#80% of these are queer pieces

[toastofthetrashfire]

My Top Shows 2023

Doing this at the last minute but here goes--the top 10 shows I watched in 2023!

*Note: I rate my shows on a letter scale cause I don't like narrowing it down to a specific number. (S-standout As-Strong Bs-Fine Cs-There's some problems Ds-ooof)

1. Oh No! Here Comes Trouble

This one instantly became an all time favorite. It covers themes about grief and loss in a deeply empathetic and humanizing way along side the supernatural elements. I don't know if it's because I've experienced loss myself or because it's a universal experience, but I love shows like this that help you understand what it means to grieve and heal in a familiar yet new light. It reminded me a lot of Natsume Yuujinchou (another favorite) in that respect.

Aside from the larger themes, you have a distinct directing style, quirky sense of humor, well-rounded cast of characters, and excellent acting (the lead actor was also in Your Name Engraved Herein and he's just as standout here). In addition to all that, the show gives us a main trio of characters whose strengths are deliberately not their wits. This is used for humor but also to make more meaningful points about connection, empathy, and different ways of thinking (yes, I headcanon the main trio as neurodivergent).

Rating: S+

2. The Eighth Sense

This show! Another piece that is deeply rooted in exploring trauma and loss. This time within the framework of a romance. I'm usually pretty hesitant with stories that bring disability into romance, especially mental illness. There's a tendency to lean into the idea that love cures all and other not so great tropes. The Eighth Sense does a great job balancing that line, giving us romantic beats without wading into them uncritically. In the end, healing and love are things we choose not something guaranteed, but there's still an immense hope in that. I'm an giant sucker for shows that tackle both queer and crip experiences with nuance and grace, and the Eighth Sense hit that mark for me (so much so it even had me writing a little meta). On top of that it has beautiful cinematography and visual choices.

Rating: S

3. Moonlight Chicken

A beautiful show all around! P'Aof constantly knocks it out of the park with every show he directs, but I felt particularly strong about Moonlight Chicken. I adore the way it centers on themes of home and community. It even inspired some meta and a bit of personal reflection for me on what it means to choose home as someone who is queer and disabled. The show gives us the messiness that comes with navigating new and old relationships and somehow also the simplicity of it all. And of course, the show includes a Deaf character and handles his story with nuance and clear care.

Rating: S

4. Shadow

Singto, Fluke, and Fiat in a queer horror show--sign me up! It wasn't as scary as I expected, more psychological (which is good because I am so picky about what types of horror are too much for me vs what I enjoy). I loved the way the show played with time and reality and drew upon various religious practices to create a unique atmosphere. I also adored the attention to small details that make the piece ripe for analysis. I will probably be eyeing clocks and tech in many shows to come. It's also a show that is bringing up themes about queerness, mental illness, domestic violence, and historical trauma. I'm continually drawn to pieces that are queer and crip, so I suppose it's no surprise that this one drew me in too.

I know this show was divisive, about as many people thought it stuck the landing as didn't. I happen to land in the former category. I adore media that makes me stop and think, and given the amount of meta the show had/has me writing, I'd say it well and truly tickled my brain. The show didn't always go where I most wanted or expected but I think that challenged me even more to really think about what the show might be trying to do (my thoughts on that here, spoilers though).

Rating: S

5. Our Dining Table

Japan does a lot of things well, but I'm particularly fond of their slice-of-life. Our Dining Table fits right in there with food and found family at the center. It's warm and cute, but has a depth beyond it's soft exterior, delving into loss, loneliness, and what it means to be fully seen by those around us. All of this tied up in a queer bow. It was easily the show I was most excited to watch each week when it was airing.

Rating: S

6. Mysterious Lotus Casebook

Another one I fell in love with this year! While it has plenty of tropes, cutting through the core of all of this is the growing friendship between the main trio, especially between Li Lian Hua and Fang Duo Bing. Their relationship and personal growth as characters was really beautiful to watch, on top of it just being a fun show with a great balance of humor and drama. Plus Fang Duo Bing's mom 😍

Rating: S

7. One Room Angel

Another solid entry out of Japan. As much as I love Japan's bright slice-of-life offerings like Our Dining Table, they also excel at stories that don't shy away from heavy or complex emotional themes. And I'm noticing as I tackle this post that I really resonate with heavy themes. One Room Angel has it's lighter moments and own quirky humor. But it also tackles depression and suicide as it explores the journey of finding enough connection and meaning in life to keep moving forward.

Rating: S

8. I Feel You Linger in the Air

I Feel You Linger in the Air was such a beautiful show! I'm so happy we got a historical thai bl this year and that it was so so lovely. I really liked last year's To Sir With Love but it does have it's Lakorn/soap style that is a bit more of an obstacle for me. IFYLITA certainly has it's drama, but it feels more tightly drawn. Throw in a little time travel and beautiful love scenes and it was a delight to watch.

