#sympathy and interest as other characters and the writers for refusing to put more time and care into his storylines

[byclairs]

Lucas's arc seemed like he deserved to be put in his place and recognize that he was wrong for believing he could hope for better? And they did not even focus in his character that much. Most people say Mike has a spectacular forced conformity storyline waiting for s5 when we had a forced conformity storyline for Lucas but it was so sloppily written. I thought the forced conformity narrative is suppposed to be written good in any case for poc too, not just for your white character that you send a message with.

it feels like the duffers just don’t care enough to convey a cohesive message for lucas’ arc and/or don’t know how because on the one hand they’ve acknowledged several times the racism he faces both on and outside the show so they can’t even play dumb and yet they then constantly downplay what he goes through and so you end up with scenes like the end of s4 where he basically learns to know his place or whatever like..lucas is not in same boat as someone like mike who’s mainly bullied for being a nerd. he’s ostracized in a way that mike and dustin will literally never understand but the show almost never makes any attempt to show how he deals with that yet it’s explicitly talked about in an official book from his perspective (and i know lucas on the line is not technically canon but it’s still tied to netflix/st and if they had someone in the writer’s room who could’ve incorporated even part of the type of material from the book into the show i think it would’ve done wonders to flesh out his story) like i’m sorry if you’re gonna acknowledge that his situation is different than the rest of the party’s then you need to put more care into following through with that because the whole “i thought i wanted to be like you—popular, normal” scene was just..it felt like they were insinuating his main reason for joining basketball was just to be cool when we know it’s a lot more complex than that; he was trying to protect not only himself but his friends too even though they don’t face the same shit he does. and possibly even enjoy something new in the process god forbid. and you would think that he was ditching his friends and other interests for the basketball team when that’s not what happened at all? like he never started acting aloof with them or ignoring them, he was still very much in hellfire and he never turned his back on them he even used his status on the team to lure them away from where eddie was hiding even though everyone was saying he killed chrissy and lucas didn’t know what was going on yet. he never let his desire to fit in turn him into someone unrecognizable who needed to be taught a lesson and that’s why it pisses me off so bad that he was made to feel this deep regret in the end as if he made some huge mistake that he learned from because in reality he’s never been anything short of a loyal friend or strayed from his morals. and to top it all off mike and dustin get off the hook without having reflect on how they hurt lucas because apparently you should never support your friends unless you fully understand and agree with the things they want 👍🏼 idk.

i also think his conflicting feelings about helping his (ex) girlfriend deal with her grief for her canonically racist brother who traumatized and literally almost killed him would’ve been really interesting and important to explore especially since that most likely relates to the reasons he started feeling like it was urgent to fit in more in the first place but. none of that because this boy’s feelings are never taken into account

i also think everyone should read all of this

#and as far as mike stans go well if everything revolves around him in s5 and the writing for every other character was shit they’d still #call st the greatest show ever written and be dead serious about it so that’s what i’ll say about that lmao #so yeah this is all just my thoughts but i’d say the audience’s reception of lucas is equally their fault for not extending him the same #sympathy and interest as other characters and the writers for refusing to put more time and care into his storylines #*their own fault #asks #my brain is so fried for real right now sorry if this is super annoying to read

[avelera]

Fandom Meta vs. Literary Criticism vs. Workshopping Fiction

I recently wrote a post about how I do not want authors of works like say, Neil Gaiman to see my fandom meta or literary critiques about their work, such as The Sandman which is my current fandom. Not just because there's a time and a place but because, depending on the audience, I'm going to frame my critique in different ways.

Workshopping fiction, ie, offering critique to an author with an eye towards improving the work or improving their overall skill level, is a sacred trust and one I take very seriously, to the point where I often refuse beta request (as workshopping is often referred to in fandom spaces) because I do not trust that the person on the other end of the request is mature enough as a writer to accept the level of critique I would offer to a pro or pre-pro author who is seeking to improve their work. I am careful because I want to foster a growing author and not slam them with the level of professional critique I'd give someone trying to go pro, so until I know what level I'm working on as far as how in-depth my critique should go, I usually only offer the lightest of touches. But if, for example, Neil was a fellow pro or pre-pro author who seriously solicited my thoughts on a piece that could be improved, this is what I might say to his face:

Ex. "Hey Neil, overall I love this comic you brought to the workshop, "The Men of Good Fortune"! One question, in the 1689 beat, I noticed that the death of Hob's family is just one beat of many in his string of misfortunes. However, in my experience, the loss of someone's family would be a seriously traumatic event, likely outweighing the loss of their wealth. Was this intentional? As it is, this beat makes me less sympathetic towards Hob because he seems to view his wealth as more important that his family. If not, might I suggest adding a bit more weight to the loss of his wife and adult son? I understand this was just one minor beat of the many you were juggling to show us this jaunt through time and I wasn't sure whether or not I was meant to have less sympathy for Hob here, since this arc appears to be about watching him change and evolve as a person over the centuries, or if this was merely an oversight as the loss of his family only meant to be one of a series of beats on the historical misfortunes that could befall him in this "worst of all possible centuries" and you just didn't have the time, energy, or space, or interest to expand upon it?"

To which Neil might respond, "Yes, you are meant to find Hob distasteful in that century, well spotted! Hob sees his family as possessions as much as anything else and you are not supposed to like him." Or, "I never thought of that! I had so many other things going on and I was under deadline that in truth, it was just meant to be a bit of a laundry list of misfortunes. I never really thought of or meant to explore that beat. Maybe I will improve it in the next draft!" OR, "However, that exploration is beyond the scope of this story and while I see your point, I just don't have the time/interest/space to explore the long-term ramifications to the character of him losing his first planned family."

Now, Literary criticism is when I, with a somewhat more formal tone, offer my personal analysis of a work, heavily steeped in my own experience, historical knowledge, opinions, etc. It's not going to be published in a literary magazine because this is Tumblr, but I am putting a little more effort into it and will likely do things like cite my sources.

Ex. "In Neil Gaiman's work, "The Men of Good Fortune" the narrative treats Hob in his "worst of all possible centuries" in the 1600s with a remarkable lack of sympathy. He is depicted as ugly, diseased, unpleasant, and uncaring for the wife and son he has lost, or least, no more troubled by their loss than he is by the loss of his material fortune. This century is largely passed over for its long-term impact on Hob's character, despite the fact that the tragedies invoked would likely change someone forever and represent major traumas. It is possible we're meant to see Hob unsympathetically during these years, as the whole arc is meant as a growth narrative, or it could be that as a relatively juvenile author, Gaiman only thought of these tragedies abstractly, as a way to illustrate possible historical misfortunes, and didn't really think out the extrapolations of how these stated events would impact the character's arc."

Meanwhile, Fandom meta is for funsies. It's just my opinion on a work and usually it's me rotating an idea around in my mind while I consider how to transform an element of the original media for use in a fanfic I'm writing. For example, the Doylist explanation for an inconsistency might be "The creator didn't care enough to fix it" but in a fandom meta I might acknowledge this and say, "Yeah but for the fic I'm writing I need to know why this happened so here's a possible logical, in-universe explanation that jives with the story I want to tell." There usually won't be cited sources and I will not argue with you if you disagree, even if I might side-eye someone considerably if they decided to pitch a fit about it, because it's literally just my opinion and might not even be spell-checked.

"Yo, why the fuck is Robyn's death not treated as a bigger deal for Hob in the "Men of Good Fortune" beat of Sandman?? Dude lost his son, it's a major theme throughout Sandman that losing a son can majorly change someone's entirely outlook on life, like Roderick Burgess capturing Dream to force him to bring back his son, or Dream himself and Orpheus and how killing his son to spare him his awful fate is what kicks off Dream's entire arc towards self-destruction. Yet Hob loses a son and it's barely mentioned? I just have to assume this is because Neil was like a 20-something year old dude who only knew about "losing a child" as an abstract historical thing, but losing a son who is 20 years old is a majorly traumatic event that rips entire families apart. Are we not meant to think Hob was traumatized by this, maybe leading in part to his utter collapse of circumstances in the 1600s, or did Neil just not consider it at all??"

The latter two I would never ever want to show to Neil. It's not my place. We are not involved in the sacred trust of a writer-workshopper/editor relationship. I'm not tempering my question by asking what the intention was. And ultimately, the "Word of God" doesn't matter. I can have my own interpretation and Neil's statement wouldn't likely alter it very much and my critique would be pointless because it can never actually change the story. It's just a beat I found unsatisfying and felt the need to fix in a fic, not anything that Neil ever needs to hear about what is now 34 years after publication.

I'm using Neil and Sandman as a specific example but, for the most part, this applies to all my meta and analysis. You will rarely see me writing workshop style critique on this site because that's usually done one on one. For the most part, I'm writing out my thoughts for my own sake and that of fellow fans. It is never, ever ever meant to be seen by the creators of the work.

#maggie rambles #sandman meta

[woomycritiques543]

I don't mind loona but I wish she was black and not white coded for the "sake of being goth because white people go goth trope" I wanted to see Viv make a black female main character and tell us a story through her lens as a black character. I felt it could be interesting because she's a hellhound and vortex is also there and hellhounds are basically treated as unequal or like animals especially being locked up in cages or are used as slaves such as bodyguards or whatever. We could've told so many black stories that need to be told with a black female lead for the community. Sadly Loona is white and I wished for her to be black to tell black stories for our representation as black people but I mean... We got what we got out of Viv and she's horrible at representing many things not just gay characters but POC characters that also get 0 representation, pushed to the background or have like two character traits as mains especially the women characters she refuses to make groundbreaking.

TW: RACISM.

Actually-

Please dont make the abusive fetishized caricature black.

Please dont.

I get telling black stories but with a character like Loona and how she acts animalistic in the story and is treated like one by even the creators with how she acts compared to the others who just act like regular people for the most part besides occasional sounds, hell, they get to go to regular doctors- including imps! But not hellhounds, and this is all played off as a joke about her situation, no sympathy, just outright playing it off as a "cute joke!" that she's constantly discriminated and treated like an animal, only giving her sympathy for a "white/non-black" savior story with Blitzo?!

The show tries to present how she's treated in Ep 5 as "cute" too, not even once does Blitz say "Excuse me, my daughter is not a dog- take her somewhere else or you're gonnna get it!" as instead the story is played straight and she's even physically abused by Blitz by being slammed to the ground in this episode, is treated like an animal more than usual just because she's mute (ableism), and not once does the episode address how abusive Blitz is towards her, how they put a cone on her head as a "joke! haha cone of shame she's like an animal for being the worst treated minority in the show harhar!" (badly done/racist racism allegory), Blitz even goes in the first episode "YOU GET A TREAT NOW! :)"- Blitz treats her like an animal, M & M treat her like an animal, the creators treat her like an animal, and they play it off as "cute!" instead of disturbing like it should have been at all times instead of just for a "non-black savior" story, it comes off as unintentionally racist as a racial allegory as they're presenting the minority's situation as "cute!" with the "you get a treat now!" scene and episode 5 of s2 being used as yet another excuse to treat her like an animal and have her act animalistically just because she's the lowest social tier as despite being raised by Blitz, Loona full on goes on all fours, is whistled to and is given treats. HB presents this as a "she's a hellhound/black person -they're born this way, give her a treat lol!" (racism) and it's mostly shown as a "joke!"

It's "Loona goes Feral" at: 0:42. The floor literally fucking breaks, she's outright physically abused here, is treated like an animal by Blitz constanstly, and the "white savior" is treated like "the hero" for it and she's made out to be "the animal" (both in how Loona acts and with how she is treated) in the situation just because she was born as the equivalent of a black person in the hierarchy- If this isn't the most racist racism allegeory I have ever seen in a show, I dont know what is. Look at the thumbnail, they even gave her rabies, and this is supposed to the "the black part of the social hierachy since they're the ones that are the lowest area and are enslaved." wtf?! She even acts even more like an animal at a time where she can't speak just because she's the show's version of a black person. While Stolas acts 99% human and goes to a hospital just because he's not a hellhound, in the same ep, despite being also a furry, while just because Loona is the equivalent of a black person in HB's universe, she's treated like an animal for being the lowest social tier minority, plus acts like one more than the other characters, despite being raised by a character with almost zero animalistic behaviors, just because she was born as the show's equivalent of a black woman- as a "joke." They treat her just like an animal by whistling for her, bargaining her with treats, putting a vet collar on her (the hellhound equivalent of chains!) and threw her to the fucking ground and the show presents all of this as "cute!" or "ok!". The writers only make her act as if she's "more" of an animal not for how she's raised, but just because she was born as a hellhound (black woman) and this is played off as "she acts more animal-like because she's bla- a hellhound!" and treat her like a dog too, and what makes it even more racist is that it's all treated like a "joke!" in every single ep whenever it's something about her!

-and just to make this worse, Loona is characterized as an abuser of her family (abusive black woman stereotype) and all of this is being played off as a "joke" to mock the fact that she's the show's equivalent to an enslaved black person- mocking the fact that she's the lowest tier in the social hierarchy and mocking how she's treated like an animal, and having her act like an animal just because she's a minority and to make it worse, all of which is treated like a "joke!", and this is only taken seriously once for a white savior story!

How does no one realize how racist this "racism allegory" is?! Also, the creator supported blackface and lied about having done so as a coverup instead of actually apologizing and then hired a writer that likes to use black stereotypes in his content- so she's genuinely a racially insensitive person! It's awful!

#helluva boss #helluva boss critical #helluva boss criticism #ive already seen people make Loona black #when she's an abusive to her family and a fetishized and making her black would make Loona a caricature of us! #that would be HORRIBLE black representation! #especially when the character herself is the exact kind of #character that black women are stereotyped as! #Shes constantly fetishized and presented as abusive to her family! #its not a random black villain character she would be THE stereotypes of black people! That would be terrible! #-and shes already a awful racism allegory character-so please dont do this :(

[princeescaluswords]

Your teen wolf writing is seriously incredible. Among the best content out there

To be quite honest, I have a lot of good material with which to work.

I love Teen Wolf. I love it's aesthetic. I love it's morality. I love the fact that since its focus characters are teenagers, it doesn't create shortcuts where suddenly those characters are occult scholars or professional espionage agents. I love the way it responded to the strengths of the individual actors embodying their characters. I love the way it takes risks, from the fractured narrative of Frayed to the inscrutable menace of the Dread Doctors to the fact that there was no way to stop the Wild Hunt. I love the way it employs recursion, parallelism and narrative foils without restraint; it is a show aimed at teenagers and young adults but doesn't treat its audience as simpletons.

Most of all, I love Scott McCall. I love that he wasn't a Chosen One. He didn't learn how to fight by the end of episode 3; there were still better fighters than him at the end of episode 100. I love that he didn't act like a professional operative or a seasoned military commander by the end of the first season. He remained a teenager throughout. I love his resilience, his insistence that people were more important than power, and his refusal to allow what others had done to him to change him into something jaded or damaged. Most of all, I love his determination, arising both from principal and emotion, to preserve life by ending cycles of violence. Too often in modern culture, individuals who reject lethal force as a political tool are presented either as 1) Useless Pacifists Who Must Learn an Important Lesson in Putting Success Before Principle by being forced into situations where 'killing is the only option' or as 2) White Knights Who Value Their Own Moral Integrity and Succeed Without Soiling Their Uniforms. Scott never sought out danger; the villains threatened him or those he loved, yet he never allowed those villains to determine his response. Scott endured suffering, humiliation, weakness, failure, and betrayal, but he never abandoned the motivations that made him fight in the first place. What's not to like?

