#latinx narratives | Explore Tumblr Posts and Blogs

rawliverandgoronspice · 1 year

Text

THE GERUDO POST

(aka an attempt at a critique of how gerudos were handled in BotW and before)

Oh no. TOTK being right around the corner, it might finally be time for the Gerudo Post.

(aka half of the reason why I made a Zelda sideblog in the first place)

So I want to preface all of this by saying that, as you could probably tell already, I’ve always adored the gerudos. They have fascinated my small child brain when I was 7; then the obsession made its comeback when I was 14, and now, here we are, almost 28, and I’m still thinking about the gerudos. I think they might be among my favorite fictional cultures for their potential and their understated storyline. I guess growing up in a very Arabic neighborhood, coupled with being bi-culturally latinx (?? does Brazil count?? you tell me), also always made them feel like home to me –especially when I was very young and there was not a lot of cool female representation flying around that managed to involve fiercely independent PoC women, flaws and teeth included.

This whole weird-essay-thing tries to do two things. First: analyze the place gerudos have occupied in the series, their initial problematisms and their subtextual narrative arc during the Myth Era coupled with their relationship to Ganondorf. Second: tiptoe to Breath of the Wild and poke it with a stick to see what happens –and in doing that, explain why I believe a lot of their characterization was defanged in service of smoothing their past with the hylians instead of deepening the culture on its own terms, and why I’m a little apprehensive about what that might mean for TotK even though I adore seeing the best girls at it again.

Those are the uhh terms of service??

And now, we must go back to 1998.

OCARINA OF TIME ERA

There’s so many things about the gerudos that are noteworthy and rich, and they’ve made for a complex piece of Zelda lore ever since their introduction –and when I say complex, I don’t 100% mean it as praise. The very racially charged decisions made about their inclusion have been discussed at length by the fandom, especially when it comes to orientalist and Islamophobic tropes being deployed pretty thoughtlessly in Ocarina of Time (their sigil being literally a crescent moon and star originally, the parallels are pretty obviously there).

We’re talking about a band of amazon-like, big-nosed brown women from the desert ruled by a single Scary Evil Man born once every hundred years hellbent on conquering Hyrule who they apparently worship like a god, characterized primarily as thieves, decked in jewelry and orientalist-inspired harem/belly-dancing clothing, hostile to the white good guys of Hyrule (especially men), unblessed by the Goddesses and so deprived of elongated ears (this is true for OoT –we’ll come back to that), also known as a demon tribe with their deity straight-out described as evil-looking by Navi (on my way to cancel you on twitter Navi you watch out), and secretly led by evil twin witches who can turn into a single seductress and, as two mothers, raised their Scary Evil Guy king who happens to basically be the devil.

In so few words, gerudos are the future that liberals want.

It’s worth notice, also, that Ganondorf’s characterization in this game is… kind of relentlessly uncomfortable to play through, especially before the 7 year skip. The utter assumption of depraved and evil intents from every character surrounded by dialogue that does little to hide its biases in spite of having generally very little proof to back them up –even though, in the game’s context, every character is correct to call his eyes evil and the darkness of his skin a moral judgment in on itself. The scene where Zelda demands that we believe her conclusion that the sole and only brown guy in the entire kingdom is evil and will do harm, and the game straight out refuses to progress until we concede that her dreams are prophetic and that this man must be stopped at any cost even though she has no more proof than her discomfort… hits different on replay.

I’m restating all of this not to pretend I’m making a novel and thought-provoking point, but to bounce back on a tumblr post I saw a while back (that I can’t find anymore!! I’ll link it if I find it again) –and so express what it is that gripped me with the gerudos in spite of their pretty damning depiction… and actually maybe thanks to it.

There’s a surprising amount of texture to Ocarina of Time’s worldbuilding that exists folded within the things introduced and left hanging, or in its subtext –and whether on purpose or not, I believe it is why people keep coming back to this iteration of Hyrule.

What was that about the king of Hyrule unifying a war-torn country? Why did the gerudos break the bridge connecting them to the rest of the kingdom during the 7 year timeskip while still worshiping Ganondorf, and why are the carpenters trying to rebuild it against their apparent wishes? What was that about gerudos imprisoning hylian men trying to force entry into their lands? What was that about the secret death torture chambers right next to the Royal Family’s tomb and connected to the race of people who were, apparently, born to serve them?

Nothing? Oh okay… okay… okay….

The same can be said about this strange depiction of this hostile tribe, consistently described as wicked yet suddenly friendly once you prove you deserve their respect once you... defeat them, so you now have joined them? Ocarina of Time isn’t very consistent when it comes to characterizing them as their occupation (thieves) or as a proper culture, with a king and a strange system of rulership that seem to involve at least 5 people: Ganondorf, the Twinrova, Nabooru and the unnamed random woman who decides you’re now part of the gerudos because you slashed enough of them with your sword and hookshot, which, uhh ok.

They’re but a ragtag and negligible group when discussed next to gorons and zoras and hylians, but they also clearly have their own religion and at least a 400-hundred years old history (probably far longer than this) and hints of a written language of their own. I’m not sure the game itself knows what it wants them to be, beyond: intimidating and hot and cool, but also wicked and, because of Ganondorf and the way you barge in their forbidden fortress (heh) with the explicit intent to dismantle their king, in apparent need to be saved from themselves.

Speaking of rulership and the Spirit Temple, let’s have a quick tangent about Nabooru: I always found her characterization when meeting with Child Link pretty strange. I refuse to mention the promised reward, which feeds into everything orientalist mentioned above, but I always found her moral compass so extremely convoluted for someone coming from gerudo culture. Nabooru says that, despite being a cool thief herself, she resents Ganondorf for killing people as well as stealing from women and children. Stealing... from women. Nabooru. Why are you this pressed that he steals from women!!! This feels so out of place, that the only girl of that hostile culture that betrays her king and befriends you, is the one that upholds moral values that only a hylian could possibly hold.

Either way: the strange unquestioned contempt of the game for them as a culture, mixed with the occasional bouts of heart, friendliness and badassery, makes it hard not to consider their depiction as pretty biased in favor of the hylians finding them at once exotic, scary and exciting, and could hide a more complex reality you might only get one side of –especially when you know there were originally plans for Ganondorf’s character to be more gray and motivated than what the campy final version ended up being. To be blunt: even in the context of a game for children, and maybe because of that fact, it all reads like a reductionist and imperialist/colonialist reading of a more complex situation.

This might seem like A Lot coming from a game where the actual game writing can be this overall flimsy and simplistic due to the standards of the time (it’s rough, it's so rough). But I would have never dwelt on that thought about a little children’s game if not for the mainline entries that came soon after, because... ooo boy.

The sense you’re not getting the whole story was certainly not helped by the introduction of Wind Waker Ganondorf, and the chilling emptiness of Gerudo Desert in Twilight Princess.

AFTER THE TIMELINE SPLIT

(I’m skipping Majora’s Mask, not because I dislike them in the game or think they’re not worth talking about, but because it’s a parallel universe and they’re never even called gerudos and their reality seems extremely different from their sisters in Hyrule so I think it’s okay to call them tangential and not dive too deep in this particular depiction)

Here’s something I want to highlight about gerudos and how they were characterized before BotW came along: their absence. Not only their physical absence, the lack of any gerudo character that calls themselves gerudo, but their absence from the text itself.

It’s not that Wind Waker and Twilight Princess retroactively scratch them off existence: we can clearly see Nabooru’s stained glass art in WW as well as recognize them being mentioned in Ganondorf’s final boss soliloquy, and WELL there’s quite a lot to say about their imprint over the world of TP. They are there –or at least they... were there. But nobody ever talks about what happened.

In Wind Waker, there was the deluge. It’s assumed lots of people died then, and those who survived scattered across the Great Sea. Are they sealed under the waves? Have they drowned? Is Jolene, Linebeck’s ex-girlfriend in Phantom Hourglass, a distant relative of one of the rare survivors? It’s unclear, beyond the fact that Ganondorf is the only living gerudo we see in this entire branch of the Timeline split.

In Twilight Princess, the desert which bares their name is empty. The hylians never mention that it used to be the name of a tribe: they’re not even named when Ganondorf is introduced for the first time, reduced once again to a mere band of thieves. We learn his plans to steal the Triforce in OoT were foiled, and that he may have turned to war. Then he lost the war, and was executed in Arbiter’s Ground: a strange structure in the desert, a mixture between a temple, a prison and a coliseum. What looks like gerudo writing coexists with hylian symbols, which often look much fresher. This dungeon is the Shadow Temple of TP: a prison hosting the worst criminals the kingdom has ever known, now haunted and cursed. Besides the locations, the only character that vaguely look gerudo in the entire game besides Ganondorf is Telma, a character with pointed ears that never seems to identify as anything but a hylian. What happened? Who’s to say. Nobody ever says anything. Not even Ganondorf bothers to mention them the way he did in WW –and though the game’s story is quite focused on another exiled tribe seeking revenge and dominion over Hyrule as retribution, the parallel is never explicitly drawn. So who’s to say what happened there. Who’s to say.