Rating: S

9. My Beautiful Man S2, Eternal

When I watched the first season of My Beautiful Man I liked it but wasn't exactly sold. I read a bit of meta from the community which changed my tune a bit. But it wasn't until watching season 2 and Eternal that something really clicked. I immediately went back and watched season 1 after finishing the film and oh boy did I fall in love. Not only do S2 and Eternal give us great character growth and forward motion to Hira and Kiyoi's relationship, and they feel like a natural expansion of the first season in the best way possible. What can I say, I love the whole series!

Rating: A+

10. Kiseki: Dear to Me

Kiseki: Dear to Me feels like an outlier to me. It's hard for me to put my finger on just what made it click for me, but I was so into it when it was airing. I recognize that plot wise this show is a bit of a mess, but at the same time it hit something just right in my brain. Perhaps it was the emotional intimacy the actors portrayed? They did a fantastic job drawing me in. Apart from that I couldn't take my eyes off of Ai Di's impeccable fashion choices, and the many many cameos were quite fun.

Rating: A+ YMMV

A few close contenders:

My School President (S) *split airing 22' and 23'

Tokyo in April Is... (A+)

Laws of Attraction (A)

Bed Friend (A)

The End of the World with You (A)

Me, My Husband, and My Husband's Boyfriend (A)

If it's with You (A)

Our Dating Sim (A)

Love Tractor (A)

The Warp Effect (A) *split airing 22' and 23'

The New Employee (A) *split airing 22' and 23'

La Pluie (A-)

Midnight Museum (A-)

[bargarean]

i don’t think i’ll ever move on from how mtz and red dwarf are just. the same shows. they’re about a little group of people in space who are so bad at their jobs and/or do not do their jobs. they’re all always fighting but love each other more than anything. the protagonist is a purposeful subversion of your usual sci-fi protagonist by making him kind of so pathetic to varying degrees. his best friend is either a robot or arguably a robot and also they’re kind of ridiculously gay for each other despite having one sided beef that grows into absolute best friendship. i could write essays on how rimmer and lister are like if pleck and c-53 swapped roles and personalities. rimmer IS nermut if you put them in a room together they’d leave several hours later not shutting up about how they finally met someone who was On Their Level who UNDERSTOOD and APPRECIATED their career goals. one time nermut was very clearly about to get executed but he was COMPLETELY convinced he was getting a promotion—this would happen to rimmer. holly and bargie? okay sentient ship/ship ai nation. they’re both about The Horrors and how important it is to find love for life and for the people around you to get through it. this list does continue i’ve been thinking about this for months. these are the same shows in different fonts and it’s beautiful.

you know what’s insane though. mtz parodies basically every popular piece of sci-fi media in existence and yet there is not a Single red dwarf reference in here. if any of the cast had watched red dwarf there WOULD be a reference somewhere. But there isn’t. these guys don’t know they remade a british sitcom in podcast format. They don’t know how many hysterical episode premises they missed out on

[theersatzcowboy]

Gothic (1986)

Ken Russell’s 5 star fan fic about the Geneva story contest between Lord Byron, Percy and Mary Shelley, John William Polidari, and Claire Clairmont openly depicts Byron’s venomous bisexuality.

Director: Ken Russell

Cinematographer: Mike Southon

Starring: Gabriel Byrne, Natasha Richardson, Timothy Spall, Julian Sands, and Myriam Cyr.

[surgicalpen1sklinik]

"being a woman is a lot less of a burden when you realize part of being human is having the freedom to decide for yourself what you are."

6/24/24

[thespacebetweenworlds]

A protest against Wattpad's new Content Guidelines

Recently, Wattpad has changed the Content Guidelines on sexual content, declaring that the age of consent is now 18. "Any sexual content between characters must abide by this age of consent and not be in violation of Canadian Law."

This is embarrassing for Wattpad. This is disrespectful to Wattpad users. This is a capitalist company conforming to conservative politics.

Wattpad is and has always been home to teenage writers. When I first learned of Wattpad at age 13, this orange app was everything to me. Wattpad is home to teenage writers and readers all around the world, with its many languages Wattpad is unique, and that is something to be proud of. Wattpad has given a creative voice to a generation and inspired young people to write and with multi media challenge our perceptions of the written word and literature. That is not nothing.

But the thing is, teenagers write stories about teenagers. Teenagers write sexual content that includes teenagers. Teenagers have sex in real life with other teenagers. To declare any of that illegal only has negative consequences.

Wattpad declares they want to create a safe space. They want to protect the community. If they really wanted to do that, then they wouldn't have these restrictions on WRITTEN, FICTIONAL sexual content.

Things that would make this a safer space and create and protect our community of global writers: - quality sex education - quality sex education in all languages used on Wattpad

NOW we are in a situation where WRITTEN FICTIONAL depiction of sex between fictional characters under 18 is not allowed. "Illegal sex acts" aren't allowed either. Should we thank Wattpad for clarifying that they mean "according to Canadian law"? Or should we wait with the thanking until they change it to local laws, or LGBT+ stories will be illegal as well?

