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demilypyro · 5 months

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So I've seen a few too many people on twitter talking about The Kiss Scene from the new Scott Pilgrim anime. People saying it's fetishistic and indulgent, people calling it male gazey, etc. And while the kiss itself is certainly a bit exaggerated, I felt like writing a bit about why I disagree, and why context is important, like it always is. But it basically turned into an extended analysis on the metatextual treatment of Roxie Richter. So bear with me. It's a long post.

What really matters about this scene is not the kiss itself, but what precedes it. Not even just the fight scene just before it, but what precedes the whole anime series, really. And that's the Scott Pilgrim comic book, and the live action movie. Because in both, Roxie is a punchline.

She's a joke. Her character starts and ends with "one of the exes is actually a girl, I bet you didn't expect that." Jokes are made about Ramona's latent bisexuality, the movie especially treating it as funny and absurd, and her validity as a romantic interest is entirely written off by Ramona as being "just a phase." There's a fight scene, she's defeated by a man giving her an orgasm which implicitly calls her sexuality into question (come on), and the movie just moves on. It sucks. It really, really sucks.

The comic fares a little better. It never veers into outright homophobia like the movie does, and while the line about Ramona having gone through a phase remains, Roxie actually gets one over on Scott when Ramona briefly gets back with Roxie. But Roxie is still only barely a character. Like all the other evil exes, she's just a stepping stone towards the male protagonist's development. She barely even gets any screentime before she's defeated by Scott's "power of love." But Roxie stands out, since she's the only villain who is queer, or at least had been confirmed queer at that point (hi Todd). In a series that champions multiple gay men in the supporting cast, the single undeniable lesbian in the story is a villain. She's labeled as evil, made fun of, pushed aside in favor of the men, and then discarded. Her screentime was never about her, or her feelings for Ramona. It was about the straight, male protagonist needing to overcome her. And that was Roxie Richter. An unfortunate victim of the 2010s.

Fast forward to current year, and the new anime series is announced. Everybody sits down to watch the new series expecting another retelling of the same story, and.... hang on, that straight male protagonist I mentioned just died in the first episode. And now it's humanizing the villains from the original story. And there's Roxie, introduced alongside the other evil exes in the second episode, and she's being played entirely straight, without a punchline in sight. No jokes are made about her gender, no questions are made of her validity as one of Ramona's romantic interests. The narrative considers her important. In one episode, she already gets more respect than she did in either of the previous iterations of Scott Pilgrim. And this isn't even her focus episode yet... which happens to be the very next one.

The anime series goes to great lengths to flesh out the original story's villains and to have Ramona reconcile with them. And I don't think it's a coincidence that Roxie gets to go first. While Matthew Patel gets his development in episode 2, Roxie is the first to directly confront Ramona, now our main protagonist. This is notable too because it's the only time the exes are encountered out of order. Roxie is supposed to be number 4, but she's first in line, and later on you realize that she's the only one who's out of sequence. She's the one who sets the precedent for the villains being redeemed. She's the most important character for Ramona to reconcile with.

What follows is probably the most extensive, elaborate 1 on 1 fight scene in the whole show. Roxie fights like a wounded animal, her motions are desperate and pained. Ramona can only barely fight back against her onslaught. Different set-pieces fly by at breakneck speed as Roxie relentlessly lays her feelings at Ramona's feet through her attacks and her distraught shouts. And unlike the comic or the movie, Ramona acknowledges them, and sincerely apologizes. And the two end up just laying there, exhausted, reminiscing about when they were together.

Only after this, after all of this, does the kiss scene happen. Roxie has been vindicated, she has reconciled with the person who hurt her, the narrative has deemed that her anger is justified and has redeemed her character. And she gets her victory lap by making the nearest other hot girl question her heterosexuality, sharing a sloppy kiss with her as the music triumphantly crescendos.

It's... a little self-congratulatory, honestly. But it's good. It's redemption for a character who had been mistreated for over a decade. And she punctuates the moment by being very, very gay where everyone can see it, no men anywhere in sight. Because this is her moment. And then she leaves the plot, on her own accord this time, while humming the hampster dance. What a legend. How could anything be wrong with this.

#scott pilgrim #spto #scott pilgrim takes off #roxie richter #roxanne richter #scott pilgrim spoilers #spto spoilers

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fruity-phrog · 10 months

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Okay, I saw someone say that Nimona, while being good representation, “didn’t take the big step forward in queer rep that everyone says it did”.

That is wrong. So wrong, my dude.

Yes, an explicit and open queer relationship in children’s cartoons is not new, per ce. Hell, just this year, two popular kids’ cartoons had the main character in an open, adorable, plot-based queer romance. But this is different for a few reasons.

Reason number one, it isn’t left in suspense. Yes, they had that split for three odd weeks, but they started the film as a couple. One of the very first scenes is them together as a couple, Ambrosius saying he loves Ballister, them holding hands, Ballister leaning on Ambrosius’ shoulder. Ambrosius says he loves Ballister three times during the film, and none of them are any more than halfway in. It’s very clear, from their very first interaction, that they are an established relationship, which isn’t something I’ve seen...at all in other animation.

Secondly, they are the plot. Ambrosius not believing Ballister, Ambrosius cutting off Ballister’s arm, Ballister trying to get the video to Ambrosius - this is what drives the plot. In any other children’s animation with queer relationships, the relationship is not the main focus. Even The Owl House, which is so amazing with its constant representation, would still make sense if Luz and Amity never happened. But Nimona’s plot wouldn’t make sense without Ballister and Ambrosius’ relationship. It, quite simply, can’t be erased. It could work as a friendship, yes, but that’s the point. They could have just been two close friends that fell on opposite sides of a fight, but they weren’t. They were two lovers that fell on opposite sides of a fight.

Thirdly, they aren’t sanitized for “family viewing”. An emerging trend in children’s animation is to only have mlm relationships as fathers to make them seem more “family friendly”. With the exception of Kipo, there really isn’t many tv shows or films that places light upon an mlm relationship. And if it does, it'll be a teen relationship because teenagers being queer tends to come across as less “dirty” and more “innocent”. But Goldenheart is none of these things. They are adults without the mollifying aspect of having a family. And on top of that, they fight. They wield swords and they get bloody and they shoot at things and get angry and yell. They aren’t “clean” and “innocent”.

As well as this, they are in a film. Films are far more accessible than tv shows. You have to watch twenty seven episodes before Lumity in toh is canon. Troy kisses Benson on the eleventh episode of Kipo. And there are two hundred and eighty three episodes of Adventure Time before Marceline and Bonnie kiss. But with a film, the queerness is much more forward - especially in Nimona, where it’s literally the second scene. Animated films hardly ever display queer relationships, but Nimona did.

Finally - they aren’t perfect. I don’t know about you, but three weeks of thinking your boyfriend/maybe ex is a murderer? Doesn’t sound like a healthy few weeks to me. I have only seen big relationship arguments portrayed in straight relationships in cartoons - think Star Vs The Forces Of Evil - whereas queer relationships either have the massive fight prior to being canonically gay - She Ra - or have conflict, not arguments, that are dealt with quickly - Dead End/The Owl House. But Goldenheart? Goldenheart suffers. Their relationship is pushed to such extreme boundaries as for them to be pretty much exes throughout most of the movie. And yet, they are clearly healthy, happy and very much in love at the end.

TL;DR - Nimona is amazing with the queer representation, and it is a milestone for LGBTQ+ cartoons. Not only is the relationship romantic for the entire movie, the plot is driven by Ambrosius and Ballister’s sort-of-break-up. In short, they are treated the same way straight people are. They have flaws, they have massive arguments, they have plot importance, they have backstory. They are in love. And that’s what matters more than anything else.