And in A Link to the Past and the games forward? The only mention of other gerudo characters are Koume and Kotake, resurrecting their son in the Oracles games through their own sacrifice and failing to bring anything back but a monstrosity incapable of making conscious decisions. Granted, most games in that extremely weird Fallen Timeline predate OoT and therefore had yet to make gerudos up at all. Still: canonically, between the gap of OoT and ALLTP, whatever it may be, gerudos disappeared here as well.

I think there’s something subtle and a little heartbreaking about the fact that no matter what Ganondorf does, the gerudos always end up dying out. His yearning for Hyrule, its gentler wind and the Triforce blessing its lands always costs him the kingdom that he does have already.

Now, does he care? A lot of people would argue that he doesn’t, that he used them like pawns for his own ambition and saw them as servants more-so than sisters, and I wouldn’t be surprised if it was Nintendo’s official opinion, but… One very powerful thing about most of Ganondorf’s incarnations (focusing on the human ones) is that he never seems to reject his cultural heritage. They could have gone for him wearing more kingly hylian stuff given the whole underlying theme of envy and pride surrounding his character, but never once does he try to look more hylian, beyond the ear situation that seems to be tied to the Triforce of Power? Either way: he is gerudo. Several of his outfits reference his mothers, as well as general gerudo patterning and jewelry. His heritage is something he proudly displays, even hundred of years in the future when there is no one left to remember what it means but him. I think it’s a very potent piece of characterization, an arc that crosses over multiple game and says something pretty intense about this character’s fate and his inherent destructiveness over the things he touches –starting with the Triforce, all the way up to his very own body and mind. His mental breakdown by the end of Wind Waker, when the king of Hyrule himself forces him to give up on the thing he sacrificed everything for, takes a new kind of weight with the whole picture taken into account.

(not to excuse genocide or general egomania-fueled madness and violence, but one thing doesn’t mean the other isn’t also relevant)

Regardless of whether this is a tragedy for Ganondorf as their uhh complete failure of a king, honestly, it is undeniably a tragedy for the gerudos themselves: a once-in-a-lifetime joyful event turned into a never-ending nightmare from which there seems to be no escape, their legacy now condemned to fade to black, leaving nothing behind but a demon boar forever laying ruin upon the world.

One may say I’m taking on the bleakest explication for the gerudos’ absence when there could be others. It’s true! Perhaps the gerudos are just chilling off-screen, completely fine, not interested in whatever is happening in the kingdom nearby and their disaster child having yet another temper tantrum about not being the Goddesses’ favorite boy. It’s possible! But regardless, what little elements we do possess as players doesn’t seem to support this, even if it remains possible –and regardless of actual gerudo lives, gerudo culture is definitively a goner in every single timeline.

Even if they did survive... Hyrule still won its unification war.

(I won’t mention Skyward Sword as they are not really a thing there, except for a butterfly that seems to suggest the Gerudo Province was a thing before the gerudo people –I don’t know what to do with this honestly– and the whole Groose situation, which, I’m not sure what to make of either beyond the fact that he may have gotten cursed by opposing Demise? And then went on to start the gerudo tribe, which ended up being an all-women group for some reason? Maybe? It’s not confirmed? I feel like it’s more of a fun tidbit than a central piece of the gerudo puzzle, so I’ll leave it there like I would a cool rock I brought back from a walk and that I don’t know where to put in my house)

Then, Breath of the Wild happened and changed things.

BREATH OF THE WILD

(Additional short note, but: while I won’t mention Four Swords Adventure, since it’s a weird one that almost nobody has played and severely messes with the Timeline, we kind of see the beginnings of what is about to happen in Breath of the Wild in this game –gerudos coming back without much explanation, then distancing themselves from Ganondorf to become friends with hylians because he was too hungry for power and now they are nice and have good reputation because they are our friendsss)

I was actually so happy to learn gerudos were making a comeback in a mainline Zelda game, and this got me more excited about Breath of the Wild than basically anything else the game involved. And getting to explore the Desert once again, meeting this new batch of impossibly tall buff girls, getting more about their language and their culture, Riju and the rest of the little girls are adorable, the grandmas are so cool, the sand seals??? sign me the fuck up??? And above it all, hanging around Gerudo Town at night and feeling as warm and cozy as little me liked to imagine how freeing it would feel, to stay there and watch the desert behind the safety of their walls in OoT… This was great. I loved it.

It was a huge compensation for the criticism I’m about to make, but did leave me with… questions regarding how their culture was going to be handled moving forward.

I’ll start with something small yet deeply revelatory, then work my way from there.

So... gerudos’ ears are pointy now.

This is pretty significant. Lore-wise, it’s been said that the elongated ears of hylians are there so they can better hear the voices of the gods. It’s considered a sign of holiness in-universe. There's a bunch of really thoughtful analysis on tumblr over that whole Ganondorf ear situation, which is a mess but also very interesting, but the short answer is: I think the absence of pointy ears was a clear design choice to originally signify them as Less Good. Even when Ganondorf gets pointier ears, they never get as long as hylians’. Worth noting: not every non-gerudo character has pointy ears: gorons, zoras and ritos (among others) do not possess this trait, and there are even some humans that have regular rounded ears in the series –though they always seem to be of lesser relevance, if not downright peasants in Twilight Princess. Pointy ears always tended to implied a strict hierarchy in the series: basically, the more pointy, the more Protagonist you become.

(also their eyes becoming green instead of the traditional yellow/golden, which looks more wicked and demonic --and cooler also tbh)

The pointy ears imply two things. From within the game, this could be interpreted in two ways: either that gerudos… converted, for a lack of a better term, and are now considered holy through their worship of the Golden Goddesses and/or Hylia, or that their mingling with hylians through tens of thousands of years had them acquiring this trait out of sheer genetic override (though they have kept their mostly-women birth rates, their big nose, darker skin –for the most part– and red hair). Probably a healthy mixture of both. Design-wise, it signifies something quite simple to the player: they are on hylians’ side now. They are good guys. We can trust them, even if they still have a little spice in them. They aligned themselves with us and against Ganon in all of its manifestations (even if he’s but an angry ghastly pig being parasitic to everything it touches in this iteration). They are on the side of Good, definitively, and will fight evil by our side.

On that note, I think it’s worth bringing out another major change from their initial iteration, which is their overt friendship with Hyrule as a whole, and with the Royal Family in particular. Despite not allowing any voe inside their walls (we’ll come back to this), their relationship with hylians is pretty neat. They have booming trade roads, travel and meet with the rest of the cultures, and are fierce enemies with the Yiga clan, who are renowned for being huge Calamity Ganon supporters. The tables certainly have turned. I want to bring out, in particular, Urbosa’s friendship with the queen and her role as the cool aunt taking care of Zelda and protecting her from evil (to be noted: I am not familiar with Age of Calamity so if I’m mischaracterizing her in any way, please let me know). The gerudo sense of sisterhood has been extended to the royals they used to fight against. I would go on and say the cultures peacefully coexist, but I think that what we’re looking at here is a case of vassal behavior, just like we used to have from zoras (in the non-Fallen Timelines) and gorons. This is a huge departure from gerudos being openly rejecting of Hylian culture in their initial iteration, and something that is worth returning to later.

Okay. Now it’s time to mention the weird obsession BotW gerudos have with romance. I didn’t take notice of my issues with their writing until I realized how prevalent of a theme that was. Now, the reason given for gerudos to refuse entry to males (of every race) has much more to do with preventing young gerudos to make mistakes than anything else, and is actively being put into question by the younger generations –which would make sense. But the amount of NPCs that either lament their lack of match, talk about their husbands (because they marry now apparently) or are invested in romance, and a very limited understanding of romance at that (heterosexual, closed, etc), makes for much more of the population that I initially expected. There’s no mention of what’s going on with their males, if there are new males being born and either exiled or abandoned, or if Ganondorf being technically still alive have have cut them off male heirs. Either way: no more kings, only girlbosses chiefs.