Of course, when you love something, you have to be careful not to let that love blind you to its weaknesses. I wish that the writing had shown Scott more sympathy for what he went through; while I don't think that this was the show's intention, I think its decision not to have Scott spend any time on the agonies he endured eventually lessened their impact. I have also been convinced that the show runner, Jeff Davis, suffered from problems with attention and self-discipline. He was so concerned with the Big Things that he didn't pay enough attention to the Little Things that make the Big Things meaningful, and it resulted in things like the show's nonexistent chronology or the degradation of the relationship between Scott and his mother (did you notice that Scott and Melissa never had a conversation about his romantic interest or his grades after Season 2? That they never had a discussion about Scott and Rafael?)

This inattention also allowed the problems plaguing the greater culture of the United States to seep in. A character's chances of surviving were heavily influenced by whether they were a good-looking white male or not. There is literally no greater example of poor behavior of a production leading to a racist impact than Vernon Boyd's death scene. When Boyd told Derek that the feelings he experienced during the full moon, it's obvious that the character is being used as a prop for Derek's journey. Boyd experienced two full moons -- the one in the dirty train station in Party Guessed where he was chained in a rusty car and beaten by Derek or the one when he was murderously insane and then trapped in a boiler room. Which feelings exactly made it worth it? To me, the writers were either so disinterested in Boyd's character that they forgot that he couldn't feel the full moon while trapped in a bank vault or, more likely, they were aware that the audience was so fundamentally invested in Derek's sob story that they wouldn't notice.

As you engage with a phenomenon which you love, these things begin to stand out, and you have to grapple with them, but if its truly quality, the flaws -- even the egregious ones -- don't sully your enjoyment. I still love the show, and I'm still going to be writing about it. I look forward to the movie with great anticipation.

#teen wolf #scott mccall #teen wolf problems #teen wolf fandom racism #teen wolf racism #scott mccall defense squad

[sweetmage]

Does your Character have new or old phobias or superstitions that affect their story? (31) for Rhidyl :)

HI! Thank you so much for the ask(s) 😊✨ And the kind words 🥺

31.) Does your Character have new or old phobias or superstitions that affect their story?

Due to his drow upbringing and being trained and conditioned for espionage since he first learned to walk, he is naturally distrusting and always trying to get a leg up on others even when it isn't necessary (and is even detrimental and destructive in some cases). During act 1 he is thoroughly convinced that everyone is out for themselves (as is he, at this point) and that if he doesn't stay two steps ahead and play them first, they will prove a threat to him and his own goals. This results in several situations where he angers his companions, causes unnecessary bloodshed, or deceives and betrays innocent people. He mellows out a LOT and learns to trust more from the end of act 1 onwards, though. 32.) What's your Character's experience with and opinion of Volo?

Oh, he is a BIG fan lol. After his leash was cut and he earned his freedom from his family, reading Volo's more informative books were his first (incredibly inaccurate, though he was mostly aware of that fact) step in getting a grasp on surface life beyond the more technical stuff his training had afforded him. He gained an even better and more human (for lack of a better term, since Rhidyl isn't a human) perspective from speaking with him personally and developed a bit more of an interest in magic through him (though Gale also greatly helped with that, of course!) He was also really drawn to his eccentricities and manner of writing and speaking and his vivid and grandiose descriptions of the mundane. Rhidyl is a writer himself and a collector of notes, manuscripts, letters, and more so he was quite fascinated by him and honored to meet him. Though, due to his own nature, from an outsider's point of view it would look like they can't stand each other but Rhidyl is just following the social cues he's putting out and speaking just as flippantly and arrogantly and squabbling with him over petty things😅He grew to consider him a friend and a fine traveling companion until he left in act 2. Needless to say, it was an honor to brutally lose an eye to him and he wears the outfit he gave him all the time.

23.) What are your Character's thoughts on the dream visitor?

In act 1 it progress rather quickly from wholly distrusting to sympathy and a slight connection. His guardian was a drow so that, combined with the fact that he has never had a dream before (as described in this other response) set him on high alert, especially while he was still actively paranoid about being tracked down by his family or their allies and dragged back to the Underdark (since he was essentially their 'property' and had gone rogue). However, the very thing that made him distrust this strange man was the same thing that brought them closer. Rhidyl isn't usually the sympathetic type, but he has faced a lot of pain and traumas as a drow (and a male one at that) so seeing the pain and sadness in another really stirred something in him. By the end of act 1 he still keeps him at arms length and refuses the tadpoles, but he is more receptive to him and more at ease in his presence.

#bg3 spoilers #baldur's gate 3 spoilers #jun answers #jun rambles #oc: rhidyl

[a-stitch-in-time-and-space]

ok i agree w/ everything you said about those ladies besides, lwaxana gives s*xual pr*dator vibes and that is why i dont like her.

I can see that reading for sure and all things are subjective. I do strongly disagree, but hey, fandom is a space for that! Super chill.

to go a little more into this though, since it's not really so much about what any of us feel, but more about how we engage with female characters (and I'll use your example of why you don't like her - not to drag you, your dislike is totally fair, she's fictional, she won't mind, but just because it's a single line that kinda puts her in a box. And not a very nice box to be in, that's for sure...)

a little tw for mild references to some of the shadier writings of star trek vis a vis sexual assault and otherwise sexist and/or strange relationship dynamics

okay so you know how Riker has like. two? episodes that're suuuper shady in terms of his treatment of women and the rest of the time it's pretty chill. and he's one of my favourite characters, but I have gotta skip those episodes, because whatever they were trying to do, they Did Not Succeed - and there's a reading of him that incorporates those elements and if you do you've gotta contend with the character being quite probably someone who's assaulted women.

or how Worf at times espouses sexist shit that makes me roll my eyes outta my head and you're either gonna say "I don't fucking like this character" (and again, totally fair, I've seen people who don't Vibe) or you've gotta find a way to make this work for you if you want to explore that character - or both of those things, you can dislike a character and want to write about them

Or some of the weird shit the writers have Geordi do (which, Geordi is my favourite character in TNG, but sometimes ya gotta breathe and go "the writers are fucking dumb, the writers are fucking dumb")

or - the spiritual successor of Geordi, Julian Bashir (my favourite character from DS9 - clearly I have a Type). You've gotta go: This is stupid writing. I can make it work with my own read of the character, but first and foremost The Writing Is Dumb!

Or hell, Q - since we're talking about Lwaxana and I assume her interactions with Picard and Odo, let's not forget to mention Q, both in TNG and on VOY with Janeway - some of the more urgh-inducing scenes between Q and Janeway are, I think, meant to be charming and funny? And I'm a massive QCard shipper here, okay, I actually vibe so hard with him as an alien who doesn't get shit about boundaries (this mostly with Picard, with Janeway I have gone: "Hm. This doesn't feel good" a fair few times).

or how the writers of DS9 had Garak be in a very uncomfortable relationship with Ziyal, who was a teenager, then not a teenager within much too short a span of episodes (and actress changes)

or Quark. Remember the episode in which Quark tries to get Kira's likeness so he can put it in a sex-fantasy roleplay that she did not consent to? or how there are two cold opens where his female employees are told they have to sleep with him to keep their jobs

or like... Neelix (okay, I am not a fan of Neelix anyway, but for people who are fans, there are times when you've gotta wonder what in the heck the writers are thinking - not the character, the writers)

what I'm trying to say with the post I wrote is that this same graciousness isn't offered to female characters - especially female characters of colour, but in the case of Lwaxana

she's older, she's an ongoing female guest star, she's very (sometimes uncomfortably) sexual towards especially Picard and for a short while Odo, before they become really good friends.

she's also in-text several times in positions in which men are trying to control her (the episode where she gets kidnapped, the episode in which the guy who's married her is a misogynist) and she uses or tries to use her "wiles" to escape these situations.

She's really more of a faded beauty who's putting a pressure onto her daughter (in a rare interesting, complex, fraught mother-daughter dynamic that I loooove) and refuses to let go of the past, because (and here we get into my read, but mildly supported by canon) it's the only way she seems to have learned how to be loved and have relevance. She's terrified of letting that go, because where does she go next, without everything that's defined her? which is why her final episode with Odo is actually so powerful to me.

Picard is never threatened by her in-text. He's not massively fond of her (at first, she grows on him... like a mold), he would prefer to avoid her, but he's not in a powerless situation here. She undoubtedly makes him uncomfortable at times in a way that - like some of the above examples have made me go "mmmmokay" but certainly not the worst example of this in the writing.

With Odo I also don't like how some of her interactions with him go in the first episode they're in together. But once they're friends and you see how easily she accepts him ("I can swim" is always going to be one of my favourite little chuckle lines) that no longer applies. He clearly likes her and enjoys her company. There's something incredibly lifelong platonic partners in their easiness with each other.

You can argue in both cases (and argue well) that there are scenes that are kinda sus. But there are lots of scenes that offer you depth of character. She's not one-note. She's got off moments.

Some of these guys (and others - I haven't watched as much TOS and Voyager so I don't want to misrepresent anyone, but I feel sure that Tom Paris has made me squint once or twice + I've not seen Enterprise yet) have whole episodes that make me shudder.

It's really - within this fandom for sure - open how we interpret characters and I'm not saying anyone needs to read Lwaxana like this or change their minds and like her.

The point of the post is not to say you have to like any of these characters. Or even to say you have to engage with them regardless of how you vibe or don't vibe with them. It's just... I have listened to several up-until-then-enjoyable deeply analytical podcasts where at some point one of the (guys... always guys... I'm guessing white) makes a sneering comment completely dismissing their value within the series.

My point is that Lwaxana (since we're on her) has value as a character within the Trek universe. She added something important. She's not everyone's cup of tea, but it's a big series, we're not all guaranteed to like everyone.

and in the original post I used "shrill" and "cringy" on purpose, because those are descriptors I've heard. And they are absolutely rooted in misogynist dismissals of female characters no matter what shape they take (Keiko, Lwaxana, Michael, and Ezri are radically different from each other and yet all easily brushed aside regardless of screentime, personality, show, age, role/job).

I'm not making points about having to engage with or like characters. I'm just saying we need to be aware of how easily we specifically look down our noses at female characters (and specifically female characters of colour - apologies, this was just because we were talking about Lwaxana, but some of the shit I've heard about especially Michael and Keiko have made me want to bang my head against a wall... or other peoples heads against walls... you know, for a nice change)

so how much sympathy or analysis of behaviour is afforded to female characters vs their male peers. What judgements are we making and how do they compare to our readings of their male counterparts?

sidenote: I hate using male and female about star trek, my brain is just like "why anyone gender? why do this? you're in space? there are aliens? y'all can't chill with the binary for two fucking seconds?"

different post

#lwaxana troi #tng #ds9 #voy #st: tng #st: ds9 #st: voy #star trek disc horse #I don't want to make statements on TOS or Disco guys - I HAVE seen them I just don't rememberrrr too much #i have entirely avoided any and all opinions by white cis dudes on adira and gray btw because I have F E A R #they're not female characters tho but like... tangentially I'm thinking hooboy about them as well #anon just wanna reiterate I'm not telling you to change your opinion or feelings about her

[jazzythursday]

My Take on The Loki Series, And All The Things I Would Change About/Add To It If I Could (in vaguely chronological order)

Small disclaimer: This is just a compilation of all the ideas I had for ways the Loki Series could have gone, expanding on the main premise. It doesn’t cover everything, simply the aspects of the plot that I felt compelled to diverge from specifically. It’s not meant as an overly harsh critique of the show, just alternate possibilities. A… variant of the show if you will (It’s also egregiously long and yet I had to stop myself from saying more).

The series opens in the TVA with a display of the branching timeline that Loki created. We don’t meet any characters yet or see anyone’s faces, only hearing readings of codes and tracking of the Loki ‘variant’ before switching to Loki.

After traveling with the Tesseract, he takes in his surroundings (it can be the Gobi Desert but the thing with the Mongolians does not happen) but before he can get too far the TVA shows up.

I think it would be interesting to have a sequence of Loki evading them in different environments. Teleporting to different areas/planets and using different forms/disguises (maybe we see a Lady Loki in a restaurant, our Loki, and a few other outfits), however the TVA finds him every time no matter where or what form.

Eventually he gets fed up of running and confronts them directly. This should be an actual fight, i.e. magic and a Loki who is committed to not being taken down again. Ultimately through use of magic dampening technology or other means (but for the love of god not whatever that punch was), he is apprehended and taken into the TVA.

I think the TVA should have been a lot more crowded. They control/ monitor all of time, so we should have seen tons of variants of all shapes/colors/styles/species, maybe even a few characters we recognize (like in the concept art for the show). Show us that Loki is not special here, he is just another variant to be processed and done with, like all the others.

Loki will have already noticed and felt a lack of magic at the TVA, maybe he tried to use it already so by the time we get to the judge his main concern is talking his way out—Putting his ‘silver tongue’ to use. (Lack of magic in the TVA would be referenced later as well when Loki goes to summon a knife or use magic, only to remember that he can’t there).

This is a very small point but if the TVA knows him as Laufeyson, he absolutely would take offense to that. It’s been one year since he found out about and killed his birth father, I’d assume wants nothing to do with the title. Of course the TVA wouldn’t care, and we’d probably get something like:

“I am Loki, of Asgard, and you will address me as such.”

“I think you’ll find out things work a little differently here at the TVA, Mr. Laufeyson.”

Before he’s able to be pruned we have Mobius step in and plead his case.

If the show wants to portray Mobius as a friend we’ll see him have sympathy and conflicts about the TVA from the beginning. He doesn’t quite fit in, he’s bored of the monotony of the place and he has remorse for what they’re doing, but knows it’s not his place to question it. I like the idea of him being somewhat of a fan of Loki (they did mention this in the show but then proceeded to have him belittle Loki every time he opened his mouth which is uh… a choice). Mobius needs Loki’s help but he also has the desire to help Loki. He’s seen how his life plays out and understands that there’s more in him than his worst decisions. I think that Mobius secretly/ subconscious wants a bit of chaos, that he’s intrigued by Loki and as an analyst has an interest in understanding him.

Loki vs B15 would ideally happen before Loki returns to the time theater with the Tesseract instead of after. It would not be so easy for her to physically overpower him as even without magic he still has enhanced strength. (The minutemen show no signs of being genetically much stronger than humans, so arguably without use of their technology it’s obvious he could take one in a fight.

Back in the time theater after Loki’s watched the reel of his life, much of the conversation happens the same albeit with a greater emphasis on Loki’s true motivations and his feelings of powerlessness in his role. A bit about Thanos too (realistically vague). Perhaps he thought at the time he was doing what he wanted, but is starting to realize he doesn’t know anymore. Then we see a version of:

“I can’t promise you salvation, but maybe I can offer you something better.”

“A proposition, I see you have done your research. So tell me, agent, what would you have me do?”

Mobius explains why they need him to track down a variant of himself, and they shake on it. It’s clear that neither of them trust each other yet, but there is a mutual understanding that they will work together anyway.

Their friendship should grow naturally, slowly gaining each other’s trust until they see each other as true allies. In this there are more episodes than in the actual show (I’ll say 8 instead of 6). Give them a few more adventures and a bit more time for splitting up to hurt.

In Roxxcart, we see more use of magic. He dries himself off, maybe shape shifts into/imitates B15 or a minuteman. Loki uses illusions in the fight against the variant. He tries to reason with and understand what they are doing and why. The fight is somewhat matched although Loki is still holding back, fighting with misdirection as the variant fights using possession. Neither of them are showing themselves, and in an attempt to make the variant stop hiding, Loki disperses all the doubles and asks them to do the same. He takes a chance and this is how the variant gets the upper hand, setting off the branches and then revealing herself as Sylvie.