[starlit-mansion]

speaking of dads eagerly accepting invitations to deck building games...

because we cannot have a single interest without it becoming about ocs, have been thinking a lot about human au neil having been an old school hobby shop nerd (he is just the most classic high fantasy lotr nerd so yeah he ate up dnd in middle school and kept up the hobby until he had a kid and his priorities changed) and having been into mtg for a bit too

and now that he is in his late 40s and bedeviled by the youths (trio of annoying transgender 20 year olds led by his two of his friends' son), they are going to be so shocked and awed that he knows what magic is and is willing to play with them. and they are going to laugh at the dorky art in his ancient deck from the ancient bygone era of... 2001

[artemiseamoon]

I’m about to watch period dramas and drink wine bc I have zero energy for anything else. It’s a good weekend for asks :)

I’ll be around and not really writing, unless I get a boost of writing energy tomorrow night or Monday.

Ask options

🌸 plant ask

🖊 fic asks

🎥 directors cut ask

[shamelessly-obsessed]

MORE MORE MORE

I love them sm oml i cant stop

I already have another piece sketched out for another song

Lyrics from Love Comes Quickly by the Pet Shop Boys

Had to get some gay British 80s music in there for Charles

[gayedmundo]

honestly for me, the frustrating thing isn't that people like buck and tommy as a couple. i don't personally get it, but to each their own! it's a pretty blank canvas of a relationship right now that you can project things onto and i know people are just excited about buck being in his first relationship with a man!

the frustrating thing is that people can't see the writing on the wall with very deliberate narrative positioning that is spelling out to everyone that tommy is not meant for buck. 911 isn't a subtle show and this is a crystal clear example of how any piece of media would write a temporary plot device relationship leading up to the endgame romance, but for some reason so many people can't see that and THAT is making me feel a bit crazy. because people will literally act like you are somehow "disrespecting a queer character/relationship" if you point out that it is being written as a plot device relationship. it's not disrespectful and tommy won't be offended by being called a plot device, this is fiction! it's just being familiar with how storytelling functions!

i want people to understand that eddie isn't just conveniently showing up in every buck and tommy scene out of his own free will, the writers put him there. it isn't a coincidence that in most of the scenes between them where eddie isn't there, he is mentioned in some way. tommy and their relationship isn't under-developed because they "don't have time" because if the writers wanted to prioritize that and progress their relationship, they would've done that more by now, even in small ways. it isn't a coincidence that tommy didn't dress up in an 80s theme while eddie matched with buck, the writers chose to contrast them deliberately. it isn't a coincidence that they wrote the episode where buck and tommy kiss for the first time in a way that leaves you wondering whether or not tommy was really the one buck wanted all along, especially with how aware the writers are of fans shipping buck and eddie for years now.

everyone is free to ship what they want! regardless of whether buck and tommy end up together, it's fine to write fanfic and think they're cute together. it's fine if you want to multiship, fandom is yours to engage with as you wish! i get that going against The Popular Ship and getting harassed for it has made some people want to commit to buck and tommy as a relationship, which bums me out a little as a buddie shipper but i do empathize with that perspective. however, outside of fandom dynamics, i do think understanding literary devices and the way that narratives are told is worth refreshing yourself on if you find yourself getting upset with people saying tommy is a plot device.

[lucystark12]

milevens are insane

warning now - i get extremely heated in this so if you're going to tell me to calm down leave. before any of you weird bitches tell me to go do something more productive or to touch grass- no. i'm fifteen, it's summer, and i'm a highly involved high school student. i'm not here because i have nothing better to do, i'm here because i understand good writing and am able to have hobbies ❤️

anyways

was on the mileven endgame hashtag just now and because i don't choose violence i wont be addressing any of them directly, but i will be addressing some of the ridiculous bullshit on there. term bullshit used intentionally

the love confession came as a result of mike "gaining the confidence" to tell el how much he loves her because he was afraid that he loved her more than she loved him.

are you listening to the words that are coming out of your mouth right now? i want to sit down and get a coffee with you and dissect what the fuck you meant by that. sure, right, yeah, he gained so much PRODUCTIVE confidence from his conversation he had with will where will was using eleven to mask his own feelings for mike. it makes so much sense narratively that this end all be all mileven event is sparked from will's feelings and not mikes! sure! right! this is such an idiotic piece of reasoning. you are literally saying that you are okay with your endgame ship only being endgame based on faulty communication and lies. are you joking? "you just gotta improve your motivation" ass piece of evidence

also, mike being insecure about loving her more than she loves him is complete, total, utter bullshit. el frequently expresses her love to mike via letters and youre here to say that mike would have any problem with doing the same thing if he were insecure about her love for him? that literally makes no sense. i wouldn't be afraid of loving somebody more than they love me if they are actively putting more effort into insuring me that they love me than i am to them. like, what does that even mean?

“Will Byers is a pathetic loser annoying character and contributed little to the plot of ST. "

yes that is a direct quote. no i'm not kidding.

what kind of fucking neanderthal watches stranger fucking things- a show about a kid who disappears- and thinks the kid who disappears isn't a central part of the narrative? the first episode of the goddamn show is called "the vanishing of will byers"! maybe this is hard for you and your confused brain to get your head around, but el and mike met when mike was out looking FOR WILL. mike and el are still together because mike gained courage from WILL'S LOVE FOR HIM. what a fucking idiot you must be. i would try to explain to you the myriad of other reasons why will is absolutely central to the plot of the show, but since the show itself has clearly gone in one ear and out the other, i probably wont be able to get through to you either.