To have the gerudos so interconnected with Hyrule, not only through trade but through extremely coded romance where they have to make themselves palatable to a future male partner and enforce fidelity, was… a choice. The extremely brief and skippable mention of gerudos sometimes going to Castle Town in search for boyfriends in OoT became half of their personality traits in this game. We went from a race that was fiercely independent and mocking of the unworthy men who tried to mingle with them, to… this. Now I’m not saying some of the sidequests aren’t cute, or that I didn’t like the wedding, or that the grandma near the abandoned statue of Hylia (so she was worshipped at some point) clocking us and talking about her love life wasn’t one of my favorite gerudo conversations. I’m saying that the vibes have definitively changed. For the better? I’m not sure.

I once stumbled upon an article that said that Breath of the Wild gerudos were a huge improvement compared to their original introduction, because they were no longer presented as evil and hostile thieves groveling at the boot of a single man, but as a full culture allied with the protagonist and actively involved in the story, while still getting their Cool Girl Badass moment (again can’t find it anymore, I’ll link it if I stumble upon it again). I see where this comes from, but I honestly can’t help but consider it a reading that assumes something pretty major (though through no fault of their own, as the games tend to hammer this down as hard as they can), and that being hylians as the unquestioned anchor of Good.

Which, in spite of what the games want me to believe, I… feel uncomfortable taking at face value.

To me, regarding how gerudos are being incorporated in that goodie narrative, this is kind of a case of surface-level feminism trumping over colonialist/imperialist concerns. It becomes more important to perform the aesthetics of being cool and friendly and independent than scratching at any deeper problem that would risk making people uncomfortable. This is kind of Green Skin Ganon all over again: oh wait, isn’t it a little icky to have the evil bad guy being brown while faced by the most aryan-looking ass heroes of all time? Okay, then let’s take the brown guy and make his skin green so we don’t have to feel bad anymore that the conflict has racial undertones!! Solved!! There’s nothing questionable about changing a PoC's features to make it more monstrous and less human, right?

To me, it’s kind of the coward option: instead of accepting the messy reality those initial choices created (and their interesting nuances if taken at face value), let’s just… rewrite the PoC culture’s history to make it feel less uncomfortable for the white heroes. In many ways, it is an extension of what hylians have always done: scrubbing the weird and messy things about the past and shoving them deep down into the spooky well and far into the desert prison and away in alternate hellish dimensions, and then make up a very simple story where they get to feel good about themselves –except this time, it’s the fabric of the games, the literal reality, bending backward to make it happen. Which, in my opinion, makes it much worse than before. Now, there’s no conversation. The fabric of reality is changing their own history so that there is nothing to discuss anymore. Ganondorf was always evil incarnate. He never had any point. It was always 100% his own fault, his own hubris, his own fated wickedness. He was always demonic (and green, very important –having a flashback to people on twitter accusing artists restoring the TotK green skin to the original brown of wanting to make Ganondorf black, and like….. how do I put it gently…..)

And, above all else: gerudo are to distance themselves from his legacy so they can stay in the club of the Good and Just and Holy.

Because here’s the messy thing: as much as I love seeing the gerudos again in Breath of the Wild and as much I love for them to have survived the Era of Myth (??? somehow ???), this… kind of changes Ganondorf’s character arc. No longer do we have the story of a king who wanted more, either for his people, for himself or both, and led his culture to its destruction in his search for absolute Power, while remaining ironically incapable of maintaining what little he already had. This starts from him kneeling to the king of Hyrule in OoT and leads to the deluge, Arbiter’s Ground, his own mothers dying for the sake of his failed resurrection. Breath of the Wild changes this: now, the gerudo were apparently fine without him? They apparently did their own thing and became suddenly and inexplicably disconnected from his actions? I know it’s kind of implied they side with hylians at the end of OoT, but it’s honestly never really explored why they would cheer for the death of their king while never seeming to resent him before except for Nabooru –there are mentions of brainwashing for those who resist him (as well as “other groups in the desert”, tho they are never mentioned again), but it’s hardly a proper plot point for the majority of the tribe, aaaand they still die by Wind Waker in the Adult Timeline, in spite of their potential alliegance…

(again, this shift towards submitting to Hyrule actually started with Four Swords Adventure, getting crisper with each iteration)

There used to be this polite blur regarding Ganondorf’s relationship to them, how much he used them and how much he acted in their name (with arguments for both sides), and I think this messy and debatable question mark was one of the most compelling aspects of his character. Gerudos rejecting their relationship at a near-cosmic, reality-bending level, removes a huge layer of complexity to both parties… all for the benefit of making hylians come out cleaner out of this whole exchange, their moral grayness barely a whisper in the distance.

I’ll kind of go on the record and say that I suspect the addition of Demise to the canon to serve a similar purpose (at least in part): if Ganondorf becomes but the manifestation of a demonic curse, and is no longer an extremely messy character brimming with agency and drive, forcing the heavens to reckon with said agency in a way he was never meant to access, born from a complex set of circumstances from which we clearly get only a limited and biased perspective, then it becomes extremely clear that he’s a Bad in a way that isn’t worth exploring further. Even if he does have some points, he is a Bad. It’s what matters most. Not to say I even hate what this angle can bring to the table or that I want him to become Good (I don’t –I’ll talk more about why I dislike most takes on him being a helpless victim to the curse), but once again, who benefits from adding another Unquestionned Baddie to the equation to rest upon? Not him, and not the gerudos, that’s for sure.

So. Why did I, me, personally, like the gerudos in the first place?

Beyond the inherent coolness factor of their culture and the fascinating mysteries of what is merely suggested, I think… I think I loved gerudos because we were obvious outsiders. Because their rejection of Hylian culture was so sharp and extreme, their value system so different, and their writing, their religion, their relationship to power and hierarchy and worth wanted nothing to do with hylians. They didn’t need hylians, beyond them having potential resources to steal. In fact, the threat of hylians influencing their culture was such that the entry to the Fortress was forbidden to everyone (I don’t think men were ever singled out, by the way, even though they are mocked relentlessly). I think there was something inherently hopeful about this semi-matriarchy resisting the outside world, and especially its notions of what girls were meant to be –it was 1998, and every other girl character in OoT, besides Impa and Sheik that?? is another can of worms entirely, is either helpless or someone to save. For them to reject this narrow vision of femininity was, in my opinion, much more radical than what we got in BotW. Less nuanced, more problematic perhaps? But also much more powerful. Gerudo Valley is home, not to a town, but a Fortress.

Hylians were worth being resisted.

In Breath of the Wild, their refusal to let men enter their town is kind of boiled down to a fading tradition over-focused on romance, a meek little game of chase. Their entire goal seems to be finding a hylian to settle down with. Say what you will about the single man and the many girls (never explored and completely open-ended in its implications, btw), but at least it wasn’t… that. At least it opened the way for different ways for people to exist and imagine culture and civilization, outside of the heterosexual couple, the christian-infused patriarchy and its trickling down implications. What I want to say is: let my girls tell hylians they ain’t shit!! That they aren’t the end all be all of reality! This is what made gerudos so compelling in the first place! Where is that bite now? Where is that self-definition?

It’s gone, because hylians need to be Good. So we tee-hee at the creep running laps around the town, we disguise ourselves to breach their trust and infiltrate their town (though there is nuance to be had there, gender be complicated etc), we watch them pine after shitty dudes and take classes to become the perfect approachable woman and make love soups with ?? strange ingredients honestly, and we witness them get very friendly with the Royal Family they used to conspire against, dying to protect the princess against the manifestation of their ancient king reduced to a raving puddle of Bad Boar.

Hyrule, unified against him.

TEARS OF THE KINGDOM

For posterity’s sake: this post was made before the game was released. I’ll probably update my thoughts on a separate thing later on.

I don’t think gerudos allying with the hylians and burying their own legends about Ganondorf as deeply underground as they can until it blows up in their face is a bad setup at all. It’s actually pretty juicy, and there’s a ton of fascinating stuff that could happen here –even some involving gerudos taking a firm stand against him while still reconnecting with their past and the choices they made once. This is my hope with the title of the game: Tears of the Kingdoms. Let’s examine them all, account for the damage, and decide how we move forward from there with the full knowledge of where we come from.

What I am afraid of (and I already made posts about that) is the scenario where gerudos rallying against Ganondorf, which I expect will forcefully try to take back his place as their king, is used for cheap feminist points that completely fail to examine, well. Everything mentioned above. Where reality bends itself out of the way of the Goddesses, and hylians’ responsibility in any of this mess, so that everything bad is 100% Ganon’s fault and so he must be cast aside and torn away from the Cool Gerudo Girls and this is 100% justified and deserved because we are Independent Women Who Take No Shit from No Men (unless they are the king of Hyrule or any random hylian they wish to marry apparently).