(Side note: In the concept art for the show, Loki changes into his Asgardian outfit by the time he and Sylvie are on Lementis. I definitely could see that working either when the fight begins/during it, or when he goes through the time door. In either case I think it would be somewhat of a gesture to Sylvie that he is not truly aligned with the TVA, thus setting them both apart/ in opposition to it.)

Instead of romance, Sylvie and Loki forge a bond through seeing themselves in each other throughout the series. They talk about the differences in their past and how they got there. They bicker and make each other laugh and rather than Sylvie just insulting Loki, it’s a mutual rapport. Loki gives just as good as he gets and they find they can work better together than apart.

On Lementis, Loki easily gets them into the train by impersonating a guard (or by conjuring tickets).

They talk about magic. How Sylvie is untrained but self taught and doesn’t understand hers very well. Loki can talk about how he views magic/his magic (we can maybe pull a few things from Norse beliefs about seiðr here). Does he view it as a part of himself? Something honed and precise? I want magic to be portrayed as an artful practice, and I want him to help Sylvie understand hers.

Loki gets drunk and they’re kicked out of the train. This reads as funny because Loki will have been sharp and competent throughout the show so far, so him losing his cool and failing the plan is unexpected.

Instead of the Tempad breaking for absolutely no reason, they argue over where to go/ how to use it. This leads to them both having a hand at accidentally destroying it because of self interest and refusing to work together. It illustrates again that they are stronger together but in conflict they are their own worst enemy (much like Loki in general which ties into a bigger metaphor for all his shortcomings).

Expanding on the magic thing, Sylvie and Loki through the series learn from each other. Loki can teach her some of his magic, and Slyvie can teach him enchantment (which he’s read about but never really mastered, although he approaches learning it like any other spell).

Loki could show her an illusion of Asgard as he remembers it. And in doing so we see that both of them long for it. Because for all Loki has claimed to renounce it, he misses home, and he and the audience see the same thing in Sylvie.

I think it would be interesting for Sylvie to let him enchant her, and we can see one of her memories. Maybe it’s when she was taken, maybe it’s on the run, maybe it’s a happy place, but it gives us insight into her character and past. I’m on the fence if Slyvie should enchant Loki, but if she did I’d pick them accidentally going back to the day Odin took him (which is how we deal with the icy blue elephant in the room that the writers refuse to tackle). Let Loki be conflicted and angry and unsure how he feels about it. This could once again be a moment where Loki and Sylvie connect because it’s (I’m assuming) where both their stories began. It’s a mirror of both of their origins, and she helps him see some good in that.

In the void (which is renamed something else so as to not get confused with the void™ that Loki fell into in Thor 2011) Loki learns from and connects with his other variants. They all have a point to being there, and he starts to reflect on what makes him him and what role he wants to play now.

When Sylvie and Mobius show up they agree on the plan to kill Aliyoth, either because it will stop anyone else from being killed by the TVA, or because they think he is guarding the entrance to whoever is behind everything.

Loki later asks Sylvie if she had a Thor. She did but probably doesn’t remember him much. What she does remember, she tells him. Through talking to both Classic Loki and Sylvie it’s recognized that he does miss his brother, that all Loki’s do, and that they are constants meant to aid each other and fight and suffer but always be brothers in any universe.

When they finally fight Aliyoth Loki summons new armor/his helm. Along with Kid Loki giving him Laevateinn, each Loki also gives him something to remember them or aid in their quest (yay Loki solidarity!). When I say this I mean daggers! Daggers dear gods have one of them give him daggers, boy needs some knives.

When they realize they can’t kill him, Sylvie has the idea to use enchantment. Like in the show, Sylvie can’t do it on her own and so they join hands and combine their powers together, revealing the Citadel beyond. They look at each other and agree that they have to move forward.

“Do we trust each other?”

“We do.”

Inside the Citadel we have Kang himself make the offer to give them what they wish. Sylvie can get the life that was stolen from her. Loki could be offered a Throne, he could be offered to be the first born, or to be a true Æsir, or kill Thanos, but ultimately he denies. He’s realized throughout the show that he’d rather be different, he’d rather be him, and he won’t settle for a fantasy world that isn’t real.

The message is about choice, about free will, chaos. Every choice you make directly results in who you become, every action changes how your story goes, and Loki understands that no one has the right to limit that.

In this it is Sylvie though, who is tempted. She has been on a quest for revenge her whole life, she never had a home, doesn’t remember feeling loved, and in the end it is a fight against temptation, and Loki knows all about that.

They fight each other, and break their vow of trust because ultimately they are each other but they are also different. They clash until Loki is able to talk her down, to relate to her, to show that he “just wants her to be okay” and reaffirms her goal. Kang of course continues to be self assured in his predictions. I’d imagine here is where we could get a declarative sort of speech like “I am Loki, God of Mischief,” They join hands “and no one tells our story” or… something to that affect.

Loki and Sylvie fight to destroy Kang together, and here we discover that if he is killed the multiverse opens, and the war of his variants will begin anew. We see flashbacks of Kang’s past and variants played out, and how he came to be at the citadel. Sylvie can talk about why it’s better to have chaos than to sanitize history and kill in the name of the greater good.

The show ends with the death of Kang and the splintering of the timelines. With Sylvie and Loki looking out the window into the fracturing strands of time.

Other changes and thoughts

Tone: the tone I’d imagine this would take on is possibly a bit more serious than the canon show. While it’s still comedy, it would be much less cartoonish, and generally fit in with the rest of the MCU a little easier.

In relation to Mobius:

Mobius’s crisis of faith would be a long time coming. Throughout the show we see him hesitate more and more to do as the TVA asks, and have an increasingly harder time justifying their actions. Learning that the whole thing is a lie is simply the tipping point that drives him to act.

In his confrontation with Renslayer he’d be a lot more driven/succinct. If he wants the TVA to burn then he wants the TVA to burn. He sees the wrongness in it’s entirety and attempts to convince Renslayer the same thing. When it’s clear that she is unreachable/ still sure of her mission, they come to an impasse. They each threaten to prune the other, parallel and matched on opposite sides of their belief. Ultimately though, neither can go through with it, and (if we’re sticking mostly with the canon ending) she leaves through a time door to who knows when to search for who knows what and Mobius and B15 regroup.

In relation to the other Loki’s:

I’m still on the fence how many Loki’s would be played by Tom, but I think the answer is, if not almost all, then at least more than we got.

Each Loki should read as distinctly Loki in essence. Less comic easter eggs and more focus on understanding the established canon character. Even greater in this scene though is the focus on the theme of choice. If there’s time we could learn what choices led up to each variant being apprehended, and see just a bit of how they feel about it. It’s about how our choices dictate who we become, rather than pre-set paths of completely separate realities and lives to our Loki’s.

I love Classic Loki’s speech about how it’s their destiny to play a certain part and if they try and change it the TVA stops them. I’d like our Loki, while conflicted about if he can truly change, to be motivated to try and finally brake the chains that have always restricted him (first his father, then Thanos, now the TVA). I also think here is where we could talk about how abrupt their end is ‘meant’ to be. That he was working on being better, that he had apparently helped his people and reconciled with his brother. That not only was his life cut short, but that the finality of that conclusion wasn’t truly the only way, but simply decided for him.

In relation to themes:

“What makes a Loki a Loki?” Is a question that should loom in the background of the whole series. Starting with Mobius’s interrogation when he’ll begin questioning his place in the universe and his understanding of himself, and ending with the finale confrontation with Kang where he’ll answer it.

“No one bad is ever truly bad, and no one good is ever truly good.” Is similarly something I think should have been a continued focus. Loki is considered a morally grey character and a chaos god, and thus none of his actions are black and white. Others may try and decide who he is at his core, but fundamentally the conclusion is not about deciding to be a hero, but deciding to be true to yourself and doing better.

“The banality of evil” in relation to the TVA. It’s clear from the first ten minutes of the actual show that the TVA is corrupt, unjust, and unnatural in their cleansing of the multiverse… so lean into it! I’m not necessary talking about changing much here, just that the narrative framing displays their actions as deplorable as they are.

“Glorious Purpose” is um… not something I think needed to be the main focus here. I might be biased because I buy into the theory that “you were made to be ruled” “freedom is life’s greatest lie” and “I am burdened with glorious purpose” are messages that have been somewhat impressed upon him rather than beliefs he came to realize on his own, but I do think it was somewhat oversimplified and overused in the series.

You are the writer of your own story. This is the message I expected the show to end with, and it’s what I’m personally trying to convey through these musings. This story ends with Loki taking back his destiny, forging a new one, connecting with himself and others and helping to free the timelines. He’s not the worst things he’s ever done, he’s not a villain, he’s not a benevolent hero. Loki is just Loki, Sylvie is just Sylvie, and you are just you, whoever we decide to be (that was cheesy I’m sorry).

#Loki series rewrite #loki series critical #I’m going to regret posting this #not technically negativity but tagging just in case #loki series negativity #i feel like either no one will read this or only very rude people will 😅 #oh boy #loki series #this is a load of shit but after the writing in the show I refuse to be embarrassed #Loki #jazzy’s thinking too much again

[snailsnfriends]

Dream SMP and the Effects of Grimdark Media: An Essay

Hello! For those who don’t me, I am snail, and I have been interested in the Dream SMP since October, but joined the Tumblr community not too long ago. As a writer and actor myself, the work of those on the Dream SMP has absolutely blown me away. However, I and others have noticed a trend in the writing of the Dream SMP: a good sum of it is very grimdark, and I began to notice people really feeling the effects of that, and I wanted to look more deeply into it, and how that can be altered. 

NOTE: I am completely aware that all of the writers on the Dream SMP are amateurs, and likely do not have any sort of “training” other than what they were taught in school. I would not be critiquing the writing of the Dream SMP if I did not believe that it could be “fixed.” Later in this essay, I offer suggestions to “fix” the problem that I’m bringing up. All references to factual information used in this essay will be linked at the end. 

Now, before we can talk about the Dream SMP and its writing, first we need to figure out what grimdark media is and how that affects those who watch it.

What is grimdark media?

According to the google the definition of grimdark is “(of fiction, especially fantasy fiction) characterized by disturbing, violent, or bleak subject matter and a dystopian setting.”

So now that we’ve established what grimdark is, how does depressing media, or any form of media for that matter, affect our emotions as the viewer?

As we are consuming any form of media, whether it’s a movie, a TV show, a book, a podcast, a live theatrical performance, or a Dream SMP lore stream, we as the viewers are completely aware that what we are watching is purely fictional, and that those who are performing are acting. None of the events are real, none of the characters are real, and none of the settings are real. 

So why do we react so heavily to certain moments? Why do we cry during heavy lore streams if we know that none of it is real? 

A lot of it has to do with the human capacity to feel empathy/sympathy. Empathy allows us to understand the experiences of others, even complete strangers. Sympathy, on the other hand, allows us to share the feelings and/or emotions of others. As we are consuming media, we are aware that all of it is fake, but we still feel empathy and/or sympathy for the characters. So much so that a physical response, such as crying, is a result. 

Even though the characters of the Dream SMP are not real, a lot of their characters’ responses to traumatic events ARE, so we as an audience sympathize with them heavily. For example, c!Tommy shows very clear signs of PTSD after being killed by Dream, such as extreme emotional distress or physical reactions to something that reminds the victim of the event (c!Tommy freaking out after taking fall damage), trying to avoid discussing the even or avoiding activities, people, and places that remind the victim of the event (c!Tommy refusing to go into depth about what happened to him), memory problems (does not really remember how long he was dead for), easily startled, always on guard, extremely irritable, angry outbursts or aggressive behavior, and difficulty keeping close relationships (his current relationship with c!Tubbo). 

Even though we as an audience know that c!Tommy and his experiences aren’t real, his reactions to these experiences are realistic, and can be relatable to a lot of viewers, those with PTSD and those without (which is why it is VERY important to be careful with your word choice when discussing these characters; this connects with the problem of villainizing characters with mental illnesses, but that’s another topic for another day). We as viewers empathize with c!Tommy because it is likely that we have reacted the same way to traumatic events, and we understand them fully. They may remind us of our past and/or current selves, so we react emotionally to them. 

We as people also mirror the reactions and emotions of others. If someone starts to cry, real or fictional, it’s likely that you will as well. If someone is angry, you will likely get angry as well. This is not odd, and is very normal for humans to do. Regardless, getting angry or crying are emotional responses, and will hurt you in some way. 

Another thing to note is that this fandom is made up of mostly minors, and some of the most traumatized characters on the Dream SMP are also minors. It can be hard to watch kids your own age go through so much, even fictional ones. As an adult, it can be just as hard to watch these young kids go through so much, especially when you try to compare those characters to who you were at their ages. 

Even those who have not gone through these events will likely sympathize with these characters heavily because what they have gone through is emotionally heavy. Because of all of this, watching heavy lore streams can have a negative effect on a viewer’s mental health. 

Okay, so why is the Dream SMP storyline at the moment so dark and angsty? Why do people keep engaging with it if it is negatively affecting their mental health?

This sort of “angst spiral” of sorts is usually something I notice in fanworks such as fanart or fanfiction. It is sometimes a lot more fun to write or draw heavy, emotional moments, and they garner more attention. 

It sort of goes like this: the plot has a normal amount of angst in it for the story, and at this point it is balanced with more happy or “fluffy” content, the angst gets more attention from fans, the writer (or in the case of the Dream SMP, writers) notice this and write more angst as a response but it is still bearable, the audience feeds off of this heavily and create more fanart/fanfiction/theories based on it, writer really notices this and (understandably) comes to the conclusion that angst/grimdark things are the best/easiest way to get the audience excited for the plot, the plot gets very very grimdark and is not balanced out with any upbeat moments, random angst plots are started with no real ending in sight despite that not being the original plan for the character/plot (feet are too small for the big shoes) and the rare upbeat moments are short/not given any attention, and at this point, it can be almost unbearable to watch because the plot has become too grimdark. Once we reach this point, or even a few before it, it can cause a big toll on the viewers’ mental health.

The reason why someone who has been negatively affected by the grimdark content of the Dream SMP may still watch it is because the Dream SMP has not always been this way, and the writers have proven that they can do upbeat/fluffy content, so they keep watching. A big example of this is the Disc War Finale. Although the first half of it was more angsty, the final parts where everyone came together to put c!Dream in jail and to protect c!Tommy and c!Tubbo was upbeat and even a bit cathartic to watch. C!Tommy and c!Tubbo sitting on the bench, listening to their discs together in the end was much needed for the audience. This can even be seen in smaller examples, like c!Tommy exclaiming, “I’m free!” while flying around with c!Dream’s trident, or c!Tubbo and c!Ranboo adopting Michael and getting married.

The Dream SMP also may be someone’s hyperfixation, so they are unable to simply stop watching. 

So now that we know all of this, what can the writers of the Dream SMP do to fix this, and what can we as viewers do to help ourselves out?

As I said in the note before this essay, I will be citing examples of a more balanced lore/angst plot that the writers have shown that they are capable of doing.

The writers: 

Make designated lore streams shorter

The best example of this is c!Tommy’s 25-30 minute prison streams. These streams were short, sweet, and to the point. We got all of the “lore” we needed quickly, and if you happened to miss it, it was easy to watch it back later. If the lore bits were too heavy to watch, then you would not be missing too much. 

