fuck’s Sake Do Not Make Gabe Your Whole-Ass Praxis

Before we continue, I want to state plainly that Gabe went off the deep end because he found a community willing to tell him that, because he is a cishet white man, the world revolves around him. Do not treat him like this is true.

If a fraction of the energy spent having debates with America’s Gabes were spent instead on voter re-enfranchisement, prisoner’s rights, protections for immigrants, statehood for DC and Puerto Rico, and redistricting, Gabe’s opinions, in the societal sense, wouldn’t matter. Reactionary conservatism is a small and largely unpopular ideology that is only so represented in our culture and politics because they’ve learned how to game the system.

And I get it. Those are huge problems that are going to take years to address, where, if you know a Gabe, that’s a conversation you could have today. And, if you think you can get through to him, it is worthwhile to try. This is a fight on many fronts and deradicalization is one of them. But it is only one, so please keep it in perspective. It sends an awful message when we spend more time trying to get bigots back on our side than we do the people they are bigoted against.

Your value as a lefty does not hinge on whether you can change Gabe’s mind.

Conclusion: How Gabe Gets Out

He may just grow out of it. These communities skew young, and some folks hit a point where hanging with edgy teens doesn’t feel cool anymore.

He may become disillusioned after the movement fails to deliver on its promises.

He may become disillusioned if something goes wrong in his life and his community isn’t there for him, if he feels they like his race and his gender but don’t actually care about him.

He may be shocked if he sees the Alt-Right at its worst before being appropriately conditioned. Charlottesville was a step too far for a lot of people.

His community may turn on him for any perceived unorthodoxy, and he may leave out of necessity.

He may be separated by circumstance from the community - a trip with no internet, hospitalization, arrest - and not be able to top up on the rhetoric. This may lead him to question his beliefs.

His community may disappear, either tearing itself apart or getting shut down by authorities.

He may have incidental contact with populations he’s supposed to hate, and have trouble reconciling who they are in person with what he’s been told about them. In his community, people bond over shared intolerance, but, suddenly, being tolerant helps him make friends. (This is one reason the Alt-Right has made a battleground of the college campus.)

He may form or revisit relationships outside the network, people who can offer him the connection he’s been looking for. This may reintroduce outside perspectives. More importantly, it rekindles his ability to have healthy relationships at all, something the Alt-Right has estranged him from.

As with recruiters, it seems these “escape hatch” relationships can sometimes be parasocial; coming to respect a public figure who is on the Left, or is critical of the Alt-Right.

Someone he is close to may compel him to choose, “me or the movement.” A lot of young men leave to save a romantic relationship.

Hearing stories from people who’ve already jumped may help; there aren’t a lot of public formers, and some raise suspicions as to their sincerity, but it is getting more common, and may be the closest we get to exit counseling for the Alt-Right.

He may become aware of the ways he’s being manipulated, or have them revealed to him, maybe because he stumbled into BreadTube, I dunno. Knowledge that you are being indoctrinated is no guarantee it won’t work - you are not immune to propaganda - but it can help one resist.

And he may revisit a core belief system that used to guide him, be it religion or social justice or a really wholesome fandom, and be reminded of the identity he used to have.

Moments like these, in isolation or in aggregate, can inspire Gabe to jump. They are also good times for friends to intervene. The reach and the impunity that comes with the internet means it has never been easier to fall into reactionary extremism. It has also never been easier to get out. People who exit skinhead gangs often fear for their lives; for Gabe, there’s a chance getting out is as simple as going to a different website. Much of his community does not know his name or his face and he may not important enough to dox.

What doesn’t get Gabe out - not reliably, not that I have seen - is an argument with a stranger who proves all his facts wrong and his ideology bunk. Facts don’t always work because facts don’t care about his feelings. This was about staying in a community, and holding onto an identity, that mattered to him. It was about belonging, and that is something a rando from the other side of the culture war can’t give him and probably shouldn’t be responsible for.

The theme here is human connection. Before he can do the work of disentangling himself, and facing the guilt of what he’s believed and maybe done, he has to know there’s somewhere for him on the other end of it. That the Right hasn’t ruined him. They’ve told him all of history is groups fighting each other over status, and, without his clan, he’ll be an exile. He needs a better story.

I don’t know that lefty spaces are ideal for this, in no small part because bringing someone who’s a bit of a Nazi but working on it into diverse communities is… questionable. And it probably wouldn’t be good for him, either; having just gotten out of a toxic belief system, he’s going to be deeply skeptical of all ideologies. In a perfect world, people who care about Gabe could build for him - to use a therapy term - a holding space. Someplace private - physical or digital - where Gabe can work out his feelings, where he is both encouraged and expected to be better but is not, in the moment, judged. That comes later. It is delicate and time-consuming work that should not be done in public, but we find these beliefs, built up over the course of months or years, tend to fall away very quickly with a shift of environment. Change Gabe’s surroundings and you change Gabe.

But, instead, a lot of people who jump are functionally deprogramming themselves, which is working for a lot of them, but it’s haphazard, and there are recidivists.

If you don’t personally know a Gabe, or have training as a counselor, you may not be in a position to help him. Possibly there are things you can do to disrupt the recruitment process or prevent infiltration of spaces you’re in - I’m looking into it, but talk to your mods - but, elephant in the room: meaningful change will require reform on the part of platform holders. Tools to disrupt this process already exist and are being used on groups like ISIS, but they’re not being used on the Alt-Right because they try oh so very hard not to get classified as terrorists (and also any functioning anti-radicalization policy would require banning a lot of conservative politicians, so there’s that...).

But what makes our story better than theirs is that the fight for social and economic justice, though it is long, and difficult, and frustrating, when it works, it fulfills the promise the Right can’t keep: it materially make people’s lives better. I am not prone to sentimentality, or to giving these videos happy endings. But one thing we have that the Alt-Right doesn’t is hope.

#video essay

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exofilialovercat · 3 years

Text

Azrael (Draconian boy) x Gabriela (human girl) Ch 2!

Enjoy ch 2!

Gaby spent a good part of the next day choosing what to wear. All seemed too much or too less. What to wear when you want to forget your ex… and try to not crush on someone at the same time?

She messaged the draconian: ‘Hi! See you in the shopping? We can shop and drink coffee! You like cake? :3 ‘

‘See you there Gaby! I can’t wait! Coffee and cake sounds wonderful.’

Ozzie was a nervous wreck the following morning. After going through his entire wardrobe half a dozen times, he settled on a pair of black slacks and a nice shirt with a vest. The layers helped hide where he had to cut holes for his wings. “Well, Casanova you may not be, but you pass muster.” He tried to reassure himself as he left, picking up a single rose from the flower shop on the corner as he left to meet Gaby.

Gaby picked a cute long shirt and some good leggings. Enough to don’t feel she was trying too hard. She brought a bag with the shirt he borrowed from him and a sticky note with a cartoon of her saying ‘thank you ‘ . This is not a date, Gabrielle. Hold your horses. She found him easily in the shopping , he looked very handsome. Damm... Why is this not a date-date? “Ozzie! I’m here! “

Azrael jumped slightly at the sudden call of his name, but brightened when he turned to see Gaby. “Hey Ga-oh wow, you look great! This is for you...” He offered her the rose, heart pounding.

“You look good too. Even if the waiter uniform has its charm. Aw, you shouldn’t have “ she grabbed the rose and gave him the bag “ This is yours “ she smelled the faint perfume of the flower

“Thank you.” He smiled, taking a moment to enjoy Gabriela’s company before offering her his arm. “shall we?”

“ Of course “ she accepted his arm and started walking. Well, it looks like a date.

“Did you want to stop for coffee first, or to look for some cute clothes and get coffee after? “ He asked, practically floating as they walked.

“ Well, i could use some fuel . What about you? “

Ozzie chuckled and nodded. “I’ve been surviving on caffeine lately. Do you have a place you could show me with good bakery as well?”

“ We are the same... Freelance artists are 90% coffee and 10% genius “ she patted his arm “ Lets go to a small bar I know, it’s not usually super crowded and the cake is extremely good. “ She guided him .

“You’re an artist? I’m a little jealous. I can sew a bit, but that’s about the extent of my artistic ability.” He admitted sheepishly, happily letting Gaby take him where she wanted.

“ Haha , I play the cards I got . I always liked art and make comics and illustrations. I can survive doing it so I consider myself lucky . I bet you have your own talents “ she takes him to a bar that was indeed a little small. It had a menu with a nice selection of cakes . “The Triple chocolate one is to die for, it’s my favorite, ” she pointed to the menu.

“What comics do you make? Anything I might have seen?” He asked, genuinely curious. As they made their way to the little cafe, Ozzie couldn’t help but smile at how Gaby’s face lit up with excitement. She really was adorable.

“Should we share a piece then with our drinks, or would that be too forward?”

“ Oh, i don’t think so... I took part in some compilations. When I do comics, it’s always a small portion of the job. The rest it’s mostly children’s books. “ She said “ It wouldn’t be too forward , but I warn you we will need to order more “ she grinned “ This body doesn’t maintain with salad “ she joked .