I’ll say this here because it’s been burning my mouth every time I see discourse about Ganondorf and the gerudo: gerudos declared him as their king. To make a really bad comparison that I dislike: he didn’t run around to assemble girls and make a cult around himself, he was born with the cult already formed around him (and it’s not a cult, it’s just a different mode of governance –hylians also revere the Royal Family like gods, don’t they?). This heavily changes the dynamics at play. Not to remove any agency from him to do a little invasion about it, but chances are the ancestors to BotW’s gerudos fully expected him to behave in this way, at least to a degree –in OoT you see very plainly that they value physical prowess, feats of thievery, witchcraft and general violence. It’s more complicated than him being a Bad and making the poor helpless women go along with the plan uwu –even taking the brainwashing into account, AND Koume and Kotake counting as gerudos too, even if they might not be not fully innocent in shaping the culture and the man himself. If manipulation and forced servitude is the explanation given, I’ll be genuinely mad –because, once more, all the nuance and messiness would be flattened for the sake of making Ganondorf Bad and the gerudo Good (= on hylians’ side).

It bears to be said: I think feminism stances that require, not to criticize (which is fair), but to fully dehumanize and bestialize men of color to make any sense are uhhh bad, and it's worth questionning who they end up serving in the end.

The flip side of this would be to make Ganondorf a poor little meow meow that was secretly controlled by the evil Demise all along, and... I’ll be real. I really don’t think it solves our problem at all. It might even make it worse.

My problem with how gerudos have been handled thus far, being mostly connected to how they behave in relation to hylians Good, is that they’ve been systematically defanged not to threaten the status quo as much as they used to. I think it’s pretty clear why I’m not a fan of Ganondorf being a mere victim of cosmic circumstances; I have a post that goes more in depth about this, but to simplify: my man has legitimate grievances. To make him a mere puppet to Evil Incarnate would, to me, be just another attempt to erase the despotism of the Goddesses, the unjust hierarchy of the world, what hylians have historically done to the races they were in conflict with (looking at the Yiga for the most recent example…)

I’m not saying his fight is clean or even legitimate, that he isn't driven by his own sense of self-importance above anything else, or that he should win (he has no plan beyond domination and victory, that's not a future). But I think there’s something really important about having someone being willing to fully consume himself and everything around him for the simple fact that someone should resist the order of the world. Even if that makes him a heartless, cruel, and egomaniac demon-pig. Even if there’s no Hyrule left to rule. Even if his own people despise him, or are long gone and forgotten.

Is it a little heart-wrenching? Uhh yes to me yes most definitively. This is why Wind Waker Ganondorf hits so hard, and remains (I think) his favorite entry in the series so far. But… I still find this fate of eternal resistance more resonant and empowered, and far less grim, than if Hyrule’s lore absorbs his hatred and rage, gives it to another entity that would be Badder (= more opposed to hylians and the goddesses), and scrubs it off anything icky and uncomfortable, rendering it completely domesticated and non-threatening to hylian domination; rubbed of his skin color, of his complexity, of his own emotions, even made... kind of sexy now, in the same way his sisters have been made before him? I am very, very afraid of him being turned from furious and an unapologetic subject in his own legend to a "redeemed" (according to whom??) and palatable object in somebody else’s, that you now end up having to… save from himself.

Again, I want to trust that Tears of the Kingdom can walk that line and preserve everything sharp and contrasting and profound and thrilling about this fascinating setup. I don’t expect a philosophy course, this is a game for children –but it doesn’t mean Nintendo didn’t do an astounding job with similar setups in the past. Again, I’ll invoke the Wind Waker conflict, but Twilight Princess did a lot of great things as well (Zant’s speech, if you can get past the weird stretches and stumping and NNHYAAAs, is pretty fantastic) –and the subtle writing of Majora’s Mask is also proof enough this series can be complex without being impermeable.

So this is where my hope lies. Not really with BotW’s writing, which, I’m sorry to say, but I found to be below what the series has done in the past (I have no problem with the setup and how the story is explored, I think it was a great idea, but wasn’t ever sold on the actual writing the way I may have been with previous titles –it felt… very tropey to me overall, with a couple of highlights). But Nintendo has shown to know how to write compelling stories for children that know where to sprinkle its darkness and how to preserve its hope, and this is this side I’m relying on for this delicate storyline moving forward.

And now? Now… I suppose we wait and see.

(thank you for reading my impossibly long essay what the actual hell, at least I got it all out of my system, see you in part 2 for when TotK comes out I suppose aaa)

881 notes · View notes

spiderpussinc · 9 months

Note

are the 2099 comics THAT bad in terms of racism plus other weird writing choices??? i'm starved for miguel content and would like to read the original comic run but i keep seeing the debate of the original comics being problematic and/or downright just BAD bad (not to mention miguel is supposed to have mexican heritage but he's straight up a white redhead lol)

Some people may disagree but speaking as a latinx writer; it's bad because it is racist, yes! On multiple fronts!! And beyond that, it's also bad as a complete failure of comics structure and compelling narrative.

Longpost, on readmore;

I say this as a long-time capeshit reader, as politely as possible: Miguel's comics are a *paycheck* book. As in; a series a writer does monthly to be paid for it, but with middling aspirations and downright negative characterization depending on where their mood is.

The first few issues of his 1992 run are relatively complete and well-balanced, may even trick you into thinking this story is going somewhere; but that's only because they're the /character pitch./ Ill skip to the end and tell you upfront. That 1992 series ends with the implosion of the whole "2099" line of comics (an universe that included other books, like ghost rider, doom, etc, by other writers) due to dwindling public interest and mass cancellations. The end of that run is basically meaningless, since the whole thing got retconned - and even before that a guest writer had came in and made mistaken character reveals pdavid wasnt happy with and wanted to erase before the finale. The event book that wrapped up that universe was unironically, literally called -- "2099: Manifest Destiny."

Now, I don't like Peter David's writing. I think he's obsessed with the idea of building harems out of his female characters (when he's not fridging them, or making them act ~crazy~ to further alienate them from the protagonist) and it is the kind of grueling, joyless reading experience I can only describe as making you feel Oily Inside. This goes as far as multiple stalking plotlines, the inclusion of a guest appearance from AU s/x slaver Hulk in later years, Miguel's mother being strongly implied to have been forced into conceiving him by his real dad who's the evil CEO of alchemax, general torture painporn. His broader supporting cast is so interchangeable and disposable that they were literally disposed of.

In terms of the racism; I have mentioned how he uses cultures as tokens and does 0 research whatsoever. The way it feels and the way it is deployed is through a lens of Exoticism - tourism. Miguels suit is allegedly "a dia de los muertos costume" b/c pdavid seems to think that holiday is mexican halloween. In the orig book, you'll see plenty of broken japanese and stereotypical orientalist caricatures - after killing his first love interest, pdavid introduces a japanese girl who is unironically, literally named "Xina" (that pretends to be chinese on occasion) to fill in the vacant role. Miguel himself falls right into all the usual latino stereotypes — short tempered, drug addict, sex magnet "latin lover" (this last one also applied to his brother Gabriel, who for the longest time is characterized by just Going Through A Lot Of Girlfriends). And it's kind of insane bc he's still being drawn as a deeply deeply white man, but not even that takes off the burden of the racial microagressions!!! They're the only times pdavid seems to remember that heritage! Then there's the commemorative hanging page. Since you mention the redheadedness; thats another insane thing to me. He has 0% of irish in him. His dad is Blond. Who is this man?

Most of the info in the 2099 run is either revealed to be a lie midway thru (miguel is not mr o'hara's son, nor addicted to rapture) or completely retconned away to be rewritten in new runs. Different writers have tried to come in and do miguel in other team/event books but frankly nothing stands out and most of them get marked as alternate-miguels. Unfortunately, every time marvel decided to give another shot at spider-man 2099 they also brought pdavid back. The newer books were never a success, and theyre just as filled w/ the garbage i mentioned earlier (wow! Steampunk spider-woman is given to pdavid for *ONE* issue and instantly tonguekisses gabriel before leaving, so novel. More fridging ensues. Stalking. Etc.) 2099 as an *universe* has been retconned so many times Nothing is consistent and Nothing is set on stone and frankly i think they should make it an AU separate from main canon and build a whole new world already.