“what if we learned to cope with world that doesn’t accept us as individuals by embracing each other completely?” said about mileven

um.. what. that's literally byler. closeted gay guys in the 80s. but sure, the ones that aren't being accepted are the two white and allegedly heterosexual individuals. the "world that doesn't accept us" in question is a few high school bullies in comparison with the stigmatization, violence, and ostracization that has longstanding been a part of what it means to be queer. be so serious right now. mileven is not important for being non conformist, the GAY SHIP IN THE 80S IS!!

“The only people who queerbaited, was byler fans themselves lmao.”

even if we're ignoring the horrible grammar there are still SO many things wrong with everything that was just said. what they're saying above for anybody who can't decipher the weird medieval english code this person is using is that bylers actively queerbaited themselves which inherently makes no sense at all.

below i have included the oxford dictionary definition of queerbaiting: "the incorporation of apparently gay characters or same-sex relationships into a film, television show, etc. as a means of appealing to gay and bisexual audiences while maintaining ambiguity about the characters' sexuality."

how is it possible that byler shippers themselves are the ones doing the queerbaiting? are we running the show? nope! before you come on and post something as offensive as this- which i will get into- at least make sure you know what you're saying. xoxo

to insinuate for even a second that mike wheeler not being gay would be anything other than deliberate queerbaiting is insane. there is something wrong with you. aside from the parts of the show where his queerness is deliberately alluded to like music, costuming, analogies, allegories, and set design, netflix has been, weather you like it or not, actively marketing in favor of byler and mike not being straight. all below come from official netflix accounts-

how is this not queerbaiting? genuinely what are you on about. this is literally textbook.

“will is fruity but mike didn't like the fruit on his pizza”

you seriously are basing your argument about mike not being gay on him not liking fruit on pizza? you seriously think that some of the most commended and celebrated writers of the last decade would use symbolism involving a word that can literally be interpreted as a slur when their show has two characters who are canonically a part of the group affected said slur? are you fucking stupid? that was harmless banter used to communicate the differences in habitual action across the country. it wasn't the duffers trying to do for you what they do for us in deliberate, straightforward NON-OFFENSIVE symbolism.

i saw somebody claim that mike's character arc in season four was inherently about not believing in his self worth nor in his competency to be in a relationship with el

while i do for the most part agree with you, i'm going to ask you a question- mike was never anxious about his identity and self worth involving el before season four. why do you think that just came up now if not for the fact that he's been having insecurities involving his sexuality and romantic attraction to women as a whole? in my opinion, mike realized that he might not like girls in that way circa the end of season three- a realization that only festered and grew through the absence of not only the boy he loves that is causing this insecurity but the girl whom he is using as a way to say hey, i can't be gay, i have a girlfriend! mike was clearly going through some serious emotional struggles as we can immediately see in this scene with how suddenly awkward he is with will and the immediate emphasis that's put on the "from mike" on the flowers.

i agree that his season four and part of his season five arc are about his feelings of insecurity about being in a relationship with el, however, i don't think he's insecure because he thinks she's better than him in the sense that she's some superhero, i think he thinks she's better than him because he knows that he'll never be able to love her the way she deserves to be loved. he's not going to outright come and say to will that he doesn't think that he can love her in the way she deserves to be loved. he's closeted. what he says in the van scene is the only way he knows to express his feelings. it's very similar to what will does in the same scene. it makes no sense for this insecurity to randomly manifest in him if it wasn't for an external factor that doesn't involve el, because nothing has really changed with the dynamic of their relationship other than the move. one could argue that mike is feeling insecure over el's supposed popularity she claims to have in her letters, but mike's arc has never been about caring about popularity in school. that's not something on his mind so much as the grand scheme of the world is. lets not forget that he joins hellfire in season four.

“When Mike didn’t say “I love you”, By*ers twisted it to their narrative. When Mike did say “I love you”, By*ers twisted it to their narrative.”

you literally sound like trump going on about the democrats. listen to what your saying right now. also, it's a ship name. there's no need to censor it you fucking weirdo.

wasted time building up mileven

i'm sorry, what build up? i'm confused. there's no "build up". THIS is build up:

above is will, possessed by a monster who feeds off of those lacking love in their lives, only being able to be broken out of possession by a heartfelt monologue by the PERSON HE LOVES detailing how the best decision he ever made was to befriend him.

above is will claiming he will never fall in love, then his love for one of the other main characters becomes a central plot point of the two seasons to come. joyce and i see through will and all of you weird milevens

mike telling will how it's not his fault will doesn't like girls only after he loses the person he's been using to cover up his own insecurity about the same thing- not liking girls. suspicious.

will's LOVE FOR MIKE being the thing to give him the confidence to help el SAVE THE WORLD, only episodes after we establish that mike is bound to be pissed that he was lied to. and theres no buildup? THERE'S REALLY NO BUILDUP?

if you don't see buildup i fear you are literally just a lost cause because it is so painfully obvious to anybody who made it past seventh grade english class that there is something deeper and more intimate than friendship going on between will byers and mike wheeler.