#cedar crap #wow I didn't mean for this to be so long #nimona #nimona netflix #queer rep in media #queer rep in animation #goldenheart #ballister boldheart #ballister blackheart #ambrosius goldenloin #and I didn't even touch on the blatant queer flags in the background

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doolallymagpie · 2 years

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there I posted about my rarepair it can stop gnawing at my soul

#look sometimes you don’t care for main character guy #yes he grew on you eventually but uh #before that happened they introduced what you’re convinced is his Protagonist Understudy #and she’s…so much cooler. and you’re pretty sure they’ve hinted at Love Interest being bi #because she’s off fucking around with some cutie who’s explicitly gay (never getting into what ‘fucking around’ means)#even before Protagonist Understudy starts interacting with her and the rest of the main cast #and meanwhile Main Character is going through his mild corruption arc #you kind of liked him by the end of the first book #you thought he and Love Interest might eventually be cute together #but now he’s becoming Worse and you’re screaming DUMP HIM #and he gets better again but before that you get tantalizing scraps of Love Interest and Protagonist Understudy in close proximity #and you’re like…dump him…FOR HER.#and you eventually lose the ‘dump him’ streak and #remember that she has two hands. she can smooch ‘em both.#and then forget about it because Protagonist Understudy just leaves for most of the next two books and doesn’t get a POV in the one after #but…her plot does intersect directly with Love Interest’s and it hits some potentially romantic tropes you like #and then she’s a POV character again and they’re in relatively close proximity for that whole book #leaving you to Hope #and then their actresses in the show often goof off together and take some really touchy feely bts pics #but they cut the Feelings in Hallways book down to only six fairly plotty episodes with ONE feelings one #but any time you look at them it’s like. yeah.#never not gonna be bitter about what TPTB took from us

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starplanes · 2 months

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A (5 star) review of Bury Your Gays, by @drchucktingle!

I read this book in one sitting. I did not plan to read this book in one sitting, but I could not put it down, accepting that my lunch break was now an extended reading break. Bury Your Gays was just that good.

It starts simple. Screenwriter Misha has been told by his exec that the season finale of his show must out, then kill the two leads. He needs to bury his gays because the board has determined it's where the money is. Misha says no. Then starts getting stalked by his (definitely fictional, right?) characters from other shows. Either Misha developed some incredible supernatural powers in that meeting, or something more sinister is at work…

Bury Your Gays illustrates why queer people should be allowed to tell the stories they want to tell, instead of being made to use queerbating, tragic tropes, or fake relentless optimism in the name of corporate Pride. It's a story about the queer struggle to find oneself in a world that makes it so, so hard. There's a lot of love for the queer community poured into this book, and oh does it shines. I especially adored the ace rep - and the concept of ace rep as a plot point. I shall not explain further. However, I am more scared than ever of the corporatization of Pride.

Bury Your Gays also criticizes capitalism's monetization of tragedy and exploitation of workers. It explores what happens when ethics are ignored in the name of an ever-growing profit margin, to the point where the bottom line becomes a near-sentient thing. It leans into the horrors of AI and data-mining by combining the two and going all the way with it. Chuck Tingle has acknowledged all my fears of black box algorithms and also made them ten times worse. Truly a feat! I will be sleeping with my router off!

It's a masterpiece of horror, both visceral and psychological. Since the main character is a horror writer, the story is very genre aware. There's a lot of fun to be had in the tale of "writer being followed by the monsters he wrote," and certainly no small amount of terror. It gets gory here and there, with plenty of suspense in between. Hints are laid out for the reader, enough where I was occasionally able to predict what was coming just a page or two before it landed. My jaw dropped multiple times! The writing is descriptive enough to pull you right in (and gross you out!), and it's paced near-perfectly. There's all these little moments sprinkled in that elevate the whole story, from fun references of other work to subtle clues you'll only catch on a reread.

This book will be living in my head rent-free from now on. It's about so many things and yet has interwoven them all perfectly. Fans of classic horror movies will love this story. Those of us fed up with AI generated trash will love it. Anyone who joined a WGA picket line will love it. Asexuals fed up with lack of representation will love it. People who watched multiple seasons of Supernatural will love it. Is that you? Go pick up Bury Your Gays. Be scared, be sad, be angry. But also validated, loved, and joyful.

TLDR: Read this book when it comes out on July 9!

#chuck tingle #bury your gays #book review #publishes july 9 #I was SO EXCITED when I got approved for an eARC of this book #it was everything I wanted it to be and more

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scarrletmoon · 7 months

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okay i know the Discourse™️ has been going on for way too long at this point, but

i think some people outside of the OFMD fandom don’t actually get why we’re particularly annoying about this show

OFMD is not the first queer show to ever exist. if anything, it's a late entry in decades of queer media. over a year and a half since the first few episodes aired, everyone knows that OFMD is queer. that doesn't make it particularly special

but back in March? this is the trailer that dropped in February of 2022, 2 weeks before the premier. if you're used to seeing queer chemistry in shows that aren't intended to be queer, you might see the hints between Ed and Stede here. but to most people? it's just a silly little pirate comedy. just guys being dudes. the trailer doesn't even hint at the other 2 canonical queer relationships in the show -- the closest it gets suggesting romance is the music and the pink in the poster

so when people watched this show in March 2022, they went into it expecting subtext and nothing else. to them, it was like watching Sherlock or Supernatural or Merlin in the 2010s. if you were in any of those fandoms -- especially Sherlock and Supernatural -- you know what it was like; constant jokes at our expense, being mocked for creating explicit fanwork, made fun of by the creators and within the show itself. if we saw queer subtext, that was our problem. this was a time when you pretended NOT to be in fandom, for fear of ridicule. we kept our fanwork to ourselves, we DID NOT share it with the cast, and we accepted that our favourite ships would probably never be canon. maybe one day, if we were lucky, we'd have a show where the subtext wasn't mockery as much as deliberate foreshadowing -- but that had to be YEARS away

right?

OFMD was never billed as a queer show, not in the beginning. there was no LGBTQ+ tag on (HBO) Max, it wasn't on anyone's list of upcoming queer shows in 2022, it flew under the radar through most of its first season. this was a show about pirates, and sure, some of them were queer. but not the LEADS. if you think they're romantically involved, that's must be fandom brain poisoning

except the 9th episode aired, and they kissed. and the show said "you're not crazy for thinking they have chemistry because they really do. it's been a romance this whole time". and in the 10th episode, Stede realizes that he's in love

(not mandating you watch this clip if you don't care for the show, but there's something that feels particularly earth shattering about no one saying the word gay but knowing that Stede's realizing he is, that it's completely unambiguous and explicit in a way that only straight romances are usually allowed to be)

this is why people freaked out about this show. no one knew. even the creator, David Jenkins, was surprised when WE were surprised that it was gay for real -- he set out to write a love story, using all the tried and true beats of a rom com. he'd never even heard of the term queerbaiting. he looked at historical Blackbeard and Stede Bonnet and thought "oh, there's something here" and just...wrote that, with very little fanfare, like it was inevitable. like it was obvious. of course Jim and Pam end up together. of course Buttercup and Westley end up together. what kind of disappointing ending would it be if You've Got Mail ended with the main characters just going their separate ways?

so of course Ed and Stede are in love

look, i get it. we're annoying and won't shut the fuck up about this show that seems mediocre at best. i watched the whole thing back in march, thought "huh, that was cool" and was sure that i'd forget about it in a few days

an hour after looking at fanart on twitter, i was lost in the fucking sauce

there's just so much to unpack from a mere 10 episodes. it covers racism, toxic masculinity, gender expression, sexuality, trauma and abuse. and i don't think we should overlook the fact that the non-white characters in this show get to be fully human in a way i haven't seen in my favourite shows in recent memory

additionally, most OFMD are 25 or older. we're not people who've been spoiled by queer rep, who don't get how hard it used to be, how you'd have to grovel for scraps, how shipping and fanfiction was a way to find queer rep where we thought there never would be. we've been here. we're annoying about this show because for a lot of us, it's the first time we've been treated like our queerness isn't an anomaly that needs to be relegated to its own section, that needs to be praised for the bare minimum of acknowledging that we exist. it's not pulling punches to avoid scaring away a straight audience. it just is.