The art in the 2015 + runs consists mostly of tracing, and more of that oily weird feeling applied to fem chars. Perhaps you have noticed in this entire hate review have never once spoken about Miguel's heroic plots and memorable villains --- he has none. At least nothing I can remember or distinguish. (Interchangeable, disposable, etc) There is a vague inkling of "this is an anti-stabilishment spiderman, he fights against The Public Eye, the Corporation Cops!" at the start but much like his cultural illiteracy pdavid has no real insightful politics commentary, so that dissolves into the background in time. Its all buzzwords. All of his plotlines are solved in circuitous or soap operaish extradrama ways; and while some of this is present in other superhero comics, what stands out to me MOST is how utterly fucking joyless Miguel's comics are. It's like going through a slog on obligation. They genuinely gave me a headache every time.

ATSV does a great job of reinventing Miguel and rebuilding the parts of him that showed real promise. Being a different tone-swapped spiderman, futuristic, being more on the tech-science side of crime fighting. Him being a single dad with a daughter is also new. (And he is single! There is no singular mention of marriage or a wife anywhere, he's a geneticist, multiple spider-men we see in this movie were literal clones made in tubes - i am fond of the idea he's a transmasc dad but even if you think he's cis he could have made that baby himself. Adoption is also always there.) I think its very clear ATSV didn't want to bring any of pdavids major weird shit w fem chars to the big screen on the hopes that miguel gets rebooted eventually. I think he's gay. Nobody can prove me wrong.

On that note, Steve Orlando (queer writer, also wrote for DC's midnighter/apollo) did some of the latest 2022/2023 Miguel miniseries. Another reboot! Those were "2099: Exodus" and "Spider-man 2099: Dark Genesis" - i think its campier/trying to tackle superhero plots more head on and trying to do something wide wacky cast focused at Marvel's personal request, but Miguel's future is very up in the air rn. I do really hope they reboot him into something closer to ATSV with latines at the center soon.

What I always reccomend for people curious abt miguel: read his first 3ish 1992 issues, get a general feel and close the book as soon as you feel annoyed. It won't get better. Remember none of it is canon nor has been relevant in over two decades. If you want to know the wider context of his messy chronology, check out some of the 2099 "all comics" type of youtube videos, theres some pretty easy to digest summarizations if u dont wanna waste ur time reading stuff that just got retconned again lol. Most writers now are operating on vibes and that is a freedom you should also allow yourself in your own fanwork.

Putting his panels out of context can be very funny though. (For further curiosity or tangents, there's always my meta tag)

#meta tag #asks #miguel o'hara #miguel ohara #spiderman 2099 #spiderverse #spider man: across the spider verse #atsv #my spider stuff #atsv miguel #miguel atsv #marvel comics #spiderman #itsv #2099

309 notes · View notes

she-is-ovarit · 1 year

Text

Listen to sex workers, except for the ones who criticize prostitution and the sex trade and openly describe the trauma caused by their exploitation - they just weren't a right fit for the job.

Listen to the biologists, psychologists, and neurologists, except for the ones who publish credible studies against the idea of brain sex and remark that, actually, a person cannot change their sex - there still exists alternative facts.

Listen to gay and lesbian people, except for the ones who refuse to have sex with trans people, dislike being amorphously referred to as "queer" or find it retraumatizing, and argue that sexual orientation pertains to sex and not gender identity - they're just genital fetishists and sexual predators.

Listen to trans people and gender dysphoric people, except for the ones who don't believe that identifying as something really makes someone something, that sex can't be changed, and that pronoun use determines identity - they have internalized transphobia.

Listen to women, except for the ones who don't believe that "woman" is just a social category and that oppression and discrimination on the axis of biological sex exists - they're just terfs and similar to Nazis.

Listen to intersex people, except for the ones who prefer the term "person with a disorder of sex development", are bothered by dyadic trans people co-opting terminology such as AFAB/AMAB, and speak out against trans surgeries and HRT being done to kids - they're just extremists.

Listen to gender nonconforming people, except for the ones who maintain that their style, nonconforming mannerisms, and/or same-sex attraction does not mean they're not their sex. They're just eggs, they'll turn into trans people soon.

Listen to Latino people, except for the ones who speak out against "Latinx" being coined as a term and a reflection of Euro-American colonialism - they're just traditionalists.

Listen to black people, except for the ones who take issue with "blacklivesmatter" being consistently refocused to "black trans lives matter", consider the argument that female sex-segregated spaces are akin to Jim Crow Laws as racist, and point out that trans murder rates - in which most of these murdered people are people of color - are being used by mostly white trans-identifying male people in arguments for self-serving intentions. They're just transphobic.

Listen to Native people, except for the ones who indicate that "two spirit" doesn't mean what white trans people think it means and worry about Euro-American colonialism further appropriating their culture and language - they're just a minority and are behind the times.

Listen to Jewish people, except the ones who continuously stress that comparing the disagreement with gender ideology to Naziism and genocide is deeply disrespectful, often anti-semitic, and minimizes the experiences of victims of genocide and their families. They're probably not even Jewish.

Listen to Marxists and feminists, except for the ones who point out that female people are treated as a reproductive and sexual resource based upon sex. They're transphobic.

Listen to intersectional feminists, except for the ones who point out that intersectionality that isn't female-focused isn't feminism. They're just terfs.

Don't listen to desisters/detransitioners, except for the ones who maintain the narrative that receiving SRS or HRT did no harm to them or that they're desisting due to 'gender affirming care' working for them. The rest were just cis people in denial of their own gender identity.

#tangent #gender ideology #culture #counter-culture #genderism #gender critical #gender critical feminism

432 notes · View notes

hourglassfish · 8 months

Text

A (long) Aside on 1:7 and 2:10

There are two responses to 1:7 and 2:10 that always quietly horrify me.

The first, and you know, I'm writing a multi part series on it, so it's no mystery - is that Sydney was arrogant/a brat/ couldn't hack it/ wrong to walk out, and that the situation as a whole was her fault. Nah. She was right to walk out, the biggest failure of that episode is not fucking pulling the breaks when Richie gets stabbed. The workplace has gone from dysfunctional to dangerous, she has been responsible for that danger, the perpetrator of it, and she is right to leave.

little bit of an asshole but i love you so i don't care

Carmy sees Syd saying she's going to stab Richie (as she holds her knife to his chest!) while they're up in each other's faces (with Richie goading her) and he does... nothing. He tells them to shut the fuck up and make giardiniera. At this point they needed to be separated! One or both of them needed to cool off. We've seen Syd bodily put herself between a fighting Carmy and Richie. A little reciprocity would have gone a long way here.

It's wild to me that people think that Carmy was justified in his anger and aggression towards Marcus and Syd and ignore that he is aggressive to Richie also! Richie, typically one of the more confrontational characters in the show asks him to calm down, to cool it. That so many viewers so quickly and uncritically accept Carmy's narrative point of view, even while the show actively challenges it confirms something that has been in the culture a long time: that we are much more used to excusing and aligning ourselves with abusive behaviour, than we are at challenging and refusing it. That people - many of whom have received this kind of behaviour themselves - want to defend it, makes me so, so sad.

It always hurts me a little that in 1:8 Tina tells Carmy that if he 'tries that shit with her, she'll fuck him up'. It's a fun line! But I'm sorry, no she won't. He screams at her too, while chucking bowls around and Sydney's words in 1:7 clearly hurt her. Tina categorically did nothing wrong. She doesn't deserve that shit. But at the end of the day, she is a middle aged Latinx woman and a mother, and so her tolerance level has to be higher. She needs that job! Shedoes not, as far as we know, have a father she can live with rent free, she does not have youth and the promise of exploitable potential to offer to employers in an ageist job market, she does not have CIA qualifications or a CV full of ��serious heat’.

Carmy. holds. a. position. of. power. over. these. people. He is their boss, not their manager, and he owns the place, mob loan or no. He has the power to sack them all, to cut their hours, to cut their wages; thus the impact of that power extends not just to them, but also to their children and families. Louis being present in Review is not just to add an obstacle, it's also a reminder of those stakes.

Carmy has influence in the fine dining industry, regardless of whether that social and cultural capital is respected at The Beef or not. The very same oppourtunities that he provides them with in season 2 are things he could also lock them out of if he so chose. Any analysis of 1:7 that ignores this power is flawed from its root. When you are a boss, this power is ever present. One of the few things you can do to alter your boss's behaviour is to withdraw your labour. It's not the only option you have, but everything else is at their discretion, or mediated by lengthy, expensive legal processes.

yeh, i hate this

Carmy knows this, even if you don't! It's why the apology he gives Marcus - which Marcus does not ask for - is so heartfelt. Carmy has been on the receiving end of what that power, wielded cruelly, can do. He does not want to do this to others. We see him talk to staff with respect even while he endures horrid abuse in a flashback. We see him teach and explain himself, we see him listen and invite feedback - ‘say more’. His commitment to being a good boss is sincere, that kindness is in his bones.