“Women can be independent while being in a relationship guys😭!!”

OBVIOUSLY! i am literally the biggest feminist on the entire western seaboard. i couldn't agree more with this, which is why we have arcs like nancy's where she actively becomes more independent while still maintaining a relationship with jonathan. the difference is that mike and el have been together since they were like thirteen. when el was immersed into the real world for the first time in season two she immediately leaned on mike for support in that. it's not that she can only be independent on her own, it's that mike is directly symbolic to her of a time when she was stumbling around the world with naivete and not quite knowing how to navigate that. by spreading her wings away from that relationship, it will not only give her independence, but also a way to see beyond the barriers of hawkins and a life where she was valued mostly for the qualities she brings to the supernatural equation. el's arc is one of my favorites. i would never claim such a thing and discredit the essence of what makes the emotions behind her character so interesting. she's somebody who was literally raised in a lab. she shouldn't be held back by somebody she is quite literally dependent on.

last but not least, i saw a post that said milevens always win.

"are you sure about that?" i ask, noah schnapp's most recent instagram post open on my phone, finn wolfhard's spotify playlist in my headphones, my mike holding will's painting funko on the desk in front of me, wearing a yellow shirt with a blue sweater over it.

thank u for listening to my ted talk 💙💛

[acowardinmordor]

So you know how lots of kids get dumped into foster care when their parents are either not around or deemed unfit? And you know how lots of religious groups and religious get approved as foster homes despite being cruel? And you know how the Midwest of America is/was super not great for anyone queer in the 80s? And how sometimes if people couldn’t get store bought conversion therapy, homemade was fine?

Before Wayne finds out that his brother and sister in law have lost custody of their kid, before he raises hell and rips up the system to find him, Eddie goes into the system for a few years.

After Wayne finds him, he immediately rebels against all the things they insisted he do. He listens to satanic music and he finds dungeons and dragons and becomes as much of a freak as possible. Because those are the pieces he feels safe reaching for. That’s the stuff they lectured about and reminded all the kids not to touch. That’s what’s safe.

The stuff they really wanted to crush down and smother is too broken for Eddie to rebel against. Not right away. Not a few years later when he starts to think about it more. Not when he tries to like girls his junior year and fails at it.

The things they did to him when he was a kid and gave them the slightest indication he might be queer are too deep in his bones.

Even when Steve comes out, and Robin and Will. Even when they’re supported and loved, even then, he can’t break that hold. He doesn’t repeat the words that echo in his memories, he knows it would hurt his friends. He isn’t unsupportive, but he can’t even think about himself that way without feeling sick.

And maybe Robin and Steve aren’t paragons of queer inclusion and are actually sharp about. Because it’s so obvious to them that Eddie is gay. He flirts with Steve constantly and he has never stared at women or girls, no matter how hot they’re considered or how topless they are. They’re confident. So confident they kinda pressure him. It’s with the best of intentions, since they both felt so much better about themselves after coming out and finding allies.

They know Eddie was in the foster system for a little while, and that Eddie hated them, but to Eddie, they didn’t do anything beyond the normal scale of shitty guardians. He doesn’t think of it as conversion therapy. To be honest, it wasn’t. It was Aversion therapy. He never really got a chance to recognize anything about himself before they started grinding that identity into dust.

It comes to a head when they’re all a little crossfaded and hanging out at Steve’s. Nancy, Jon and Argyle are there too, everyone laughing teasing each other.

Eddie always sits next to Steve and he always leans close when he teases, when he jokes, when he flirts. It’s so so obvious to everyone, and Steve knows everybody in the room is some kind of queer. It’s safe. He knows it’s safe.

Steve closes the distance, kisses Eddie. It’s a question and an invitation. Do you want this too? Do you like me? Can I kiss you again? Longer? Harder? It lasts a short few seconds.

Eddie shoves him away, hesitates, and then breaks Steve’s nose. He’s out the door and gone before the others have gotten past their initial wtf reaction.

The only reason Eddie is still in town the next morning is because Wayne was home when Eddie got there. He got a fragment of an explanation, and stole the keys to Eddie’s van when he passed out after a panic attack and breakdown.

[gaypolls]

*it doesn't have to include Canonically LGBT Characters or even be explicit about the queer subject matter. For example, if you've read a particular book knowing it had queer subtext for the queer subtext, or specifically because you knew the author was gay and you went in with the intent to Read A Queer Author, that can count. The same goes for queer playwrights/filmmakers. Obviously the line can get fuzzy here but I'll just trust you all to answer in good faith.

[olderthannetfic]

Until I read the comments on that one post I had no idea the Bechdel Test was a joke and wasn't supposed to be a serious measuring stick by which you gauged if something was feminist or not. Everywhere I'd ever heard it brought up, it was brought up as a very serious thing, and it was a failure of media if it didn't pass it. I remember the debate about Mako Mori from Pacific Rim and if she was a character you were "allowed" to like as a progressive person despite the fact that Pacific Rim doesn't pass the Bechdel Test, the discourse, the discussion of if the director was sexist for not writing in another woman for her to chat with about non-men related stuff, the camp of people trying to insist that having a fully realized character arc and being as developed as any of the male leads = good writing even if she doesn't talk to another girl...

