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aptericia · 3 months

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Not proud to be here.

Ok, here goes draft like 5 of this fucking post. I spent 4 hours tossing and turning in bed last night thinking about this, and then this morning I found a tumblr post that really helped me understand what I was trying to say.

The post talks about how aromantic "advocates" claim that "aros don't take up resources, so there's no reason not to include them!" And if that's actually what people believe, I think I can finally articulate why it is that I feel so alienated in queer spaces.

It's because aspecs in general aren't "welcomed" by much of the queer community. We're tolerated. We perhaps get the luxury of not being contradicted on our own identities, or not being specifically kicked out of LGBTQ-only spaces, but that's the whole point: what we get out of the queer "community" is people NOT doing things, not actually doing things FOR us. And that, frankly, is not enough. We deserve conversations about us. We deserve to have others consider our feelings, even when making lighthearted jokes. We deserve varied, respectful representation in media. We deserve the active deconstruction of amatonormativity in society. We deserve to have space made for us, rather than at most being told we should "go take up more space!" ourselves.

Of course, the reality is that my being aspec is a personal matter that does not inherently affect anyone else. But the same can be said for literally any queer identity. Your being gay doesn't say anything about me, so of course I shouldn't hurt you for it, but why should I help you either? Because your happiness and comfort are important. The same goes for aspecs.

And most of the time, I don't even need anyone to make space for or expend resources on me; I can live fine in everyday, non-queer-specific places without mentioning my identity at all. But it's the queer community that claims it will make that space for me, doesn't, and then acts defensive and morally pure if I call out the hypocrisy because "we're queer too, you can't erase our identities to advocate for yours!!!!"

Again, this post isn't about specifics. I have queer friends who are incredibly thoughtful and supportive about my identity, just as I have non-queer friends who are. I find more solidarity in aspec-only communities, as well as trans/genderqueer ones, although there are still many exceptions. This post is also not about amatonormative ideology, which is extremely common from queer and non-queer people alike. This post is about the reason I've felt so betrayed by the queer community.

On a personal note, I remember being so excited when I started identifying as aromantic (and later asexual). Fitting myself into labels has been a lifelong struggle for me; to this day I still can't confidently say if I'm White or PoC, neurotypical or neurodivergent, abled or disabled, cisgender or not cisgender. I continue to struggle making friends because I don't fall into social cliques. To discover that I officially, certainly, was LGBTQ+ lifted a huge weight off my shoulders. And now I'm just so sad to find that despite that, I'm still stuck in the middle. I didn't get rewarded with a community. I still feel alienated from both queer and non-queer people. I know it was silly to get my hopes up when there's such vast diversity in both groups, but it really was a disappointment. Going to my first Pride parade last year was really the moment where I realized this.

#my art #lgbtq+#lgbtqia #queer #aromantic #aro #aromantic asexual #aroace #aspec #social commentary #aro tag #eyestrain #<- idk?#kissing #long post #aphobia #arophobia #vent art

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neurosharky · 3 months

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ASPD: The Desire for and Run from Intimacy

This post will only contain my personal opinion and experience. It may not be applicable to all other people with ASPD and may likewise be relatable to people who do not have it.

I am only going to be talking about emotional intimacy, but this post is definitely also applicable to the other type of intimacy!

I'll make myself pretty vulnerable in this post, by discussing my personal experience, so you better not make me regret that!

Abbreviations:

ASPD = Antisocial Personality Disorder

ASPD is a disability caused by prolonged childhood trauma (with many possible variations), that develops in order to protect the brain from said trauma, or rather to help the brain deal with it in some way!

While the consequences of this in the context of intimacy, look different for every person with ASPD, many do report: a difficulty with developing bonds, having problems trusting people & giving away control, losing feelings for people quickly and abruptly/getting "bored" of people, responding extremely to arguments, having problems dealing with peoples emotions/ problems with being close to people etc.

This may be due to a variety of factors, but does often tie back to having no or few positive experiences with intimacy, having not learned how to exist in relationships properly/a lack of being socialized, not having the necessary prosocial emotions and mechanisms to deal with it and other similar things.

While this causes some people with ASPD to develop a brain, that does not have a need for emotional intimacy at all, others develop a brain, that craves the emotional intimacy it has been denied, but which will also fight said intimacy at every turn.

Thats as much generalized info as I can give you, as the exact representation of this is highly individual, but I will offer my personal experience on the following slides!

What you need to know is that I was accidentally neglected for huge parts of my childhood and teens and did not get my emotional and social needs met most of the time, while also knowing that my parents were theoretically capable of that, as they were giving everything I lacked to my sibling.

This caused me to grow up with a burning desire for intimacy, while being disappointed by people time and time again, failing to actually develop the things needed to experience this intimacy and partially growing to resent it and viewing it as "weak" and "bad".

Ever since then I have been stuck in what I like to call the "ASPD stages of running". Theres different points in getting close to people (in any nature of a relationship), that'll send me running and feeling like I am "weak" for wanting it, or as if being close to people is the worst thing that could happen.

The stages (simply put) are:

1. Desiring/Daydreaming about my dream relationship

2. Looking at peoples relationships/Looking at people with the intent of getting closer to them

3. Talking to people (online or irl)

4. Getting closer / being friends with people

5. Being friends with people for longer

Optionally:

6. Getting so close that a romantic relationship may happen

7. The moment of getting in the relationship / the days after

8. Being in the relationship for a bit

At any of those stages, I'll very likely have one or multiple moments where my ASPD will try to get the better of me and will try to convince me to just run away, drop contact and never talk about it again. Even just admitting to this and talking about it is hard as fuck, because it is so deeply ingrained in my brain to see emotional intimacy as a weak and dangerous thing.

What this will look like exactly really depends on the person and situation, but things that have happened in the past were:

• blocking the person and everyone I am friends with and pretending I am no longer alive

• my brain fixating on their faults in order to give me a good reason to hate them so I don't get closer to them and can hold them at arms length

• responding less often/more dryly or ignoring messages entirely

• not replicating the energy of the conversation/relationship

• staging an incident so I ruin the relationship

• running at the first signs of a disagreement

• avoiding people when they are emotional

• feeling uncomfortable around people as a whole => isolating

• beating myself up about letting it happen again

• impulsively bumping the relationship to another stage, just to immediately regret it (in a "fuck that has consequences" way)

• shutting off all my emotions, dissociate or otherwise make sure to stop the feelings (or just lose them automatically)

To put it in a shorter and more simple way, I'll usually either get the fuck outta there, or make sure to change the relationship/my personal position in the relationship to a more comfortable and less vulnerable and intimate level. This may also just look like me shutting off, becoming distant, or seeming mad, when all I am is overwhelmed by the intimacy and grossed out that I actually need and desire that.

As you can possibly imagine, that is not the most useful thing, as it causes issues in relationships, cuts friendships short and makes dealing with people a lot harder!

The most frustrating thing about this for me though is, that even if the most perfect friend or partner came along and even if the relationship would work at first, I am very very likely to crash it against the wall, simply because my brain cannot handle having the things, that it needs and desires.

It desires a hug and runs from the one who offers it.

It needs help and bites the hand that does.

It needs love and gets grossed out by whoever offers it.

It wants attention and can't handle it when it gets it.

It wants gifts, but doesnt know what to do when it gets them.

Whatever it wants, it can't have, so it keeps wanting, keeps yearning, keeps desiring and has to watch itself be unable to accept any of it.

And if that sounds painful, thats because it is.