The second thing people say that makes me want to die a little inside is that Carmy bought getting locked in the fridge on himself, that he deserved it in some way, and that getting locked in the fridge was him abandoning Sydney.

Oh my god!

He does not have a diagnosis yet - so anything we see is an interpretation. But it feels explicit that Carmy has panic disorder, and perhaps generalised anxiety disorder and CPTSD from both his workplace experiences and his childhood. A couple of things that he says and does suggest ADHD, or some other neurodiversity. He is not very careful with himself, and does not recognise these things as treatable problems (Richie says he experiences anxiety and dread, Carmy's response is 'who doesn't' - wince, cruel to Richie, cruel to himself - vomiting everyday and crying out of nowhere are presented as something 'loads of people do' to Sugar. Tumblr loves to send people to therapy, but I just want to send this man to do a basic google search of more than fun tbh). But they are debilitating for him, especially at work.

What happens to how we read Carmy's behaviour when he is presented as someone with an untreated disability, and absolutely no support plan in place? Does he still get his just desserts at the end of the season?

The fridge thing is a bit clumsy, I think. It's silly that over the space of three months, no one at any point just takes that job off him as a priority, or at least makes it something where Tony will call the restaurant, not Carmy specifically. It is unrealistic that there would not be some kind of back up safety lock inside the fridge. But you know, they're characters in a TV show, it also does not take two people swivelling around on the floor to tighten the coat hooks on a table (LOOOOOOL) - it's realistic until its not.

But, you know, it's doing a thing, several things - it's Chekov's gun, isn't it, it's the tangible impact of the lapse of focus that Uncle Jimmy is constantly trying to warn them about.

He wanted to cry here so bad!!! It makes me laugh every time

But umm... guys? What happens to him on that night is so, so horrible. They're a chef down, they're running out of forks, Richie's giving him shit (and Carmy is so susceptible to Richie giving him shit), Marcus and Syd are being all weird. He thinks one of his abusers (Donna) might come, or that she might not come and there will be emotional fallout from that. He thinks he sees his other abuser (Evil Joel Mc Hale) - and he's triggered. He goes in the kitchen and yells, but Syd pulls him back in. Then he goes into the fridge, partly to do chef stuff, I'm sure, but also partly to fucking get his shit together aaaaaand he gets locked in there! He has a panic attack! In a fridge! That he is locked in! And the people he loves most in the world, are the other side of that door, and for five minutes, an eternity in panic attack time, they ignore him! He has no clue what's going on! Last time shit hit the fan, two of his staff walked out (he's still not over Syd walking out cus they never talk about it properly), another one got stabbed and all these new ones are 'emerald green'. And he still thinks evil Joel Mc Hale is out there!

My loves, that shit is the stuff of nightmares! I know he tells himself that he bought this on himself but can we please! stop! uncritically! accepting! his narrative! point! of view!

I don't think anybody on screen recognises that a panic attack is what he's having. That's not their fault. None of them have seen him have a panic attack! They don’t get to see inside his head like we do (which saves them from a lot of R.E.M.) He is locked in the fridge, they just hear the bear banging on the door of his cage! It's not even in the language of the show at this point (though i am curious about how and when Richie came to get his Xanax). But that's what's happening. The team are fine. They do great. He has a terrible, terrible time.

My support worker found 2:10 deeply triggering - and her reason for this, she said, was that a lot of her job was supporting people with panic disorders who are leading teams, and seeing that moment coming, the moment where the panic crashes headlong into their role as leader. Part of her role is anticipating it, and trying to turn it around before they reach the point of no return. And as soon as Carmy thinks he sees Old Boss, he's gone. His body is in flight or fight, and he is alone with that. He can’t show up for Syd at that point, he is in his equivalent of the trenches.

This is also what is happening in 1:7. Somehow his response is often framed as a) rational or b) just an asshole - but it is so outsize to the situation, and to who we know him to be most of the time (quiet, kind, thoughtful, sensitive, BITCHY), that we know it has to be more than that.

None of this is helped by the fact that Carmy's panic attacks are... well they're kind of ugly! His meltdowns are aggressive and shouty, on the edge of physical violence, in an industry where people behave like that because they can. It is hard, parsing through that to the triggers, and fears, and panic beneath. It's scary! It asks so much of people to see that and want to help, not run away. But that is where he's at.

I do not have language for how much I hate how physical he gets with Marcus here, it is deeply upsetting

I have an access rider, to help me work well with people, and to help them work well with me. My mental health turns up in every job I do. All the time. Has done for years. It can make me unreliable, uncommunicative and absent. It can mean that people have to step up sometimes in ways they weren't anticipating. And one of the things the rider asks for is 'Good Faith' - a belief that I have not shut down because I'm an asshole, but rather because I have some unhelpful coping mechanisms that I am trying to work my way out of, that my triggers are real, not excuses for laziness or an expression of lack of care, that i will give as much as I can when I can.

Syd and Carmy are beginning to work towards this - Carmy says over and over again that he doesn't want to be shitty. Claire fucking muddies things, because I will not meet you skiving off to see your girlfriend with good faith fam. That shit he needs to be held accountable for. Dropping that envelope was a perfect Richie job, I'm still pissed about that. But being locked in the fridge... there's way more going on there.

The idea that Carmy should, and will, leave the culinary world keeps coming up in various metas. But... the problem isn't cooking? I think Carmy loves cooking, still. I think he likes being part of a team, and wants to be good at it. I think he likes teaching, and he is good at that. I think he likes picking the right silent plates and having his CDC in Thom Browne. I also think he likes being there a lot and being absorbed by his job.

The problem is that the workplace he is in is not one that is set up to his needs right now - it's not set up so that he can rest enough, so that he can eat well, so that he can exercise, or whatever he needs to do to help him manage his brain and nervous system. It's not set up so that if he is triggered, he and his team knows how to keep going with the service *and* not abandon him to the worst of his brain.

Ohhhh it's bad

Carmy ignoring Claire's call and not calling Tony feels bizarre stripped of the context of his panic attack that morning. But we know that anxiety and panic and executive dysfunction take simple things and make them insurmountable. It's not about Sydney in that moment, or even really about Claire*, and self sabotage feels so weighted with judgement when I think about what those frozen moments feel like from the inside. And I've had my diagnoses for 12 years! I've been doing that work, the long slog of trying to make sure my employees know enough context that my MH doesn't fuck up their day, whilst also maintaining my own dignity and right to privacy.

The disentangling of symptoms from personality traits is so hard - fuck ups from trauma responses, what was preventable, and what might have happened even if you did everything right. I never want to lose sight of compassion for Carmy, and the reality of how long it takes to break those cycles.

I also never want to stop seeing the power that he has over the people that he works with, and how, unfortunately, one of the responsibilities of leadership is that you have to be trying to get your shit together, you have to know yourself, and know how your baggage, combined with your power could be creating harm. It’s hard, but there’s not way around it. It is essential that he gets the support he needs, and puts the measures in place that means that he can also be vulnerable, not just for him, but for the team as whole. The power and the lack of framework together are so very harmful for everyone.

makes for delicious tv though 😉

I think a lot about the ticket machines in The Bear. I'm not thinking about them as a former line chef, cus I'm not that, I'm an artist and writer, that waitressed for a while (while a lot of chefs did a lot of coke out back!) and The Bear is fiction, not a documentary. Those little tickets are used for so many things. They're the sound of pressure. They're where a bunch of intrusive thoughts get flashed up on the screen. They are the presence of tech and of speed and alienation. They are the gap where two human beings, one asking for food, and one cooking that food, become consumer and producer. They are a presence of the machine in the workplace, and they stand in for Marcus's machines in McDonald's and for Evil Joel McHale and for financial failure.

One of the things that capitalism demands is that we always listen to that machine. That when we are making a choice, between the people stood around us, who we work with daily, who we live massive chunks of our life with, and the demand for production for go go go - that we choose the latter, even if it harms the former. That we open for service, even though one of our oldest friends just got stabbed. That we prioritise getting the service turned around on Friends and Family night (the easiest night of the year to go out, pour more wine, and say service is a little delayed, but we've got this), rather than maybe asking Fak or even Claire, to come and talk to Carmy through the door, as well, make sure that he's OK. That we just keep going.

And there are so many really important reasons to do that! Keeping going is how we learn and grow, it's how we make sure that we can pay the bills, how we provide beautiful experiences for customers and guests who are more than consumers to us.

But at some point, we have to ask at what cost. When do we stop and make different? When do we try something else, make new systems, that work for us?