I know that this is definitely not always possible, so this is most likely the best way to go:

Balance out lore and funny bits in streams

Cc!Tommy’s last lore stream, pretty much all of the Pogtopia streams, and most of cc!Tubbo’s streams are like this. They are a mix of lore and funny moments where the CCs are actually speaking and joking with each other. These are a lot easier to watch because it is not heavy the entire time. The joking moments provide a break in between the angst, and it can also be used as a good way to remind the audience that the Dream SMP is purely fictional. These streams are also better for those who do not really care for the lore and would rather just watch the CCs mess around with each other. 

For me, these funny moments are what caused me to fall in love with the Dream SMP and the creators behind it, and I know that the same applies to a lot of people in this fandom. I think this would probably be the best way for the Dream SMP to operate around lore. 

The viewers 

Try to take a break from lore streams if it becomes too much

As I stated before, the Dream SMP is not real, but the characters’ reactions to events can be very realistic and hard to watch. If things become too much for you, try to take a break from it. Stop watching the stream, don’t go on social media if you follow stan accounts or Dream SMP dedicated blogs, and go do something that calms you down. If you feel that you’re feeling good enough to go back to the stream, go ahead! If not, then that’s completely okay too!

Follow lore recap accounts/blogs to stay up to date on the lore

The fear of missing lore streams is centered largely around missing something crucial. There are plenty of accounts on Twitter and blogs on Tumblr that recap lore streams so you can stay up to date on the plot without having to watch the streams. 

The VODs will be there to watch later

If things are too much, remember that you do not have to watch the streams in real-time. You can always watch them later if you aren’t in the right headspace to watch them live. 

Conclusion

The Dream SMP’s writing and acting is very impressive. The amount of awesome fanart, fanfiction, analysis posts, and other work is absolutely amazing. It is so cool that so many people enjoy this Minecraft roleplay so much. The amount of people who love it is good proof that the writers are doing an amazing job, and the amount of people having an emotional response to it shows the same thing. However, the amount of angst can be hard to watch and can put the writers in a tough spot to get out of. 

I have a lot of faith in the writers of the Dream SMP, and I believe that it is possibly on the right track, with Tommy’s latest lore stream being an example of this. I really do think that the amount of grimdark content can be altered and streams can be easier and more fun to watch. Hopefully we’ll get a more mixed bag of lore and angst soon to make things more enjoyable for everyone involved.

Sources:

https://www.mayoclinic.org/diseases-conditions/post-traumatic-stress-disorder/symptoms-causes/syc-20355967

https://www.psychologytoday.com/us/blog/the-moral-molecule/200902/why-we-cry-movies

https://www.vice.com/sv/article/exqgqm/why-do-we-cry-when-we-watch-films

https://www.merriam-webster.com/words-at-play/sympathy-empathy-difference

#dream smp #dreamsmp #dream smp analysis #dreamwastaken #c!dream #tommyinnit #c!tommy #tubbo #c!tubbo #ranboo #c!ranboo #long post #dream smp essay #snailtrail.slimes

[phandombigotryarchive]

Trigger warning:

Discussions of sexual assault, transphobia, transmisogyny, chattel slavery and violent antiblackness.

Good afternoon,

It may come to many people's great happiness in this community that I am no longer interested in muling for a fandom that wants my community dead and excuses our deaths.

I am not here to hold your hand on why you should see Black people as human beings if you are unable to do so.

I'm not here to sit around here to convince you that the Black trauma that you are excusing is of real live human beings. That enslaved Black people were mothers, fathers, cousins, siblings, aunts, nephews, loved ones and by brushing off the pain that they went through, you are dehumanizing literal human beings.

This is a fandom that excuses white supremacy, discrimination of people with facial differences, transmisogyny, orientalism, the objectification of m/m ships (often involving a party of color), ableism, transmisogyny/transphobia, general anti-Blackness, colorism and we can go on for just about forever.

It protects those and their enablers and in addition to this, excuses and normalizes the use of chattel slavery as a fanfiction trope.

Think about this before you consider aligning yourself with the people in this fandom or joining it at all.

Therefore, this archive serves a reminder of what the true nature of the Phantom of Opera fandom holds and no matter how many times you block me, you cannot erase this. It serves as a resource for current marginalized fans and future fans to heed warning of the false respectable aura these bigots parade.

I would like to thank our allies for doing as much as they can for the sake of protecting themselves from this fandom. Don't worry. I saw your posts. I thank you.

To all non-Black people of color that stood by and watch this happen without a care, I'm not surprised that you would have such lack of feeling for Black fans. I would implore you to do better but that would imply that any of you actually had spines.

Anyways. Keep the Black names of actors under Phantom of the Opera out of your mouths and gifsets. I know who you are and that you're seeing this. No, posting pictures of Norm Lewis and Derrick Davis along with others will not solve anti-Blackness in a fandom that excuses chattel slavery.

Non-Blacks cannot accept "apologies" for anti-Blackness and slavery apologists.

Take your performatism somewhere else.

Blackness, being Irani and the beauty of being trans is something to be celebrated. Do not forget this even in such a bigoted, white supremacist fandom.

To all those who are affected by the phandoms bigotry, let me say this. You are not alone.

Now, I will recount these past months events of transphobia and antiblackness. for anyone who was lost within the narrative.

We begin with @transphantomweek. @cefantomeenhabitnoir noticed that i-penna and filthybonnet, both big names in the fandom were perpetrators of transmisogyny. When he called this out, they were instantly shut down, blocked and isolated from the fandom.

@cefantomeenhabitnoir has an entire Google doc dedicated to the harassment they faced and the transmisogyny perpetuated in this fandom and you can find it on his page and in my phandom bigotry callouts tag.

Kept Below is the fic that @cefantomeenhabitnoir is referring to.

See my phandom bigotry callouts tag and @cefantomeenhabitnoir 's transmisogyny/transphobia call out for more details, which is also in that tag.

Now we bring ourselves to our current situation. Madamefaust.

On February 25th, 2021, I called out madamefaust for using the tragic mulatto trope, exploiting the usage of the Dumas Family (real life victims of the Haitian-French slave trade) to racebend Raoul De Chagny as a biracial. Black-French Man in her since deleted fic, "Strange Sweet Sound".

I will explain to you why this is bad.

"Do you even know the implications of naming a Black/White biracial child a bastard and flat out stating that their white side was involved in the slave trade? It means that child’s mother was possibly raped. You are implying that Raoul’s mother was a victim of slavery and sexual trauma. You are playing into the tragic mulatto trope. You are anti-Black."

- Me in my original call-out post (which you can find on my pinned.)

The tragic mulatto trope is trope born from slavery times involving a Black/White biracial child who was the product of rape between a white and enslaved Black party (typically female). They are pitied for their Blackness.

"Lydia Maria Child introduced the literary character that we call the tragic mulatto in two short stories: "The Quadroons" (1842) and "Slavery's Pleasant Homes" (1843). She portrayed this light skinned woman as the offspring of a white slaveholder and his black female slave. This mulatto's life was indeed tragic. She was ignorant of both her mother's race and her own. She believed herself to be white and free. Her heart was pure, her manners impeccable, her language polished, and her face beautiful. Her father died; her "negro blood" discovered, she was remanded to slavery, deserted by her white lover, and died a victim of slavery and white male violence."

After I called this out, many people in the fandom blocked me and began to post very cryptic things regarding cancel culture.

Madamefaust is not exempt from participating in my harassment. Madamefaust is a pharoga writer and a large number of the people harassing me were pharoga shippers. You can find the list of names in @cefantomeenhabitnoir 's bigot call out list.

Even her literal friends and mutuals were posting things regarding the words, "you don't have to care about anything" about a Black woman calling out the literal fetishization of slavery.

Madamefaust did nothing to stop my harassment. Only posting a cryptic post "to stop" while these people still kept indirecting me.

Why didn't you tell them to disengage until the damage was already done? Why didn't you confront them personally and not in some text post? You knew what you were doing. You were watching. This fandom is small.

I hope you feel ashamed and that the shame follows you forever. You were playing with literal Black lives and the deaths of many people who were murdered. Slavery wasn't a fun game. It was endless brutalization and loss of self. Black people's lives were treated as products. Me and many people's ancestors literally had nothing.

Life as an enslaved person was either get raped by the slave master or labor until you die.

And this fandom has the nerve to excuse using that as a fanfic trope?

Now, we move on to @strength-to-try

@strength-to-try dubs themselves an "anti racism" page yet allows antiblack slave trade apologists and their defenders to interact with their posts.

When a Black woman criticizes them (me), they refer to me as a "Black Individual" and flat out state that they aren't going to block out literal

SLAVE TRADE APOLOGISTS, ANTIBLACK PEOPLE AND BLACK FETISHIZERS.

YOU ARE NOT BLACK. I CAN TELL.

You cannot "forgive" or accept apologies antiblackness if you aren't Black.

The entire reason that page exists is because I was calling out ANTIBLACKNESS AND SLAVE TRADE APOLOGISM IN PHANDOM.

FUCK YOU AND FUCK EVERYONE WHO SUPPORTS @strength-to-try and their anti-Blackness, slave trade apologism and willingness to stand with white supremacists all whilst throwing me, a Black woman under a bus.

IF YOU SUPPORT THEM, YOU ARE ANTIBLACK. YOU ARE STANDING IN LINE WITH SOMEONE WHO LETS WHITE SUPREMACIST SLAVE TRADE APOLOGIST ANTIBLACK RACISTS INTERACT WITH THEM.

TAKE IT FROM AN ACTUAL BLACK PERSON (ME!)

FUCKING LISTEN TO BLACK PEOPLE WHEN WE SAY THE SHIT YOU'RE DOING IS RACIST.

The Phantom of the Opera fandom is especially not safe for Black People and Trans Women. It houses, protects and defends WHITE SUPREMACY.

But it is also not safe for darkskinned people, Muslims and Iranis.

It is reeking with people who fetishize the Daroga, a darkskinned Irani Muslim man. They lighten his skin, barely even mention his religion unless they're trying to strip it away or demonize his home country. They write him hyperaggressive and hypersexual towards Erik. They call him a monkey. This is not love. This is racism.

They also hyper-sexualize Irani women and refuse to think critically about why Gaston Leroux describes the Little Sultana, an Irani woman as so blood thirsty and Erik (a white man's) main abuser.

You can find examples in my phandom bigotry callouts tag. Or just read any pharoga fic. It's filled with this prejudiced shit.

Also I encourage you all to stop demonizing Erik's facial difference and to educate yourself on the history of ableism regarding the discrimination of people with facial differences. You can find some of these resources under my ableism tag.

So, in all, go run your money to @cefantomeenhabitnoir for the transphobic trauma you've put him through if you have a single bit of sympathy for them. You know who you are.

I don't expect much from a fandom who condones literal anti-Blackness and slavery apologism. But if any of you do feel remorse, I encourage you to run your money to Black people. Especially darkskinned, disabled and LGBT Black people whenever you see a donation post as reparations.

Silence is violence.

Also, I have put together an artist blacklist of people who supported madamefaust's use of slavery in her fanfic, defended it or flat out refused to stop interacting with said defenders of it.

In addition to this, I have added said artists who have contributed to the racist orientalist sentiment against the Daroga and, of course transphobes/transmisogynist defenders.

You can contact @queerangelic or @cefantomeenhabitnoir for the list to know which in the fandom to avoid.

More than many of you are guilty.

For new Phantom of the Opera fans considering joining the fandom? Read my pinned and check out my phandom bigotry callouts tag.

I suggest that you do not join this hellscape fandom or get out of here while you can.

Avoid this fandom as much as possible.

And Phandom? I'll see you all in hell.

#poto #the phantom of the opera #phantom of the opera #pharoga #erikstine #raoul de chagny #Daroga #raoulstine #the phantom #Christine daae #gaston leroux #the daroga #meg giry #carlotta giudicelli #Madame Giry # le fantome de l'opera #megstine #susan kay #phantom #musicals #Broadway #andrew lloyd webber #alw #fandom racism #phandom bigotry callouts #le fantome de l'opera #erik the phantom #the persian #NonBlacks ok to interact/reblog

[jonroxton]

can you talk about chlark beyond chloe? personally i think it's weird that the writers kept adding kisses and weird romantic moments without any pay off. i don't know much about the fandom back then but i think the writers were baiting fans since clark/chloe seems to be the second most popular ship after clex. second i personally think chloe would never be happy with clark or anyone tbh and she doesn't seem like the type of person who would have kids so the finale was weird to me.

this got looooong :)

0. it WAS weird, and the choice to never not once go for it with them was to the story's detriment. I'll get into it a little later on in this post.

Re: shipping in sv fandom. there was definitely drama (clana was HUGE when the show was airing and every ship was basically derailed by it lol) but I stayed in my clois lane with a small circle of fandom friends much like I do now. a good measure of clois fans were fans of lois and clark from other mediums, come to sv just for lois and clark, myself included. we were pretty insulated as a fandom even back then. I do remember seeing more Chlark after the S5 finale (when Chloe kisses him goodbye), but those dropped off after Jimmy was introduced right away in S6. The most drama I encountered was with Chloisers: Chloe fans who believed wholeheartedly that Chloe was Lois. They hated SV!Lois and were convinced she would die so Chloe could take her name and job and place by Clark's side, thus a Chlark endgame. this was a popular theory amongst that fandom even into s9, when the clois ball started to roll for true.

bait and switch

a lot of Chlark is rooted in this notion that chloe WOULD be the best thing for Clark, the ideal Lois, the true best friend, the human hand guiding him through Earth's troubles. she would be could be the BEST possible lois archetype for Clark. it's not a wrong interpretation. she was specifically written as a lois-and-lana-proxy (teenage lana is a reporter in some AUs and even some as an adult as a tv correspondent) and she's given many lois-ish traits (tenacious, secretly crushing on clark and in denial), but this interpretation is deeply flawed. first, because lois does eventually enter into the picture and she has her own defining traits that, when compared to chloe, make chloe seem much shallower than realized. secondly, within the complete context of the story, her position in the greater narrative is not as ~the one who got away, the way it did very early on in S1-S4, but one who clark tolerates.

they're friends because clark is forgiving and chloe has staying power. their friendship is riddled with insecurities and unknowns the characters create for themselves. their dynamic is defined by conflict, not resolutions. this is not made easy by the fact that chloe is such a strangely written character, but ultimately she is positioned as a counter to clark achieving his happiness. not a thematic narrative foil but an obstacle clark eventually relents to.

2. and it has been so from the get-go

S1 is the best season for them and the single season which actually considers Clark's side in this dynamic. everything about them later on can be explained with how they are in this season. and that's the problem. when they're 14 it's nice teen angst drama and works perfectly to establish the dynamic. when they're 24 it's at best a pattern, at worst regression. we expect certain behaviors, dismiss them too, when it's children, at least I do. clark and chloe never move beyond the dynamic they establish in s1 and early s2. in essence, clark and chloe remain children around each other. they have many discussions in the later seasons that make at least one appear petulant.

so S1 clark has just been told the greatest secret of his existence and he imprints on lana hard that same night (right AFTER jonathan tells him, he meets lana at the graveyard and talks to her for the first time EVER, a lot of childhood imprinting going on in SV). all of s1 follows clark's heartache over lana, watching her from afar and figuring out a way to be near her. this pain is exacerbated by the fact that he believes he caused her her greatest grief: the death of her parents via the meteor shower which he arrived in.

here the first beat of the chlark dynamic is established: chloe's job and passion – the wall of weird and her pursuing the meteor infected oddities of SV - directly affects clark in a negative way (he's suicidal for much of s1-s3). so her crush on him is countered with her unknowingly causing him great grief. om top of that: clark becomes part of this passion of hers and she eventually begins to pursue him as a story to be uncovered, very superman yes. here tho, it causes nothing but strife for them and paints chloe in an awful light (and clark too, highlighting his refusal to open up). I personally enjoy this aspect of them in s1. bc they're so young I give em a free pass and it's a good conflict playing around with old superman tropes, but it makes for a fraught friendship.