Its a vicious kind of pain when you have to watch yourself ruin yet another thing, because your brain can't handle it, while you scream at it in frustration to get its act together, because it also is everything you desperately need.

ASPD sucks when it comes to intimacy and it especially sucks when it comes to talking about it, or being honest about these problems. It developed to protect me from being too "weak" to deal with the trauma and now its practically preventing me from showing any "weakness" or seeking out what previously hurt me. Which wouldn't be this bad, if I didn't still have this kid in me that just wants to be loved and daydreams about all the things, the ASPD hates.

When your shell disagrees with your core and you're not strong enough yet to break your shell, what does that really leave you with, other than curling up into a spiky ball and letting the shell do its job? I know I still need the protection, but I wish it wasn't actively preventing me from learning to live without it.

First posted on my instagram (same @)

#actually aspd #aspd #mental health education #antisocial personality disorder #mental health #antisocial #aspd awareness #aspd feels #aspd thoughts #aspd things #aspd mood #intimacy

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celestial-specter · 3 months

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Here I am again, for more in-depth analysis of The Bad Batch!!

Here you go, @skellymom :))

Aftermath’s battle simulation: How one scene reintroduces us to Clone Force 99, and possibly foreshadows later events in the series.

(Part 2)

As the simulation begins, Hunter orders Crosshair to ‘take the towers.’ Crosshair is thus the first to split off from the rest of the group, quickly climbing one of the towers. As I discussed in part 1, the higher levels in this scene represent the empire. To explain this idea further in reference to the towers themselves, in literature, towers have been used to represent strength, success, and power - all things which Crosshair personally craves. With all this in mind, this movement provides an early indication of Crosshair’s upcoming departure to climb the ranks of the empire. The climb itself is treacherous with no equipment, but Crosshair manages it with ease, quickly reaching the top level - just as he manages to rise to the level of Commander of his new imperial squad.

Once in position, Crosshair makes quick work of shooting and disabling the four towers. I have thought through several interpretations of what these four towers could represent, but my two personal favorites are:

The towers are a representation of Crosshair’s relationships with his four brothers; his disabling attack on each tower shows the severance of his ties to each brother.

The towers have a much more literal meaning, representing the four members of his own imperial squad that Crosshair later kills on this same training ground.

Meanwhile, at Hunter’s order, the rest of the squad push further into the training ground, leaving Crosshair behind on the tower.

When the battle seems to be taking ‘too long,’ Wrecker charges in alone to take down the droids, unconcerned about the danger to himself. Tech does briefly reach out to stop him, but then does not seem to be worried for his brother either, rolling his eyes as he watches from behind the barrier. While we do not see the reactions of the others during this moment, I assume they also were largely passive towards Wrecker’s antics. To me, this carefree attitude is similar in tone to the first few episodes of the series, in which the batch remain largely unaware of the danger they are in from the empire, and Wrecker begins exhibiting symptoms of his inhibitor chip activating. They remain unaware of this huge risk until the episode Battle Scars, in which Rex reveals the truth about the chips.

The composition of the shot in which Wrecker asks Tarkin for more droids to battle is also interesting - Wrecker is naturally larger than the rest of his squad due to his strength-based enhancements, and most shots we see of him are composed to enhance his size (e.g. placing him beside much smaller characters such as Omega). As far as I am aware, this is the only shot we have seen which purposely makes Wrecker look physically small - the height from which Tarkin is viewing him at does most of the work, but this is furthered by none of his brothers being beside him for comparison.

Tarkin himself is not a man of physically imposing stature - this is made obvious when the audience sees him beside the Kaminoans. So, the framing of this shot, with Tarkin appearing to be much bigger than Wrecker, makes the usually giant clone appear almost… doll like.

This shot, as seen below, could be interpreted simply as Tarkin looking down on all clones, viewing them as unworthy of service in the new empire. While I agree this is definitely relevant, I believe it is only a piece of a larger problem. Even in the time of the Republic, many nat-born officers viewed clones simply as cannon-fodder - as in, they were created and thus, expected, to die for their army. But, as we saw in The Clone Wars, many Jedi formed close bonds with their clone battalions, and were instrumental in the clones forming their own identities outside of their lives as soldiers.

Now, with the Jedi order destroyed, imperial officers such as Tarkin, and later Hemlock, are free to treat clones as they wish; simply as toys to be played with for their own entertainment, and to be discarded as soon as they are no longer useful.

When Tarkin then orders the use of live rounds, Wrecker encounters a force even stronger than himself, which the audience can see takes him by surprise. This definitively foreshadows the activation of Wrecker’s inhibitor chip - as the ‘muscle’ of the team, it is likely rare he ever encountered an opponent he couldn’t fight off before, and yet both here, and on Bracca, he was caught off guard and suffered as a result.

When Wrecker is shot by the droid in his right shoulder and flung to the ground, it is Tech who puts himself at risk to move from behind the barrier and drag Wrecker out of danger. This mirrors how he is the first member of the squad and the most at risk of physical harm when Wrecker’s chip first activates. Interestingly, Wrecker is shot in the exact same place that Crosshair later shoots him in during their standoff in the hangar. As Wrecker would be viewed by many as the heart of the squad, having him end up injured in both of these scenarios is a good way to highlight that these moments are strong emotional turning points for the batch and their story.

Seeing that his brothers are now in active danger, Crosshair begins to shoot the new droids firing live rounds, still in his position atop the tower. When the droids then turn their attention on him, the shots they fire damage the tower Crosshair is standing upon. He abandons his post, hanging precariously over the edge of the tower for a moment before sliding down to the ground level. These moments could reference Crosshair realization that the empire does not care about any of the clones, leading to his decision to shoot Lieutenant Nolan, thus abandoning his imperial service and falling back to the very same low societal level that he began with, and that his brothers still occupy.

Once back on the ground, Crosshair returns to Echo and Hunter, but they immediately must move behind a barrier to avoid being shot. Pinned down, Crosshair’s sarcastic commentary during this moment shows he is beginning to lose faith in their ability to complete the simulation successfully. Echo comments that their training blasters are useless against the new droids- each member of the team is already aware of this fact, yet Echo being the one to vocalize it shows he likely accepts new information faster than the rest of his brothers (a notable progression in Echo’s character development since his first appearance in The Clone Wars). As such, Echo is the first member of the team to recognize the breadth and power of the new empire, and the consequences it will have for the clones. He is also the first to begin actively fighting against it by joining Rex’s clone rebellion.

#star wars spoilers #the bad batch theories #the bad batch season 3 #the bad batch theory #the bad batch spoilers #the bad batch #star wars tbb #star wars analysis #star wars the bad batch #tbb hunter #tbb wrecker #tbb tech #tbb echo #tbb crosshair #clone force 99 #sw tbb #sw:tbb

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heliza24 · 2 months

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I'm kind of confused about how you feel about Lydia, I didn't think there was anything negative about the portrayal. You say she was just there for a lore dump but the way I see it, she was talking about her own life, an adventure she'd been on before. I didn't see it as dismissing her as a character

The short answer is that there isn’t anything hugely wrong with that scene. But because it’s the only real scene we’ve gotten with her so far, and because she is the most developed physically disabled character in all of D20, it is not enough.

To expand on that: Sure, she was telling the Bad Kids about her life and her previous adventures. But let’s think about why she was doing that in that moment. She was there because the Bad Kids needed to know more about her embedded crystal/metaphorical chronic illness in order to solve their own personal mysteries. She is a (very) supporting character in their narrative. We don’t get to see her go on a character arc, or change, or learn more about her desires as a character. Her disability story, which is very interesting, is in the show only because it serves the story needs of the nondisabled PCs.