A moment - a small, tiny moment - of triumph for me, is when Richie and Syd turn the table around. So rather than one person, facing the tickets alone, with their back to the kitchen as they yell out orders, the person on Expo faces in. yes they can see the tickets, but they can also see the people they are working with. They can see stress, and worry and joy. They can see how hard they are working. They can see that they are not alone, not just in a promise before service, but during service, when you need that connection most.

My hope is that Season 3 will have more of them making these decisions - ones that lean into seeing each other, where their relationships keep growing, and they build a system where the love and care they have for each other is truthfully at the heart of it.

Richie is not my bag, that's just for me, personally, but I get how much he means to others, and he's beautiful here.

*Man, I do think the romance subplot was a bit of a misstep. Pop always feels like such a waste of the audience's time, time not spent with Ebra and Tina, time spent on a presentation of romance that has been done to death and is never especially satisfying. Truncates a lot of empathy for Carmy. Boo. Hiss.

#the bear #carmy berzatto #sydney adamu

141 notes · View notes

dcminions · 13 days

Text

more rp ideas from me and my overactive imagination

a group inspired by all the country music that is constantly playing rn, just like a small town in a southern state where denim jackets with fleece collars and rodeos reign supreme. you could even throw in some yellowstone inspo with there being like one large ranch in town that sorta has a monopoly on like business for the region??? anyways it feels like the type of group that could go a lot of ways, even have a crime element or undercurrent maybe?? either way it’d also be a great opportunity for people to play more people of color in these settings but esp black, latinx, and native people who are traditionally sorta left out of the narrative - now yall could bring them into it :)

a star wars inspired rp, set on a planet that is like the central hub of activity idk listen i do not watch anything star wars related but i play the journey to batuu game on the sims and honestly it made for a nice three hours i think but im also easily entertained either way it could be cute!!just like a central hub city planet place idk it doesn’t have to take place in the sw universe that would just probably be a really great starting point ya know? it also lends itself to a good basis for any magic or technological systems right yall get it yall see the vision it would just take place mostly in one place but it would also be a place for people to get missions, jobs, etc

a city rp with the twist that its like a city from a superhero universe idk ive been on gothamtok for a month now i feel like gotham/metropolis/central city would be so funny like it’s just a regular city rp but you could intersperse it with like news alerts that like deadshot has just killed the mayor or the riddler has taken seven people hostage and is hiding them in a maze that poison ivy created in the center of the city park shit like that idk. your character can even work for them love a henchperson omg it can be the more fantastical versions of the cities like from the animated series or the 90s movies or the more grubby, sad ones from the recent movies or tv shows either way it’d be a nice twist on a classic city rp

BRING BACK BIKER GANG RPS THANKS

college rp centered around a hockey team idk i just love the coho fics that’s just a personal thing

summer is coming up so a summer house/houses rp would eat. maybe like a community omg it just hit me as i started writing this but a community of houses that was built almost specifically for the purpose of it being a party haven??? and it’s like on an island or an two hour drive out of the city and everyone goes up from the city (of your choice) every thursday and leave on sunday/monday (obv some people can stay behind) but either way, the big community aspect could be if you want it to be a bigger group with several houses but if you wanna keep it to 2-3 houses with like 6-8 people per house, that works for smaller groups too omg that would be cute

im watching the valley which is horrible tv but i think a group centered around people that live in a town just outside of a major city would be cute like just far away enough for it be a different county but not so far away that it takes more than an hour to get there and the concept hinges on these being older people who maybe are done living faster paced lives in the city but have a bit of fomo so they wanna settle down out there, idk it feels like a cute idea for a 30+ muses rp esp if you wanna have characters with like full blown relationships, careers, kids, etc

the 30+ idea but inspired by friends / sex & the city where it’s people in their 30s but still living in that major city, trying to ease into somewhat settling down while maybe dealing with the fact that they are getting older??? could be cute i like it

another show/movie to draw inspo from : the gentlemen. i think just a crime rp set in london is actually what im saying here actually, nothing more <3

any city rp set in a city that is not usually highlighted, especially places like rio, mexico city, dublin, singapore, lagos, istanbul, buenos aires, mumbai, etc just to switch it up ya know???

actually this would eat so bad a group in the vein of the gotham idea but actually set in wakanda??? listen i would love that and it could take place before the first movie so it’s still isolated OR OR OR after the second movie so they’re a little bit more open and there’s more people just now moving there, etc. i just love the idea of a wakanda rp and it seems like it would be so much fun as well as give people an opportunity to play more underused black fcs actually thnx

said this last time but a rp set in the 1920s or the 1940s right after ww2 would also be very fun esp the roaring twenties like cmon yall, great gatsby hello???

ive seen a couple of these and they have been so cute but more bridgerton type rps with preset families and shit those just seem very fun and also remind me of jane austen novels/movies JUSTICE FOR THE BRIDGERTON RPS

that’s all i got for now, make some new rps, see yall in 6 months <3

#rpt #rph #pls enjoy and make some of these heart hands emoji

10 notes · View notes

commajade · 9 months

Text

just watched elemental with a korean friend and we agreed that it is soooo korean. it is v obvious from the tiny details that the director is korean and the whole concept is from a korean man. from the trailer i thought it would be mediocre but it was actually very well done if predictable and there's cute visuals and so much heart. that is a korean family!!! it's an immigrant daughter narrative and a kdrama!!

rly strange politically to make the fire people representative of like. all immigrants tho. they're like. italian latinx caribbean irish south asian southeast asian east asian people all at the same time??? the accents and visual motifs were so all over the place.

#elemental

48 notes · View notes

szmacblog · 19 days

Text

Roundtable Presentations: Aladdin (1992)

In what ways does the film's score situate the story with its narrative context?

The score makes extensive use of Middle Eastern and Arabic musical influences to establish the setting of the fictional city of Agrabah. Composer Alan Menken incorporates instruments like the oud, duduk, and ney to lend an authentic ethnic sound and flavor to the music. This helps transport the audience to the film's Arabian setting. It also uses musical themes and motifs to represent key characters and narrative elements. For example, the heroic "A Whole New World" theme is closely associated with Aladdin and Jasmine's blossoming romance, while Jafar's sinister intentions are conveyed through ominous, minor-key musical cues. These thematic associations help guide the audience through the film's story.

How do songs use character performance to push the cultural authenticity in the film's diegesis?

The songs in Aladdin also use character performance to enhance the cultural authenticity of the film’s diegesis. The film mostly showcases kind of an energetic, campy-comic flair that evokes the spirit of classic Hollywood musicals. On the other hand, Jasmine's solos are more introspective, contemporary-sounding ballads that reflect her personality and desire for agency, as she lives overprotected under her father's wing.

The music in Aladdin goes beyond just setting the scene. It borrows heavily from Middle Eastern musical traditions. This is clear in the prominent vocals, a common feature in Middle Eastern music. The instruments used, like percussion, strings, and wind instruments, also mirror those found in the region. Even the melodies themselves are crafted to evoke Middle Eastern music through the use of chromaticism and ornamentation, which helps capture the unique musical qualities of that part of the world. It's important to remember though, that despite the inspiration from "One Thousand and One Nights," Aladdin remains an American animated musical at its core. The music reflects this by blending these Middle Eastern influences with classic Broadway elements.

In what ways does the film use musical "framing" to structure the score within familiarized styles?

The entire story itself is presented as a performance by the Genie. This echoes the traditional concept of a frame narrative, where a story is told within the context of another story. Musically, this is reflected in the opening number, "Arabian Nights," which establishes an exotic, Arabian Nights-inspired soundscape that serves as the backdrop for the film's musical journey. Within the Arabian Nights frame, the songs incorporate familiar musical styles from various cultures and eras—which in my opinion, goes against the whole point of making this an "Arab musical film." Similar to when they make Latinx musical films from, for example, Mexico, but they include songs or influences from many Latinx countries.

Moreover, "One Jump Ahead" uses a Broadway showtune style with a fast tempo, kind of emulating Aladdin's frenetic life on the streets. On the other hand, “Prince Ali" is a big, bombastic production number with influences from Bollywood and pop music, and A Whole New World is a romantic ballad with an orchestral sound, reminiscent of classic Hollywood musicals.

#oxyfilmmusical #animatedmusical #@theuncannyprofessoro

15 notes · View notes

thexfridax · 2 years

Photo

How A League of Their Own Is Changing the Game for Queer and Black Women

Stars Abbi Jacobson and Chanté Adams and original player Maybelle Blair chat with The Advocate for our digital cover story about making the gayest, most inclusive League yet.