“That sounds like a lovely line of work. You like children, then?” He asked while searching the menu. “Let’s each get some and share then. Variety is the spice of life, after all!”

Ozzie took her joke about her body as a chance to let his eyes sweep down across Gaby’s figure. To him she might as well have been a goddess. perfect curves and a gorgeous face that he had to stop himself from leaning in to kiss. ‘Slow down, Romeo’ he scolded himself.

“ I do, maybe one day I will have one myself... If i found the right person. Not like Mister Perfect “ she made a face .

Gaby ordered some coffee and some pieces of cakes “Strawberry cheese and triple chocolate please. Any preference Ozzie? “

Azrael made a face at the mention of her ex. “He couldn’t be very perfect if he couldn’t see a true treasure right in front of him. You and your hypothetical future child deserve nothing less than a devoted husband and father.” He said without thinking what his words might be interpreted to mean.

Looking through the menu, Ozzie noted a few of his favorite flavors. “I think I’ll go with the Italian lemon cake and red velvet.”

The waiter took the order and walked away.

“ You are an adulator!” She patted his shoulder. She was visibly blushing . “ Yeah... I actually feel better now I’m not with him anymore. The things were pretty bad already between us. I guess the faster I can move from him, the better” she winked “ At least I have a coffee with a handsome man “ ‘What the hell Gaby... Stop your mouth’.

Azrael couldn’t blush through his scales, but his tail wagged happily when Gaby’s adorable freckled cheeks blushed pink after her compliment. “Is not flattery if it is true.” He laughed, “Just enjoy yourself, Gaby dear. No pressure.”

The order finally came, the coffee was in generous cups and the cake seemed fresh . “ Please, don’t mind me , take from mine if you want, “ Gaby offered and went for a piece of the strawberry one humming pleased “ So good “.

“Only if you do the same.” Ozzie smiled, taking a long sip of his coffee before taking a bite of his lemon cake.

“ I really wanted to ask you... I hope it’s okay. Can you really spit fire? Or is it a full dragon thing? “ She hoped it was okay to ask about draconian nature .

“Fire? Ah, right… I was smoking last night, wasn’t I?” He ran a hand back through his horns, a little embarrassed. “It is harder for a half-breed like me to breathe flames than a full dragon. Normally it can only happen when I am very angry or upset.” He explained with an apologetic smile. “Hopefully that is not too much a disappointment?”

“ Oh , no! I just was curious... Like how much human or dragon you are... I don’t really know a big deal about real dragons. Like if you need to warm in the sun? Or if you have a reptile tongue? Or do you have dietary restrictions like some reptiles? Oh! I hope I’m not being rude... “ she covered her mouth suddenly.

Ozzie couldn’t help but laugh. So many people were too afraid to ask these kinds of questions, so Gaby’s curiosity was refreshing. “No rudeness at all. I am happy to sate your curiosity. Full dragons come in three varieties, depending on if they are from Europe, like my mom, Asia, or South America. In my case I am warm-blooded like humans, no dietary restrictions (though a preference for spicy and savory flavors outside of desserts) and...” he looked around to make sure they weren’t being watched before letting his 30cm long forked tongue slide out between his lips for a moment before pulling it back in with a grin.

“ Holly -! “ She felt her mind going to some non very innocent places “ Thats.... Wow “ she sipped her coffee and tried to clear her head . “ Humans feel a little boring in comparison. Would you let me draw you one day? “ She tried to change the subject a little .

“Oh, don’t sell humans short. Human passion and creativity are a marvel compared to just about any other species. That is a great gift indeed.” He said with a reassuring smile. Gaby’s request to draw him was a surprise, though a welcome one. “I would love to pose for you!” He said happily before stealing a bite of her chocolate cake and letting a purr resonate in his chest. “That IS good!”

“ Told ya’ “ she smiled. “And if you need a personalized draw, you can always call me . Like a present for a loved one, your significant other, you just ask “

“Oh, no girlfriend.” Azrael said, before taking a sip of his coffee. Was she trying to see if he was single? “Dragons and most draconians partner for life, so dating is an important matter once it becomes serious.” Hopefully that wasn’t reading too far into Gaby’s words.

“ Oh “ Gavi did a mental happy dance , maybe Ozzy liked her a little? And he was single. That was a relief, at least I can crush in someone that I can have a chance with. ”And how do you scare ladies away? You have the whole package, “ she said playfully .

Azrael’s tail began to happily thump against the cafe floor when Gabi flirted with him. His heart never had fluttered this way for someone before. “Normally the scales and tail do the scaring for me. You are about the first woman to talk to me like a normal person outside of work or family.” He admitted, trying to hide his embarrassment at his own inexperience behind another few bites of cake.

“ No way! “ She said offended “ They obviously never gave you a chance, you are a total sweetie. And everybody it’s different! My mom always told me to not judge people for the way they look , she is latina, my dad is white. That always gets nasty looks . People are just stupid. “ she stole a piece of his lemon cake .

“It is a shame more people can’t be as open-minded as you are, Gaby. The world would be a better place.” Azrael said with a wistful smile, taking her hand without really thinking and kissing the back.

“They deal with bigotry even as a human-human couple. I worry what it will be like when the one who decides she wants me has to go through the same nastiness.”

She felt her cheeks warm “ Any girl would be lucky to have you Ozzie. If people cannot see that, it’s their problem. Hey, let’s better move to a desert island and fund our own country.” She tried to light up a bit.

Ozzie nearly choked on his coffee when Gaby’s surprise joke made him laugh. “Careful, mi amor. That sounds suspiciously like a proposal. Doesn’t that usually require at least three dates?” He teased, trying not to get too lost in the idea of the two of them relaxing on a tropical beach together.

“And thank you for the compliment, Gabriela. You truly are a treasure.”

“ Well... If you need a couple of actual dates, I will not say no. They tell me I make a pretty decent spicy chicken , if you give me the chance to treat you, “ she said, almost purring . Please say yes...

“I would be delighted, so long as I can take you out in return.” Ozzie swore that he could fly at that very moment. Gaby had asked him out!

“ Then it’s settled! “ She asked for the bill and payed “ And i can wear the replacement shirt you will buy me “ she winked “ I hope the cake was at your level Ozzie “

“I was hoping you would let me get you a few outfits, to be honest.” He said with a shy smile, not daring to admit he would prefer to see her in much less clothing rather than more. “And the cake was excellent. Definitely worth using for the wedding.” He added with what he hoped was a joking tone. ‘Don’t get too carried away. You’ll scare her off.’

“ Oh, you are impossible! “ she playfully pushed him “ No need to shower me in presents, mister smooth “ she said and started walking “ I like to give them back “

“What can I say? It is my nature to want to treat my girlfriend well. I’m sure we can find a way to reciprocate.” He laughed, playing like she had pushed him much harder than she had before joining her, his arm draping around her waist as they walked together.

Gaby felt herself too into the draconian man. Her stomach twisted and her heart pounded in her chest. She tried to distract herself by looking at the cloth stores . The mission was to end the day with a smile... And maybe steal a kiss from Ozzie .

“Let me know if you see a store you want to shop in.” It was nice, this little shopping date, but Azrael had to keep reminding himself to not push too fast. He was falling hard for Gabriela, but she had just gotten out of a bad relationship and it would be wrong to pressure her into too much.

Gaby entered in one store and tried a couple of tops, she ignored the white and pink ones for obvious reasons . She even asked Ozzies opinion on the ones she tried . Let’s just go slow Gabriela , let’s enjoy some time together. Yep, just that.

Ozzie couldn’t help but enjoy himself while Gaby modeled her outfits for him. There were several tops that looked very good on her, but one in particular, sapphire blue with a somewhat lower-cut neckline than the others really caught his attention. “It is hard to say, since you are gorgeous in all of them, but the last one is my personal favorite. It shows you off in just the right way.”

“Then I take it! You know how to sell to a lady, ” she happily said and saved the new top for her .

Now the date was almost over and she needed a bit of courage to give one small last step . If she could really do it, a proper date will be a success.

After he had paid the shop clerk for their purchase, Azrael hesitated for a moment. “I know this was supposed to be just a casual thing today, but I really don’t want for our date to end.” He admitted sheepishly, his tail curling around Gaby as they took a moment to rest before continuing on to the end of their date. He had been having such a good time that he dreaded it being over.

She fell on the tail surrounding her. “ Me too, Azrael . It has been too much fun. But I have to go. Will you call me ? “ She caressed his cheek.

“Of course, Gabriela. It’s a promise... but first, please permit a greedy dragon one last indulgence before his princess escapes.” Before he could second guess himself, Azrael tilted her chin upward with a fingertip and pressed his lips to hers in a tender, longing kiss.