Now of course all stories need supporting characters/npcs, and I am happy some of them are disabled. The problem arises when there has never been a physically disabled PC in Dimension 20. So the only disability narrative we see is in service of nondisabled characters. The problem is not Lydia; the problem is that she is alone.

You might recognize this problem with other media and other marginalized groups. To use a kind of simple example, I spent a lot of my childhood frustrated that the only women seemingly allowed in fantasy or action movies were the romantic interests of male protagonists. These love interests existed to serve the story of their male counterpart (often by dying dramatically and sending the male protagonist on some kind of revenge quest). There are still plenty of movies and shows that follow these tropes, but it bothers me way less now in 2024 because we also have a ton of tv and movies with complex female protagonists. The abundance of representation is what has changed.

I think this problem is extra clear on Dimension 20 because they have gotten SO many chances to center a disabled narrative and have not. They get up to six protagonists every season, which is way more than most tv or movies get.

Compared to a lot of other pieces of media that try to add in disabled characters, Dimension 20 is doing a good job with Lydia. They haven’t hired a nondisabled actor to play her (super common in tv and movies unfortunately) and they’ve clearly worked with consultants on her. I really like, for instance, that her persistence with the crystal prevents her being magically cured, which is one of my least favorite tropes. However, there is a huge trend in Hollywood of hiring disabled consultants when they want to tell a disabled story but never actually hiring a disabled writer for a full time, credited writing gig in a writers room. The players on D20 are the writing room. Why has a disabled person never been invited there?

Imagine, for a second, that we got a Fantasy High prequel season. All the adults we know in Fantasy High are teens, and they’re PCs. Imagine a really talented performer, who uses a wheelchair, playing Lydia. Imagine the emotional scenes we would see! Imagine the insight into her psyche we would get, the way her relationship to the Crystal would be developed. That’s what the scene with Lydia in Junior Year made me long for.

(I do have some frustration about the way Kristen reacted to Lydia, and the way that fandom reacted to Kristen. I did find Kristen offering empathy to Lydia in the form of the help action sweet, but being nice to a disabled person doesn’t deserve outsized praise, because we are not objects of pity. I also think the way that Kristen touched Lydia’s neck without permission is reminiscent of the way many wheelchair users are touched and pushed without permission, which is very violating. I don’t think Kristen would have had that same reaction to Sandra Lynn, for instance. Kristen is really Going Through It right now, so I’m not particularly mad at her for doing that. But it is irritating to see fandom singing the praises of the help action without acknowledging the touching without consent that followed).

Thank you for the question! I appreciate the opportunity to have a dialogue about this.

#dimension 20 #d20 #my meta #my crip media reviews #fantasy high junior year #fantasy high #d20 fhjy #ask box #dropout tv #dropout

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13thdoctorposts · 2 months

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has anyone else noticed how reactions and consensus on 13 has been RETROACTIVELY negative? I know there's been an intensely misogynistic hate campaign since Jodie was announced but I also noticed that when you look at old posts from when s11 especially was freshly aired, there was a lot more good faith engagement with the show and genuine excitement in fandom. It seems like covid gave the bad faith actors the opportunity to take over fandom and force their narratives on everyone.

Yeah a really great example of this is if you look back to tweets from the night Rosa aired the praise was very very high, now if you bring it up in the fandom you would think it was terrible and racist.

On YouTube I was told the writers, both of them Chibs and Malorie Blackman were incompetent because they doesn’t show how bad the racism really was, yet the episode starts with one of our companions being physically assaulted and told to be careful so not to end up like Emmett Till, some one who had just been murdered acting as if the show was sugar coating what life was like back then. Oh and of course with the Chibs slander that he’s racist because he may have hired a woman of colour to write the script, but she is English not American and he should have made sure it was an American or not done the episode at all

Malorie Blackman is an award winning author claiming she’s an incompetent writer is pretty incredible accusation.

Here’s some of the tweets from articles praising the episode.

I think 2 things hurt 13 era who and they weren’t Chibs and Jodie. It was the unhinged toxicity the fandom constantly spewed and then even after things got praised as you said people would go back and nitpick to a level they never ever do with any other era and 2nd not having a big enough marketing budget and brand manger series 12 and 13 suffered most from this because the BBC did put the marketing money into series 11 even if they didn’t have a brand manager, and Chibs mentions this in the Radio Free Skaro podcast from last year that the BBC put a huge marking budget into series 11 but series 12 and 13 basically the budget was… you can only advertise on the BBC because there’s no money for anything else.

Rosa is just one example but there was a lot of praise for the work at the time of release and it’s quite possible general public viewers may have just stoped engaging on social after series 11 because they would then be piled on, and people in the online fandom knew they couldn’t go to social saying they loved an episode so they started picking it apart before putting their thoughts out there so they could be on trend with the haters who were gonna pile on if they didn’t fall in line.

Seriously if there’s ever a down fall to doctor who the ‘fans’ will be it because they would rather hate on the thing they supposedly love than love it. And ever era has its super questionable moments but if you bring them up for any other era you just being petty, or it isn’t that big of a deal, or ‘it’s of the time’ it’s just excuse after excuse.

I’ve seen people upset about the fact that RTD dead named Rose in the star beast, something very legitimate because now all the right wing idiots of the fandom use that name and the people who were upset get piled on if they say anything because they should be happy that RTD is trying to give them representation… but these same people when Chibs tried to give rep though a female doctor, or an episode like Rosa or Ryans disability, say Chibs is a right wing capitalist, sexist, racist, ablest, you don’t hear them saying hey he was really trying by getting people of colour to write their stories, by getting directors with the same heritage to direct episodes, he work with a dyspraxia organisation to help write Ryan, brought in the first 2 female Doctors and the 1st Doctor of colour who was also a woman, the 1st master of colour, the first Doctor who admitted to having feeling for a companion of the same sex and the episode where the doctor admits those feeling is co written with a queer woman, oh no Chibs gets no grace for tryi neg he did everything wrong but RTD everyone should be thankful for.

I don’t understand the level of hate. Not liking something is one thing but a part of this fandom has made 13 era who seem like the anti christ of Doctor Who, when really it tried a lot harder to involve more people in it then ever before.

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suffersinfandom · 6 months

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This is a somewhat-hingeless rant about disability and OFMD/Izzy takes.

Tumblr handed me a "recommended" post that made me so mad I ended up deleting a moderately unhinged reply and walking away for a bit. It's still eating at me, so I'm just gonna reply to it indirectly.

(I know this is cowardly, but anything I say will just lead to fighting and I'm tired. If anyone wants to discourse about whatever I post, please do me a favor and don't rant at me directly. Take caps and scream into the void like a gentleperson.)

First: I am physically disabled and I often use visible disability aids (just establishing my credentials so I'm allowed to not support this take uncritically). I also have mental health issues and less visible physical issues that honestly cripple me more.

Second: the title alone, man. My main issue with this whole thing is the disability gatekeeping, but that interpretation... hngh. I don't think OFMD was trying to meet a disability quota, you know? It's not "we have three disabled people so we can kill one off."

"Izzy shouldn't have died because he's the most clearly, visibly disabled" is a weird take because it conflates two unrelated things: Izzy's disability and Izzy's death. It's okay to be upset that Izzy died because his specific disability was something you related to. It hurts to have representation taken away! But his death had a narrative purpose. It had nothing to do with his status as an amputee.