And I've also had the remark about my writing not passing the test, just not to my face. I searched my fanfic's name once, curious to see if anyone was discussing it outside of tumblr and AO3, and found a Tiktok complaining about it not passing the Bechdel Test. The top comment was "motherfucker YOU don't pass the test but we still watch your ass". I cackled and moved on, but neither the commenter, poster, nor I had any awareness this wasn't Feminist Media Critique 101 theory and was, in fact, a goof.

Right now there's a segment of fandom debating if Blue Eye Samurai is feminist since when Mizu and Akemi talk, they do bring up men, since, y'know. Women aren't considered people with rights in their era in Japan and thus it's something they mention instead of only talking about being cool girlboss badasses who never bring up gender. If something doesn't pass the Bechdel Test, a smug segment of the internet high-fives itself and congratulates one another on being More Feminist Than Thou.

They then get really angry if you disagree, even though by this metric, Sleeping Beauty (the original animated one, where Aurora has only 16 lines of dialogue) is more feminist than Blue Eye Samurai.

--

*DYING*

Okay, so, nonnie....

Dykes to Watch Out For (1983-2008) was a long-running comic and major piece of lesbian media. I grew up buying compiled volumes at the bookstore. To be honest, that kind of 90s-ish lesbian culture isn't really my scene despite me being bi, but it was very nice to have this slice of life-y somewhat realistic, occasionally somewhat parody, look at the queer communities around me. It's up there with Tales of the City for me in terms of being a window into a particular culture and time and place.

If anybody is interested in queer history, in addition to looking up factual info, I think a read of the complete Dykes would give a really good overview of how people were thinking about things and what issues came up a lot. You'll see things like Barnes & Noble increasingly putting feminist bookstores out of business in the 90s, attitudes towards porn in lesbian circles—all kinds of cultural issues of the day.

I drifted away as I got later in my teens and found more genre fiction I cared about, but at one point, this comic was a very welcome antidote to the glurgey coming out stories that made up a lot of the more realistic media.

Anyway, here's the comic itself, reproduced in its entirety because I think it's important to actually understand the context.

This is from 1985, so the era of Rambo, Conan, and Death Wish, each of which you can see being made fun of here. It's based on Bechdel's friend Liz Wallace's actual rule for seeing movies.

That's it. That's the origin of this whole stupid test.

"LOL, fuck 80s action movies". That's it. That's the joke.

The fact that blockbusters still routinely fail to pass in the 2020s is shameful, but that was never the point of the strip.

[cypionate60mg]

If you’re feeling up to it, could we get more movie recs?

Sure, here are some movies/docs that I think raise interesting questions about what it means to be a man and/or masculine.

Close-Up (1990), dir. by Abbas Kiarostami. A movie about movies about life and how we use movies to live life. (You'll understand after watching.)

Love Exposure (2008), dir. by Sion Sono. Put aside a chunk of time for this one. Great choreography. One of my favorite monologues in a movie ever.

Wings of Desire (1987), dir. by Wim Wenders. A must-see for any trans repressor who secretly loves the world and can't wait to live in it.

The Ballad of Gregorio Cortez (1982), dir. by Robert M. Young. See if you can stream the restoration. Think about what it meant for a Western movie like this to come out in the 80s.

Sweet Smell of Success (1957), dir. by Alexander Mackendrick. For Succession lovers. So beautifully scummy. Like iridescent, polluted rainwater runoff in a gutter.

The Aggressives (2005), dir. by Daniel Peddle. Very important piece of history in queer cinema and representation. Must be watched, not simply absorbed passively through Tumblr photosets.

Beyond the Aggressives: 25 Years Later (2023), dir. by Daniel Peddle. The follow-up. Haven't watched this yet, but I've heard good things. I need to find out where I can stream it.

If you're on the hunt for new recommendations and, like me, hate reading through smug Letterboxd reviews, check out Cathode Cinema. They stream great movies, with each screening's contents selected to fit a theme by one of their curators. In December 2023, Christina Acevedo collaborated with them for a 'rain' themed screening, which included movies like Damnation (1988) and The Crow (1994), if that gives a sense of the range to expect.

[archive-z]

Billy Pilgrim has come unstuck in time or, what was on Daniel Molloy’s bookshelf in 1973?

Inspired by @volkswagonblues’ and @islandbetweeenrivers’ reading list of texts providing historical and cultural context for Daniel Molloy as journalist in the 1970s and 80s

This is, pretty much in its entirety (bar one or two references throughout the show and its extant material), assumptions I’ve made about the character. But, also: it’s my blog so I can do what I want. Dating works is somewhat inconsistent, as I opted for the date a piece was published in a collection or translation rather than when it first appeared in print if it seemed more realistic to have been acquired in that format.