Gaby even surrounded his waist. His kiss was sweet, and she was practically seeing stars . Okay, I’m sold. First real date, here we go. She let herself be putty in his hands, “Ozzie... “ She whispered once the kiss ended. She smiled from ear to ear and got a little distance . “ Now you really better call me! “ She said and waved at him to go “ I’m going to be waiting!”

Gaby went home giggling like a schoolgirl

“Definitely. Today was... incredible. Too good to just be a onetime thing, no?” He purred, dreamily watching Gaby go toward her home.

Ozzie was walking on air for the rest of the day. He didn’t even mind the jokes at his expense at work. Their next date couldn’t come soon enough!

#exophilia #monster boyfriend #draconian boyfriend #monster writting #monster/human #my post

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rpmemesbyarat · 3 years

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I’ve noticed some commonalities in how bigots tend to be portrayed in fiction, and while these portrayals are not wrong per se, they are also not the ONLY way in which bigotry exists. I would like to put forth some other ways. Another common notion I see is that if a person is bigoted in one way, they will be bigots in every other way possible. But this isn’t always true either. A racist might not be sexist, and a sexist might not be classist, and a classist might not be a homophobe, and a homophobe might not be ableist. Of course, sexism and homophobia and transphobia do all feed into each other, and there’s an undeniable link between racism and classism, but even still, someone might still only have one type of bigotry and not any others, or at least not have ALL of them. This goes double if the group they’re bigoted against is FICTIONAL such as mutants, robots, and supernatural creatures, since the reasons a person would have for hating or fearing these groups is often something that doesn’t apply to any real-world groups. Which is also why you might want to think twice before drawing parallels in your fiction between real-world oppressed groups and a fictional group; the metaphor can often fail or even be insulting. Also, which groups someone is bigoted against often has a lot to do with the context of their time and culture. For instance, because my grandfather was around during WWII, he’s biased against Japanese people but not Chinese people. Bigots also are not limited by class or education; while there is a correlation between being more educated and more exposed to the world and being more tolerant and understanding, it’s not a hard rule. Oftentimes, very well-educated urban cosmopolitan people just have a different way of showing their bigotry than their rural counterparts. Speaking of that, if your portrayal of bigots is purely made up of blatantly over-the-top redneck stereotypes with bad grammar and comical ignorance about the world in general, that is in itself a bigoted classist stereotype. The tactic of using “this group is bigoted and thus acceptable targets” as a shield for bigotry is very common, such as “Muslims all oppress women so attacking their countries is okay and justified”. Ignorant racist homophobic hillbillies who couldn’t access higher education certainly exist, I have some in my family, but if you think that bigotry only ever comes from one group, think again, especially if you portray that group---Muslims, poor rural populations, whatever---using insulting stereotypes. Irony much? Another big one, perhaps the biggest point I see fiction miss a lot, is that bigots are not all or nothing. The world is not divided into KKK members and people who are 110% enlightened anti-racists. It is not divided into incel MRAs and perfect feminists. It is not divided into people who want to murder all LGBT folks and. . . .you get the idea. These extremes absolutely do exist, no doubt, but most of society exists on a scale between the two points. The majority of people will smaller, more subtle, more moderate versions of bigotry, commonly known as “microaggressions”. This can exist even among allies and amidst the affected group themselves. For instance, maybe Sally loves her gay friends and thinks they should have all the same rights she does, but also thinks gay men are all catty and fabulous like her pals are, and that you can tell if someone is a “top” or “bottom” by personality traits. Sally’s certainly more accepting than most of society, but she’s still got some wrong ideas. And we’ve ALL met a girl who thought other girls were all mean shallow stuck-up prissy plastic princesses except herself; the “Not Like Other Girls” girl is basically a cliche in itself at this point. As is the White Savior trope, who most certainly doesn’t hate the poor noble helpless POC, he’s trying to help them, and so on. And most of society will agree that women are more gentle, nurturing, but somehow also more mean (especially to each other), and more emotional, but also think that women should still be able to read, drive, vote, own property, and hold jobs, and will be appalled at someone who doesn’t think women should have these rights. Because that’s what the societal norm is, and most people tend not to question that. Likewise, I don’t think that the majority of people who express more “casual” or “innocently” racist or LGBT-phobic sentiments are violent extremists who secretly desire this entire group to be wiped out or enslaved. Some most certainly DO, we know this, and many more would likely go along with it if it did happen, we also know this, but for a lot of people, it’s either ignorance without malice, or malice that does have a line it stops at. Again, it’s a spectrum, not a binary. The real scary part, to me, is that bigots can be totally nice, reasonable, and even intelligent people. And this is the aspect that fiction most often leaves out. Bigots are almost always portrayed as incredibly unpleasant people all-around; the hellfire-and-brimstone preacher, the shrieking Karen, the ignorant redneck who abuses his family on top of being every kind of prejudiced under the sun. And again, all these people absolutely exist in reality. But lots of people who hold bigoted beliefs are often not otherwise unpleasant, unkind, or stupid people. Bigotry would not be such a threat if only “bad” people alone were susceptible to it. But because it seeps into our culture to such a degree, because we are raised in it, everyone is going to absorb it, and while it is comforting to think that people who are kindly and smart will be able to know it’s wrong and be immune (because, of course, WE are kind and smart, right?) that’s simply not reality. Many bigots, in fact, can even interact with people in the group they’re bigoted against, believe it or not, in a way that is NOT bigoted; they may even sincerely love individuals of this group. It’s actually VERY common for people to hold negative or incorrect beliefs about a group in general, while bearing no malice towards the individuals they personally like and know. Humans are very, VERY good at cognitive dissonance. And most bigots, being humans, will have a plethora of good traits; they rescue may animals, they probably love their family, they might help the poor, you name it. People are complicated. This is not to say that you need to show that your bigots have saintly qualities to “make up” for their bigotry (it does NOT) or to engender sympathy for bigots, but I think it’s valuable to have portrayals of more subtle, moderate, and even otherwise-likeable bigots because it helps us recognize them in real life. If our only image of a racist is someone who is an all-around jerk that openly hates all other races to the extreme, what are we to make of, say, our co-worker Doris, who brings us cookies, watches our kids when we have an emergency, has a Black son-in-law she loves, yet keeps saying very shitty things about BLM whenever the subject comes up? Or what about examining OURSELVES? Again, most people see bigots as being completely terrible people, and that gives most of us a mental block against recognizing bigoted thoughts and ideas in ourselves, since we don’t see ourselves as terrible people and don’t want to. If the only dog you ever see on TV or in books is a German Shepherd, that’s what you’ll think all dogs look like, and won’t recognize that any other breed is the same animal, is what I’m saying, basically, and that’s why a diversity of nuanced portrayals is valuable. And, again, more realistic. And, again, in many ways, far more frightening.

#writeblr #writing #writing tip #writing tips #writing bigots #writing bigotry

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anchanted-one · 4 years

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Harry Potter Talk

Settle in everyone, this is going to be a long one.

So a couple of days ago, I saw a massive anti-HP (the character) rant that really irritated me that I wanted to address.

Before I do, let's address the transphobic in the room. Rowling. Transphobia is detestable, and not wanting to support the series while that directly benefits and enriches her is a super valid stance. Also my personal stance, we support the trans people in this house!

Now that that's out of the way.

"Harry Potter, jock from a wealthy family" or something to that effect.

Regardless of how big his bank account is, remember how Harry was brought up? And by whom?

The Dursleys. The magic-hating child-abusers. Who forced Harry to sleep in a cupboard under the stairs for eleven years. Who gave him Dudley's things secondhand. His mother's sister was so unwilling to spend a dime on him that she was dyeing some of Dudley's old things gray to use as Harry's school uniform.

His cousin Dudley, who delighted in tormenting him, and whose gang joined him in beating up Harry whenever Dudley felt bored enough that he wanted to beat him up for fun.

Is this the upbringing of a "rich jock"? He never used much of his wealth in the Muggle world and even in his school years he seems to know the importance of restraint, and sharing (in book one, he's delighted to be able to share with Ron, and in book four he gives the Twins a thousand galleons without a second thought). Dudley was the one who got thirty-six presents on his birthday and threw a fit coz it was less than what he'd got the previous year. Harry got a used tissue for Christmas. He was the one so not expecting any gifts at all that his best friend's mother packed him a hand-knitted sweater for him, and made his day.

Jock? He played the loneliest position in the Quidditch team. The Chasers and Keepers work together as a team, and the Beaters too, but Seekers are ignored by everyone--including the team--until it becomes apparent that they've spotted something.

Harry was quite popular when he joined the school, but that popularity mostly manifested as people pointing at his scar and whispering about him. Most made him uncomfortable. He only ever had a few friends he was comfortable with.

There were long periods when he was in fact an outcast. That time he lost fifty points for the thing with the dragon, or the time when the Ministry and the Newspapers had turned the entire Wizarding world against him. The time his name came out of the Goblet of Fire, all Houses except Gryffindor treated him like shit, and even the Gryffindors, while they were cheering for him, weren't paying much mind when he was saying that he didn't do it, or that he needed support. That one time, even Ron didn't stay by his side. He was all alone but for Hermione.