And yeah, people are disabled in different ways, but is acknowledging that really an invitation to dismiss some disabilities as invalid? Sure, let's gatekeep disability. Let's decide that some people aren't disabled, actually. Lucius, Black Pete, Wee John, Spanish Jackie, and Ed aren't disabled in a way that's huge and traumatic and life-changing, so throw them out.

Except Ed is one of our protagonists, and I'd argue that his issues are way more important to the narrative than Izzy's. Ed's bad knee is technically fanon (fanon that I love because I too have bad joints and a shit knee), but I would argue that Ed is absolutely canonically disabled. Are we really supposed to disregard his crippling mental health issues because they're not visible? We're just going to shrug off the suicidal despair that drove a huge chunk of the plot? Wild that something so central to the story just doesn't matter because it's not the right kind of disabled.

That was a tangent, sorry. Back to Izzy and the injury that was "thrust upon him."

Yes, his injury is life-changing and traumatic. I'm sympathetic -- but not as sympathetic as I would be if he hadn't played a significant part in the events that led to the loss of his leg.

"That's victim blaming!"

It's a statement of fact. As Izzy himself admitted, he drove the darkness in Ed. He dangled his leg over the side of the ship and a shark bit it off. The injury wasn't thrust upon him so much as actively courted.

Izzy tried to shoot himself in the head at his lowest moment. If I may misquote OP: if you cannot see that there is a WORLD of difference between Ed's multi-episode suicidal arc and Izzy impulsively seeking an out, I honestly do not know what to say to you.

But the big thing about Izzy is that he is a secondary character in a story. If you take off the Izzy blinders, you can see that it's not all about him. His go at suicide killed the symbol of toxic masculinity that he had been up to that point so his story could progress. When he crawled along the floor whining pathetically, his sheer levels of wet cat-ness brought the crew together. The crew rallying around him and giving him the love and forgiveness that he did not ask for? That was about the crew and their growth, not Izzy.

Izzy did not have some deep-seated care for the crew before he was shot. He didn't throw himself in front of a bullet for them. He was not the crew's protector. Izzy's growth began when Ed essentially fired him, and the real changes happened post leg removal.

But here's something super important: Izzy was not suicidal when he told Ed he was ready to go.

Because yeah, I agree, it'd suck if a character who attempted suicide spent a few episodes being rehabilitated and accepting love and who he is turned around and decided that he wanted to die. It's a good thing that's not what happened.

This is what made me decide not to reply directly. Yeah, clearly a lot of disabled queer people are upset. And you know what? That's fine! I always support feeling what you're feeling, even if that feeling is negative. I'm sorry that other queer disabled people are hurting, and I don't want to add to that hurt by being directly confrontational.

Then OP said the last part and I was riled all over again. I was prepared to reblog since I meet their criteria (or maybe I don't -- I might not be the right kind of disabled), but what's the point? How miserable do I want to be? How much do I want to make them miserable?

I know I ranted a lot here, but what I'm getting at is this: Izzy DID NOT "go from wanting to die after a hugely traumatic disabling life event" to "wanting to die after finding acceptance and happiness." If he had, I'd totally understand why OP is upset and I'd think, yeah, maybe they should've run that by a few more people.

Izzy didn't want to die. He accepted his death as the inevitability it was -- inevitable not just because the wound was fatal, but because his death was important to the larger story and, importantly, Ed's story.

Izzy is piracy. Izzy is toxic masculinity personified. Izzy is anchoring Ed to Blackbeard. Izzy is not a character who overcame great obstacles and found acceptance just to decide that, actually, he'd like to be dead instead. He's not David Jenkins and company telling people who relate to Izzy that they should just die. He's not proof that recovery and joy are impossible for broken people.

Look at Ed. He went from wanting to die to wanting to live and do better. He's still working for his acceptance and happiness, and Izzy's last words are insistence to him that he'll get there.

Lucius said that some people are just broken, and this season does everything it can to refute that. One of the clearest themes is no one is broken beyond repair. People can change and they can heal and they can be forgiven by the people they hurt. This theme is so clear that I don't understand how anyone can overlook it.

I've been typing for ages and I'm honestly so sorry to anyone who takes me seriously enough to read this. It's a lot of negativity, and we have more than enough of that.

(And if you're disabled, hurt by Izzy's death, and also somehow still here, I sincerely hope that you feel better about it soon. I hope you'll come across meta that puts things into perspective in a way that lets you appreciate OFMD's positive messages and make peace with or move past season two. Barring that, I hope you find a new show to latch onto that gives you everything you want.)

#ofmd #ofmd fandom #izzy hands #edward teach #fandom critical #izzy critical #(not really but hopefully anyone who wants to brawl has that blacklisted)#disability talk #me treating tumblr like a personal journal #i have a headache joint pain and a lot of feelings #read with caution #oh shit i forgot #ofmd s2 spoilers #cw suicide #tw suicide #me typing things

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leikeliscomet · 26 days

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No, Ncuti Gatwa's Casting Isn't Regressive

Chapter 2 - Strong (White) Female Character

There are many women in Who loved by fans of all genders. In Classic Who, the female leads were the companion to the Doctor and played the role of audience surrogate. They asked questions, got in trouble and got rescued. But over time, this role would develop and gain more significance. Classic Who female representation is usually brushed off as one-dimensional compared to the girl-bosses of Nuwho, but still some representations shined through. Characters such as Sarah Jane Smith and Ace McShane are considered great female representation for the time they were created and archetypes for modern female leads in Who we see today. When the show was revived in 2005, this would be the beginning of a new type of female lead in the companion role. Women would save the day and even the Doctor. They’d gain supernatural abilities, defend galaxies, fly TARDISes, fight Time Wars and save the universe. Doctor Who makes the message (or at least tries to) that us girlies are not just the sidekicks but key parts of the journey too. Most fans agree the show has plenty of strong female leads, even if there are still critiques to be made about agency and sexualisation.

But all that glitters isn’t gold. Whilst it can be agreed women shouldn’t be limited to the role of companion, there are many demographics of women yet to be included in the companion role even if it is the bare minimum, Using intersectionality as a framework for Doctor Who’s female representation, there’s still a long way to go. There are only three women of colour who are companions in the main show. There are only two female companions of colour from them that are canonically queer. Only two are Black. Only one is South Asian. There is only one doctor who is a Black woman and she is not in the main lineup. There are no East Asian, Latina or Indigenous main female companions. There are no trans or disabled women as companions. There are no female companions that are dark-skinned women (close to Ryan or Fugitive Doctor’s complexion). When fans ask for more female representation I’ve questioned many times what or who they imagine. Even when we look at the female lead progress of the show a pattern merges; the first companion of Classic Who, the first companion of Nuwho, the first female master, the first Time Ladies and the first female leader of UNIT are all white women. Most companions of the show both classic and new are white women. So when Jodie Whittaker was cast as Thirteen I wasn’t quite sure how to feel. It was a huge moment as the Doctor themselves had never been played by a woman before. Girls across the fandom shared their excitement and joy, sharing group photos of blonde cosplayers excited for Thirteen’s era. And yet, I felt like something was missing. Whittaker got tribute videos from fans who looked up to her and was continuously asked about the importance of representation on screen, whilst Mandip Gill and Tosin Cole sat quietly beside her. I thought the first South Asian Muslim companion and first full-time Black male companion were just as big achievements as casting Whittaker for Thirteen and still do. But the show and fandom didn’t seem to think so. Some women of colour tried to express this disappointment back in 2017, but were met with ‘wait your turn’ or ‘at least you have Bill and Martha’. Don’t worry! You’ll get your POC Doctor one day!