I’ve found the archives of Rolling Stone and Playboy have been helpful in piecing together a who’s who of literary life in the late 1960s and early 1970s, especially for a intellectually precocious teen from suburban Modesto, CA transplanted into the centre of countercultural life in Haight-Ashbury.

From what I can gather, being born in ‘53 means Daniel was just a year shy of being drafted to fight in the Vietnam War, an experience that would have profoundly effected his peers just a year or two older than him. Throughout his teenage years, he’s got the spectre of the possibility of being drafted hanging over his head. It reminds me of pop-inspirational phrases like “you only live once,” which really puts his risk-taking, thrill-seeking behaviour into the perspective of yeah, this is someone who is trying to live life to the fullest every second of every day because the possibility of being drafted means that he might not make it past twenty. (Unfortunately! Louis & Armand also mean he might not make it past twenty either xoxoxo)

However, crucially, he did narrowly miss the draft, and despite that it would be horrible, I think there’s an acute sense of having missed out on this profoundly altering experience as well. Moving to Haight-Ashbury, he’s six years late to the Summer of Love ‘67, and the rose-tinted image of hippies, peace, and love is replaced by the grittiness of speedfreaks and serial killing (the Zodiac Killer being active throughout 1969, when Daniel would have been sixteen). He’s made it to San Francisco just a few years after its golden era, and i think this makes him even more determined to live, more determined to chase living life in order to make up for that, yknow?

i think the themes that he’s drawn to when reading are:

new journalism, and particularly when the journalist-as-rockstar persona is inserted into said reporting

the provocative, bacchanalian pursuit of pleasure, whether it be sex, drugs, or rock ‘n’ roll — and often sex mixed with violence in a way that is neither straightforward nor legible

travelogues and adventure stories that reflect his restlessness, particularly which let him romanticise far away places with thriving literary scenes like Paris and New York

a general aura of repressed queerness and crises of american masculinity (Capote, Tennessee Williams, Ginsburg, Hemingway)

war narratives as a vehicle for cold war/red scare anxieties

Without further ado, the actual book list:

Periodicals

Playboy magazine. People have long joked about reading Playboy for the articles, but it is the one piece of literature teenage Daniel is in-universe confirmed to have readily accessible, so I’m running with “Danny actually does read it for the articles, though” (and anyways, it’s Diana Ross’ Rolling Stones cover issue from Feb 1 1973 that he jerks off to). In 1973 alone, Playboy featured interviews with playwright Tennessee Williams; Huey Newton (co-founder of the Black Panther Party); news anchor and journalism’s elder statesman Walter Cronkite; science fiction novelist Kurt Vonnegut; and Pulitzer Prize-winning New York Times Vietnam war correspondent David Halberstam. Other Playboy interviews of possible interest: Fidel Castro, Orson Welles, Michael Caine (1967); Norman Mailer, Truman Capote, sexologists William H. Masters and Virginia E. Johnson, Paul Newman (1968); Martin Luther King Jr., Marshall McLuhan, Allen Ginsberg (1969). Also of note: between 1969 and 1971, Playboy was publishing faked letters to the editor that eventually developed into the Illuminati conspiracy theories.

In terms of reporting from major national newspapers in circulation, significant stories that come to mind are the New York Times publication of the Pentagon Papers (1971) and Bob Woodward and Carl Bernstein’s Watergate investigations for the Washington Post (1972-73). It’s harder to gauge the circulation of underground newspapers like the Berkeley Barb (CA) and the Village Voice (NY) but its entirely likely that a resourceful and enterprising young reader with a point of view in Modesto, CA could get their hands on a copy.

Prose, Fiction & Nonfiction

The Little Red Book by Mao Zedong. At Berkeley, The Black Panthers would raise money by selling copies bought in bulk at markup to students. Absolutely makes sense that daniel would acquire (and actually read) a copy. Growing up in the wake of McCarthyism/Red Scare nonsense def makes me think he would see flirtations with communism as provocative and cool/edgy, but never back that flirtation up with follow-through.

The Hell’s Angels, a Strange and Terrible Saga (1966) by Hunter S. Thompson. Throughout the 1960s and 70s, the Hells Angels had a sizeable presence in San Francisco and Oakland — from what I can find they lived dead centre of Haight-Ashbury up until ‘69 if not later. As a teenager in Modesto, Daniel would have been geographically quite close (if not actually in attendance at) the 1969 Altamont Festival Rolling Stones performance where a teenage concertgoer was stabbed to death by a member of the Hells Angels.

Fear and Loathing on the Campaign Trail in ‘72 (serialized in Rolling Stone magazine) by Hunter S. Thompson. The quintessential text to understand ‘73 Daniel, imo. Fuck Nixon, Fuck Reagan, fuck the National Guard killing student protestors. Thompson’s other works include “The Kentucky Derby is Decadent and Depraved“ (with illustrations by Ralph Steadman) and Fear and Loathing in Las Vegas.