The only time he fit the bill of the jock was in book six, when he was too obsessed with what Malfoy was doing to give a damn about his newfound popularity. That was also when he chose the company of outcasts like Neville and Luna over popular hangers-on.

Yes, there are legit reasons to hate the character; he has a massive hero complex. He routinely gets his friends into trouble because of it. He has a very narrow and myopic perspective because of which he doesn't notice much outside of his mystery-hunter track (there was a time when I could illustrate that point better, but it's been a decade and more since I read the last book. I wanted to better read up before talking about this, but I can't bring myself to binge-read like I used to)

By contrast, yes James Potter was a 'jock'. But that's reason to hate him, not his son. Harry, when he sees Snape's worst memory, is rightly horrified. When Remus tries to make the "we were just fifteen" excuse, Harry reminds him "I'm fifteen!". (It should also be noted that Snape's memories obviously show his nemesis at his worst, whereas Remus Lupin--the Werewolf--tells Harry repeatedly that James and Sirius were there for him when no one else was. James risked his life to fight Voldemort, whereas Snape was happily on Voldy's side until that one person he cared about was marked for death by the Prophecy©. Snape was also an abusive bully well until he died--just ask Neville. Dumbledore has also told Harry that memories are fickle things, which can be changed, so the chances that Snape simmered in this memory and unconsciously distilled it to make his old nemeses seem even worse--or himself seem like the angel who wouldn't hurt a fly--also exist. As someone who's experienced bullying, mockery, etc, I know this self-serving tendency of memory quite well. Though this bit is speculation on my part. )

Regarding the sillier names like Pansy Parkinson, and mean descriptions

In addition, when the series began, it started as a children's series, hence the Roald Dahl-like non-villain bad guys of the early part, and the "hate-me-I'm-nasty" names they were given. The Dursleys. Dudley Dursley aka Dudders. "Pansy Parkinson". Everyone was more caricature than character. That's how they are in children's books.

Many people are also described in a way to make the reader immediately dislike them. Malfoy is pale, with a pointy chin. Snape is an oily man with a large beaked nose and greasy hair. Rita Skeeter has a mannish jaw. Umbridge has a face like a toad. All of this is again in keeping with the Roald Dahl theme. Whether it's Augustus Gloop, Veruca Salt, Mike Teavee, Violet Beauregarde or their mannerisms and descriptions make readers feel an instant dislike for them.

When the series became more... Mature, those caricatures can start finding their critics. Never mind that such caricatures and worse can be found in thousands of other works, like Superhero comics for instance. Yes, no one names their children "Pansy" but Slytherin was an allegory for white supremacist type people. Back in those days, JK wanted them to be hated without reserve, much as she wanted bigotry and racism to be (irony, considering where she stands today).

Death of the Author

In the text there is no real transphobia that I can remember, other than that description of Rita having a "mannish jaw" (I admit that I haven't read it in ages, but I am still certain of this). Once the material is out in print, everyone is free to interpret it as they choose. Whenever JK comes out with clarifications or retcons or something--as she is known to do anyway--it's still more of her headcanon than in-world truth. If there is no outright mention of something in the text, then it doesn't matter what meaning the author intended to convey. What matters is what each reader makes of it. In the case of Harry Potter, the enemy are clearly folks obsessed with blood purity: Purebloods.

Lazy names

I'm going to speak specifically about the Indian names here: Parvati and Padma Patil.

While India is a large country and the name is more common in certain regions than others, I had heard that Patel/Patil surname is quite common in Britain. And really in Indian cinema the most common girls' names are Priya (Big Bang Theory as well) or Pooja, many girls in this side of the screen have goddess names. Like "Parvati". Many people also keep the same first letter for names for twins, or even in families (for instance, my parents, sister, and I, all have names starting with "A"), so "Padma" is a nice choice of name. And really, Padma and Parvati Patil are much better names than "Khan Noonien Singh" (now there's a lazy name).

Everyone insists that Star Trek's Khan is supposed to be of Indian origin, but with a name like that and an actor with a Mexican accent... I don't really think so. It was because of this silly character generation that I didn't particularly mind him being played by the very white Benedict Cumberbatch.

But the Patil twins. Them I can feel that connection to.

Races of the main cast

Now this might be something contentious, so I apologise for that in advance.

No one cares what Harry is, though since Petunia is noted as being pale, and Lily has red hair, the unknown factor is James Potter. Was he black? That would make Harry biracial at best.

Ron is written as a freckled boy with red hair, and all Weasleys share that look.

As for Hermione... She is the poster child of the blood-purity bigotry bias. When reading her, people are supposed to understand that the prejudice against her is certainly her Muggle-born origin; not her skin color, not her nationality, not her sexual orientation. Which is why I feel it's necessary that she stand out as less as possible in those other ways. For this reason I think that it was a good idea to portray her as white.

Here are characters who are specifically noted as black: Dean Thomas, Michael Corner (both of whom were Ginny's boyfriends), Kingsley Shacklebolt, Angelina Johnson, Alicia Spinnet, Lee Jordan, Blaise Zabini (who's noted as being very handsome, and quite popular). Aside from these we have a few token people of Indian and Chinese origin. Speaking again as an Indian, I don't really mind. This is a British story set in a mid-nineties British school only accepting students from the British Isles. It makes sense to me if there are few Indians.

What does all of this translate to? There are legit reasons to hate both the character and the series. So don't make stuff up, especially if you're ignoring the text to do it. Don't confuse the author and their work, even if you have resolved not to buy that work and thereby support her.

#Harry Potter #In defense-ish of #My opinion #Bigass post

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timlikescomics · 5 years

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The House of Xavier...And The Way We Treat Our Children

SPOILERS for House of X issue 4, out this week.

House of X 4 is a visceral, action packed issue that ends in tragedy as the full strike force of mutants discharged to stop the oncoming artificial intelligence apocalypse are murdered by a group of human zealots intent on wiping out all mutants.

What is profound and heartbreaking about this issue is not the way it ends in so many character deaths. We know that these characters will be back quickly. Most of them are headlining upcoming books. Comic deaths are temporary, always. This status quo is temporary--everyone reading the book knows that. But like all comic books we deal with what is on the page in front of us as an individual story.

What is profound and heartbreaking about issue 4 of House of X is the way in which the book is salient, relevant, and political in a way X-Men has not been in decades.

In particular, it is this moment to which I keep returning.

The temporary nature of the events does not diminish the emotional power of this panel.

They’ve murdered so many of us, the world has grown used to it.

In a time when political and racial violence, particularly in America, has escalated, in a time when mass gun murders of young people are a weekly occurrence, it’s so easy to be numb to the numbers. It’s just ... how things are for those people.

For gay teenagers. For trans people. For school kids. For immigrants and refugees. For women. For the black community. Jewish people. For Muslims. We’ve grown used to the violence and the body count.

Throughout House of X and Powers of X, author Jonathan Hickman has presented us with data pages that have largely read like news clippings or Wikipedia entries outlining fictional future history and important pieces of background information. Designed with the help of graphic designer Tom Muller, these data pages have been vaguely hinted at to be from some kind of diegetic source within the story, though it is still unclear who the author is.

Importantly, the tone of these data pages has been very rigid and matter of fact, a largely dispassionate relaying of facts.

In House of X issue 4, on the very first page, the reader’s expectations are immediately turned on their head.

Look at what they’ve done.

Hickman transforms these very rigid data pages that have opened and peppered the books up until now into the voice of someone begging the reader to recognize the violence and pain inflicted upon this community.

The matter of fact style of previous data pages is usurped and turned into a steadfast and desperate voice begging us to look at the cold, hard numbers.

But we, this real world audience, are immune to death tolls. How many names of the dead do we see after each mass murder? Hickman and Muller are borrowing a format we know and our eyes have trained to gloss over--our hearts have calloused after so much violence.

Then, at the end of the issue, these same numbers are thrown back at us at the end of the issue as a nightmare torrent. A barrage of facts falling down upon Xavier’s shoulders and upon us as readers. Hickman is forcing us to feel the reality of it.

We are being invited to grapple with not just the weight of the in-story violence, but the painful reality it reflects. We feel not just the persecution of a fictional minority, but it borrows the authenticity of textbooks, websites, and newspapers to make us feel the authentic weight.

So yes of course the deaths we were forced to witness in these pages is not permanent. Wolverine, Marvel Girl, Cyclops, and Nightcrawler will return somehow. Probably within the next two issues. But by choosing to depict the murder and sacrifices of these characters, who are fighting for their very survival, killed in such a brutal way by people who want them eradicated, Hickman is making a bold statement about our world at this moment. It is playing against the expectations of readers, for one thing, who expect the X-Men to have survived last week’s cliffhanger through some clever means.

For another, the world as it is today has seen more than its share of marginalized peoples corralled, targeted, and even murdered by not just the white supremacists marching with torches in the streets, but by agents of local and federal governments.