OFMD for me is like when i watched Black Panther for the first time and realized that this is what white people felt all the time. have there been other black superhero movies? of course! does Disney fucking suck? BOY does it. but that was the first time i got to sit in a movie theater and watch a mainstream film that looked at Africa and said "look at how beautiful you are, exactly as you are"

and idk. i think that's really cool

#scarrlet rambles #ofmd #cant wait for all 5 notes on this post #and dont be fucking mean i'm not trying to start shit #anon is off btw if you want to try that #we're going to have a productive conversation or none at all we're adults here #for some reason tumblr didn't save my links and stuff THANKS TUMBLR #anyway the typo version is floating around now i guess 🥲

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mimymomo · 2 years

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In ‘Lucas on the Line,’ Lucas Sinclair experienced countless bouts of racism and micro aggressions including but not limited to:

Had children run away from him and refuse to touch him because they thought his Black skin color would rub off on them. This happened IN THE THIRD GRADE! And he never told his parents about it!

Calmed his anxiety about being the only Black kid in his homeroom class by coming to the realization that since there was no other Black kids that meant he most likely wouldn’t be bombed

Had to install a camera in his locker because his property got defaced by a glitter bomb

Lost his first and only black friend/mentor who supported him thanks to an ACTUAL MAKESHIFT BOMB being installed in his locker that caused a janitor to go to the hospital for 1st/2nd degree burns (and the white boy who did it barely got punished)

Got teased that the only reason he got on the basketball team was because he was Black

Comes to the realization that he might’ve actually only gotten in the team because the coach has a history of recruiting Black boys for the team regardless of their skill level

Gets called an Oreo (for uneducated: white on the inside, black on the outside) by racist bullies. Erica (who apparently has also been called this) sticks up for him and is the only one who understands what the insult means which means Mike and Dustin don’t know/understand the lengths of how deep the racism Lucas experiences in Hawkins on a daily bases

And these aren’t even all of them! These are just examples I had from the top of my head!

And despite all this happening in the book, “fans” have STILL FOUND A WAY to turn this book about Lucas and his struggles as a Black boy in a mostly white suburban town and his deteriorating relationship with Max and make it about Byler!

The fact that Lucas, one of the only characters of color on this show, can’t have ANYTHING to himself without people using him to push their ships is so aggravating!

He and Erica constantly get shit talked and miss characterized by fans, get excluded/cut out of group shots, and barely get any fanart/fics about them and their struggles compared to the white characters (I could make a whole new post about the terrible way this fandom treats Erica but I won’t do that here). Hell don’t forget that the fandom constantly tries to dispute the racism Lucas received in S2 from Billy was either not really racism, just a moment that Duffer Bros. put in to “ruin” Billy’s character and ultimately can be tossed out and ignored.

The only time I ever see Lucas get any large amount of attention is either due to 1) Lumax (but let’s be honest: 90% of the lumax tag on here isn’t even about them and has now become Elumax 2.0 and most post are people praising ElMax and then being like “oh Lucas/lumax is cute too” in the tags and that’s it). 2) people creating “parallels” of Lumax to their ship of choice (mostly Byler and Mileven) as a way to say that their ship is gonna be canon or 3) to say that he’s bisexual.

And all that is fine and whatever, ship and headcanon things to your hearts content, but if you only care about Lucas if he’s helping push you ship narrative or because you think he’s gay (to the point where some people actually read snippets of the book that talked about Lucas coming to the realization that Black boys like him can be considered attractive and only acknowledge the “queer” reading of the text and completely ignored the big race element that was the main focus), I’m sorry but, that’s not cool. The fact that 95% of the Lucas Sinclair tag isn’t about Lucas himself but white characters like Steve, Eddie, Byler says everything about how the fandom treats him.

I’m just so tired.

Lucas Sinclair deserves the same respect that the white characters get!

I leave you one of my favorite sections of the entire book: Lucas learning to become unabashedly himself:

Rant over.

Edit: in my blind rage I realized I forgot to edit out the Twitter handle. That’s completely my fault. Please don’t hate that Twitter user. I’m just coming back to fix that.

#stranger things #stranger things spoilers #lucas sinclair #lucas on the line #st season 4 #you know what? I AM gonna tag all the popular ships #if you clog the Lucas/lumax tags I’m gonna clog yours #Byler #steddie #mileven #steve harrington #eddie munson #will byers #mike wheeler #Lucas Sinclair deserves better #also stan lumax for clear skin

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qqueenofhades · 9 months

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Good Omens Season 2: Some Thoughts (and also Screaming)

First, /screams

Second, obligatory disclaimer that this meta contains MAJOR SPOILERS for all six episodes. If you somehow have managed to remain virginally unspoiled, look away now, scroll past, or add "good omens s2" and "good omens spoilers" to your block list, as those are the tags I have been using for all posts and reblogs.

Third, /screams more

Okay okay okay. Deep breaths.

Anyway, so, uh, how about all that, huh? First, the good thing about the tone of the season overall was that it felt considerably darker and more adult, in a good way. We didn't have the precocious kiddies, the kitsch and literally-comphet Anathema and Newt, the so-clever narration, etc. All that was gone, which makes sense when you consider that a) the end of last season saw them reboot into an entirely new universe, and b) the fact that God has gone silent is, in fact, a major plot point for the season. We don't have Her slyly telling us the story, or indeed anything, and everyone is left to make their own judgments and take their own actions. Which, obviously, gets them into a lot of trouble, especially when Metatron (the Voice of God, aka someone acting in the belief that they're speaking for God and therefore doing terrible harm) swoops in with the ultimate buzzkill at the end of episode 6. But we'll get to that.

The downside was that the main, present-day plot (hiding Gabriel in the bookshop and trying to get Nina and Maggie to fall in love) was fairly thin, felt stretched out and at times weirdly paced, and otherwise existed mostly to get us to That Ending and the setup for season 3. But the ending was so damn good (if obviously, very painful) that I can't be TOO mad, not least because we spent six episodes with them just making absolutely no pretense about the whole thing being as incredibly homosexual as possible. I'll be honest: I did not think they were going to actually, explicitly go there. Neil Gaiman has been so consistent about "your interpretations are valid and you're welcome to read it however you want, but the only canon is what's on screen," which I think is frankly a good thing (not least since the Neil GAYman Cinematic Universe is consistently very, very good to us queers), that I just... didn't quite think they'd pull the trigger. Sir Terry is dead and can't have active input, this is based on a book published 30 years ago, maybe they didn't want to make it LIKE THAT... etc. I certainly hoped, but I didn't really think they would.

Uh. Well.

As I said in my various semi-coherent liveblog posts, I honestly don't think there was a single straight person in the entire season, among both major and background characters. Aziraphale/Crowley and Maggie/Nina are the obvious paralleling couples, but Beelzebub (using "they" pronouns and addressed as "Lord" despite presenting as femme/femme-adjacent) is clearly nonbinary and therefore also queer, and the countless gay/queer side characters were just /chefs kiss. From Job's son making a sassy pass at Aziraphale, to the random Scottish goon with Grindr on his phone (which he then gives to Aziraphale, because what is subtlety), to the interracial couple with the trans spouse at the Pride and Prejudice ball, there was just a lot of casual, unremarked, non-story-critical queer representation visible at every turn. It's like the NGCU saw the bigots wailing about Sandman season 1 being extremely gay and went CHALLENGE ACCEPTED, LET'S MAKE GOOD OMENS 2 EVEN MORE GAY.