7 years on, this progressive irony has yet to be addressed by the greater fandom. I’m not asking for Doctor Who to treat every marginalised group as a list to tick off and I don’t expect it to perfectly represent my experiences to the letter, but I do expect an allegedly progressive show and fandom to practice what they preach at the absolute bare minimum. If white marginalised genders can recognise how the companion role, despite growing to become more fulfilling and meaningful, is still the side character to a role historically played by a cishet white man, and that playing the lead themselves is, essentially, the greatest form of representation to have in the show… it begs three questions:

1. Why are Black fans then expected to settle for that ‘lesser’ companion role?

2. Why do we not deserve to have the ‘greatest form’ of representation as the lead?

3. Why is casting a Black man as the lead in a show that has only had three Black male leads, two Black male companions and only one that travelled full-time a step back, but a white woman in a show where most female leads are white women already a step forward?

Even when we finally got our ‘POC Doctor’ by Jo Martin, she was another side character. Fugitive’s role was to add to the Timeless Child Mystery and once that was completed, she was a get-out-jail-free hologram in the last series of the Whittaker era. Our first form of Black representation as the lead was still a supporting role. Women of colour in the fandom, Black women especially, had to wait our turn yet again. Ncuti Gatwa is a man and I am not, so I know there are limits on the extent I’ll relate to Fifteen in the same way there were limits for Thirteen. But looking at representation statistically, Black men in Doctor Who are not outnumbering white women, so this idea of a ‘stepback’ is just disingenuous and incredibly antiblack. Many fans shared their ideal doctor castings for after Gatwa and even in place of him. Minus the occasional Lydia West and T’Nia Miller cosign, most of these castings were white women; Olivia Coleman, Gillian Anderson, Tilda Swinton, Phoebe-Waller Bridge etc. Apart from the need to replace our first Black male doctor before his era even began being wild in itself, I thought about who is the idea of female representation in Doctor Who. Gatwa is dark-skinned, but the ‘replacements’ minus T’Nia Miller were not. I want to believe the ‘but he’s a man’ backlash and ‘oh but we only meant white men!’ rebuttals came from a genuine place of hurt from certain parts of Thirteen’s stanbase. However, the continued dismissal of Black fans of all genders who rightfully critique Chibnall’s neglect of the Fugitive, the surprise that conservative white men still rejected Ncuti Gatwa ‘even though he’s a man’ when manhood has never saved Black men from antiblack racism and the treatment of the show’s first Black female companion, Martha Jones, that is still yet to be addressed by allegedly misogyny-concerned fans has me very, very pessimistic. If Ncuti Gatwa was a woman would this response be different? Only time will tell and if we get a dark-skin Black woman in the main lineup one day, we’ll see if this support comes through for real. I’m going to wait and see what Fifteen can provide for the show and wait for my ‘perfect fit’ casting to arrive just as other fans who are Black women have done since day. I hope that white marginalised genders waiting with us ask not why they have to wait, but why is this the first time that they have ever had to.

<- Chapter 1

Chapter 3 ->

#white feminism #strong female characters #fugitive doctor #the fugitive doctor #female representation #fifteenth doctor #ncuti gatwa #doctor who #nuwho #new who #black representation #doctor who analysis #fandom analysis #doctor who fandom #fandom antiblackness #fandom racism #fandom history

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azirafem · 7 months

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so, i've been watching jessica jones. literally started it today, and this specific scene in jessica jones is so incredibly important to me despite it only being a few seconds long, i really wanted to share my thoughts on it. the subtle way they were able to fit an accurate representation of ableism into a scene that is completely unrelated to it is actually so incredibly astonishing, the way the lines are delivered and the way the words are expressed. even the way jessica says "the mentally challenged" is so important to me as a disabled person myself. i don't see these types of representations or topics ever talked about in media if at all, and marvel was able to include them in an unlikely situation that doesn't tie back to ableism in that moment and at the same time was able to dismiss it and disprove it and just express why this type of radical ableism can affect every person who is different than the average. ableism is so rooted and it's so important to me when any media is able to acknowledge it. i send a huge thanks to whoever wrote this scene you are in my heart

Marvel's Jessica Jones, 2015. S01 E04: A.K.A 99 Friends.

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snazzymolasses · 1 year

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The new doll is part of Mattel Barbie Fashionistas line, which aims to offer kids more diverse representations of beauty and fight the stigma around physical disabilities.

For the newest Barbie Fashionista, Mattel (MAT) said it closely worked with the National Down Syndrome Society on the doll’s shape, features, clothing, accessory and packaging to ensure that it accurately represents a person with Down syndrome.

“This means so much for our community, who for the first time, can play with a Barbie doll that looks like them,” Kandi Pickard, NDSS president and CEO said in a statement. “This Barbie serves as a reminder that we should never underestimate the power of representation. It is a huge step forward for inclusion and a moment that we are celebrating.”

“Our goal is to enable all children to see themselves in Barbie, while also encouraging children to play with dolls who do not look like themselves,” Lisa McKnight, Mattel’s executive vice president and global head of Barbie & Dolls, said in a statement.

#guys this is SO. AWESOME.#barbie #inclusivity #diversity #Down Syndrome #representation #disability #AMAZING #maybe the world isn't so shitty after all

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i-hear-a-sound · 1 year

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RWBY

Thank you for the ask! Here we go:

Favorite female character? Ilia Penny Pyrrha Ruby Nora(!!!!) Emerald Weiss and most of all… maria😔she’s so fucking funny i loved her energy v6. Further explanations, Ilia has an adorable design, great voice actor and decent enough representation. Nora’s timeskip design was unmatched and she’s very quotable, plus her personality reminds me of one of my close friends irl. Ruby’s struggles in V9 (until they fucked that up) really hit with me as I’d gone through something very similar, and Penny… Penny just makes me happy. What they did with her makes me angry, but Penny makes me smile. :D

Favorite male character? I got a couple but at the moment it’s tied by Sun and Roman. Sun has fun energy and Roman is himself and iconic. Others are: James is hot and so is the bad bird BF he got by being autistic. Mercury is cool for the 5 seconds of screentime he gets every volume now. Tyrian and Watts got impeccable swag and the 5 hour long make out scene between the two of them was very interesting. Adam is cathartic and fun as hell to write my little meow meow. Jaune is best when he’s just a little loser dork, and Ren is very pretty.

Favorite Volume? Surprise surprise, Volume 3. I fucking love tournament arcs. I. Love. Tournament. Arcs.

Favorite Episode? That whole Apathy Arc in V6!!! Great horror in my opinion. I wish they’d show off more creative Grimm like that again. And as a side note, V6 is just… the best looking volume.

Favorite cast member? If they count, Jeff and Casey!! SUCH good music.

Favorite ship? *cracks knuckles* Freezerburn, Catmeleon, Monochrome, Schne//ekos, Pussy Magnet Purrah, Greek fire, nuts and dolts, Bees Schnees, Khali, Spicecream, Seamonkeys, Emercury, If there’s one between Ilia and Ruby put it here, Ginger Snaps, Arctic Winter, Silver Lotus, *looks at writings on my palm* Snow pines, Ironqrow, James x Oz, Crimsun, Strawbana, Nuts and Volts, and Rosebird. To name a few. Some might not be my favorites, these are just ones I like/like in concept. :) Character I’d die defending? Sienna fucking Khan. The whole White Fang, honestly. I do think protesting through violence against your oppressors is very swag and real actually. Plus she’s hot.