The X-Men have always been a metaphor for marginalized groups, often in clunky and imperfect ways. But what this latest issue of House of X shows is that this version of the X-Men inhabit a world where people do not just fear those who are different--they want them eradicated. By highlighting the decimation of mutantkind over the years, by having our heroes brutally murdered by zealots, some agents of the US government, we see reflected the stark reality so many today face.

Chris Claremont’s seminal run on X-Men was many things, but it was never so stark as this. It was never so clear that humanity wanted to see mutants not just marginalized, but exterminated. Violence is inevitable when humanity feels threatened by those they see as replacing them.

Hickman has subtly been building to what seems to be this central thesis of his relaunch. It is perhaps still too early still to say for sure what the House of X/Powers of X series is about, but certainly this issue makes it seem to be, at least in part, about answering this question: What do a group of people do when they finally say with one voice: “No more”?

The last several years of American life have exposed some dark truths that many thought had been left behind...the great bigotry that has defined this nation has exploded into violence. The corruption has prized profits over the lives of our children, gunned down in their own schools, in shopping malls, in movie theaters.

In House of X issue 1, Cyclops lays out what is increasingly seeming to be a central thesis for this version of X-Men.

The X-Men are tired of taking it. The world has exposed itself as inhospitable, violent, and unforgiving to their difference.

Which leads me to this ‘data’ code at the bottom of this week’s title page, which has basically acted as a kind of subtitle for each week’s issue.

The House

of Xavier

and the

way we

treat our

children

What made this issue so heartbreaking, for me, was not just about individual acts of violence or the dark nature of groups of human bigots. It’s about the world we leave for the next generation. And the one after that.

What is left for them to inherit? A society where we accept that we can be murdered in any public space, where our children practice avoiding bullets at school. A society where we accept that sometimes white men will march to intimidate people of latinx descent, and Muslims, and people of Jewish faith. A society that says it’s ok for people who are gay to be tortured until they turn back to “normal.” Where trans people are murdered in silence.

These acts of violence radiate across time, impacting those who come after us.

We see that, textually, over and over with Moira’s cyclical life. It is not just one lifetime corrupted and scarred--it is multiple, over and over and over. In Powers of X we see desolate and broken futures--worlds thrown into turmoil because of the violence.

The X-Men are confronting in stark and graphic ways the culture of violence and the way our world has grown numb to that violence. We adapt to it. We scar and heal and scar again. But there are moments the weight falls upon us. We must confront the world as it is, and not grow numb to the zealots who murder and persecute those who are different. It goes beyond an often faulty metaphor for minorities--there is a generation now decimated by two endless wars abroad and traumatized by random and senseless violence at home, perpetrated by individuals who feel they do not have what they deserve.

House of X 4 begs us, shouts at us, to confront the violence and the pain--the cold, hard numbers and consider the world that is being left for those to come.

Look at what they’ve done.

They’ve murdered so many of us, the world has grown used to it.

It is not enough to hope for acceptance.

We have to say...

No more.

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noxstellacaelum · 4 years

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Filtering Female Characters Through the Male Gaze

Female characters filtered through the male gaze: A (way) too long post about why we need a more diverse and inclusive approach to staffing showrunners, writers, directors, crew – heck, all roles -- in TV and movies.

Yes, I know I am not the first person here on this.

And note that while I have included a few tags b/c I talk about my frustration with Shadowhunters, Veronica Mars, the Irishman, Richard Jewell, and a few other recent shows/movies, I don’t get to this stuff until the very end, I appreciate that fans may not want to wade through the entire essay, which (again), is a bit of personal catharsis.

I recently had a random one-off exchange with a TV writer on twitter. The writer said that she had enjoyed the movie Bombshell much more than its Rotten Tomatoes rating would have suggested. She wondered if the disconnect between her experience/perception of the movie and that of mainstream reviewers might have been shaped by gender: Specifically, she observed that Bombshell is a movie about women, but most reviewers are male.

I have complicated feelings about Bombshell. On one hand, yes, there was and is a toxic culture at Fox News. Yes, Gretchen Carlson and Megyn Kelly were victims of that toxic culture. But no, these women were not mere bystanders: They traded in the racism, misogyny, and xenophobia (for starters) that still characterize Fox News today. Why should these wealthy, privileged white women – both of whom spent many years as willing foot soldiers in the Fox News army -- get a glossy, Hollywood-approved redemption/vindication arc? On the other hand, I am glad that the movie makers made a film about sexual harassment, and that the movie presented Kelly, in particular, as an at least somewhat complicated character. This would not be the first time that a movie about women – especially complicated, and not always likeable women – has proven to be polarizing.

My ambivalence about Bombshell notwithstanding, the writer with whom I exchanged tweets is (not surprisingly, since she is in the industry and I am not) on to something when it comes to gender, character development and critical reception. It’s not just that Bombshell was about women, but reviewed largely by men; it’s that stories about female characters (real or fictional) often are filtered through the male gaze in Hollywood: On many projects – even those focused on female characters – creators/ head writers are male, directors are male, showrunners are male, and producers are male. This matters, because preferencing the male gaze impacts what stories about women get told, who gets to tell them, and how these stories are received inside and outside Hollywood.

First, though, the caveats. I do not mean to suggest that men can never tell great stories about women. Of course they can. I also don’t mean to suggest that being female exempts creators, writers, directors, showrunners, etc. from sexism or misogyny (or any other forms of bigotry, as my discussion of Bombshell suggests). There are plenty of women who prop up the patriarchy. Rebecca Traister’s work speaks to this issue, as does the work of Cornell philosopher Kate Manne. There is an important literature on the concept of misogynoir (misogyny directed at black women, involving both gender and race), a term coined by black queer feminist Moya Bailey, as well. Intersectionality matters in understanding what stories are told, who gets to speak, and how stories are received in and outside Hollywood. I also don’t mean to suggest that there are no powerful women in Hollywood. Shonda Rhimes; Ava DuVernay, Reese Witherspoon (increasingly, given her role as a producer of projects like Big Little Lies), Greta Gerwig’s work in Lady Bird and Little Women, and others come to mind. As I am not in the entertainment industry, I am sure others could put together a far more complete and accurate list of female Hollywood power brokers. And, finally, I appreciate that Hollywood is a business, and people fund and make movies that they think their target audiences want to see. So long as young, male viewers are a coveted demographic, we are going to see projects with women who appeal to this demographic onscreen.

Given these caveats, why do I think that the filtering of female characters through the male gaze is an issue? For me, it has to do with a project’s “center of gravity” -- that place, at the core of the project’s storytelling, where the characters’ agency and autonomy comes from. It’s where I look to understand the characters’ choices and their narrative arcs. When a character’s center of gravity is missing or unstable or unreliable, the character’s choices don’t make sense, and their narrative arc lacks emotional logic. Center of gravity is not about whether a character is likeable. It’s about whether a character – and the project’s overall storytelling and narrative voice – make sense.

When female characters are filtered through a male gaze, a project’s center of gravity can shift, even if unintentionally, away from the characters’ agency and point of view: So, instead of charting her own course through a story, a female character starts to become defined by her proximity to other characters and stories. She becomes half of a “ship” . . . or a driver of other characters’ growth (often through victimization, suffering, or self-sacrifice) . . . or mostly an object of sexual desire (whether requited or not). Eventually, she can lose her voice entirely. When that happens, instead of a “living, breathing” (yes, fictional, I know) character, we are left with a mirror/ mouthpiece who advances the plot, and the stories, of everyone else.

What are some recent examples of this? The two that I have mentioned recently here are Shadowhunters and Veronica Mars S4.

- With SHTV, I will always wonder what might have been if the show – which is based on books written by a woman, intentionally as a “girl power” story – had female showrunners. Would an empowered female showrunner have left Clary, THE PROTAGONIST OF A 6 BOOK SERIES – alone on an NYC street in a skimpy party dress, in November, with no money, no ID, no mother, no father figure and no love of her life, stripped of her memories, her magic, and chosen vocation, as punishment, after she saved the world? Would a female showrunner have sidelined Clary’s love Jace, and left him grieving and suicidal, while his family lived their best lives and told him to move on? Would a female showrunner have said, in press coverage of the series finale, that the future of the Clary and Jace characters was a matter for fan fiction? After spending precious time in the series finale wrapping up narrative arcs for non-canon and/or ancillary characters. And to my twitter correspondent’s point, I guess I am not surprised that mainstream entertainment media outlets didn’t call out the showrunners’ mistreatment of Clary, and by extension, Jace, and the obliteration of their narrative arcs -- and yes, I am looking at you, Andy Swift of TV line (who called the above-mentioned memory wipe “actually perfect”).

- Likewise, with Veronica Mars, would a more diverse and inclusive writers room have made S4 Veronica less insightful and less competent than her high school self, or quite so riven with self-loathing, or quite so careless and cruel with the people in her life who love her? Would a more inclusive creative team have made S4 Veronica less aware of the class and race dynamics of Neptune, yet more casually racist, in her mid-30s, than she was in high school?