God bless.

Obviously, Jon Hamm as Amnesia!Gabriel stole the show (he was SO fucking funny) and it was also incredibly fun to watch Miranda Richardson repurposed as a scheming demon. Nina Sosanya also reappeared as Nina the coffee shop owner, which leads us into the Maggie-and-Nina subplot. They're obviously, wildly, incredibly clearly an analogue for Aziraphale and Crowley themselves, but they're also each, crucially, a mix of both. On the surface, Maggie is Aziraphale: the plump, blonde, earnest, sweet-natured one owning a slightly dated book music shop and somewhat clueless about emotional nuances, while Nina is (also on the surface) Crowley, the hard-edged dark loner who doesn't want to open herself up to people or be spotted caring. But emotionally, Maggie is Crowley: the one openly pining, clearly besotted, only wanting to hang around their crush and do whatever they can to make themselves useful, while Nina is Aziraphale. Interested but reticent, attracted but conflicted, trapped in an abusive relationship with a demanding offscreen "lover" (Lindsay/Heaven) who tries to constantly control and shame them without ever offering much, if anything in return. By the end, they bring themselves around to what Maggie/Crowley are offering, but by then, well. We've got a lot more problems on our hands.

As I also said in my earlier posts, this entire thing has always been a metaphor for religion, queerness, and what religion -- especially abusive, fundamentalist, organized religion -- does to queer people, but they really cranked the FUCK out of that metaphor this season. Aziraphale is guilt-tripped, controlled, and shamed for his attraction to Crowley at every turn. He is torn between his imagined duty to Heaven, in all its ignorant, uncaring, bureaucratic, gratuitously cruel system that he still insists on seeing the best in because he can't bear the alternative, and the chaotic and sometimes grey but genuinely more good morality that Crowley offers him. (Can I just say, we were explicitly shown that the two of them together doing "just a little miracle" are more powerful than Heaven AND Hell combined.) And at the end, he's told that the only way he can be with Crowley -- what Metatron explicitly blackmails him with -- is if they both go back to heaven, submit themselves to the cruel system again and give up everything that has made them who they are: their home in London, their human friends, their reliance on each other, their independence, their own ways of doing things. You can be queer in this (religious) framework, but only the limited, watered-down, controlled, controllable, constantly-under-supervision kind of queer, which relies on both you and your lover "converting" back to the true faith. And if you don't cooperate, they will literally kidnap you, lie to you, manipulate you, take you from your soulmate, and force you right back into doing the one thing (destroying the world) that you never, ever wanted to do in the first place, because in their minds, that is still better than this. It's for your own good.

Ouch.

And the thing is: that's why the ending a) hits so hard and b) is so fucking painful, because of course Aziraphale agrees. He has no conception of being able to defy Heaven on his own; he has always, always needed Crowley for that. In the flashbacks, when Aziraphale is faced with an order from Heaven that he desperately does not want to carry out (such as letting all Job's children get killed), he still relies completely on Crowley to "outsmart the rules" and find a better way. Crowley is A Crafty Demon; that's what he does, and so Aziraphale rationalizes it to himself that therefore that must be fine. Even in season 1, when he really didn't want the Apocalypse to happen but initially thought it was his duty as a good Heaven footsoldier, he relied on Crowley to talk him out of it and allow him to do what he really wants instead. That's their whole dynamic in a nutshell, as exemplified in that scene in episode 2, where Crowley tempts Aziraphale with the "pleasures of the flesh" while sprawled on his back in Ravish Me mode like the giant walking gay disaster that he is. (Sorry, buddy. That beard. Can't do it.) Everything that Aziraphale's existence is, that makes him who he is, that he loves and cherishes the most (in this case, food and wine) comes from Crowley. Everything else is just background noise.

Throughout the season, what we see is Aziraphale increasingly coming around to the fantasy of being with Crowley. He's coy and flirty; he talks about "our car" and expects Crowley will let him (which he does); he wants to have a Jane Austen ball and for them to dance together (oh my heart); he even thinks, at the crucial moment, that the best way for them to be together is to go back to heaven just like they were in the beginning, once more perfect angels, as if those entire six thousand years of struggle and grief and pining and separation and falling didn't happen. And Crowley -- poor, poor, brave, devoted, heartbroken Crowley -- has just heard for the first time in said six thousand years that actually telling the person you love how you feel is an option. Maggie and Nina tell them point-blank that their whole stupid plan failed because people aren't chess pieces who can be moved and automatically achieve the desired result. And of course this gobsmacks the dearest and dumbest Ineffable Husbands, because they can't conceive of anything else. People are chess pieces in the Great War of Heaven and Hell; Aziraphale and Crowley themselves are chess pieces who have been desperately trying to get out of being moved by external forces, but that doesn't change the fact that that's what they are. They don't have volition or agency aside from that which they can sneak for themselves in brief and stolen moments. That's it.

Until, well. It's not it. They discover that this whole would-be war is actually an elaborate ruse to cover up another angel-demon romance, that of Gabriel and Beelzebub. (I'll be honest, I'm 99% sure they did this storyline because they saw the fans crackshipping them, but I appreciate a fictional narrative that values and incorporates its fans' input, rather than trying to constantly "trick" or "outsmart" them or "do what they don't expect.") And Gabriel and Beelzebub get to be together, but only by leaving their world forever. They have to desert their homes, their structures, even their own identities, and never return. And Crowley and Aziraphale are so rooted in their "precious, perfect, fragile" life in their little corner of Soho, with their bookshop and their Bentley and their dining at the Ritz (which they didn't get to do in the end because METATRON /shakes fist), that that just doesn't work. Neither of them can conceive of doing that. So Aziraphale thinks "go back to heaven and try to make the terrible system do some good and take what we can in terms of being together" and Crowley just... pours out his heart. He's ready to fucking propose. He barely stops himself from saying something to the effect of "I want to spend eternity with you." He begs, he pleads with Aziraphale to go away not in the literal sense, but the emotional/metaphysical: to finally break this toxic dependence on Heaven and tell them once and for all where to stick it. And because he is desperate to make Aziraphale understand, he finally throws all caution to the winds and recklessly, desperately, adoringly kisses him, the one thing he's wanted to do for ages and...

Gets. Shot. Down.

Ugghhhhh. I'm suffering all over again. Aziraphale wants him, hungers for it, for them, and yet he's been so abused and so conditioned by Heaven (he's still blithely repeating to Crowley's face that "Hell are the bad guys!") that he just cannot accept that kind of desperate, blind, limitless, lawless affection. He even forgives Crowley for this "transgression," just to really twist the knife, and Crowley just can't take it, can't face up to how terribly this has all gone up in flames, after he went to heaven trying to find the answer for Gabriel's situation. Gabriel, who he fucking hates. Gabriel, who tried to kill the angelic being he loves (and for which Crowley has transparently never forgiven him). And yet at one pouty puppy-eyed look from Aziraphale and a warning that whoever is harboring Gabriel might be in danger, Crowley leaps headlong into the Bentley again and rushes to the rescue while "Good Old Fashioned Lover Boy" is blaring. He stoutly protects Gabriel; he does a miracle to disguise him; he lets him have hot chocolate and stay in the bookshop; he guards him from the literal demonic horde outside. All because of Aziraphale. That's it. And then, it still doesn't work. Not only that, Gabriel's absence and decision to forego Armageddon gives Heaven the one tool they finally need to take Aziraphale away from him.

I repeat: Ugghhhhhhhh.

(In a good way. Ngl, I love this angst. This is the kind of angst my brain Thrives on, the Thematic Parallel Romantic Character Arc kind. Nom nom nom. But also: AGONY.)