3. the second beat

is that neither chloe's crush on clark, nor his asking her to stop pursuing his truth, do anything to stay her. her tenaciousness becomes intrusiveness and inconsideration (many of her accomplishments irt the daily planet are directly bc she betrays clark). she simply will not listen to her friend and does not believe his livelihood and autonomy is worth losing a story over. this is literally the opposite of comics/live action lois lane, who in various versions drops the clark reveal story to protect him. this passion turns vindictive pretty early for chloe, who eventually pursues stories about clark out of jealousy and entitlement (against lana also).

4. the third beat

is that clark doesn't ever see chloe as romantic prospect except this time in s1. the tornado trapping lana pulls him away from any solidifying of the clark/chloe dynamic, and that's that. but we know clark was willing to go for it in early s2 when he apologizes to chloe about running off on her. it's chloe who decides not to go on with the relationship. clark is visibly confused, but also 15 so he can't see that chloe is putting on a brave front to protect herself from clark running off again. I liked this too as it's another play on superman tropes, but my sympathy for them stops here.

5. and stays here

these beats are the entirety of this dynamic. everything about chlark can be distilled down to their childhood. it's why I don't hate them completely, bc I have a lot of love for kids who hurt in such a way and that time is never easy. in s8 (I think its s8) when we get a flashback to when they meet as kids (more imprinting!). little tenacious cute chloe kisses insecure clark bc of the funny awkward tension, acknowledging it, and then immediately takes it back because they're better as friends. (also they’re like 11 lol)

every single romantic moment with them is undercut either by chloe herself, or by the presence of other storylines/romances the writers wanted to pursue. the lack of integrity in chloe and the lack of interest in clark, regardless of how sincere their connection or how messed up, is a central part of their dynamic that needs to be reconciled with their friendship. and its exhausting bc there is never a point they are ever truly comfortable around each other.

6. to a fault

knowing the secret doesn't change chloe's methods. it doesn't make chloe clark's great confidante. if anything, it complicates matters for both because their relationship then becomes about the greater good and clark's great destiny. everything chloe does becomes about that, which in theory sounds awesome, but is executed much the same way as s1!chlark: by reiterating behaviors that highlight the negative aspects of that loyalty and the negative aspects of their characters.

the single time they do actively examine what this loyalty means and how chloe's hero complex complicates things for chlark is with s8 and davis. she protects davis with the skills of subterfuge and secrecy she developed as clark's friend. and it costs her jimmy and a lot of her personal integrity as a character. tho ironically it makes chloe the strongest she's been as a character. this is the first time clark is forced to view chloe as an enemy and he never quite recovers from discovering the dark depths she’s willing to go to. 

it's an arc dealing with the established beats: how far chloe is willing to go for a kryptonian (very far), how much she's willing to do for him (A LOT and all of it illegal), and what it costs her (jimmy). it deals with her jealousy (always second choice) and her motivations (uncovering the truth). this great want that she struggled with for years is turned on its head and examined, revealing just how weird and dark her hero complex is because obviously davis is not clark. davis/chloe served to highlight more than any other arc how it's really too bad that clark never saw her that way, because she has so much love to give and when channeled, it's a great force. only it's a great force for evil. clark has to confront that it’s not just lex but his other closest friend who is willing to go so far. they backtrack hard in s9 and s10 but they keep this underlying wariness in clark towards Chloe throughout. it’s not anything new, but it’s no longer subtext that clark doesn’t fully trust chloe.

7. And that's the rub

in the end. chloe and clark have many storylines they're in together and chloe's important.... to develop clark and as a counter to clark. clark never instigates anything, not once, for 9 years! when the show did give us Moments TM, clark is reacting, not actively making choices to connect to her. if anything, clark is incredibly awkward about chloe when they become intimate. he doesn't seem to know what to do with her crushing on him (the elevator scene is a great one to show just how awkward chloe makes him feel). more than that. clark never tells her his secret. and later on, chloe doesn't tell him half the crazy wild shit she does to protect him bc she knows he would disapprove. I still hold that the only reason they work is bc clark is a forgiving character and would give her chance after chance after chance. that's the watsonian explanation, but the doylist explanation is that the writers just never cared to explore them beyond this point.

8. and what was beyond that point?

they would've been a great counter to lexana in S6 and early clana (clark finally having a gf who knows). it’s playing the clark/Chloe as a straight lois/clark proxy before actually pursuing lois and clark. it could’ve been the precursor to davis and caused an even more personal conflict! the kiss at the end of s5 was their chance. they could've written chlark devolving much the same way lexana did in s6 (or not). but again. the writers never went that far and clearly never wanted to. it kept chlark forever in this stage of childhood friendship always on the brink of collapsing, tittering either way. it's also tough to speculate bc clark's just not into her. in fact he becomes more and more wary of her, to the point where he believes she can do horrible things, and he's right. the stories continually make their methods complete opposite.

they go out of their way to show chloe realizing how happy clark is with lois. and even play a joke on the fandom by literally turning her into lois and seeing the sparks between her friends. it's almost... cruel but it does serve to show how clark is when he's smitten and he's never looked at chloe that way except during the dance when they were kids. other unrequited dynamics have at least some spark from the desired, but nil from clark. clark is into chloe in late s1, but she shuts him down, and when he seems to be into her again (damn that s5 kiss was a good one lol), she shuts him down again. it's just a weird writing choice all around, and that they kept nuggets of it throughout the show is the thing I cringe at most whenever I rewatch.

9. bait and switch 2

with hindsight it is definitely ship baiting and that sucks for that dynamic bc without it their friendship would’ve been the stronger, or at least not full of so much negativity. all it did was remind everyone that chloe’s been duped since she was a kid and that clark is both stupid and strange for never noticing and letting her get away with shit just bc she’s the most loyal. I don’t ship them and even I get frustrated lol

#mystuff #smallville #superman #anti chlark #sayruq #my meta

[franniebanana]

CQL Rewatch - Episode 6

What I learned from this scene: Jiang Cheng is really picky about women and Wei Wuxian is perfectly happy being without a woman (as long as he has alcohol), and THAT parallels what Lan Wangji says later on that he’s fine being alone too. A little thing, but it shows that while Wei Wuxian talks big about all the cute women in Yunmeng, he has zero experience and isn’t really even interested in them. Jiang Cheng, on the other hand, IS interested, but is terrible at talking to them.

Call me crazy, but I don’t actually think Lan Wangji walked in there just to punish them for making noise/disturbing others. By the way this scene is acted, it seems like Lan Wangji is genuinely curious about what they’re up to, to the point where it almost feels like he wants to join in. Like he’s really taken what Lan Xichen has said about making friends to heart. And that all is super cute to me if that’s true. Like he hears the noises coming from their room (maybe he was already going there to see Wei Wuxian anyway!) and thinks, “Sounds like they’re having fun! Maybe I can join.” I don’t think it’s outside the realm of possibility for him to think that way, albeit probably hesitantly. And it’s not like he walks in with a dour expression, ready to throw the Gusu Lan Sect rules in their faces. It’s not until he sees the alcohol/Wei Wuxian asks him to drink with them that he pulls the rules card out.

Lol his look here. DON’T. TOUCH. ME. The phrase “if looks could kill” was made for people like Lan Wangji. He has nailed that glare. But like, how ballsy is Wei Wuxian to suggest drinking? He KNOWS Lan Wangji will not willingly break the rules, and if he doesn’t know, then he’s a dummy!

I love how quickly this whole thing unravels for Wei Wuxian. He thinks it’s so funny at first—stick Lan Wangji with a talisman, get him to do what you say—only he has no idea that Lan Wangji has absolutely zero tolerance for alcohol and his response is to immediately pass out. The sheer panic in Wei Wuxian’s face and voice is delightful to watch, honestly.

I’ve watched this scene so many times in the last week or so. I like it better in the special edition, since we get more wangxian and more drunk Lan Wangji—two things that I will always take more of. The part I like is that it shows how much Wei Wuxian commits and takes responsibility for his actions. He gets Lan Wangji drunk, so he spends half the night making sure Lan Wangji is okay. It’s a very sweet scene: the two open up to each other about their parents and it’s a very unifying moment for Wei Wuxian, finding out that Lan Wangji has suffered, just like him—that he is a human being with emotions, parents, that he’s experienced loss too. Wei Wuxian, up to this point, has dealt with his troubled past by clowning around and being generally optimistic, which is obviously not how Lan Wangji has handled his own past.

Lan Wangji probably remembers nothing of their conversation (or very little) but Wei Wuxian, who can hold his liquor a lot better, remembers all of it. It’s still fun watching them grow together, even after watching this so many times. Every time they experience something together, it just brings them closer. Really calls to mind themes of fate and destiny, though I like to believe that fate had nothing to do with them falling in love.

And here’s where Lan Wangji says he’s fine being alone, to which Wei Wuxian basically goes, “EH?!” in his mind, but instead calls him and his father boring. And then things get a little heavy, since Lan Wangji fully admits that he has no mother (in other words, his mother is dead). I assume (and Lan Xichen says later) that Lan Wangji would never have divulged this information while sober and it’s interesting that Wei Wuxian never lets on that he knows. It’s kind of a shame, really, that they never talk about it again. He only talks about it with Lan Xichen, but it would have been nice to see the two of them really talk about their parents.

In my mind, they slept in the same bed. Like, not that they did anything, because let’s be honest: they passed out. In my movie, Lan Wangji would have passed out again, and then Wei Wuxian would have put him in bed, and then passed out right next to him. It’s sort of strange that Wei Wuxian dragged himself across the room to sleep upright on the floor. He doesn’t seem like the type to do something like that, and why should he care if they share a bed? Especially given the fact that he’s also drunk.

It’s also super cute how Wei Wuxian is only like half-dressed (I say half, but it’s more like three quarters): his overdress is not pulled all the way on. His shock, then laughter here kind of indicates that he doesn’t remember much from the previous night, or maybe he forgot, and then remembered. The amusement is short-lived, though, since as soon as Lan Wangji wakes, up, he flips the fuck out and drags them all to get punished. I kind of wish we’d gotten to see that, although I do love the way they wove in the conversation between Lan Qiren and Lan Xichen.

His fucking face. He goes from, “Ah, Wei Wuxian, that rascal!” to “Wangji, WTF?!” I love that so much. And the thing that makes it funnier is that Xichen was the one to suggest that Wei Wuxian might be a good friend for his brother, and now it kind of ends up biting him in the ass, since he’s KIND OF a bad influence. Obviously, the next scene shows that this hasn’t really had a negative effect on Lan Wangji, since he is willing to accept punishment for something he had absolutely no control over, even when Wei Wuxian chastises him for doing so, and announces to Lan Qiren and Lan Xichen that, in fact, Lan Wangji was forced to drink the alcohol.

Which brings me to the punishment scene. I like this scene a lot too. I love Lan Wangji’s tenacity here, how he refuses to try and get out of the punishment even though he drank the alcohol against his will. I love how Wei Wuxian immediately comes to his defense to try and get Lan Qiren and Lan Xichen to stop the punishment for Lan Wangji. This is a good contrast to earlier scenes when Wei Wuxian would not admit to breaking the rules and was always trying to make an excuse for himself. Here he doesn’t do that at all. He fully admits to breaking the rules and to dragging Lan Wangji down with him. I know Lan Wangji is upset here, but I think he’s mostly upset with himself for allowing himself to break the rules (even though he really had no choice in the matter).

Another great Yunmeng siblings scene. Wei Wuxian complaining about being punished and Jiang Yanli just keeping it real: you shouldn’t have broken the rules. She’s such a good big sister, though, because while her speech has a touch of disapproval, she’s still very sympathetic to their injuries. I do feel like she’s a little harder on Jiang Cheng, because she knows he’s better than that and he has to be better than that if he’s going to be a clan leader someday. As usual, she’s softer with Wei Wuxian, who she just has an abundance of sympathy for. And I don’t see that as a bad quality at all—I think she and her father are willing to see past some of his behavior because overall he’s well-intentioned and, as is discussed later on, he’s not going to be clan leader. His job will be to support Jiang Cheng, not to run the place, and he’s a fierce friend and extremely loyal to the Jiang Clan.

But anyway, this scene is cute how both Wei Wuxian and Jiang Cheng tell Jiang Yanli that they need more protein to heal and she should really add some lamb to the soup.

A few minutes ago, he could barely walk, and now he’s literally running down these steps. Maybe you don’t need that cold spring, after all.

RIP that other shoe that he originally kicked off right into the spring.

I love all of Lan Wangji’s expressions here and his responses to Wei Wuxian’s advances (I can only call them that, because he’s such a flirt here). You can totally read this scene that Wei Wuxian is just teasing and taking the piss with Lan Wangji, but I’m not going to, and I’m assuming, if you’re reading this, you aren’t either.

Wei Wuxian was delighted when he saw that Lan Wangji was also at the cold spring. He clearly went there for his wounds, but I think the wounds are all but completely forgotten as soon as he sees Lan Wangji.

I also love how shy Lan Wangji is, that as soon as he hears him coming, he immediately dresses again. He doesn’t leave, but he doesn’t want to be seen without his clothes on. That’s incredibly endearing to me that he is so modest. And then you have Wei Wuxian, who threatens to take off his clothes several times (although this is the only time he does it for reasons outside of teasing Lan Wangji). He does not care—he’s seemingly not modest about his appearance at all. I really do love all the contrast between these two characters—it’s not that they’re opposites of each other—it’s not that simple—but there is a lot of contrast which I think just keeps things interesting. I have nothing profound to say about it (or anything else, really), but I just find it really enjoyable to watch. And a side note, the contrast between Lan Wangji and Wang Yibo constantly leaves me in awe; it’s hard to believe that Yibo pulled off this character so well because he was such a goof on set.

Wwx: A lot of benefits come with being my friend.

Wwx: [immediately starts undressing]

I see what you did there, writers/directors.

But ironically, it turns out that a lot of not-so-beneficial things come from being his friend. Because Lan Wangji becomes so devoted to him, he ends up getting in a lot of trouble within his clan and without. Obviously he’d do it over and over if he had the choice, but the fact remains that Wei Wuxian becomes a pariah and, to a lesser extent, Lan Wangji was headed that way as well. Really, if Wei Wuxian hadn’t died, Lan Wangji might have ended up living with him in Yiling. That would have been quite interesting, actually.

I don’t care how many times I’ve seen this episode—this scene will kill me with its cuteness. Wei Wuxian so wants to be Lan Wangji’s friend here! He’s adorable! “Don’t leave me alone!” and “Come to Yunmeng, and I’ll pick lotus seeds for you!” and “There’s cute girls at Yunmeng!” Oh, wait, Lan Wangji doesn’t care about cute girls haha. I just love the change in the relationship. Wei Wuxian approves of and respects Lan Wangji and wants to be closer to him. It’s not just an interest or a fascination now—it’s something deeper. It’s the shared experience at Biling Lake, it’s the drunken confessions about their parents, it’s the 300 hits of the bastinado, and the secret cold spring pond where they can heal together.

Note how long it takes Lan Wangji to actually try to leave here. That’s telling enough on its own, how long Lan Wangji tolerates Wei Wuxian. He’s willing to put up with the jabbering and the endless chattering from Wei Wuxian. This is so much progress!

I have absolutely nothing to say here, other than that Yibo looks so fucking hot in this scene.