- There are so many other examples from 2019. Clint Eastwood falsely suggesting that a female reporter (who is now deceased and thus unable to defend herself) traded sex for tips from an FBI agent in Richard Jewell. Game of Thrones treatment/resolution of the Ceresi and Daenerys characters – where to even start. Martin Scorsese’s decision to give Oscar winner Anna Paquin’s character a total of 7 lines in the 3-plus hour movie the Irishman.

- And, in real life, I wonder whether a Hollywood that empowered and supported female creators would make sure that people like Mira Sorvino and Annabella Sciorra got a bunch of work while also making sure that Harvey Weinstein never again is in a position of power or influence. Same with female comics targeted by Louis C.K. Matt Lauer, Charlie Rose … the list is long, and Kate Manne’s work on what she calls “himpathy” is useful here.

To be clear, I am not saying that stories involving “ships” of whatever flavor, stories of suffering and self-sacrifice, and stories of finding (or losing) intimate relationships are “bad” or “wrong” or inherently exploitive of female characters. I don’t think that at all. I also don’t think that female characters have to be perfectly well-adjusted, virtuous, or free from bias, or that they should never be make bad choices or mistakes. I want female characters who are flawed, nuanced. I don’t mind lives that are messy, or romantic entanglements that are complicated. Finally, I don’t think that that faulty, reductive, or unfair portrayals of female characters is a new thing. Mary Magdalene was almost certainly not a prostitute, after all. And classicist Emily Wilson – the first woman to translate the Odyssey into English – has brought a hugely important perspective (including an awareness of how gender matters in translation) and voice to the translation and study of canonical characters and works.

At the end of the day, I just want female characters to be able to speak with their own voices, from their perspectives. I want them to have their own, chosen, narrative arcs. I want them to speak, act, see, and feel as autonomous individuals, with agency, and not just in reference to others. And, I think that more a more diverse and inclusive approach to staffing writers rooms and in choosing show runners, directors, and key positions in storytelling would help.

#shtv #veronica mars #clary fairchild #clary #jace #clace

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wonderfulworldofmichaelford · 4 years

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Psycho Analysis: Erik Killmonger

(WARNING! This analysis contains SPOILERS!)

The Marvel Cinematic Universe has always been able to tell compelling stories with its heroes, but for the longest time the films lacked a key component of any great superhero story: great, compelling villains. Sure, there were enjoyable foes like Ultron and Red Skull and then there was Loki, the poster child for villainy in the early days, but I think at some point we can’t JUST have fun, we need something compelling and engaging too. To quote one of the greatest MCU villains, it should be “perfectly balanced, as all things should be.”

Thankfully, we eventually got those compelling villains. Characters like Zemo, Toomes, and Ghost showcased a level of complexity and depth not really seen in anyone outside Loki, and fun villains like Hela and the Grandmaster were better than ever, with more engaging personalities. Then we got villains who were a blend, like Ego and Mysterio, and don’t even get me started on Thanos. But there is one villain who stands out even among the greatness of these villains, a villain who is one of the few Marvel villains that I would without hesitation call one of the greatest villains of all time: Erik Killmonger.

Killmonger is a character who solidified Marvel’s turning point from weaker villains into villains worthy of high praise. And not only that, he helped to completely redeem his actor, Michael B. Jordan, in the eyes of filmgoers everywhere after a not-so-fantastic previous outing into the superhero movie genre (though starring in Creed probably also helped him out). Killmonger’s story is almost Shakesperean, with a tragic life molding him into the ruthless man he became, a man whose entire motivation is founded on hypocrisy. But it’s these facets and more that make him if not the greatest, but one of the most fascinating characters in the MCU. And yes, I mean characters period.

Motivation/Goals: Erik had a pretty miserable life growing up. His dad was killed by T’Challa’s father for allying himself with Klaue due to wanting to end Wakanda’s isolationist policies after seeing black people disenfranchised in America, and his mom was apparently in jail (and she died there). Erik’s greatest desire is to carry on his father’s work, only on a grander scale: he wants to take the throne of Wakanda for himself and forcibly end their isolationist policies, supplying vibranium tech to black people around the world and giving them the strength to fight back at their oppressors. And, you know, I can’t really fault him in theory, his plan isn’t totally evil…

...but it becomes very clear that the only person Erik really thinks about is himself. He’ll oppress and murder black people if they don’t fall in line with his plans, he doesn’t give a damn about anyone who isn’t black in general, and most tellingly of all: he decides to keep the power of Black Panther to himself, destroying it to keep any future generations from getting it. While there definitely is some truth to his goals and desires, it’s hard to deny that Killmonger is also acting out of vengeance and a lust for power. Unlike most villains who lust for power, he at least has a lot of other things going in to his motivations, which keeps him from being bland like, oh, I don’t know, Malekith.

I think it’s also worth noting that even in the film, the characters point out Erik is still operating like a CIA wetworker, dismantling and destroying governments while masking his motives under the guise of rebellious ideology. The thing here is that he’s not working for anyone who’s going to swoop in and scoop up the assets from the ruins of the places he’s destroying – he’s the master, and all he is doing is leaving behind chaos, destruction, and death for nothing. His own goals are not truly helped by a lot of his actions, especially not when he decides to eschew Wakandan traditions in the third act, which helps lead to his downfall.

Performance: Michael B. Jordan is a very talented man, which anyone would be able to tell you provided they had watched Chronicle and sat out F4ntastic. Unfortunately, the latter managed to stick in most people’s minds since it ruined the career of Chronicle’s director and basically garnered a lot of vitriol for everyone involved, so it was going to be an uphill battle for Jordan with this film.

Boy did he win the crowd here.

Jordan manages to make Killmonger everything you would want to see in a villain. He’s cunning, he’s dangerous, he’s charismatic, he’s pretty damn hot (Did you SEE him with his shirt off?!). It’s to the point where despite the incredibly embarrassing CGI cat fight at the end between him and T’Challa, Jordan manages to turn Killmonger’s death scene into a poignant and emotional moment that ends up deeply affecting T’Challa as a character and setting the stage for his character growth to the point where you can almost forget that you spent the last ten minutes watching a PS3 cutscene.

Final Fate: For a comic book movie villain, there is about a 10% chance you will make it out of any given superhero movie alive. Killmonger does not fall into that 10%; thankfully, he does get a poignant sendoff, where he gets to watch the sun set on Wakanda (both figuratively and literally, considering T’Challa’s actions in the ending) and deliver one last line clinging to his ideology to his dying breath. Maybe he was just playing a bit to mask his own egotism, but you have to give props to a man who stays steadfast and defiant even to the end. Even when offered the chance to be saved, he chooses to go out on his own terms.

Best Scene: I can hardly narrow it down to one scene, because Killmonger basically steals the show whenever he’s onscreen. But his cold-blooded murder of his own girlfriend when she became a liability to his plans, followed up by executing Klaue and delivering his corpse to Wakanda? That’s just ice cold. Most villains wish they could get the lengths they’d go to established like that.

Best Quote: After going on about the poignancy of his dying words, how could I not put them here? When T’Challa tells Killmonger Wakandan science can save his life following the Video game cuts- er, final battle between the two, Killmonger responds thusly:

“Why? So you can lock me up? Nah. Just bury me in the ocean, with my ancestors who jumped from the ships, 'cause they knew death was better than bondage.”

Final Thoughts & Score: There is just so much to unpack with Killmonger.

I think one of the aspects about Killmonger I like the most is that despite his good intentions, there is an inherent hypocrisy in all he does which, despite valid points and incredibly valid grievances, firmly cements himself as a villain. For all his talk of aiding and liberating his fellow Africans from the opression they face around the world, he feels no remorse in appropriating from them (as he does to that mask at the start of the film, ironically after calling out a museum worker for stealing it) or violently subjugating them and destroying aspects of their way of life as he does when he comes to Wakanda. And his own gripes against white people, while founded in a place of legitimacy, are also filled with hypocrisy on his part, to the point where he actively does everything he rails against the white colonizers for doing, down to even oppressing and harming other non-white racial groups so long as it furthers his desire to turn Wakanda into a power that can oppress all other nations with its technological superiority. Now, usually such rampant hypocrisy would lead to a poor character, or even an idiot – but such is not the case here. His own hypocrisy only serves to make him a richer, more well-rounded character.

Compare him to Thanos. Thanos also had a plan that was inherently flawed, hypocritical, and not rooted in rational thought – and he is widely praised as an excellent character. This is because you are not supposed to agree with a villain, valid as their points or their anger are. But at the same time, their anger and their motives gives you an insight onto who they are and how they operate, a window into how their mind works, and Killmonger’s definitely shows how he is a broken, angry man who was failed by Wakanda and failed by America and has suffered bigotry, racism, and violence all his life. And in his shoes, would you too not be angry? Even with the numerous atrocities he commits and the horrible hypocrisies he wallows in, it’s hard not to feel a bit of pity for a man who could have offered so much, only to give in to hatred.