I also need to talk about Aziraphale driving the Bentley, aside from the obvious metaphor of him being in Crowley's home while Crowley is in his. Last season, we had the "you go too fast for me, Crowley" scene with them sitting in said Bentley, which was Aziraphale saying he's not ready for a relationship. In this season, as noted above, we see Aziraphale increasingly embracing the potential fantasy of being with Crowley. But here's the catch: when he's in the Bentley this time, driving it, setting the pace, acclimating to the idea, he's driving his own idea of what the Bentley/his relationship with Crowley is. It's not the real thing. He plays classical music; he supplies himself sweets; he turns it yellow; he drives too slow. Crowley calls him in another old-married-couple snitfit to complain that Aziraphale's messed it up, but what Aziraphale has actually messed up (or will, by the end of the season) is far more consequential than just a car. He's changed the entire shape of their relationship to the one he thinks can make it work, and it just doesn't. It has to be them -- "we could have been... Us" -- or it's not even close to the truth. It's not worth their time.

I repeat: Ouch.

Speaking of the writers validating fan theories, I know we all picked up and screamed about on Crowley's idea of Peak Romance Guaranteed To Fall In Love being sheltering from rain and gazing into each other's eyes, which confirms that that poor bastard was indeed ass-over-teakettle gone as soon as he met Aziraphale (again) in Eden. I also need to talk about the 1941 redux, because wow. This time, the danger comes from Hell, which we see being its usual self: gleefully, pointlessly cruel, pettily backbiting, dirty, sniping, tedious, endless, determined to mindlessly destroy because They're The Bad Guys and they like it. So they blackmail, spy on, miracle-block, illicitly photograph, and try to prove that Aziraphale and Crowley are secretly a couple, right after Aziraphale himself has just had the Light From Heaven realization that he's in love (which we all also picked up on in s1). They're forcibly outing them (to speak of more Religious Queer Trauma) in order to break them up/get them into trouble with their authorities/families. Aziraphale and Crowley manage to escape it mostly by dumb luck, but Crowley having an altogether freakout, hands shaking, barely able to actually point the gun at Aziraphale even in the knowledge that it's supposed to be fake, is just... wow. He can't even fathom the idea of ever trying to destroy him in earnest, especially when he knows on some level that Aziraphale also finally just realized his own feelings. So I just need to --

/screams

Anyway, Aziraphale's entire arc this season is doing what he thinks is the right thing and then inadvertently causing harm and damage as a result. In the Edinburgh flashbacks (live slug reaction of me: SEAN BIGGERSTAFF???!!) he tries to stop Elspeth from stealing bodies and gets Morag killed and Crowley drinking the laudanum to save him (though that part with David Tennant just riffing left and right, using his natural Scottish accent, and being Tiny Crowley/Huge Crowley was hilarious). He invites his neighbors to a Pride and Prejudice ball and makes them all the target for demonic attack. And of course the Job episode: Aziraphale, horrified at Heaven's callous cruelty, desperate not to get Job's children killed, willing to go along with Crowley's tricks to save them somehow, tempted by Crowley to do the fucknasty with their angel bits eat some food and decide that he likes it. As mentioned, the whole thing about God being silent this season is a major thematic choice. The only time we see/hear God is Her communing with Job from afar. Aziraphale enviously imagines the answers he must be getting (he's not, he's baffled and perplexed), while Crowley longs beyond words to even have the opportunity to ask the question: why? Why do this? Why is this your plan?

And of course, this absence culminates in the Metatron, the Voice of God, the person arrogantly claiming that they're speaking for God and know exactly what Heaven wants, being able to seize Aziraphale by the short hairs and absolutely fuck him over. Gabriel is gone/decommissioned/eloping with Beelzebub, so Heaven needs a Supreme Leader (God apparently is no longer a factor in the equation). And what this Supreme Leader needs to do is finally unleash the Apocalypse that Gabriel decided to pass on (the Second Coming). Aziraphale needs to be punished, taken away from Crowley's influence/love, and put back under Heaven's explicit control, so Metatron spots a great opportunity to do all three at once. It's not an accident that the exact tool he uses to get Aziraphale to agree is "now you can actually be with Crowley!" Aziraphale and Crowley have been trying so hard to hide out from their respective Head Offices, but now all at once, there's this seemingly miraculous opportunity for them not to have to do that anymore! They can be together! They can be sanctioned by Heaven! They can give up all this hiding and sneaking around and lying! Isn't that better?

... As long as, of course, they give up absolutely everything that makes them who they are. No big deal. Minor catch. Probably nothing.

Metatron doesn't let Aziraphale have time to escape, or think it over, or reflect, or anything. He pressures Aziraphale to come with him immediately, or be once more subject to Heaven's implicit wrath/destruction/judgment. Believe me, Aziraphale already KNOWS he's made a huge mistake, as soon as he hears what Metatron really wants: bringing him back to unleash the Apocalypse that Aziraphale and Crowley have given up literally everything to prevent. He doesn't need time to reflect. By the time my man is in that elevator, he's well aware of what a catastrophic misjudgment he's made, and yet --

Aziraphale needs this. He has, as noted, literally always relied on Crowley outsmarting Heaven's cruel orders in order to prevent himself from having to do them. He's relied on Crowley rescuing him ("rescuing me makes him so happy," WELL BUB, IT'S BECAUSE YOU ALWAYS NEED IT). He admits to Crowley's face that "I need you!" He hates Heaven's sadistic meanness, but he has absolutely no framework, in and of himself, to defy it. When the rubber hits the road, he will crumple and try to go along with it, and now he's been put in a position where he's going to have to stand up, defy Heaven, and make the break once and for all BY HIMSELF. He doesn't have Crowley around to do it for him, he has no support, he is going to arrive in Heaven and be shuttled straight off to the Apocalypse 2.0 War Room. The only way he gets out of this is if he actively stands up, if he chooses himself and Crowley and their life, and he has to.

The thing is:

Aziraphale has lived his entire eternal existence Looking Up. Up is the direction of Goodness and Heaven. Up is where Angels go. Up is where Aziraphale comes from and where Demons and Hell are not. But now he's going Up, in a position to take over the whole shebang, and it's the last thing he wants.

So he's going to have to come back Down.

He's going to have to Fall. He's going to have to get back Below at all costs. He's going to have to finally, once and for all, understand what led Crowley to make the choice to leave Heaven and never come back. It's only then that they can possibly be together on any kind of conscious, equal, deliberate footing, claim their own agency, reject Heaven AND Hell, and try to really earn that South Downs cottage and that happy-ever-after, and it's gonna hurt so good.

Now if you will excuse me, /screams

#good omens #good omens meta #good omens s2 #good omens spoilers #ineffable husbands #look this probably could have been twice as long #but i had to stop somewhere #I JUST HAVE A LOT OF FEELINGS

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starbylers · 7 months

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“Will can move on and find someone else” do people not understand that this is a TV show? Of course if this were real life, there would be opportunity for Will to move on and be happy without dating Mike. But Will is a character. And the story has been set up in such a way that for Will, in the canon timeline of the show, it’s Mike or no-one. It’s Mike or rushed, under-developed, last minute/epilogue love interest. Will is in love with Mike specifically for a reason, and that was a storyline built up over years. He is not getting a fulfilling romance with some never-seen-before guy in the jam-packed finale season of the show. It’s Byler or they made a calculated decision to have the only gay main character, who is shown to be more painfully in love than any other person on that show, suffer gut-wrenching heartbreak and for what? When every other character has gotten a multi-season reciprocal romance plot.

Season 5 is the last chance they’ve got to offer him satisfying payoff for all that he’s been through, and of all characters, Will is the absolute last one who needs a “sometimes things don’t turn out the way you wanted but you'll be okay” message to conclude his story because he’s never gotten what he wants. His existence on this show has been traumatic event after traumatic event. They’ve set Mike up as the one thing Will loves and wants more than anything, and denying him that after all that he’s been through is unnecessarily cruel storytelling. (Obviously this is not at all to say that Mike is some sort of prize for Will, Byler perfectly intertwines with and completes Mike's individual character arc too, which is why it should and will (fingers crossed) happen).