Because other than him and of course the headband, I find the stuff with Lan Yi to be kind of boring. I like her and all, but it’s just like, meh on all this Yin Iron stuff. I read about how this is just a big trope in cdrama, so it is what it is. Personally, I found the book to be compelling without all these shenanigans, but I understand that the written word doesn’t always translate well to the screen (especially when you are censoring the relationship between the two main characters).

Oh, and the rabbits are also fucking adorable. The more rabbits, the better.

Aaand now you’re married. Thanks, bye. Other episodes: 1 | 2 | 3 | 4 | 5 |

#wei wuxian #lan wangji #wangxian #cql #the untamed #mdzs #mo dao zu shi #jiang cheng #jiang yanli #lan xichen #lan qiren #wwx #lwj #cql rewatch

[watayaaratamblr]

Arata is an unfortunate character.

No, he is NOT!

But if we wish to make him one, then we don't need one fifth of the effort put into making Taichi the "sad" character that most fans keep labeling as "Poor Taichi", and Arata would have been then the most unfortunate character in Chihayafuru. All we need is a good mangaka (Suetsugu is!) & the intention to make him draw sympathy (the whole point), simply because Arata’s story is well packed with good material serving the purpose.

Starting with the fact that he was an almost blind child … Like “looking through a magnifying glass”, hearing voices outside but being unable to see anything~ A child who had to wear glasses from the age of 3, any writer can make this a touching story if so they wished -But Suetsugu sensei did not want to.

Growing up as a weak boy who is a letdown in everything most boys do, crying alone when he fails to fit in, disappointing his father who kept pushing him to go outside and be “normal” like all the other children all while letting go of Karuta that he was confirmed to have liked since he was very young. Writing a bit of his struggles to find a place for himself within the norms could have made readers cry a lot.

His grandfather thankfully extended his hand to him, offered him a place where he can be himself; But that too, created a situation where he maybe had to take a side & deal somehow with the other side because his grandfather & his father had a fight and he can only be torn between them. I’m no writer myself, but I can make this sentimental.

Then his father took him away to Tokyo where he had to be a part of a poor family, and not only to cancel his needs & desires (like for example having different outfits for school instead of the few he will be noticed to wear frequently) but to also work sometimes to support his parents, to wake up before school time in the early mornings when other children are probably sound asleep in their warm beds, to go outside in the cold, to earn some cash and to give it to his parents … I read some real sad stories with this idea. So yeah, Arata could have been one of the saddest characters if Suetsugu wanted him to be.

And not to mention being bullied and laughed at for not only his impoverishment (which he can hope to change) but for his identity (as a boy from Fukui speaking a “weird” dialect). He received all this with lot of patience, and tried to comfort himself by himself with his grandfather’s “gift”, how it was a refugee for him.

Any writer can make a sob story out of Arata’s unspoken loneliness & yearning for home, his grandpa & for playing his beloved Karuta properly.

Or out the fact that he couldn’t make any friends in his new school either (he was confirmed to never have real friends since his childhood through the fact that he struggled to fit in + he stayed like that even after he grew up (like Murao said), and he is not someone who doesn’t care about having friends because he was confirmed to almost worship his bond with Taichi & Chihaya, Taichi specifically even though their friendship isn’t really a comforting one; he longed for friendship however it is!)

He enjoyed that friendship nonetheless, he might even have felt like he was compensated for everything he wished for through it but he was soon robbed of all of it as he was separated from these friends & while he could still enjoy a bit of it through correspondence (at least Chihaya kept in touch), he wasn't as untroubled as needed for that because he was about to lose his precious grandfather.

And the process of losing him wasn’t something to take lightly either. Having busy (or rather negligent?) parents made him (a boy not even 14 years old) a caregiver for an old man who suffered from paralysis on the right side of his body and later dementia, not as simple as that, he had to watch what his most beloved & respected person turn into day & night, when he worked “really hard” (as stated in the manga) with his rehabilitation exercises, when he helped him with his baths, he massaged his limbs, he fed him, constantly talked to him & showed him Karuta cards to “keep him” in this world. And when it's too much for him, he goes outside the room and cries bitter tears silently, all alone! There was this person who suffered from (PTSD) for years because their sick aunt didn’t recognize them (they were her favorite nephew before & they were 17 yo at the time), this person couldn’t visit her since & couldn’t see her before she died & they developed a fear of “getting too close” & of seeing sick people, they had to seek long & serious therapeutic help. And Arata actually suffered from PTSD for over a year & half, any psychologist can easily recognize that from the fact that he quit Karuta, refused to touch & hated to see the cards (I stress on this), how he answered Chihaya when she called him, how the calm & patient him (that we knew from his childhood) was agitated & treated her rudely when she insisted on playing a match. And it was all confirmed in Arata’s last words in the same chapter: “I wanted to see you, I always had, but I didn’t want you to see me like this” (in the official tr), he knew that he wasn’t himself (contrary to what Taichi thought, his friend who decided to abandon him instead of trying to help. Chihaya still had faith in him but Taichi was louder -ch10)

Still, thanks to Chihaya, Arata was back to his beloved Karuta, though we all questioned how much fun he really felt while playing again, how much of him was involved with the game now. And eventually, he himself expressed the pressure (not the fun) he felt while playing. What took his passion away, what turned the feelings of a Karuta baka into mere obligation, this also is good content for an emotionally charged story, it only needs the intention of the writer.

And he shone in the world of Karuta. YET he was never “proud” of it, that was never received as anything special. When he comes back home, none really cares (or at least, none shows any enthusiasm), he goes to the western-challenger qualifiers and his parents won’t even go watch, won’t even prepare some food for him, he comes back home late & finds none, and prepares everything by himself (apart from Yu’s help). His parents pray for his defeat, meaning that his DREAM to become Meijin/be strongest in Karuta doesn’t mean much to them, and he knows it, and he was never shown telling them the news like when you want to share a happy one. Arata’s mother -before giving up after acknowledging Arata’s dedication- wanted his defeat even though there was enough money to support him, the lack of money being the excuse she & her husband claimed to be the reason of their lack of support.

The support system Arata lacks isn’t only in his family. Since the death of his grandfather he seems to stand alone in Karuta too. Murao was the only one who spared some time for him but only after he realized how “alone” he was and took pity on him. Murao's realization implies that the training Arata was doing at the Nagumo society didn’t really count for what he really needed. Kuriyama sensei (being expected by fans to be the “Harada” in Arata’s side) was almost useless & he himself expressed his confusion about what to do with him & how to help him. We never saw him particularly guide him in any way either. "Experiences" & "taking chances" were two factors that helped Mizusawa members for example to grow a lot, but these chances are doors without knobs & we know that they were opened for them by adults who were taking care of them in a way or another + being friends ensured that they encouraged each other then proceeded with every idea they got to learn & experience more. Arata lacks both these sources (adults around him rather burdened him with their expectations) so he kept training on his own mostly & we saw how it felt frustrating to him to be relying only on his solo training & an "image" encouraged by a long-dead teacher, he realized the toll of lacking real opponents in practice with whom he can measure his abilities & correct his mistakes to grow stronger. Support can also be emotional. Did Arata ever receive particular emotional support? I can only remember panels where the people worried for him kept watching him from afar while he dealt with it on his own.

Yu was an exception but even her support was written in a way suggesting that Arata was prepared to go on without it. Because with time, Arata learnt to "not expect much" which is also a very interesting trope for a sad story.

And he was described as “a lonely player on top” but this was never elaborated to show how it felt like to be one for Arata himself. This idea is also brilliant for melancholy if the author wanted fans to sympathize with Arata but she didn't go beyond praising Chihaya who could somehow reach him & Shinobu chan.

And while playing on his own (or working part time to support himself), taking care of himself, he met his two precious friends again (they were the only selfish desire Arata has openly expressed throughout the series). But what he felt is that he was left behind & that he was the only one so far away. And he was. They got to experience so many things he didn’t, they made new friends & new bonds & he didn’t, they got closer to each other & he didn’t… At the end he went back to be the outsider & them the two old childhood friends. If the author wrote just a little bit more about these, if she highlighted these facts they could have made a good drama.

Love is the main reason Taichi is "felt for" (because he progressed in karuta but not in Love ..not yet at least). Arata is also a part of the love triangle in Chihayafuru, and if we try to summarize it with the intention of making it sad, then let's go, there is enough to say for that, we just need a good writer (which I'm not sadly). Still in short: Arata seems to have started to develop feelings for Chihaya a long time ago but he had to keep that in check because he thought she was dating Taichi & he kept his distance out of respect for that assumed relationship even though he craved at least connecting with his old friends. When he came closer, Chihaya was interested in him but he never knew, the enthusiasm she showed him was not different from how she is with everyone, no, Taichi received special treatment, while for him, every time he tries to say something to her he is cut off somehow. Everything seemed to be against them getting close. Later Chihaya seemed to have ultimate fun with Taichi too, maybe that was the only thing he thought he could give her, now she didn't need it. Maybe he had that thought again when she praised his game against Harada sensei that's why he confessed but soon, She is once again so far away, she seemed to need Taichi to function properly, he understood that & he used that to cheer her up in her most important tournament. He wanted badly to play with her again to only be totally iced, he couldn't even be seen by her, he was so far away, she belonged to where he wasn't part of (& even her friend kana found a way to express her disapproval of him) Can we not make a drama out of this? Or out of his stuttering, awkwardness & introversion? Or maybe the fact that his parents don't understand him? And did anyone alse feel that in most of Taichi's mother's appearances, we got this feeling that Taichi is a son who should be cared for while when Arata's parents appeared, many times, we can feel how Arata was used to highlight their feelings as individuals & he was drawn there as the member of the family who had to pay attention to that? Anyway, every single one of these points alone is very good material for a "tearjerker" so what about all of them combined? because they are all facts from Arata's reality.

Again, all we need is a good writer (we have it) & the intention to make it that way which isn't there. Suetsugu decided instead to put double the effort to make Taichi the "sorrowful/anguished" one because Arata is not a character written to feel sorry for or to commiserate. He is rather written for the most part of the manga as an inspiring one, an aspiration, to be a drive & a goal. So despite having all the above circumstances, he is instead written as a character who keeps to himself, doesn't complain, hides his hardships, makes it seem that he fine when he notices that someone is watching, tries to focus on what he has & be happy with it however little or simple. That's why it's easy for him to forget & forgive, easy for him to recover & stand up again because there are other characters who need him there as an example, who think that he is perfectly fine so they should only focus on themselves and thus, Bildungsroman can be used for them. And finally- wait, what were Taichi's problems again?

----------------------------------------------------

Writer adds:

#chihayafuru #wataya arata #ayase chihaya #chiharata #mashima taichi #this is dedicated to Arata fans who are constantly told they love a one dimensional character which is just ignorance speaking #or at least looking the other way when Arata actually is there!

[mc-critical]

Asking because I’ve seen you say it on here: What is it that you disliked about Mahifiruze and Aysë as characters (writing or otherwise?)

It's not a problem of sympathy alone, because while these characters have quite a few offputting qualities and have certainly done some heinous deeds, it would be unfair to judge them only by that. There are way worse people in the franchise, which turn me off way more, after all. (*cough* MCK Turhan *cough*) Sympathy-wise, I'm overally ambivalent towards both Ayşe and Mahfiruze and if we only take that into account, I can take or leave them. It's their writing, however, where things take a different turn. Almost everything went wrong there.

The critical problem I find with both of the characters is that they're engrained in one and the same character archetype the writers refuse to get them out of. That brings harm not only to their characterization and the way they're built up, but also to the sympathy we're supposed to feel for them, because, more often than not, it didn't have a ground to stand on. It's true that archetypes often risk to make a character bland and one-dimensional, but the way they went with it is strange and unfortunate, because this all could've been averted quickly.

Magnificent Century's character core is mostly built on archetypes of a soapy drama and Magnificent Century: Kösem seemed to be following that trend. I understand that choice, in a way, because well, it could've just been easier for them, they could've thought they would win their former MC audience once again, playing it "familiar" and "safe". Thing is, the whole franchise overally does pretty well with archetypes: they either subvert them, deconstruct them or break them entirely later, either (in the case of MCK where we saw many previously established MC archetypes) use them with some core conceptual changes and a different theme in mind, which, as far as writing goes, worked very well with many characters. (see: Dervish - Ibrahim; Dilruba - Mihrimah; Atike - Mihrimah; Davud - Rustem, etc.) The thing is though, the writers didn't give Ayşe and Mahfiruze any of that and their archetypes felt like they only were in the beggining line, going almost nowhere beyond that and making the characters feel very often as cardboard cutouts as a result. They're going with archetypes, but they somehow give only a single fraction of these archetypes to figures that play a relatively big role in the story.

Comparisons to other usages of the character archetype of Mahfiruze and Ayşe's help even less, because everything now not only turned out to be a bad concept, but and a shaky, underdeveloped attempt at something done way better before. Mahfiruze and Ayşe both fit in Mahidevran's early season 1 archetype - the rejected, jealous woman, previously valued and loved by the Sultan, which loses everything quickly, planning and ready to do anything to take the rival down, including petty sneers, irrational decisions and will for murder. But even at its worst, Mahidevran's characterization was balanced overall, having moments where we could sympathize or condemn her respectively and had character fleshing out come to the surface as often as the reducement to this one sole archetype, which was lacking severely in Ayşe and Mahfiruze. I'll talk about the similarities they share with Mahidevran only briefly when I analyze them, because I'm admittedly very biased when it comes to this (especially with the double standarts I encounter with the YT comments, where the same people judge Mahidevran and Ayşe by the exact same metric and yet, they love one and can trash the other all day, eh.) and I don't want that to take over the topic at hand so much.

Mahfiruze has the problems I listed above to a much lesser extent than Ayşe, but that doesn't mean they're not present at all. She has a very familiar character role and personality - she is a mother to the eldest heir of the throne and gives jabs and insults to her rival. And.. that's all there is. It's undeniable than Dilara Aksuek's Mahfiruze definetly had a tough act to follow, since the former Mahfiruz screamed potential and promise the latter character was expected to fulfill, but they did the barest possible minimum. (and I don't think Dilara's a bad actress by any means: she acted amazingly in the show Istambullu Gelin as Ipek, an arguably similar and much better written character.) It definitely felt as more of a regression than a progression, because Mahfiruze had no fleshing out or development at all. Her meanness to Kösem seemed central to her character, she barely had any interactions with the rest of the cast and what is worse, used her as a plot device for a plot-line with Ahmet's enemies and then when her role was fulfilled, they.. killed her off just like that without any warning or elaboration. She was the very definition of a one-dimensional obstacle to Kösem that seemed to exist only for the sake to be an obstacle to Kösem. It was as if she didn't matter. And when she did, it was only as a narrative instrument to stir the conflict between Kösem and Osman (which I find very interesting, but I feel it would've been way more impactful if Mahfiruze wasn't only... this.) It was as if the writers ran out of stuff to do with her, which is a very lazy copout for me, because she could've had interesting storylines, if only they just wished to "shake up" the traits of her archetype for a bit.