And the thing with Killmonger is that not only is his anger valid, it ultimately does have ramifications, it ultimately does change the status quo, though maybe not in the way he envisioned. T’Challa realizes in the end that Wakanda failed Killmonger, that Wakanda has been selfish and allowed horrible things to occur to their fellow Africans because they didn’t consider them their people. And so T’Challa opens the borders, decides to share Wakanda’s gifts with the world, and reach out and help disenfranchised black people around the world so that someone like Killmonger never rises up again. What this could mean for the MCU going forward is anyone’s guess, but it definitely shakes up the status quo of Wakanda a fair bit.

I think it’s rather obvious that Killmonger earns himself a 10/10, joining the ranks of Thanos, Mysterio, and Ego at the table of champions. As far as villains go, I’d say he’s probably the deepest and most well-written, though I’d still say it’s arguable if he’s the absolute best. Still, he is certainly a fine metric by which to judge other villains, and if nothing else he will most definitely wash the bad taste of Jordan’s Johnny Storm out of your mouth forever. Killmonger really is what I would consider the gold standard that other villains need to live up to in other comic book movies, and generally speaking, we’ve been getting that recently. Let’s hope that the pace can be continued, and let’s hope whoever T’Challa is fighting in Black Panther 2 can measure up.

#Psycho Analysis #Erik Killmonger #Michael B. Jordan #Black Panther

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hello-robin-goodfellow · 4 years

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THE DIFERENT CYCLES OF NOSTALGIA FILTER

Most of the nostalgia towards the past is based on Nostalgia Filter. The good stuff is remembered and the bad stuff ignored, forgotten or not even taken in account. When it's about a time period Two Decades Behind people will be nostalgic for it because they experienced it themselves, but from the viewpoint of a child or a teenager, when they didn't have to worry about all the adult stuff that depresses them nowadays, because the grownups took care of all that: taxes, work, bills, tragic news events,... If the nostalgia is about a time period people didn't directly experience themselves the romanticism is even more rampant. People will base their rosy posy image of that time period on stuff they have seen and read in books, comic strips, cartoons, TV series, films, old photos and/or fond memories of older family members. Usually they aren't aware that many things they now take for granted didn't always exist back then or were still considered highly controversial.

The glories of Ancient Greece and Ancient Rome where the cradle of philosophy and science started, everyone is able to enlist in the army (well, if you weren't a woman or a slave, of course) and see the world while doing so. You can go and enjoy watching Olympic Games, a play in the theater or watch exciting gladiator battles in the arena, philosophers like Socrates, Plato, Aristotle and Virgil are respected as pillars of their societies, and people were opened to sex and LGBT as opposed to the close-minded Christians in later centuries. Not taken in account: class systems, people dying early of diseases we nowadays have proper treatment for, slavery, democracy only for rich upperclass males citizens, bloody battles, Roman military service had to be fulfilled several years! before you could retire and start a civilian life, women having no rights, not even allowed to watch sporting games, xenophobia was so prevalent that would make modern prejudices and bigotry look tame, scientific contributions were more based on superstitions and empirical and weren't always based on logic (see Plato's and Aristotle's works), pederasty was the only accepted form of homosexuality and it was punishable if a relationship did not fit in those criteria (also it was only tolerated in some city and states), Roman sexuality was still arguably patriarchal and not all sexual taboo was acceptable (ie. a wealthy man get away with his slaves while married women were expected to be faithful, oral sex was considered shameful).

The thousand years of Chinese dynasties up until Republic was the time where people dressed in beautiful colorful haifu with good etiquette and manners, scholars were appreciated, education was valued as opposed during the Cultural Revolution, the Tang Dynasty was the golden age of prosperity and where women has more rights than any other periods. Not taken in account: the Confucians were oppressive against the lower social classes, the caste system, education systems were corrupted with many scholars and students were promoted based on bribes rather than actual skills, women were still considered inferior in the Tang Dynasty, the royal court were so deadly and decadent that would make the place in wuxia media look tame, slavery, the rebellions and civil wars (ie. The Three Kingdoms, An Lushan Rebellion, Taiping Rebellion) that were very common that cost million of lives that went unheard of and resulted in many famine and diseases that led to cannibalism, footbinding was practiced since the Song Dynasty, xenophobia was prevalent including against their sister countries like Japan and Korea.

The Middle Ages are usually romanticized as a glorious past with chivalrous knights fighting for the honor of beautiful princesses, proving their worth in tournaments, stuffing themselves at royal buffets with the kind old king, and defending castles against malevolent invaders. Not taken in account: The Plague, wars, mercenaries and soldiers plundering farms and villages, filthy streets, people dying at a young age because of insufficient knowledge of diseases, the injustice of the feudal system, monarchs and the Catholic Church being oppressive towards people with other viewpoints, high illiteracy, people executed and tortured for audience's pleasure and often without anything resembling a fair trial, women considered being lesser in status than men, famine whenever harvests failed... Ironically, the part that was arguably good, the Byzantine Empire (with its extremely high literacy and such luxuries as running water) is usually overlooked or completely ignored.

The Renaissance and The Enlightenment are the time when society finally got out of the bleak, primitive and God fearing Dark Middle Ages and gained wisdom by discovering a lot of stuff. Kings and queens never looked more magnificent. Artists and sculptors painted the finest works and humanists, philosophers and Protestants learned humanity to think for themselves. You could enjoy a Shakespeare play, listen to baroque classical music or have a swashbuckling duel. Not taken in account: A lot of new thought and discoveries in the field of science were very slowly adapted into society. Mostly because a lot of royals, religious authorities and other government officials suppressed these "dangerous" new ideas. Compared to those "primitive" Middle Ages more people have been hanged or burned on the stake for their beliefs and/or on the assumption that they were witches during the 1500s, 1600s and 1700s than in the centuries before! The Reformation and Counter-Reformation divided Europe and caused many casualties. All the great books and art works created during this era were only enjoyed or experienced by the very rich. Wars still ravaged Europe, colonization exploited other continents, slavery became a real industry and absolutism made the monarchy and nobility so powerful and decadent that they didn't care about the lower classes. Duels weren't glorious at all, just a matter of killing off your opponent.

The Golden Age of Piracy is one big adventure where you could go on a boat trip with pirates and have fun attacking other ships, taking gold and bury or search for treasure on some Deserted Island. Men were real men with a Badass Beard and cool looking eye patches, hooks for hands and wooden legs. Not taken in account: scurvy, people forced to do what their captain told them, your ship being attacked by other ships and losing, keelhauling, loot just being spent instead of buried, anti-piracy laws could get you arrested and hanged, storms could destroy your ship, all the cool looking eye patches, hooks for hands and wooden legs were just practical solutions for grievous injuries suffered during fights, and the fact that most of the Caribbean economy was reliant on the slave trade. There were also plenty of brutal attacks on helpless villages, indigenous communities, plantations, civilian ships, and even colonial settlements. In addition to helping themselves to everything that wasn't tied down, pirates would also torture, murder, enslave, and/or rape men, women, and children indiscriminately just for their own sick pleasure.

America's Wild West is a fun era where you could roam the prairie on a horse, visit saloons and shoot outlaws and Indians. Not taken in account: slavery was not abolished until deep in the 19th century and still going on in many colonies or remote place in the American South, cowboys took care of cattle and didn't engage in gun fights, gun violence was just as illegal as it is nowadays and could get you arrested by local sheriffs, outlaws could actually remain on the loose for several years, Native Americans being massacred by white settlers and armies, black people having no basic human rights, The Ku Klux Klan was a respected organization...)

The mid-to-late 19th century and early 20th century were a classy time period where everybody was impeccably dressed and had good manners. You could take a coach ride or (later on) test the "horseless carriage", read some of the greatest novels in history, listen to the first records or even the great Caruso in person, admire the wonders of electricity and enjoy a world still untouched by modern industry. Life in the colonies was even more fun because you so many countries were still unexplored territory and the ideal place for adventure. Not taken in account: Victorian values were dominant, women couldn't vote, poor people couldn't vote, industrialization didn't have any health, safety or ethical rules to obey, child labor was rampant, workers had no rights, factories were very harmful to people's health and the environment, city rivers were open sewers, upper class had all the advantages upon the lower class, people could be sent to the poor house when they couldn't pay their debts, many novels were just pulp (think of it as the 19th century version of Internet) and music was strictly symphonic, the first automobiles were as dangerous as electricity, colonization was great for white Europeans but not as much for the oppressed native populations of Africa and Asia, animals were still hunted down as trophies, people who looked different were exploited in freak shows and circuses for spectators to Come to Gawk.