Some guy called Will didn’t just randomly fall in love with his best friend and "oh it’s completely fine if Mike rejects him because there’s someone out there who’ll be right for him"—writers put him in this situation! Writers actively chose to double down on his “unrequited” feelings in the penultimate season! Writers put him through hell, physically and emotionally, and specifically relating to his sexuality. Then they slowly but surely revealed that he is pining for this one thing, this person that brings him strength and inspiration and hope, and people think him being told no that kind of happiness is not for you sorry kid, but hey at least your loved ones don't hate you for being gay, who could’ve predicted that? If you're lucky we’ll even let you smile at random cute guy in the epilogue! is acceptable let alone good storytelling? Will deserves better than a “there’s vague happiness in his future” ending, and we should absolutely expect better.

#byler #I've been trying to word this right for a couple of days #just my absolute least favourite anti take

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teambyler · 15 days

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Stranger Things has made the General Audience care too much for Will to deny a Byler ending

In Season 1, Will is kidnapped, survives a week without food or shelter in a nightmare dimension, and is implanted by a demon. He's been abused by his dad and bullied his whole life. Yet once he orients himself the FIRST thing he does is see Jonathan's hand and ask if he's okay:

In Season 2, he avoids telling everyone what's tormenting him because he doesn't want to worry them and he thinks he'd be misunderstood and babied. (He only tells Mike.) He gets possessed, has the guilt of causing people's deaths, and multiple times feels the pain of being burnt alive:

In Season 3, his friends aren't interested in D&D. Mike tells him something homophobic and cruel. Will realizes he's gay and closeted and has had his innocence stolen from him forever. He destroys Castle Byers full of sorrow and self-hate:

In Season 4, he's in love with his best friend and lives with the pain that Mike is dating his sister. STILL, he unconditionally helps Mike in the relationship, even if it denies himself a chance to be with him. He gives El the credit for the painting HE made for HIM:

For 4 seasons, the show has made people care for Will as he suffers alone. What logically happens in Season 5 is that he stops suffering and is no longer alone.

In Season 5, the Duffer Brothers have left an open plot point where MIke's love confession to El was based on a lie. He felt romantic love for the first time because WILL confessed his love for HIM. (See my blog for more on that!)

The seeds for a "Byler twist" are all there. The main factor against a Byler endgame is a need to cater to the General Audience who might not be ready for a gay relationship between two main characters.

But not only would denying Byler be (by far) the worst instance of queerbaiting in media history, where Will's love for Mike is simply a device to prop up a straight relationship...

... It also would feel particularly CRUEL to Will. For 4 seasons, the Duffer Brothers have made sure the GENERAL AUDIENCE wants him to have a happy ending. And they have made clear that Will wants to be with Mike so much.

Nearly every other main character in ST has had their love interest. There is no main cast addition to s5, so there is no "other boy." If Byler happens, then the people who'd complain would not only want the gay boy, but WILL of all people (how dare you!), to be the only main character to end up alone. He is America's Gay Adopted Son. The anti-Bylers would be isolated.

The Duffer brothers have set up the GA to cheer for Will pairing with the boy he loves. It would be a home run against homophobia.

Will told Mike he is the heart of the party. But for the GA, Will has been the heart of the show since the beginning. (And if Mike leads the party in s5, it's because Will's heart is on his shield.)

"Will really takes center stage again in [season] 5," Ross Duffer told Variety. "This emotional arc for him is what we feel is going to hopefully tie the whole series together."

The Duffers have said s4 was their Empire Strikes Back ending. Which makes s5 the show's triumphant Return of the Jedi.

Will will get his happy ending. It's all there!

P.S. Follow me and read my blog! I have so much to say!

#byler #stranger things #st5 #speculation #byler theory #leave will alone #happy ending

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saccharineomens · 1 month

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i've been poking at this too long to care how visually appealing it is anymore. My headcanons for the main characters' sexualities, based on canon information! (has no bearing on ships.) Canon speculation below the cut.

marcille (bi): fascinated by romance and loves romance. we only see her show explicit interest in a male (fictional character (General Halleus from the book series she loves)), but i don't think she's fully straight.

falin (aro? ace? lesbian? genderqueer?): falin's only interest in relationships in canon is 'she considered accepting shuro's proposal because she was afraid nobody else would want her, but felt it'd be unfair to him because she had no feelings for him'. i consider whether she's aroace or a lesbian or maybe bi/pan, and she also seems like she might have some genderqueer feelings, based on some of her discomfort with her body and wearing certain types of femme clothing. (Also the fact that she‘s part male dragon.) Since she ends the story going on a journey for herself, it feels like she'll finally get the chance to figure out what she wants.

laios (pan, demi): he hasn't shown explicit interest in men, but similar to marcille, i don't feel he's fully straight. He’s aesthetically attracted to monsters, at the very least, so gender probably doesn’t factor in for him. romance/sex just don’t seem to be much of a high priority to him in general, but he did think his ex-fiance was cute and didn't seem uncomfortable with the idea of marriage (just seemed unhappy with being trapped in his hometown), so i feel like demisexuality fits him well.

About his succubus: He was very noticeably not stopped in his tracks by it like Chilchuck and Marcille, but that could possibly be because it just….looked exactly like Marcille, not an obvious fantasy. He started blushing and stammering heavily when it turned into a monster, which like….this boy is definitely a furry/monsterfucker, if anything, but that doesn’t speak on his attraction to actual humans.

I think it speaks for something that the succubi are able to literally read minds and craft the perfect fantasy for their specific target. And for Laios, it wasn’t just “his friend Marcille”. It was a version of his friend Marcille that wasn’t grossed out by monsters, didn’t think he was weird for wanting to be one, and was able to turn Laios into one. It was a Marcille who understood him at his deepest level that made him become a blushing, stammering mess to rival Chilchuck. Which is why I think he’s Demi, and needs a strong emotional connection with someone before he finds them attractive.

kabru (pan): his special interest is people, and he's bold enough with his sexuality to kiss rin despite not being in a relationship with her. so being pan/bi feels appropriate.

chilchuck (bi): he has a wife, and they were childhood friends, so he's definitely allo. but his comments and behavior towards senshi makes me suspect he might be bi, and just never considered the possibility due to being in a committed relationship.

senshi (gay, ace): this is 90% off of vibes. he keeps to himself in the dungeon and doesn't seem to have any need for social company, he's a complete hermit. Being ace makes sense to me, but so would him just having a low social drive. His succubus was 'a woman he hadn't seen since he was a child', but his journal implies it wasn't a romantic/sexual attraction.

namari (bi/lesbian): she is at the very least attracted to women, given her behavior with kiki, but she does make a point to say that kaka is also attractive to her, and her friends at the bar tease her about Kaka being her “new” boyfriend (implying previous boyfriends).

shuro: the token straight (in love with falin, asked her to marry him). i love you shuro <3 (but i can also see him being into men. there's no evidence to the contrary)

izutsumi: aroace. literally no question. her succubus is her mother.

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aroaceleovaldez · 7 months

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I think one of the best examples of what went wrong with TSATS is from the book tour I attended -

At one point during the event, Mark Oshiro made a comment about Nico's card collection. Specifically, they joked that Nico collecting cards was a sign that he was gay, because clearly he was only collecting the cards to look at the men on the art (which ends up being a note made in the actual book itself).

I've said a lot that you cannot divorce PJO from neurodivergence and disability. You just can't. And I stand by that. If you remove the neurodivergence and disability aspects from PJO it is no longer PJO because that's the foundation the entire series is built upon - representing neurodiverse and disabled students and kids. If you do not understand that or try to ignore it you have missed the most fundamental aspect of PJO as a series and everything else falls apart. (This is actually a trend that begins occurring mid/late-HoO and throughout TOA and that's where I say the main series begins to feel like it's no longer itself, but that's a rant for another day.)