By Tracy E. Gilchrist, August 12 2022

Partway into the pilot of the hotly anticipated Prime Video series A League of Their Own, Max Chapman — a ringer of a pitcher — arrives at the field where tryouts for the All-American Girls Professional Baseball League are under way. On that Midwestern field in the 1940s, the women are literally hitting it out of the park, sliding into home, and catching pop-up balls behind their backs with ease. There’s a sense of joy among them, some housewives, others young women just out of school, for whom ballplaying was purely avocational, something they couldn’t take seriously if there were a meal to cook, laundry to fold, dishes to wash — that is, until the major leagues were gutted during World War II. With the male players off to war, they finally got their chance.

While players like Abbi Jacobson’s Carson and D’Arcy Carden’s Greta revel in the hope of becoming among the first women to play ball professionally, Max is turned away without a shot because she’s Black. Before exiting without a tryout, she fires a ball a few hundred yards over the heads of the women, umpires, and executives trying to make a buck off “girls’ baseball.” (“Who was that?” Carson exclaims.)

It’s the first scene in the series from creators Jacobson and Will Graham and queer executive producers Desta Tedros Reff and Jamie Babbit (who also directs) that signals to the audience that this is not your mother’s A League of Their Own. The 1992 Penny Marshall film that starred Geena Davis, Lori Petty, Rosie O’Donnell, and Madonna is a beloved piece of nostalgia that did much to tell the story of the forgotten women who played professional ball for a time. But the series goes deeper than that slice of all-American apple pie and hands back narratives to Black women who were barred from the AAGPBL, Latinx women who were a part of the league but not amplified, and queer women who found an abiding community with one another, whose stories were just under the surface in the film (O’Donnell confirmed to The Advocate in 2020 that she considered her character Doris to be gay, even if it wasn’t explicitly said).

Light spoilers ahead...

“I haven’t put anything out into the world that felt like I put so much of myself into it in a number of years. I’m feeling all the things and very excited because I feel really proud of it,” says Jacobson, whose married Carson falls for Greta while her husband is away at war. Jacobson — perhaps best known as one half of the hilarious, charming duo of best friends in Broad City (along with Ilana Glazer) who smoked weed, got into shenanigans, and loved each other deeply above all — says she’s nervous about League dropping because she cares so much about the show that’s been in the works since before the pandemic.

“This one is about a lot of big, important things — stories [that are] inspired by real people. And there’s a responsibility behind that,” she says.

“It’s also, you know, a reimagining of people’s favorite movie,” she adds with a knowing laugh.

For Jacobson, who first spoke publicly about being bisexual in 2018, the queer series is personal. It features queer femmes, butches, Black queer characters, trans folks, and several characters on a gender spectrum like the players and friends Jess (Kelly MacCormack) and Lupe (Vida and Fun Home’s Roberta Colindrez), one character representing Latinx players denied their stories.

Jacobson was just a kid when the film came out, but she remembers it fondly. It was the first time she felt validated in movies or TV as a girl who was into sports. For fans of the movie who may have trepidation about a “remake,” Jacobson assures the series isn’t that and it’s so much more.

“This movie does not need to be remade, but the stories of this generation of women who not only dreamed of playing baseball but were fucking good at it were not fully told in the film, right? The real estate of a two-hour film versus [that] of a television show to really show those marginalized stories and the stories that the film overlooked [makes a difference],” Jacobson says. “Some of the aspects of that league that were overlooked in the film, we thought were really important. I don’t think of it as a remake…the movie will be right over here whenever you want to watch it. And ours, hopefully, can exist right next to it. [The series] is expanding the lens a little bit to show more stories of athletes at the time.”

For Chanté Adams, who plays Max, a church-raised young woman who works at her mother’s hair salon while dreaming of the big leagues (and has a fling with the preacher’s wife on the side), A League of Their Own is part of her mission to share untold stories.

“When I envision my perfect career, this is the type of work that I want to continue to keep on doing,” Adams says about playing a character who pays homage to three Black women ballplayers in the Negro Leagues who never got their due — Toni Stone, Connie Morgan, and Mamie “Peanut” Johnson.

“Through this story, I feel like I’m honoring my family. I feel like I’m honoring my ancestors. I’m from Detroit. I’m a Midwestern girl. My dad is a historian, our family historian, and so [our story] involves the great migration and moving up from the South to find a better life in these factories,” Adams says.

Max is also queer and later discovers that her mother’s sibling was ostracized by the family for being trans — a story that resonates with Adams.

“When we [Adams, Jacobson, Graham] sat down and talked, I told them about…an uncle that was estranged from the family because he was gay. And he was Black. And it was the ’40s,” Adams says. “He ended up moving to San Francisco. I don’t know much about him; all I know [is] that his name was accurate. And I’ve been trying to research and find as much information on him as I can these past couple of years. [The creators] so graciously allowed the father of my character to be named Edgar in honor of my uncle, who passed away back in the ’80s.”

Max’s uncle represents an LGBTQ+ person of a silent generation making their own community, while the queer women of the central team, the Rockford Peaches, discover one another through friendship and romance. The love story that unfolds between Carson and Greta is sure to become a fan favorite. A queer femme, Greta, along with a friend and chosen family member, team slugger Jo (Melanie Field), has found a code to survive in a time when being queer could land a person in jail and ostracized from society. But others are queer too, including Lupe and Jess. And O’Donnell turns up halfway through the series playing someone who is queer and finally gets to say it, unlike her 1992 character.

Adams, who starred in the Laverne Cox vehicle Bad Hair, isn’t surprised by the nuanced storytelling, given the care taken behind the scenes to ensure as many voices as possible were represented. She recalls meeting the folks in the writers’ room over Zoom. “I got choked up…. There were Black women, queer people, trans people. It was exactly how it should be when doing a show of this caliber and in doing a show that is going to be representing so many different groups of people,” she says, adding that the makeup of the writers’ room is also reflected across the set.

“I’ve never been on a show that had this many queer people and this many people of color,” she adds.

If the fact that several Peaches in the series and many women from the other teams are queer (many of whom Lupe and Jess get to know intimately) seems like an outsized number, AAGPBL player Maybelle Blair, who came out publicly at 95 at a screening of the series at Tribeca in June, begs to differ.

“Out of 650 [players], I bet you 400 was gay,” Blair, who was dubbed “all the way May” for her prowess on the diamond, said at a panel for the series at the Frameline Film Festival a week after coming out.

“It was wonderful.… So many of the girls came in from the farms and they came in from all over the United States. And a lot of them thought they were alone too. And we had quite a time. There were so many gays in the league. It was amazing. Oh, but you know…let’s face it, we’re good athletes,” she said.

The series leans into a lot of joy — of playing ball, of finding love, and friendship. But it’s not naïve about the real threat of being found out as a queer person, a line that the charismatic and flirty Greta cautiously straddles.

“Those days…you wouldn’t dare be caught being gay. You have no idea how fearful it was. A lot of the girls that were in the service would come and visit us as our friends,” Blair says in a phone interview. “I had a lot of friends [who were] kicked out of the service on account of being gay. We had to be very careful.”

A League of Their Own has been in the works for about five years, and Jacobson met Blair in 2018. Between the time Blair came on board as a consultant — she’s now an integral part of the show’s press and screening tour — the documentary A Secret Love, about AAGPBL player Terry Donahue and her wife, Pat Henschel, wowed viewers on Netflix. Donahue, who died in 2019, was a friend of Blair’s. The relationship that developed between Blair and the show’s creative team became a critical piece of the series and a living example of the power of storytelling.

“We were developing the show and we sort of told her about our own lives. And she shared with us. It was important because she had not come out publicly until Tribeca,” Jacobson says. “I felt so privileged that she did that with us and felt that trust between us.”

While the series touches on difficult issues of race, gender presentation, queerness, and women’s rights, she sees it ultimately as one of joy in our current times when conservative politicians are seeking to shove queer people back into the shadows with anti-LGBTQ+ laws.

“I feel honored to tell those stories that were kept a secret,” Jacobson says. “And hope that that they might inspire people to feel like they’re not alone, wherever they are, if it is a place that is not accepting.”

---

This story is part of The Advocate’s 2022 History issue, which is out on newsstands August 30. To get your own copy directly, support queer media and subscribe — or download yours for Amazon, Kindle, Nook, or Apple News.

Source: https://www.advocate.com/exclusives/2022/8/12/how-league-their-own-changing-game-queer-black-women

#The Advocate #August 2022 #Full article #A League Of Their Own #ALOTO spoilers #Chanté Adams #Abbi Jacobson #Maybelle Blair #Max x Carson #Black History #LGBTQ+

160 notes · View notes