The New Journalism: An Anthology (1973) edited by Tom Wolfe. In addition to excerpts of Hunter S. Thompson’s work already discussed above, the anthology collects In Cold Blood (1965) by Truman Capote, Slouching Towards Bethlehem (1968) by Joan Didion, The Electric Kool-Aid Acid Test (1968) by Tom Wolfe, and Armies of the Night (1968) by Norman Mailer. I won’t do justice to summarizing the New Journalism here, but it’s def important.

Slaughterhouse-Five (1969) by Kurt Vonnegut. The quintessential Daniel Molloy fiction novel, to me. Exploration of post-traumatic stress disorder through an encounter with time travelling science fiction aliens. Takes on a new resonance for Daniel when he’s dealing with his own ptsd post-1973. Vonnegut’s other works include Cat’s Cradle (1963) and Breakfast of Champions (1973). On the subject of Cold War anxieties, there’s Catch-22 (1961) by Joseph Heller. I don’t have much to say about it as I’ve not read it yet, but it feels like the kind of thing teenage Daniel living in Schrödinger's draft call-up would take to. Maybe also John Le Carré’s The Spy Who Came in From the Cold (1963) and The Looking Glass War (1965), the latter particularly for the palpable air of repressed homoeroticism and WWII nostalgia/Cold War anxiety.

A Moveable Feast by Ernest Hemingway (published posthumously in 1964). Daniel absolutely spent his teenage years romanticising being an expat America writer in the Paris literary scene. Substance use, war, and crises of masculinity throughout. In addition to Hemingway’s reporting on the Spanish Civil War (1937-1938), other works include novels The Sun Also Rises (1926), A Farewell to Arms (1929), and For Whom the Bell Tolls (1940).

George Orwell: Down and Out in Paris and London (1933), Burmese Days (1934), Homage to Catalonia (1938), Animal Farm (1945), Nineteen Eighty-Four (1949); and essays ”Books v. Cigarettes“ (1946), ”Decline of the English Murder” (1946), “Politics and the English Language” (1946), and “Why I Write” (1946). I think Orwell’s nonfiction writing would appeal to Daniel more than his fiction, especially when at the right age to romanticize the poverty-tourism of Down and Out. Also bonus points for Paris.

On the Road (1957), The Dharma Bums (1958), and The Subterraneans (1958) by Jack Kerouac. In particular, The Subterraneans is based on Kerouac’s interracial relationship with an African American woman in the 1960s. He’d also probably read Naked Lunch (1959) by fellow Beat poet William S. Burroughs.

Lolita (1955) by Vladimir Nabokov, both for its salacious notoriety and its unreliable narration. Like myself, Daniel feels like the kind of teenager who would read Lolita at sixteen as a provocation in a conservative environment, but come away genuinely enjoying it.

Poetry, Drama, Misc

Howl and Other Poems (1956) by Allen Ginsberg, particularly the edition published locally by San Francisco’s City Lights Books Pocket Poets series.

A series of miscellaneous titles I’d group together as “Daniel Actually Did the Assigned Reading in High School English Class” — The Great Gatsby by F. Scott Fitzgerald, Catcher in the Rye by J. D. Salinger (“Get off that bench, brother”), Of Mice and Men by John Steinbeck, and “The Second Coming” by W. B. Yeats. Most significantly, I imagine high school is where he’d be exposed to the work of American playwrights Tennessee Williams and Arthur Miller. The Glass Menagerie (1944), A Streetcar Named Desire (1947), and Cat on a Hot Tin Roof (1955) by Tennessee Williams. In the context of his relationship with Louis, I think it’s fun to imagine he’s familiar with/attracted to the Southern Gothic by way of Tennessee Williams (again with the crises of masculinity, the spectre of war, the repressed sexuality). Williams and Death of a Salesman (1949) by Arthur Miller, present the life Daniel could have had ie. the alcoholic husband, housewife vacuuming on Valium, etc.

If there’s anything else anyone thinks I’ve missed, feel free to hit me with a reply or a dm or an @ or whatnot. stay freaky & support yr local library x

[tma-thoughts]

Ive been thinking a lot about the bechdel test. If you've ever been anywhere on the internet, you'll know it as a test of a piece of media's female representation; a movie passes the bechdel test if 2 female characters have a conversation about something other than a man

What i think is so interesting is that, similar to the evolution of the "5 stages of grief", the bechdel test was never meant to be a measure for female representation, at least not the way it is now. The "bechdel test" was created by alison bechdel in the 80s in her comic dykes to watch out for, in which a character says she'll only watch a movie if it fits the aforementioned requirements

Bechdel got the idea from a friend, liz wallace, who in turn might have gotten it from an essay by virginia woolf. In the wider context of the strip, the "test" was a method applied by queer women to see if they could interpret female characters as also being queer

Bechdel described it as a "little lesbian joke" that was never meant to be taken seriously, but as we know the test caught on in the 2000s and is now used as a standard of female representation, with rules added on like the characters must both be named, and they must talk for at least a minute

I guess you could call it a sort of butterfly effect? A lesbian artist in the 80s writing a joke from a friend in her queer comic strip led to standards of gender bias in media 40 years later. That's the part that i really find interesting. There's something to say about queerness affecting popular culture but i can't think of a way to word it