You cannot divorce any of the demigod PJO characters from being ADHD/dyslexic. It is a core part of their characters. You cannot separate Nico di Angelo from the fact that he is ADHD/dyslexic. If you agree with Nico being autistic-coded or not, he is explicitly ADHD, and MythoMagic as we're introduced to it with him is clearly his hyperfixation if not his special interest. It just is. MythoMagic with Nico is the main ADHD/autistic trait we see presented with him. You cannot erase that. You cannot say "Nico only collected cards because he's gay" because then you are removing the fact that Nico is ADHD and you have missed the entire point of the series. Failed step 1.

TSATS does things like this so often throughout the book. (Ex: None of the characters stim, ever. The closest we get is Will bouncing his leg in one scene, but that's heavily implied to purely be him feeling anxious in that moment and nothing else. Nico even gives up his most iconic stim object and it's replaced with a coin he explicitly never stims with. He only ever touches it, never stims with it.) The book refuses to acknowledge that Nico and Will (and Annabeth and Percy and Piper and etc etc etc) are ADHD and dyslexic (and autistic-coded, in Nico's case). And if it does even remotely acknowledge those themes, it does so in the most ableist ways possible (infantilizing Nico, blaming Nico for his own ostracization, magically healing all of Nico's problems, implying Percy is only bad at school because he's disinterested and lazy, etc). And that happens because they started on the wrong foundation. They treated the characters' neurodivergence and disabilities as secondary and optional rather than the literal foundations the entire series was built upon and it shows.

#pjo #riordanverse #tsats #the sun and the star #tsats crit #tsats spoilers #the sun and the star spoilers #nico di angelo #adhd #autism #autistic nico #had another complaint in the drafts #i have other complaints informed more by the book tour i attended but that's another post #anyways theme of the week. me being sick and shaking this book about being ableist #again will queue some cute art for later so we're not being too negative all at once

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respectthepetty · 3 months

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What does this mean for Phee and Jin? Did Phee set out on a revenge plot but developed real feelings for Jin?

Anon, I've been obsessed with this show since the very first episode, and I have never been on the "Phi and Jin are end game" ship because I think that

Jin had to be the worst of them.

Recap:

I wrote that Phi was sus af in the very first episode, and one reason was because he didn't hear the noise that Jin heard.

This happens again when Jin and Phi are running from the masked killer, and Jin is the only one to see a bloody Mr. Keng.

Some people are defending Fluke's actions because he didn't actively do anything to harm Non, but he also knew about the broken camera and said nothing, so I think whatever Jin did was even worse. He couldn't just have known about the bad stuff happening to Non. He must have also intentionally turned a blind eye and LEFT Non, which is exactly what Phi subtly calls him out on in the first episode, and probably why Jin is leaving Thailand for good.

Because I also mentioned that these boys have known each other longer than we were told in the first episode. The boys said Tan and Phi came AFTER Non disappeared, but I think Jin knew Phi way back in the tutoring days, but hadn't realized Phi knew Non since Jin said Mr. Keng's name like Phi knew who that was (because Phi probably went to tutoring too and that's how he "met" Jin).

I think White is gonna be the final gay, and Tan is the second killer because one of them has to be Non's brother, no? But I think it's Tan because homie always got twenty million questions and White wasn't even supposed to be on this trip.

Either way, Jin has never been on my "gonna live to the end" even though Jin is the main character,

And he already wrote his end. All the boys are dying the way they forced Non to change the script, which is why Phi is following Non's script this time around. He is making sure these boys get what they asked for. Hell, even the driver was the first to die in the original film, and was the first to die in the present, and Fluke watched Non's fall into hell at the hands of Tee and Top, and now he is being tasked with watching his friends as they die.

Once again, I think Jin was the worst because he acted as Non's protector and he started having feelings for Non,

Yet Jin might have betrayed Non somehow since Phi dropped this line in the coffin.

And Phi seems to have strung Jin along for a bit, which makes me believe that Phi is giving Jin a taste of his own medicine.

Tan asked Phi if Phi and Jin were "better" and Phi said that Jin won't even look at his face, and I feel that is pivotal to this plot. Phi wants Jin to trust him . . . the same way Non trusted Jin?

In the original film, Jin and Non were running away from the masked killer, and Jin left Non behind. It was just a film, but maybe, perhaps, possibly, Jin really left Non behind somewhere.

Phi has been playing the long con with these boys, so this shit is hella personal. If Phi was with Non and wanted more with Non, yet was doing the devil's tango at one point with Jin, I truly feel that Phi is committed to having Jin care about him.

Just so he can be the one to betray him.

*applying clown makeup* Jin fucked up big time somehow, and Phi has been playing him the longest because he wants Jin to feel every bit of pain he caused Non.

What did you do, Jin? What. Did. You. Do?

#dead friend forever #dead friend forever the series #I'm on another level #I'm so happy!#this is my favorite show of all time #I'm obsessed #dead friend forever spoilers #spoilers #Jin has the be the worst #because what is all this for?!#Phi is committed to the bit #and being Jin's protector is the bit

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sky-chau · 11 months

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Eyepatch Representation

Hi, as of the time of this post I am 30 degrees crosseyed and I've been wearing an eyepatch for six months or so. In that time I realized just how much representation matters, as unlike being gay or neurodivergent no amount of headcanons can really do eyepatch representation. It never dawned on me how often characters are crosseyed as a shorthand for being stupid. When my animal crossing character wears the "post op eyepatch" sometimes one of the villagers will say "Woah, you scared me there, I know it's just pretend but the thought of you getting hurt like that worries me!" Or something along the lines of. I don't know how to take screenshots on 3DS. And like, that's really demoralizing. The only representation I got reliably was in pirate media. And with Pirate media it's frequently the butt of a joke. Which the longer I think about it the more sad it gets. Like I feel the need to emphasize the fact that despite being an adult I'm getting this surgery in the pediatric ward. This is so common in children that when someone is crosseyed and the general surgeons don't feel comfortable the defacto experts are the pediatric eye surgeons. It's REALLY common for kids to be crosseyed and wear an eyepatch. And I'd also like to point out that eyepatches are typically accompanied by or attached to a pair of glasses. Which is where there's the largest void in representation. I can't make myself in the sims without using the pirate costume which cannot be worn with glasses. And it's just sad because unlike other forms of disability representation this would be a simple matter of adding a new accessory. (Which is not to say that wheelchair users and amputees don't deserve rep in video games like the sims, only that I understand from a developer standpoint why those features are hard to include retroactively.) I've never seen anything where the person with the eyepatch had an eye under it. Kids media could do with this. Heck, I can totally see a show like Arthur making a special episode out of it where Arthur has to wear an eyepatch for a week under his glasses. I forgot what point I was making with the drawing but here it is.

So I guess TLDR, if you're writing, especially for younger audiences, consider giving a main character an eyepatch + glasses.

#eyepatch #disability #crosseye #psa #writing #representation

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henry-fox-biggest-stan · 8 months

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I’ve seen someone else mention this, but I also wanted to talk about this

The erasure of queerness in the movie is something I definitely did not expect.

Sure, it’s a love story between two men, but grab Alex and Henry and make them a man and a woman, the movie doesn’t change much. Maybe monarchy instead of being homophobic and racist now it’s only racist, and they hate Alex not because he’s a man but because he’s brown. They kept it a secret because of monarchy’s racism, but love triumphs at the end. That’s why the movie didn’t hit as hard as the book. The movie is just some forbidden love movie, rwrb is a book where the main characters are in a forbidden relationship, but it’s not the whole point of the book.