A character I can’t sympathize with? Uhhhhhh…… SALEM!!!!!!!!!! Cinder too ish but Salem mostly. Like, I feel a TINY bit bad, only because the gods are undeniably awful garbage horrible terrible. She still sucks though.

A character I grew to love? …Adam. I did not give a single shit about his decently attractive redhead ass until that reveal and his death in V6. He has become my blorbo; my skrunkly. My cringefail loser, my girly pop. Engrained within my brain like a silly silly worm. He’s fun to draw. Fun to write. REALLY fun to write. I can put him in so many situations. So many bittersweet, melancholic situations. And in so many outfits.

My Anti-otp? Ive got a couple.

Bumbl//Bee. Not my thing. Could have been, had they not continually tried making “Only disabled main character losing her arm” something “romantic” as well as paralleling said character to her partner’s… um… ex abuser? Hello?

Embe//rald. Fuck Abusive ships.

Taura//donna. Fuck Abusive ships.

Frostbite. This one is actually one of my least favorite ships, as it is essentially a pairing between the ex-racist ex-heiress of a huge company to the in universe minority said company enslaved and branded while he was a child. Plus, again. Fuck. Abusive. Ships.

Ar//kos. Not… my… thing.

Winter and Marrow or Robyn and Marrow. Nope nope nope. No. Thank. You.

Etc etc etc I could go on all day. Thank you for the ask!

#rwde #guess I’ll tag it that why not

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munamania · 9 months

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ok everyone i watched lemonade mouth and do revenge tonight. i wanted to share my notes from lemonade mouth or at least the highlights. (edit from later jk i posted nearly every thought soooo sorry) not much to say abt the other one it was okay. lemonade mouth is my baby though

wen is such a hater

queer as hell movie

i like that this movie doesnt talk down to its audience it's still silly but it treats each character like a full person and it's earnest

flashes into their lives to get to their destiny to meet. i heart storytelling

TURBO BLAST.

'use your voice' ok dyke. sounds like jo maskin

'this is the underground (in all caps)' oh this is so rife with queer pleasures

principal brennigan.... what does this say abt society.....

this is so like gay club queer joy i know a place moment fates colliding queer utopia

music is everything adn everything is love btw

none of the girls are in competition for any of the guys and in fact are arguably queer coded. i mean overall obv the group is

showing the power of queer joy

like MUNA

random little commercial jingle was so catchy

people that have known and paid attention to each other forever and challenge each other to be their best selves through their very existence soulmatism. olivia and wen btw

WEN IS SUCH A HATER LOSER

dynamic lighting <333

'just because you cant see the agony doesnt mean it isnt there' ok gayass

'i could start a revolution' broccoli close up. hilarious theyre just fuckin around

naomi scott brings a comfortable bisexuality to her characters. me when im just saying shit

SOMEBODY.im gonna kill myself.

HAYLEY BG VOCALS OKKKKKKKKK

'or cher' get his ass mo

stella is a true action forward activist im obsessed with her. she and hazel callahan bottoms should team up and rig the school with bombs

lemonade mouth is such a sincere true inside joke for a band name they are all so lovely. theyre my losers club

Determinate. Get determined! Revolution

bridgit mendler egot when

'i like when you smile' theyre just giddy weirdo soulmates

taking away pride?????????? (lemonade)

corporate buyouts. capitalist ownership and what that entails

control

wen who cant deal with change whos living in honor of his mother's memory and his sense of idealistic family and those rigid definitions and olivias odd broken family and beautiful unconventional relationship with her grandmother and opened up raw vulnerability that she tries to protect but exudes in her songwriting largely inspired around and by him

adult babies. ok

FAGGOT BRENNIGAN!!!!! sorry

idk if this is a strange observation but it's relieving that it's not a huge deal for the boys to go in the girl's bathroom to be supportive and lovely to their friend

lemonade. symbol of hope revolution pride also fruity

i used to live and breathe for mo's little bass shimmy

disability representation ayo

mo's back vocals okayyyyyyy also the little dance!!!!

distributing lemonade to the masses!!!!!! proletariat comrades!!!

why r they literally revolutionaries im screaming

'political tirade' 'complete'y disruptive' slayyy

'decisions i make are for the good of this school' ok fascist

flagging

Dante's pizzeria -> HELL!?!

'maybe... we do matter' 'of course we do' ok yippee gay people <3

shes so gone... i just felt so understood

naomi has such a beautiful voice. the naomis should combine naomi scott produced her own shit it would be sooooo cool

olivia being forced to accept her full grief for her mother

friends are everything btw

seeing things in the clouds... natural human inclination to find purpose in everything

'i wish my dad would ignore me' REAL. it's complicated

dad in prison - i feel like they didnt touch that sort of thing often on disney idk maybe sometimes

BRIDGIT IS THAT GIRL.

more than a band. love and community and god in other people

these are my bestest friends btw

'im not pretending to be what im not for anyone anymore' ok gayass

they are such DORKS <3

MO SLAYING EGREGIOUS CUNT IN ALL THE CHAOS

theyre all so linked together in fate and time

oh bridgit is about to slay so immensely shes amazing

bridgit mendler school of acting

gabe saporta ass outfit stella has on

THEYRE FIGHTING COPS WITH EACH OTHERRRRRRR

music center of the universe and love

theater kids <3

okay that hug made me cry

'that is the limpest wrist fist bump i have ever seen' - lydia (about charlie and his brother)

there was some coming out to your family in that hug

fucking good lighting

lemonade mouth school of acting

fucking up that guitar i cannot lie im obsessed w that performance of determinate at the end it makes me cry every time and also that guitar is soooooo

this guy is cooler than steve harrington yeah i still just have stupid beef with that stupid fandom

kiss on the cheek is so sweet <333

he brought her a kitten. he brought her a kitten. he brought her new life/a feeling of rebirth of coming into yourself and just living. not perfect but okay. they could do peeta and katniss who will follow you to your ruined home and plant a garden there. i threw my pen across the room and screamed over this btw.

SHE MET MEL LEMONADE MOUTH

queer utopia

faghag pair

charlie = afycso, naomi scott ~ dianna agron, wen ryan ross pretty odd outfit

okay goodnight <3

#i was very high for most of this. i fucking adore this movie shes my girl forever and ever.#abby talks

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astridspeckles · 10 months

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Random thoughts and ramblings about the amazing film Nimona! Warning this is a huge tangent and does talk about spoilers for the movie and a bit of spoilers about the graphic novel (that I haven't read since my copy hasn't arrived yet) also I've tried to write this post like 3 times but it keeps breaking so oof.

Kudos to the creator ND Stevenson who I swear is a massive source of creativinies that I would absorb like a sponge if I had the energy to because everything they're apart of is something I feel like I'd adore if if I took the plunge. Also he identifies as enby transmasc (which, I am too, and I didn't realize how huge of a blow it was to realize that people like me exist). I really ought to look into She-ra and their other works at some point. Anyway, anyway, anyway - this is about Nimona!

I love that this obviously queer movie decided to be release during the later stage of June aka "Pride Month" because I feel like it gives people the chance to watch it with fresh eyes during July, which is Disabled Pride Month (I'm Australian so it isn't really a thing here as far as im aware sadly) which Ballister is such a fantastic and amazing character who is gay and disabled.