Ayşe's character is where this repetitive problem shines through the brightest. We can argue that the love triangle plot and Farya's Mary Sue stance ruined it all for her from the get go, but for me, the foundation of her character is what truly did. Ayşe wasn't used simply as a plot device as much, she wasn't even underutilized at all, she was put into an archetype which undermines how different she is as a character in practice and the greatly dissimilar circumstances she's under. They tried to fit Mahidevran's S01 archetype in an environment it would never do in the first place. It not only becomes a stagnant, more over exaggerated repetition of a concept and forces unnecessary drama to prop another character up, it way too often puts a sole angle of Ayşe's character into focus, making Farya the center of her writing. Not to mention that for long, we didn't have a cohesive reason to root for her, her early love for Murat being the thing that was the least fleshed out about her and could make her too obsessive and yandere at times. Her interactions are criminally underdeveloped, as well, and unlike Mahfiruze, that could honestly be cut shorter except for Osman, they were something Ayşe desperately needed. We got only hints of her relationship with Kösem, Silahtar and Gevherhan and that was far from enough. Most of her scenes were either with her maid or Farya. Her alliances with Gülbahar and Sinan respectively were... fine interarion-wise, to be honest, but writing-wise, they only enforced the fairly consistent endorsement of the soapy aspect of her character beyond any measure.

Now, I can't doubt the development in her later episodes, where the writing admittedly improved. I'll always love her scene before the death of Gevherhan and her message to Murat, because that's the Ayşe I wish I saw more often. The self-awareness she gained of how Murat screwed her over was amazing and something I wish happened more gradually and over the span of more episodes. But it was all somehow "too little, too late" for me and it didn't completely save her messy writing. And it's a crime, because Ayşe played a much bigger role than Mahfiruze in the narrative, she was basically a main character and she got robbed of a good, organic fleshing out and arc.

Ayşe was the most egregious example of the severe flawed writing of repetitive archetypes and catch me forever mad about it, because she could've been much more. It's a mistake that had no business being there at all. And it was anyway.

#magnificent century #magnificent century kosem #magnificent century kösem #ayse sultan #mahfiruze sultan #ask #stuffandthangs

[calliecat93]

ST: The Next Generation S3 Watchthrough Episodes 22-25

The Most Toys: Dear TNG writers, I know that the show has been over for about 30 years now and this is therefore redundant to say, but… can you please quit doing bad things to Data?! He doesn’t deserve bad things! So Data gets kidnapped by a manchild/lunatic to add to his ‘collection’. Kinda reminds me of that two-parter in Superman: TAS that introduced Lobo… except Fajo somehow pisses me off even more than the bad guy there. Kinda makes me think of the bad guy from The Squire of Gothos in TOS except somehow more detestable. At least that guy was more or less a spoiled child, Fajo has no excuse. Anyways, Fajo’s obsession with Data comes of as… insanely creepy. It gives me very bad vibes and I was thoroughly uncomfortable. Though at least Data, in his Data way, wasn’t at all complacent and remained as inquisitive as ever, so at least he maintained some sense of agency unlike in say The Schizoid Man. That all said, the episode was good. The crew’s reactions to thinking that Data was dead all made sense and scenes like Geordi and Wesley going through his things and Picard giving an order to Data before remembering that he’s not there anymore… those were heavy. And again as painful as it was to watch, Data at least trying to retain any agency was appreciated especially at the end. I’m glad that he didn’t have to kill, but seeing him finally put Fajo in his place was especially after he killed Varria as callously as he did was extremely gratifying. Another solid episode overall… but again, please let Data have happier things up ahead. 3.5/5.

Sarek: You can only imagine how wide my eyes got when I was going down the episode list and saw this one. I know that Sarek has mixed reception due to the issues between him and Spock and IDK if Discovery is going to change my opinion or not, but I find him to be a very interesting character. Journey to Babel kind of had this sense that he’s a hardass not that different from his son tbh, and those similarities and being displeased with Spock’s life choices made things difficult. but Sarek did still care about him, IDT he’d have gone through the effort of going to Kirk in hopes of recovering Spock’s katra when he had no reason to believe that Spock did the transfer and even outright saying at the end that his logic is more or less impaired when Spock is concerned if he didn’t, and The Voyage Home had him outright finally tell him that he made the right choice and that he was wrong in the way only Vulcans can say things. There was just kind of this feeling that he realized that he had been wrong and regretted it and wanted to make amends… but didn’t know how and it took Spock dying to finally do so. He’s not necessarily a good parent, a lot of Spock’s issues are due to him not understanding his struggles, and yeah more or less disowning him for several years was shitty, but he’s not even close to the worst and he at least tried to make it right and I can respect that. If anything though, Sarek was at least shown to be a capable ambassador and genuinely loved and was good to Amanda. So seeing him in TNG and thankfully still played by Mark Lenard, I was interested to see what they’d do with him and how he’d interact with the new cast. The result?

Sarek, did hiding your heart condition in Journey to Babel teaches you nothing about revealing vital medical information?! Is this just a Vulcan thing?! Anyways, the revelations here were… sad. Sarek has essentially the Vulcan version of Alzheimer’s which is causing him to be unable to control his emotions. Which for a Vulcan… that has to be outright horrific. Not to mention it’s causing rising, unprovoked violent responses from the crew like Crusher outright slapping her own son. To no one’s surprise, Sarek’s the reason why, albeit he’s causing it unintentionally. While Mark Lenard has been excellent as Sarek alll across the board especially in the films, he gets to do a lot more here due to Sarek’s unstable emotional control and he is just fantastic. The whole confrontation with Picard was truly excellent acting from both him and Patrick Stewart. Sarek truly feels unhinged and it is both horrifying and just sad to watch especially to how dignified and composed he was in TOS. The mind-meld with Picard may help in the short-term, but... it’s likely inevitable that he won’t last much longer. My only real complaint is that Spock and Amanda are saved as a brief mention and technically not even by Sarek but by Picard enduring the aftereffects of the mind-meld, though it does reflect Sarek’s mindset/emotions. Seriously Picard-as-Sarek reflecting how much he loved them and regretting not being able to ever truly express it or outright say it… it’s just heart-breaking, thoug it does confirm everything I had already thought so that’s good~ Still, this was a great episode! I’m glad to finally have some Vulcans again, Sarek was very well done, and the entire episode is very well acted especially the previously mentioned confrontation and everything involving the mind-meld especially after when Picard loses it. I know that Spock will show up at some point in TNG so I hope that this episode comes back up because Dear Lord please allow Spock that closure before he has to be sent to AOS. Regardless this was excellent~! Thanks for reaching my expectaitons TNG~! 4.5/5.

Menage a Troi: Oh great, another Lwaxana episode… albeit she actually has my sympathy in this one cause a Ferengi is pursuing her. I might find the woman annoying, but considering what we know of how Ferengi treat women, no one deserves that. So… if anything I am fair or at least try to be, so I will say that Lwaxana is better in this episode. She’s still obnoxious, but with the aforementioned horrid way that Ferengi treats women (seriously the nudity part was an utterly unnecessary show), refusing to be treated as property, and her genuine love and concern for Deanna make her much more likable. She certainly didn’t deserve to be treated the way she did. Troi being sick of being talked down to as a child and her mother butting into her romantic life no matter how well-intentioned instead of just letting her take it at her own pace and when she’s content as she is now is very relatable as well. Look I’ve grown to like Riker/Troi and I’m all for them getting back together… but they should do so if and when they’re ready, not be pushed into that direction. Still overall, didn’t care for this one. It’s better than Lwaxana’s first two episodes, but still makes me uncomfortable in other ways that aren’t funny, and the fact that she’s still pursuing Picard and he gets forced to go along with it at the end (albeit Patrick Stewart getting to go full Shakespearian was the funniest part of the whole episode) still doesn’t sit right with me. The Wesley subplot was also utterly wasted, feeling like it was just shoved in there and he did nothing to deserve promotion to Ensign. Yes, he gave up his chance to go to the Academy when he has his aha moment, but he did barely anything all season or the last two seasons to have earned it, or at least shoving it into this episode made it feel undeserved. Wesley himself is fine as a character, he’s nowhere near as bad as some make him out to be, but the concept of his character is just… not suited for ST. But the was funnier than the past two and Lwaxana has her better traits higlighted such as her intelligence and acting skills. If anything she does genuienly love her daughter and is not a helpless victim. Majel Barrett also owns it, I can respect that. 2.5/5.

Transfiguration: Okay, so we have an injured alien known only as John Doe wo is both amnesic and has some impressive regenererative abilities. He also turns out to have mass power such as powerful healing abilities as his body is udnergoign some kind of rapid change,. Meanwhile, Geordi gets some kid of sudden confidence boost and is finally making progress with his love life. If I’m gonna be honest… I don’t have anything to really say on this one. It was fine, but I don’t really have any thoughts regarding it otherwise. There’s this sense of spirituality in there and the ending makes it feel like religious opression. The Zalkonians killing their own kind who undergo the transformation just to maintian their power… yeah that was… yeah. Anyway, it was fine. I felt bad for John Doe and Crusher was good. All I’ve really got to say for this one. 3/5.

Alright, one more to go! Next time I’ll only be covering two episodes, the S3 finale and the S4 premiere. But they’re the same story so…. I’ve heard good things about this one, so we’ll see if it delivers.

#st watchthrough

[whentheynameyoujoy]

Women in SPN—Seasons 2 and 3

Previously on Joy Obsesses over a Show That Creatively Expired in 2010

Tessa

Introduced back when the Winchesters dodging the coffin actually qualified as an episode, she follows in Meg’s tracks by continuing to make monsters seem more approachable and less a malevolent force of nature. Starts off with a completely flat affect but gets annoyed with the Winchester bullshit real quick—a sure-fire sign of an SPN character with a brain. A powerful being capable of returning one’s memories by a smooch which is… convenient. As is the fact that bad guys keep using her for their ebul plans. Serves the typical secondary-character function of a springboard for a main guy’s development. Plants hints of the “natural order”, “destiny”, and “inevitability” which will become major themes down the road and be explored by characters with deeper writing.

Status: Alive as of s5

Importance: Minor, remembered primarily because she keeps popping up.

On her own: A nice addition to the lore.

Jo Harvelle

Originally Dean’s love interest until she got written out for the crime of having tits around the fandom’s husband. Driven by a wish to honor her dead father and become a hunter, she’s held back by the unfortunate fact of not being all that good at it. Cheerful, temperamental, and a pretty skilled hustler, she’s mortally wounded when charging in to protect Dean. Ends up sacrificing herself so that others can escape and attempt to end the Apocalypse.

Status: Dead as of s5, dragged back and disappeared again in s7

Importance: Major

On her own: A soldier going out in a blaze of glory. I bawl every time.

Ellen Harvelle

Unlike her daughter, very good at what she does. No-nonsense authority figure, she’s one of the few in the show to pull off a combination of a hand-wringing mama bear and a pro-active badass with a life outside her family. Not perceived as a threat because fans don’t know the meaning of MILF yet, and so is allowed to stick around for the season 2 finale. Dies to make Jo’s plan to obliterate Meg’s hellhounds work, though it’s strongly implied she mostly refuses to survive her kid.

Status: Dead

Importance: Major

On her own: SPN’s Molly Weasley, sullied by the implications of her death

Lenore

A head-strong leader of a nest of vegetarian vampires, she’s deliberately contrasted with Gordon’s Terminator schtick and to a lesser degree with Dean’s black-and-white monsters vs. humans kill-everything grief-cope in order to further cement SPN’s ongoing crusade of challenging who in fact is the monster around here. Has a crowning moment of awesome when she refuses to feed while covered in Sam’s blood. The entire point of her is her determination not to give up her humanity even when no longer human. Would be shame if the show decided to later abandon this essential part of her character and twist it for cheap drama…

Status: Alive as of s5, annihilated in every way in s6

Importance: Minor in the overall narrative, major in the episode and the boys’ development

On her own: An effective mirror to Dean’s stroll down the slippery slope

Diana Ballard

TheGoodCop manipulated by her professional and romantic partner, she has a surprisingly functional tension with Sam. Luckily for Linda Blair it goes unnoticed because the fandom doesn’t view older women as competition. Noteworthy mostly because she actively participates in uncovering the episode’s mystery which automatically elevates her above the standard clueless civilian, man or woman, who needs the duo to save them. Despite fewer appearances arguably more memorable than Henriksen, precisely because of her active involvement.

Status: Alive as of s5

Importance: Minor overall, a major player in the episode

On her own: Interesting take on the usual boilerplate cop

Ava Wilson

To present a very, very generous interpretation, she foreshadows Sam’s eventual turn to the dark side. Spirited, a little bit airheaded, and freaked about her Azazel-given powers, she gives enough of a damn to prevent her visions of people dying from coming true, though she clings to her intention to lead a normal civilian life. Does a complete switcheroo off-screen to become a villain because… power is awesome? Ends up the most advanced special child in season 2’s battle royale, the very concept of which is just… eh? Still gets dispatched no problem because… why not?

Status: Dead

Importance: Minor

On her own: A prime example of why the special children subplot is just…wot?

Molly McNamara

Memorable primarily because of the experimental (for SPN) narration which frames her as the duo’s partner when in fact she’s one of the things being hunted. For plot reasons spends her episode switching between being terrified, worried for her missing husband, and heartbroken. Can be somewhat tortuously argued to fit the theme of (not) overcoming grief and letting go, one of the few detectable threads in the directionless slog that’s season 2.

Status: Dead

Importance: Minor overall, major because she’s arguably the main character of her episode

On her own: Torture porny. Very torture porny.

Madison

Intelligent, educated, and with an endearing love of soaps, she’s responsible for one of the three watchable sex scenes in the entire show. Has a nice theme of personal growth and healing from trauma going on, although it’s cut short and undermined when she’s revealed as a werewolf and euthanized by none other than Sam himself. Her death is filmed as a narrative-changing tragedy before it goes on to become a joke in season 4.

Status: Dead

Importance: Major

On her own: No matter how you look at it, she’s a diseased dog that needs to be put down for her own good while the menz wallow in their manly manpain. A rare example of a storyline I don’t think can be tweaked to be even marginally less awful.

I believe maestro may have wanted to portray sadness here.

Tamara

Told to be an excellent hunter, she’s shown as needing to be saved in order not to end up like her husband who’s literally forced to gargle bleach. Introduces the notion of growing hostility against the Winchesters in the hunting community. Full of wrath to fit the episode’s one-off seven deadly sins schtick, she’s emphasized as emotional and not in control of herself to such a degree that it overshadows how she’s in fact fairly competent in the second half of the episode.

Status: Alive as of s5

Importance: Minor

On her own: Wouldn’t stand out this much if she weren’t one of the few POCs in the blinding whiteness that’s SPN’s Americana.

Ruby

Doesn’t have the most organic introduction (A cool intriguing sexy French fries loving not like other gurls sassy badass, with a superdooper special knife? How 2000s cringe can you get?) but quickly becomes one of the show’s most distinctive villains allies. She’s an ally. Totally. Don’t worry about it. A sarcastic smartass jerk who breathes lies and manipulation, she’s resourceful, thinks on her feet, and throws herself into the thick of action without hesitation—a trait that gets especially interesting in retrospect as it suggests a fanatic devotion to her real goal. Sadly, her motivation doesn’t get fleshed out beyond “she really likes Satan, I guess” (which, hey) as the writers prioritize the surprise of the revelation over her further character development. Has the second watchable sex scene in the entire show; the fandom weeps itself to sleep. Gets killed by her own weapon when the writers decide that a character who’s smarter than both protagonists combined could well do with a bit of the good ol’ lobotomizing.

Status: Dead

Importance: Supermegadoublemajor

On her own: The stupid nature of her demise and occasional wooden acting do their best but never overshadow the awesome that’s Ruby.

Lisa Braeden

Dean’s past fling who becomes a living symbol of his desire for the white-picket fence. Is implied to possess mad financial skills as she owns property on a yoga teacher’s salary while a single mom below the age of 30. A blank slate the likes of Cassie, she’s salvaged by better acting. Frequent frowning suggests the presence of an inner life though it doesn’t tend to manifest itself on screen or affect the plot. Her single established trait—blow-out assertiveness the moment things get too far—is exercised mostly in service to her son. Exists solely to give Dean something to pine for.