The Interbellum (1920s and 1930s): Between the two world wars, life was great. Everybody went to night clubs and/or revue theaters where they could enjoy great jazz music, girls and comedians. Movie theaters were a great place to be, because fantastic cinematic masterpieces were made. On the radio you could great music and serials, and newspapers published the best and most engaging comic strips ever printed. Not taken in account: From 1920 until 1933 alcohol was prohibited in the USA, so having an alcoholic drink was impossible without getting arrested or dying because of bad homemade brew. Crime was able to organize itself in a way that will probably never get untangled again. Many people got murdered in gangster violence. Jazz music was initially seen as "barbaric" just because it was made by blacks, and it had to be adapted to symphonic music to make it well-known. Hollywood in its early years was subject to more scandals than ever since, leading to a industry-wide censorship that lasted until the 1960s. The Great Depression between 1929 and 1940 caused major unemployment and poverty in many civilized countries, also forcing quite some people to start a life in crime. The "Dust Bowl" generated a desertification of the Midwest. Germany was particularly struck hard, because the country was still paying huge war debts to other countries, causing mass poverty and the ideal atmosphere for Nazism to gain voters. Many countries during this time period suffered under either Nazism, Fascism or Communism. From 1933 on Jewish, homosexual, Romani and left wing people were already persecuted in Nazi Germany, at the same time disagreeing in anything with Stalin meant a one-way ticket to Siberia. War was already brewing in Europe and the Far East, when Japan invaded China and South East Asia. Many countries were still colonies, which wasn't a great deal for the natives there. Afro-Americans were still second class citizens and the Ku Klux Klan was still quite powerful in many political circles.

The '40s and World War II, the time where the entire world was united against a common evil foe and soldiers could still fight a just cause. Everybody worked together to defeat the Nazis or Japanese, while enjoying great Hollywood films and jazz and big band records on the radio. Not taken in account: Not everyone was united against the Axis. Numerous people (even Lindbergh and Ford) didn't consider Nazism or Fascism anything bad or felt their country should stay neutral in the war. During the occupations many people on both sides were arrested, deported, and/or murdered. People couldn't trust anyone, because your neighbor might be a Nazi collaborator or a spy who would turn you in to the authorities. The Nazis banned American and English music and films in Europe, so you could get in big trouble if you tried. Also, you know, there was a big war on. Millions of young soldiers were drafted and died on the battlefield, cities were bombed and occupied by enemy armies, you could die any day, shortages were rife.

The '50s: The last truly great time period in history. Music, films, politicians were nice, clean and decent. There was a general optimistic feeling about the future, exemplified in sunny fashions, interiors and technology. The youth enjoyed some great rock 'n' roll on their transistor radios and the early TV shows show how happy and pleased everybody was. Not taken in account: the Cold War, the Red Scare, anti-communist witch hunts, the Korean War, the French Indochina War, many European countries tried violently oppressing the inevitable independence of their colonies, Afro-Americans were still second-rate citizens in the USA and had to fight for human rights, homosexuals were forced to keep their sexual identity silent in many countries, the traditional role of women as housewives was still encouraged in many Western countries, a lot of music in the hit parade was still the bland, square, formulaic and sappy crooner music popular since the 20s, adults were scared of early rock 'n' roll and actually did everything to suppress the youth from listening to it and becoming teenage delinquents, the TV shows and films of that decade were so escapist that they ignored every controversial element.

The '60s and The '70s, a great time when everybody was a beatnik or a hippie and enjoyed fantastic rock music, marijuana, LSD and free love. People chased bad guys with their own hands with cool funk and disco music playing in the background. The young demonstrated for more democratic rights and everything changed for the better. Not taken in account: the older generation looked down upon hippies, the Vietnam War cost many lives, The Cuba Missile Crisis nearly caused a nuclear war between the USA and USSR, Afro-Americans still had to fight for civil rights, just like today there were just as much idealistic but naïve demonstrators who merely wasted time smoking pot instead of actually doing something, drug casualties were just as rampant back then as they are today, people took the law on their hands because of the alarming crime rates, not helped by the extreme corruption of police forces, psychedelic rock, funk and disco are now confined to sit in the shadow of both rock-and-roll and modern pop music, to the point that for decades, these were considered as the most cheesy genres created by man, [[not all demonstrators were pacifistic in their approach and it's an open question whether everything actually changed for the better.

The '80s: Oh yes. A great decade for pop culture after the sordid '70s and before everything went to the gutter in the '90s: Everybody felt a bright future coming along, as demonstrated by good TV shows, groundbreaking technology, computers and videogames, colorful clothing, simple yet catchy pop music and finally a TV channel that showed your favorite bands 24/7. The Cold War came to an end, the Berlin Wall and Apartheid fell. Not taken in account: The early 1980s had many people fear the Cold War wasn't going to end well. The Latin American debt crisis. President Reagan wanted more nuclear missiles in Europe, envisioned the Star Wars defense system and the "Evil Empire" speech reflected the "Red Scare" at a time "the Bomb" was still making everybody nervous. The Cold War, Berlin Wall and Apartheid did fall, but only near the end of the decade. Unemployment and economic crisis were a huge problem in many Western countries in the early years of the decade and the high speculation led to a bubble which fatigued in 1987 and burst in 1989. AIDS caused many victims because governments were slow to inform the general public on this disease as most people at first dismissed as just a problem for blacks, gays and drug users. TV shows and movies were extremely escapist and PCs and video games were prohibitively expensive. MTV did bring music videos on TV, but the downside was that how a pop star looked and danced became more important than the music, which was now created by computers, becoming increasingly sappy and repetitive as samples became the norm, becoming a disadvantage for those who still wanted to use actual instruments, chords and tunes. Metal and rap were seen as crime-mongering and even "satanic" as a whole. Also drugs went artificial during this time, turning Florida into a Crapsaccharine World. The nuclear power plant explosion in Chernobyl caused another major fear among people about the dangers of nuclear power.

The '90s and The Aughts: Dude. The Cold War has ended, and though some pesky Arabs (and some nutcases in the West) will try to blow people up and some Central European countries will be at each other's throats, there is peace at last! Outsourcing has lifted the West from the heavy load of manual work for good and turn to technology, and anyways, isn't the Internet wonderful? Society and culture are now free to break all imposed boundaries: Music has become more authentic with the arrival of rap, hip-hop, grunge and pop-punk. TV and movies now address modern issues instead of being stuck in those stodgy 50s and 60s. Politicians at last agree on stuff and generally get along. Whatever. Not taken in account: While a couple of years in the late 1990s were quite peaceful, the years before were marked by the extremely chaotic rearrangement of the former Warsaw Pact nations and the decade after was dominated by the Iraq War and memories of 9/11. The "technological revolution" ultimately never became the boon it was supposed to be: Economically, the exodus of manufacturing jobs forced the middle class to live on debt, which would give way to an economic meltdown by the end of the 2000s while privacy would gradually become a major source of concern as personal data became readily accessible. During the 1990s, the Internet was very expensive and was the province of businessmen and geeks while during the following decade, online downloads and chatrooms became incendiary topics. Grunge and "gangsta rap" were better known at their peak for the demise of several of their stars than for the music while hip-hop and pop-punk would be regarded in retrospective as trashy as the bubblegum pop that dominated the late 90s. By increasingly appealing to the trendy set, TV and film became increasingly shallow. While ideological differences became a thing of the past, politics became more self-serving and conflicts became pettier. As a result, people began to feel a sense of disconnection, which eventually led to the rise of strongly ideological populist movements.

SOURCE:

https://tvtropes.org/pmwiki/pmwiki.php/Main/NostalgiaAintLikeItUsedToBe

EXTRA: IN THE DISTANT YEAR OF 2045.

The New '10s and New '20s : Remember that meme? Do you have a Harriet doll? I need her to complet my My Little Poney: Friendship is Magic and Equestria Girls collection. Do you want to exchange her for my Fluttershy doll? Oh, do you like Lady Gaga? Her music was so deep. “Oppan Gangnam style. Gangnam style. Op, op, op, op oppan Gangnam style. Gangnam style. Op, op, op, op oppan Gangnam style. Eh sexy lady. Op, op, op, op oppan Gangnam style. Ehh sexy lady, oh, oh. Eh, eh, eh, eh, eh, eh”. Oh, i love your funko pop of Baby Groot! “ Gotta get that. Gotta get that. Gotta get that. Gotta get that that that. Boom boom boom (Gotta get that). Boom boom boom (Gotta get that). Boom boom boom (Gotta get that). Boom boom boom. (Gotta get that) Boom boom boom. That boom boom boom. That boom boom boom. Boom boom boom”. Avengers Assemble!

Not taken in account: The Syrian refugee crisis. The burning of the Amazon jungle. Donald Trump as the american president. Jair Bolsonaro as the brazilian president. The Covid-19 Pandemic. Navy oil in the beachs of the brazilian north east. The Brazilian Cinematheque getting closed. Height of murders of LGBTQ in Brazil. Disney monopolizing the american TV an Movie Industry.

@theroguefeminist @ardenrosegarden @witches-ofcolor @mademoiselle-princesse @butterflyslinky @anghraine @notangryenough @musicalhell @rollingthunder06 @graf-edel-weiss @princesssarisa @culturalrebel @irreplaceable-ecstasyy @im-captain-basch @iphisquandary @jonpertwee

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