He is never portrayed as weak or lesser for his disability, I imagine for people that it'll actually be easy to forget that he is disabled as an amputee with how capable he's written. I feel like it might just go over peoples heads at some point because you never get to see stuff written so well unless if its poking you with it every few episodes or its extremely obvious at a glance. But with Ballister it 'just is who he is' and it moves on to focus on its plot like it has from the beginning.

And its never used as a plot set back or change the storybeat or anything of that sort of matter. Which is amazing. However it isn't just ignored either! He has a moment of weakness when he sees Ambroius again. He hesitates, he withdraws from reach out to him while looking at his arm (Oh, Nemesis!). It is still fresh and new and he's trying to handle it (you're doing great sweetie).

I'm not physically disabled (I do have a weak knee however) but a mentally disabled and experience fatigue constantly and I'm sure I'd have chronic pains if I didn't have a high pain tolerance. So while this sort of character isn't someone I can directly relate to it is someone I can connect with (Although I don't believe you need to be the same as something in order to connect/relate to it).

However I am at home a lot and I don't get exposed much to other people and that includes a lot of people with other cultures, beliefs, body types and disabilities. So being able to see people different than me on the screen is always awesome, and being able to connect with them is too. Which the Queen, Nimona and Ballister is fantastic for everyone and hopefully the Director will give the other sort of audience of this movie a time to think back and work through things.

But I haven't seen many disabled people in media, because I don't really have the energy to engage with much content for long. So I have a limited selection of characters who seem like fantastic representation - because while yes Toph from Avatar the Last Airbender is fantastic she has literal superpowers compared to the every day person so I love and praise how she's handled because everything she does is fantastic-

Seeing Ballister's strong and dedicated personality which still has that life to it made me instantly feel for him along side Hiccup from How to Train your Dragon (And before you ask - no, AstridSpeckles is not due to HTTYD, its inspired from Zelda actually!) And I just love how it was all written and displayed. In HTTYD it was to connect Toothless and Hiccup together in a beautiful narrative. Here they used his arm to make a beautiful narrative too - he uses it, constantly.

He fixes his arm with just one hand which is insane because its also his non dominant hand which wow thats amazing. And he doesn't shy away from using his arm for anything, he still touches people with it, still wields things with as much confidence as ever to do so. He reaches out to Nimona with it too in that scene. Also Ambroius reaches out to hold his hand in that scene too! So tenderly and without hesitation! Which if it was another case with other characters I reckon I'd be a little upset but you see how much they love eachother and how gentle and tactile and soft they are so it is just so beautiful to see here...

Also I don't really know where else to put this but since im on a tangent about Ballister ima just say it here. He is such a fantastic knight! He knew the moment his sword was handed to him that it was off. He knew it didnt feel right, the weight was wrong? Or it just felt off? He knows his sword. He knows his morals. He knows what he has to do to make things right. He never betrayed himself ever!

Also the eye sparkles change. At the start their diamonds, but Ballister's turns into squares as he gets more exposed to different views where Ambroius turns into a triangle as his views are being pulled (the director whispering in his hear, his own heart, and his love for Ballister).

Also he too is a fantastic knight! His life falling apart? Never lashes out. Never hurts those around him (Okay, cutting off an arm isn't a love language.) So yes that is a case where he did hurt someone but that is addressed in its own ways.

But he never hurts or lashes out at the people he's protecting. He could easily just take it out on them, stop caring, fall into a pit of despair at his own problems. But you actively see him dealing with this own issues and then instantly being a knight the next scene and he doesn't falter or fall.

He is also so strong and I love that he had these moments, would of liked some more though but he isn't a main character like Nimona and Ballister so I understand why he didn't.

Also back to Ballister for a moment because the moment he heard Nimona's not really handling the things she's carrying, that she was able to tell him about her most vulnerable, scary and intrusive thoughts after knowing him for so little, that his thoughts in an instant was to get her the hell out of there and go with her.

He would try to work things out with Ambroius I believe, but he saw the hurt of Nimona who he hasn't known that long over the love of his life and said this is my priority. That would be so hard for anyone to do, for example a parent knowing their child is queer and the other parent not accepting them - there are cases where the parents stay together because its too hard for them not too, and lose the kid or kick the kid out.

The fact Ballister in a heartbeat acted accordingly to keep this new precious person in his life to abandon (like they did to him) without hesitation is absolutely insane and I love it so much. Also that it wasn't a move out of malice or defiance. It could of easily of been written differently that they need to protect her and they have to leave right now. But no. He took action (he always takes actions!) and while he lingered on Ambroius, it wasnt hesitation. It wasn't to hurt Ambroius either. He put Nimona being at risk first.

So I've actually been aware of Nimona for a few years now. I've heard about its ups and downs and its eventually cancel to its amazing revival! But I was watching it as a passive observer, never interacting with it because I know I hyper-fixate, I didn't want too get invested and attached and because off the rollercoaster of it not coming to the big screen while being in the fandom at that time (im sorry you are all so much stronger than I am haha!)

However, it is alive and amazing! And I'm finally here in the fandom - I've finally watched it - I've finally decided to order the graphic novel like I planned to back during its first movie announcement so I can quote "Enjoy the movie and then read the book since the books are always better", so I can love both as much as I can, yknow?

From what I've discovered reading online here and there so far (and its likely that this is wrong so take this with a grain of salt since I haven't gotten my graphic novel yet) that apparently that the movie is leaps and bounds improved compared to the graphic novel (Note: Not better, improved.)

Improved origin stories, improved personalities, improved characterizations. So much of the voice actors provide life and inspiration to these characters bringing them to a level that the graphic novels didn't have the resource to do.

I also love how people also aren't going crazy (negatively) about the change of races to the characters - im so used to seeing discourse about this sort of thing but its so accepted here that it is so refreshing to see.

The graphic novel has a larger and looser timeline and I believe a darker story and not as much as a happy ending compared to the movie. I can't wait to read the graphic novel though it looks very interesting!

But the ending of the movie implies such a happier ending for everyone, since apparently I've seen that in the graphic novel Nimona visits Ballister while being shapeshifted as a nurse while he is in hospital and he caught on too late after she says goodbye and he never sees her again and is constantly reminded of her when she sees people with her hair colour and that is so bittersweet!

The fact we get her coming to him at the end with him going HOLY SHIT is because it is saying here that it doesn't end with that note. They are together still. And I really hope something more comes out after this because I need to see a bit more to know what is happening there.

I had written a lot more here but my post keeps breaking and doing ctrl+z is making me lose entire paragraphs and gifs I put in as text breakers so I'm gonna leave this here or maybe do another post when I end up reading the graphic novel, who knows. But yes. I love Nimona :D

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crispycreambacon · 3 months

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If I may pontificate for a moment: if the only thing you can tell me about a media is the representation (be it LGBT+, POC, neurodivergent, disabled or any other form of representation), I'm just gonna automatically assume the media is gonna suck.

Is representation important? Absolutely! But it shouldn't be the only thing carrying the work. Of course, there are stories where representation is absolutely crucial to the plot (ex. trans coming out stories, black people facing racism), but I feel like for many stories, solely focusing on how there are gay couples or how there are Asian neurodivergent characters is setting people up for disappointment.

It's also why categorizing all novels into the LGBT+ category is kind of an eye-rolling idea. LGBT+ isn't a genre like how animation isn't a genre. Readers have different expectations from different genres, and lumping novels with a huge variety in their actual genres into the very broad LGBT+ category will set up unfair assumptions onto those novels. People may expect one story, end up getting an entirely different one, and get upset at the author for something that isn't even their fault.