Alex discovering his sexuality, Nora being bisexual, whatever Pez had going on, whatever June and Nora had going on, Alex learning about queer history, the historical lgbt love letters at the ends of their e-mails, all the references to queer history and literature, THE SHELTERS, monarchy’s homophobia (yes, it appears on the movie but it’s really glossed over. It doesn’t show just how homophobic they actually are in the book), Alex stating how he knows more about himself the more intimate (both in the sexual and non sexual sense) he is with Henry, Luna being gay and unapologetic about it and being exactly Alex’s queer role model, even before Alex knew he was queer himself, THE FUCKING SHELTERS

I’m so so mad about the shelters being missing.

Henry and Pez made shelters for lgbt youth, so they can never feel as alone as Henry once felt, so they can always have a safe space so they know there’s nothing wrong with them no matter what the adults in their life might say, no matter what the preacher or their classmates or the right wing politicians in their tv might say, where they can find hope, and friends, and a home if they never had one before, or at least, one where they could truly be themselves. The shelters are, I would say, crucial to Henry’s character development. He went from hiding, believing being gay was “the most unforgivable part of him”, not even trying to come out because he just succumbed to live an unhappy life in the closet, to someone who’s out, living with his boyfriend and running lgbt shelters with his best friend so young queer people can move past all the things he felt and believed time ago, so they know they are perfectly normal and loved and safe in there, as long as Henry and Pez are there they’re safe, they don’t have to hide anymore.

Henry became the queer elder he needed in his life when he was younger. The lgbt adult who could tell him than it would get better, no matter how bad it was at the moment, no matter if he couldn’t see the light at the end of the tunnel, because it was there, he just had to hold on a bit more. Than there was absolutely nothing wrong with him.

Another thing than I seen changed than a normal person might not notice, but I did, because im obsessed, is the karaoke scene.

In the book, it takes place in something resembling a gay bar (maybe not exactly, but it’s full of queer people), and look at this

Three rounds of shots appear —one from a drunk bachelorette party, one from a herd of surly butch chicks at the bar, and one from a table of drag queens. They raise a toast, and Alex feels more welcomed than he ever has before, even at his family’s victory rallies.

Look again

and Alex feels more welcomed than he ever has before, even at his family’s victory rallies.

This book is about about finding community, finding yourself, finding love and letting yourself accept that love.

Do you think Alex in the movie has felt “more welcomed than he ever has before, even at his family’s victory rallies” at any point? Has he been with another queer person in the whole movie, except Henry, at all?? Because Nora’ sexuality was not mentioned at all no references nothing and with the whole Pez thing everyone could see Nora as just straight

Henry and Alex in the movie are kind of without community, alienated from it, they are, in my personal opinion, the kind of gay people republicans would consider “good gay people” who “don’t shove it on everyone’s faces and just wanna be left alone” (in the rwrb universe where they exist and are real not actual republican people watching the movie). They don’t really take a role on the community, in the book, Alex and Henry being queer is an important part of themselves, again, Alex feeling like he knows himself better, Henry whole internalized homophobia, their shared interest for lgbt history and literature, Henry and Pez making the shelters, etc etc meanwhile in the movie Alex and Henry just happen to be gay and bisexual, but it’s no deeper than that.

And don’t get me started on creating Miguel, a queer character, and making him the one to leak the e-mails or smth instead of a republican candidate

#you might disagree but this is *my* opinion #rwrb #casey mcquiston #red white and royal blue #firstprince #alex claremont diaz #henry fox mountchristen windsor #red white & royal blue #rwrb movie #rwrb movie spoilers

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sampsonstorm-critical · 2 months

Text

So. I DID watch Hazbin Hotel. And oh boy. So I'm going to give my critique on the show.

"antagonists and supporting" Characters- A bit better than Helluva. Studio oversight curbed some stuff. The characters somewhat had their own personalities in their dialogue. Some characters I thought could be cut out. I'm sorry but Sir Pentious is one of them. He's too cartoony even for this universe. He's annoying on the level jar jar binx was in star wars. Same with Mimzy. I think they could've done much better with Adam, but they just made him a dude bro? I did like the Seraphim sisters. Lute was just a bitchy, cynical, anime antagonist. Nifty was a bit aggravating too on the same level as Sir Pentious. I liked Husk as a character. Lucifer being a crushed dreamer fallen angel was actually interesting however his take on his people that he rules? Now if he was actively choosing to punish them himself using hells tools, it would be one thing? But he just has depression??? I guess? After thousands of years? Instead of trying to reconnect with his daughter, he just Mopes??? Like a sad boy??? No. Sorry. You lost me. Cherry Bomb? Meh. She's pretty shallowly written.

Now!

Main Characters -

Charlie- I hate her. I hate how fucking useless she is. She's the main protagonist for fucks sake. Now if she started like this and actually got better as the story went along in season 1, then alright. But she just gets her ass kicked and daddy has to save her skin. Way to take away her independence as a character.

Vaggie- I like Vaggies premise, but I hate the way her arc is executed. And the fact that she lets Lute live??? I'm sorry? WHAT THE FUCK WAS THAT?! No way. No how. Someone like her from a military background, or hells backdrop would let someone as callous as Lute live.

Alastor - he's my favorite character but, it's not his show. And it feels like it is. I love Alastor, he's the only entertainment I get from this show for the most part.

Angel - he's a characature. He is a walking stereotype. I know many people like him including the hypersexuality. Angel dust unless written for plot specific purposes only, is a very selfish unredeemable person. I'm sorry. He's being raped, and he still sexually harasses other people, knowing how it makes him feel? Now this would be great if we weren't supposed to feel bad for him right away, because it would show how abused can become abusers even if they don't mean too. And that could've been part of his arc to becoming a better person. But no.

The Vs - I like Vox. He's written to be genuinely manipulative, charismatic, and intimidating. I like Velvet too. I wish we knew anything about her. Valentino is written to be a villain, but some of his more childish moments are a bit of a movie mood killer.

On to the show as a whole.

So the most hated part of HH. Episode 4s infamous sexual assault scene. - I actually think it was very raw. It was done in an artistic taste. And I DEFINITELY think that if it wasn't taken from a SA fetishizer, it would've sat with me better. I understand what they were portraying and as someone who's had friends, gay men from the aids crisis era who have been SA, I see it but it's not done well. The only instance it's done well is when Angel is shown in the studio with Valentino especially when he tells Charlie to leave.

The build up and pay off issue - the music for the most part was good. OUT OF CONTEXT. I. Context it pays off without building up the conflict. It just resolves immediately. And these aren't Saturday morning cartoon conflicts. These are deep seeded emotional traumas between people. They don't resolve within one episode. These types of conflicts should resolve in 3 part episodes to 1 season. Yet again the Helluva problem shows up. Setting up too many character arcs and plotlines that cannot be properly resolved in the time span.

The finally- it was. Hot. Garbage. What the fuck was Charlie wearing to fight???? What the fuck???? Seriously???? And Angel???? In his booty shorts??? And we're supposed to take the extermination seriously??? HA! No. I do like in the episodes leading up to the finally, where Charlie and Emily rise against Heaven. I think they should have kept going with that moment in the song "If hell is forever, then Heaven must be a lie". It was very powerful and undermined immediately with "the big reveal!" Yuck. And don't even get me started on how NIFTY is the one who killed ADAM! SERIOUSLY? I think it was actually cool to see Alastor get HIS shit kicked in and see him crack under the pressure for once. I DO NOT like how Charlie's daddy had to come and fight her battles especially seeling as how he could do it the whole fucking time for thousands of years????!

#helluva critical #helluva criticism #helluva critique #helluva rewrite #hazbin hotel critical #hazbin hotel criticism #anti hazbin hotel #hazbin hotel critique #anti spindlehorse #anti helluva boss #anti vivziepop

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