Status: Alive as of s5

Importance: Major

On her own: A tertiary character who so-so sustains her own episode.

Bela Talbot

The best expansion of the show’s lore after the host of heaven, she’s unequivocally a bad person who nevertheless evokes huge amounts of sympathy. A cynical self-serving dealer in supernatural objects who mirrors Dean’s cracking tough guy persona, due to her abuse and the resulting trauma she refuses to open up and rely on anyone out of principle, or be indebted to them. Her pride makes her clinically unable to ask for help until it’s too late, and even forego mentioning personal history when it’d actively benefit her by softening the horrible impression others have of her. Switching between being an antagonist and the duo’s reluctant ally, she manages to outwit them roughly 90% of time. The fact that she has sexual tension with Dean while Sam lusts after her to the point of literal drooling sends fans apoplectic.

Status: Dead

Importance: Major

On her own: A complex character brought down by her own flaws.

Casey

A demon, she’s torn between wanting to enact the Apocalypse and just chilling with her soulmate. Definitely a fanfic reader because her idea of dealing with danger is to shut herself with her enemy in a room and have a lengthy theological debate. Very outspoken about humanity’s propensity for evil. Outcomplexes Lilith and to a lesser extent Ruby as she’s allowed to openly address her life philosophy. While the dialogue format of her scenes is designed to give Dean space to talk about his feelings regarding his impending demise, it’s more or less an equal push-pull exchange. She’s smart, captivating, capable, and in love, i.e. things SPN just isn’t interested in keeping around.

Status: Dead

Importance: Minor in the overall narrative, major in the episode and Dean’s development

On her own: Could have been so good if allowed to stick around

Gertrude Case

A rich elderly creep whose gropy ways are played for laughs because she’s a woman I guess. Either can’t read social cues or doesn’t give a fuck about people’s obvious discomfort. But don’t worry, it’s hilarious. She’s a woman, you see. What harm have those ever done.

Status: I’m going to assume dead by now, otherwise alive as of s5

Importance: A major figure in Sam’s life since she sexually assaulted him. Otherwise minor.

On her own: Sexual harassment is fun, kids

Lucy

Take Molly McNamara, strip her of any pretence at thematic relevance, minimize her importance while playing up her suffering, and then remove her like a broken Christmas decoration while making sassy remarks—voilà, you’ve ended up with the exact simplistic image that pops into one’s head when the words Supernatural and women are mentioned in a sentence.

Status: Dead

Importance: Non-existent

On her own: Just… why

Astaroth

Approaches awesomehood as her demonic business operation is built around preying on bored suburban hausfraus and taking their souls in exchange for magical powers, which they then use to secure benign materialistic keeping-up-with-the-joneses crap and devour one another like a bunch of assholes whose death you can’t help but eagerly anticipate. Srsly, eff those ladies. Stands out as the only (implied) lesbian in the Kripke arc.

Status: Dead

Importance: Minor, not even the real monster of the week when compared to the coven

On her own: There’s probably another discussion about Doylist sexism hidden around somewhere that I’m not really interested in having. Go Astaroth.

Nancy Fitzgerald

Sugar and spice and every other cliché about kindness combined in a pretty sweet package. Plot demands her to be a virgin for some reason, even though this aspect of her character doesn’t amount to anything in the story and only serves to contrast Nancy’s… purity with Ruby who we’re being constantly told is a “slut” and a “whore” and I have no idea how that’s supposed to work. Then again, Nancy’s virginity is framed as a valid personal choice in a rather empowering moment so that’s good. Has standards because even after deciding to let go of her chastity vow, she won’t settle for just any loser who happens to stand around converting oxygen into CO2. Her “cause manpain out of nowhere”-type death is one of the few of this category in the show which actually work because the cruel pointless nature of it is precisely the point (and at least she’s not the only one who doesn’t survive, please ignore how the episode literally says her demise is the most tragic because she never got laid, barfs).

Status: Dead

Importance: Minor

On their own: A textbook definition of a cinnamon

Lilith

An overarching menace that doesn’t spend too much time on screen, she’s a prop rather than her own person. This gets highlighted the moment the show stops casting her as a clichéd creepy child who likes to larp as that Twilight Zone kid, and turns her into the standard hawt chick in a will-they-won’t-they episode. No interiority as she goes along with a plan which requires her obliteration, without at least allowing her to explore her religious motivation. Ruby does all the heavy lifting in this partnership.

Status: Dead

Importance: Major

On her own: For the life of me I can’t make sense of her actions in s4. But the clichéd creepy kid is adorbs so points for memorability.

Maggie Zeddmore

The straight man to the Ghostfacers’ utterly delightful douchefacery. Manages to keep up with Harry and Ed in terms of hilarity because not only is she exactly as out of place as them, she decides to role-play her childhood-friends-to-lovers fanfic in the middle of a haunted house as the best sister that she is.

Status: Alive as of s5

Importance: Minor

On her own: Love at first geek

Next, season 4 and 5 before I try to figure out what this all adds up to.

#spn #spn critical #supernatural #supernatural critical #sexist writing #tessa #jo harvelle #ellen harvelle #madison #ruby #bela talbot #lisa braeden #nancy fitzgerald #lilith

[bigskydreaming]

You’re a disgusting, abuse-survivor-shaming cunt. I hope you choke, I truly do.

So I get way more of these kinds of messages than I could possibly ever count. Have been for years. I don’t generally reply to them the way I mock some other hate messages I can at least have fun with, because like, what’s there to say about this kinda thing, y’know?

I don’t know how to get people to understand that there is NOTHING hypothetical about my anger about the things in fandom I get angry about. My rants about dark fic are PERSONAL, they have NOTHING to do with some arbitrary moral superiority stance. I don’t make assumptions as to others’ survivor status or motivations for writing various things because I don’t HAVE to, my anger and frustration are with the OUTPUT, not the inciting reasons. 

My hostility towards fandom comes directly from the hostility fandom shows me every time people try to convince me that I have no reason to have the reactions I do to the way they interact with the extremely combustible topics that define my own trauma and that of others. And the fact that fandom at large has decided that the ONLY acceptable reactions from survivors upon seeing others engaging with these sensitive topics in any way they choose, is either to be silent, or to take part in it. 

I don’t have to know which writers of which fics are or aren’t actually survivors attempting coping mechanisms of their own to be fucking furious at the way fandom has literally commodified these traumas, made them exploitable by making the catchphrase “some people write dark fic to cope” all-inclusive, utilized by anyone. With no shame or self-scrutiny as to the fact that YOU at least know if you are or aren’t a survivor, and if you aren’t one, you have ZERO business offering this particular line up as a defense to any survivor taking issue with the ways you embrace particular topics in particular ways.

The only things I have any interest in shaming people for is their choices, the fucking CHOICE to turn on any survivor who dares say “I have issues with this take” and this goes for abuse as much as it does rape. I’ve lost count of the number of authors over the years who HAVE spoken of being rape survivors specifically but then turn around and treat childhood physical abuse as their personal playground, with none of the care they put into crafting rape storylines on display when they casually have male abuse survivors punching each other in every other argument and just citing ‘boys will be boys.’ I can have sympathy for their status and experiences as rape survivors while still being upset at how they simultaneously perpetuate so many of the untruths that make it so hard for abuse survivors to affirm that they have actually been abused rather than call it something that its not, something that they’ve seen writers call it because the writers simply don’t want to inspect the fact that they’ve casually and without awareness written their characters abusing another.

It’s not a zero sum game.

I get angry not because I feel powerless in my own life (I don’t, actually, thanks, I’ve taken actionable steps every single day to fix what’s wrong in my own life and lol that’s power baby), and not because I’m fixated on my own trauma and unwilling to move past it (lol yeah I have no money to spend on anything BUT therapy because I’m committing to the highly specialized and expensive therapy I only arrived at after years of trial and error with other forms because I just don’t want to move past any of this, okay sure).

Nah, I get angry because of the galaxy brain intellects who smarmingly just decide on this view of me for themselves, condescension dripping from every ‘well-meaning’ expression of contempt sympathy, with zero examination of the fact that like.....idk guys, its a little hard to move past my trauma when everyone ELSE seems more fixated on it than I do! LOL, so we’re just gonna skip merrily on by the fact that the only reason its an ISSUE for me in fandom is because its EVERYWHERE in fandom, huh? ‘Mind the tags’ people parrot mindlessly, as though its not like tags HAVE to be created with self-awareness for what people are supposed to mind, or like I haven’t had people literally try to trigger me with tags aimed specifically at getting under my skin as ‘payback’ for something I wrote (out of moral superiority, naturally, not a visceral display of emotion, never that). As though the tags have anything to do with the fact that even outside of Ao3, there are incest-themed shipping weeks every single month of the year, that every major discord server and fic exchange and other fandom wide event demands participants be ‘ship-friendly’ which might as well be code for ‘not friendly to anyone who doesn’t prioritize ships over survivors,’ like fandom hasn’t created a culture in which people are more inclined to be defensive over how people make writers FEEL about stuff they’ve written than they are to be defensive over how certain writing makes various survivors feel.

I’ll never get over how a fandom that universally expressed disdain for Devin Grayson’s disrespectful handling of the sensitive topic of rape has obliviously embraced every form of euphemism under the sun for their own content, and just flat out REFUSES to concede that there is ANY room for criticism in ANY handling of even the most sensitive of topics. Because there’s no sensitivity allowed when it comes to any topic in fandom....unless its the writer’s sensitivity, that must be respected at all costs.

Does that not really strike you as....odd? Aren’t there lines out there about how no society or culture or environment that truly embraces free speech can simultaneously embrace freedom from criticism? And yet time and time again, its anyone who dares criticize - in ANY fashion - the HOW of what someone wrote, not even the WHY, they’re the ones termed authoritarian, censor, the one attempting to SHUT DOWN conversation rather than expand upon it. Tell me, what conversation was THIS anon and similar ilk attempting to invite? Every criticism I write of fandom invites people to engage with it. I fucking BEG people to engage with it. You’re the ones who choose not to. At least not in good faith. Because its only when I refuse to let you move the goalposts from anything other than this being about me reacting to what you wrote, no aim at doing anything other than being a reaction to an action, not an attempt to tell you what to do, just an attempt to get you to tell me WHY, if it really is as defensible as you loftily claim it is - then why is it you just can’t tell me, straight to my face, that it doesn’t matter what negative reaction your writing evokes, you don’t actually have to care? Cuz you don’t, of course. But if you’re that content with your own motivations, your own impact, why so uncomfortable just saying that?

The funny thing is, I truly don’t make any assumptions as to the why of anyone writing dark fic. I have a lot to say about the fact that we all know damn well that at least some of the people offering up the ‘some survivors use dark fic to cope’ aren’t speaking of themselves when they do so, but I have ZERO interest in imagining who that is and why. I’ve spoken of the fact that its willful naivete to assume that even if your own motivations for writing certain content are innocent in your own mind, you can’t assume the same of EVERYONE. That its nothing but willfulness to pretend that actual predators don’t peruse the same content. That the very same factors that make Dick Grayson so appealing to survivors, for example, as a strong heroic character who neverthless has been victimized and violated more than once - the flip side of this coin is this of course makes him EQUALLY appealing to people on the other end of things....a strong heroic character who nevertheless can be victimized and violated more than once.

And yet I honestly, truly have no interest in figuring out who might be whom, when it comes to writers, and I don’t assume everyone who writes or reads certain content in certain ways is in the latter camp. IT DOES ME NO GOOD, to go through life assuming that many people are all potential rapists or inclined to side with my own rapists’ or abusers’ side of things. I CHOOSE to give people the benefit of the doubt there, I assume perhaps they ARE survivors trying in good faith to cope with their own trauma and defensive about hearing that butts up against with other survivors trying to move on in other ways, or that they’re simply people who grew up in fandom being told there is nothing they can write that can be termed wrong, and have trouble with such a deeply held conviction being contested. Or perhaps only got into shipping incest because the ‘fandom elders’ of various fandoms like SPN deliberately and with full intent once upon a time pitched incest as being the same kind of taboo relationship that the same kind of people who forced gay men into secretive relationships were against....that incest ships and closeted gay ships were basically the same, and so as the latter became less of a thing as media showed more open gay relationships, incest ships became more of a thing among fans who were really compelled by the secretive/’society’s against them’ aspect of forbidden love.

I don’t assume any of that on a ONE TO ONE basis with any single writer or reader because I don’t KNOW their personal story and I’m not TRYING to. It makes no difference when I’m not talking about or arguing against the WHY of someone doing a thing, but the HOW. The end result, and the interactions it creates in the environment in which their output is published, shared, celebrated.

All at the expense of any survivor who doesn’t enjoy seeing things they’ve struggled with getting taken seriously about, maybe all their lives....not taken seriously, and offered up as just a themed week on the latest fantasy porn prompt generator. The problem with incest shippers isn’t even just ‘you ship incest, why do you do that,’ its that you can’t seem to manage to do it without assuming anyone who objects is only doing so out of a place of moral superiority. You try and make it a hypothetical argument “well what about when you do this” as opposed to something rooted in the here and now of the personal. We’re not talking about what ifs, we’re talking about what is. Deal with that before you try raising something else, instead of always raising something else so you never have to deal with that. 

The problem is people condescendingly assuming we have ZERO basis for any objection, or any negative reaction at all. Its our own fault, you see, for being too stupid to get that fiction doesn’t affect reality (even though we’ve debunked that time and time again). Its our own fault, you see, for not getting that its not really incest BECAUSE (a claim that is never actually as universal as it tries to pretend to be, and thus is never more than a distraction for the specific argument that prompted it). Its our own fault, you see, for not getting that this isn’t really a big deal, there are bigger problems, and its awfully sad if we’re so fragile and delicate we can’t handle someone enjoying something that has nothing to do with us (even though its never your call whether or not it has anything to do with us, just as its never our call what your specific motivations for writing specific content might be).

The problem is the same thing I’ve been dealing with all my life, and all the more exhausting for it being front and center in fandoms that claim to be escapism and catharsis for survivors....as long as those survivors perform in the manner fandom is comfortable with....aka the manner fandom has exploited and commodified in order to make certain manners of enjoying certain topics possible and defensible for ALL fans, regardless of their own connection to such topics, or motivations surrounding them.

Denial, avoidance, and abdication of responsibility. There’s no problem if YOU don’t see a problem, after all. There can’t be a problem if you just refuse to acknowledge a problem. A problem has nothing to do with you if you simply have nothing to do with it.

And all the while, you continue engaging in the same behaviors that provoke the same reactions that you refuse to ever actually engage with or address, relying on gaslighting to try and sell people and everyone around them that THEY’RE the real problem....its us that have no respect for freedom of speech, creativity or the creative process, other peoples’ traumas, the difference between fantasy and reality, etc etc ad nauseam.

We see people waving away instances of physical abuse with textbook abuse apologism, and we’re told we don’t know what we’re talking about. We see people offering up wording and phrasing in the comment sections of fics that are literally textbook grooming techniques we recognize from our own experiences and we’re told we’re imagining things. We see characters raping others without it being described as rape and we’re told we didn’t mind the tags, even though oddly enough, none of the tags actually said ‘rape’ but rather other euphemisms and if they aren’t in place to tell readers not to expect actual rape in the actual fic, then, what purpose is it they actually serve, again?

But sure.

Talk to me some more about survivor-shaming.