Basically what I'm trying to say is: please tell me what the actual plot of the book you're recommending is about don't just say "oh it's gay!!" and expect me to just read it based on that alone

#cleaning out drafts and I still think this point stands #I had more points but honestly I don't have the words to elaborate further so I'm just sending it as it is #writing #representation #book recommendations #chris p fried rambles

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denimbex1986 · 5 months

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'Doctor Who fans worldwide are being charmed by the highly anticipated 60th anniversary specials. However, one character has sparked excitement and intrigue among disabled viewers: Shirley Anne Bingham, played by Ruth Madeley.

This more nuanced portrayal of a wheelchair user in Doctor Who is an extraordinary step forward for representation in the beloved series — but amid the fantastical, fairytale things, there can still be hard realities.

Ruth Madeley’s work has never been about perfection, but complex, hard-fought realities, and the same can be said of Russell T Davies. Both can get to the personal, up-close, staring-you-right-in-the-face experience through their writing and performances. They possess a unique ability to bring audiences close, allowing them to leave a lasting impact.

In these seconds on screen, we see the full power of disability representation. Often, the small, up-close moments have the most unforeseen consequences. Upon close inspection, a subtle, perhaps unconsciously done detail becomes apparent in a scene: Ruth Madeley’s character crosses her legs.

This seemingly insignificant moment holds profound meaning for disabled people as it was picked apart across social media by non-disabled people. We understand all too well the scrutiny and misunderstanding we often face regarding our own bodies.

As a wheelchair user, I have endured so much: uncomfortable gazes from men on buses, questions about why my leg is “bent” or “warped,” and unsolicited comments about my muscular legs not appearing “disabled enough” not to work. One of the earliest questions I ever asked a stranger was, “Why are you looking at my legs like that?”, instinctively adjusting protectively.

So, the abundance of social media reactions about a wheelchair user in Doctor Who crossing her legs on screen, frequently mistakenly assumed to be a continuity error, was unsurprising. Non-disabled people know nothing of what it’s like to live in and around our wheelchairs through various stages and moments in life and health.

This is still our burden, having to be explicit and clear on social media and everyday interactions. Knowing that this is a conversation that we very much need to be in control of — we need to be able to have these moments and question non-disabled ignorance — and get through it.

That is the core of good disability representation, even if it’s unconsciously done: the chance to acknowledge that ordinary disabled people still have these hard conversations and live in these moments.

Amid these fantastical fairytale things, there can still be small moments, small details that speak to an everyday truth — eliciting knowing nods from a disabled audience.

As Shirley asserts: “Don’t make me the problem, just get in there” when faced with a staircase that UNIT officers need to climb. This line serves as a knowing nod to the social model of disability, reminding viewers that people are disabled by barriers in society, not their impairments or differences.

But imagine disabled children getting to be Shirley.

Getting to play make-believe — to be the scientist, the leader. Getting to dress up or replicate and imitate that image, getting an earlier understanding that our society is built on half-truths and incomplete histories.

As a child, Doctor Who offered an escape, a reprieve from my “othered” existence, from the growing pains of existing in a disabled body, a place to rest my tattered mind. From the first “Fantastic!” we had each other with matching northern accents. We each wore muted clothing and a black leather jacket for a time.

I can’t imagine not pushing parts of myself down to relate to a character or escaping into other worlds without compromising my identity.

But, from the UNIT-branded wheelchair to including weapons as wheelchair accessories and the casual, calm confidence of “I don’t just fire darts, mate”, the show now embraces diversity in a way that will continue to resonate with disabled viewers for generations, and the disabled community will now go into inaccessible places and proudly proclaim, “Even the TARDIS is accessible now”.

Ultimately, it’s not just about the accessibility of the TARDIS or the ongoing conversations with those who aren’t disabled. It’s about this new generation of disabled children finally seeing themselves represented in Doctor Who. During frightening points, they will still experience the familiar jitters of monsters hiding under their beds or behind the couch, clutching at a cushion. They will have “their” Doctor, “their” companion, and “their” era.

One day, they will fondly recall that chilling moment when a Russell T Davies villain gave them nightmares. However, amid all the heartwarming nostalgia, they will also find comfort in knowing that disabled characters exist within the expansive Doctor Who universe, woven in whatever incredible guises they may take now or in the future. Action figures will bear their likeness and be beaten down in over-enthusiastic child’s play; drawings will proudly adorn fridges with the help of multicoloured magnets, and homemade or shop-bought Halloween costumes will be worn.

The inclusion of a nuanced portrayal of a wheelchair user in Doctor Who’s 60th-anniversary specials is a positive step towards greater disability representation — but it’s also a reminder that even amidst the fantastical, fairytale somethings, we can still experience the harshest of our realities.'

#Doctor Who #The Star Beast #Ruth Madeley #UNIT #Shirley Anne Bingham #TARDIS #60th Anniversary #Russell T. Davies

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absolutebl · 2 years

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Hello, one question just popped into my head during watching Don't say No and it's a loaded one. Are there any BLs where psychotherapy gets mentioned or is part of the story. Or is stigma so big that it doesn't even get into mainstream let alone genre such as BL. I know some regular kdramas and some cdramas with mental health and therapy as a topic but I wondered if there are any BLs that acknowledge mental health.

Mental Health As A Plot Device in Romance

The use of mental health issues as a plot device is super strong in a lot of Asian romance dramas (particularly favored by China and Korea). But the representation of professional help in order to overcome said issues is pretty slender. I mean I could probubly count on one hand how often I've seen it represented, and mostly only from Korea, and only recently. And, do I think that's partly because they’re worried about one of the highest suicide rates in the world now? Yep.

Note: yes I get there is a huge stigma around disability in general, I don’t want to get into into culture critique/debate on this matter in terms of how individualist societies versus collectivist societies handle mental health. Both basically kinda suck at it, in the end.

Because this is big concern I have throughout the romance genre. There's a real damaging message of "I can heal my lover with love alone." It's a salvation trope that activates the paladin archetype, and neither of these are healthy IRL.

ALT

Moment of squee:

The fantastic romance author and professional trauma therapist Adriana Herrera has talked about this (with regards to western romance literature) quite a bit. Her romances are written in part to help correct for this, she often has positive portrayals of seeking counseling, as well as having healthy supportive relationships while grappling with mental health and residual trauma. I HIGHLY recommend her, her interviews, and her work. She has a lot of GREAT queer romances and almost all her main characters are Afro-Latinx. Seriously, check her out. My favorite is her Dreamer series.

A companion to this is something I've heard called pussy salvation, which is the idea that the bad boy or byronic hero can be saved from himself and poor life choices by sleeping with (and/or marrying) the right woman. Historicals do this for their rakes all the time. The Tuxedo might fit into this one, but then again, who the fuck knows what that BL was doing or trying to do.

ALT

And then a companion to THAT one is the idea that a man can be saved not by the love of the right woman, but by having a child with her. Something like the first season of Bridgerton. This one is common in both historicals and religious/christian/clean romances.

I do not like ANY of this.

Back to you question!

Honestly, I can’t name any BLs off the top of my head that include a visit to a professional for mental health reasons except Innocent (short, Taiwan, on GaGa I think).

To My Star obliquely references coping with it, which I think implies professional help, but I’m not sure.

Dean insists (and takes) Pharm to a doctor for his panic attacks in Until We Meet Again.

Now go on commenters, what BLs did I forget?

(source)

#dmaging romance tropes #Adriana Herrera #thai bl #taiwanese bl #innocent BL #The Tuxedo

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