#EVEN THE WHITE CRITICS thinking this movie is for them but it’s not

[hermits-crab]

FLUFF ALPHABET W/ ELLIOTT — STARDEW VALLEY

SUMMARY: The Fluff Alphabet by @snk-warriors featuring Elliott!

CONTAINS: sfw, gn! reader, fluff, established relationship, spoilers for his 10 & 14 heart event

NOTES: I haven’t known what types of headcanons to post so I’m hoping this might inspire me. I’m taking requests, by the way, if you’d like to help a girl out! Enjoy!

A = Activities - What do they like to do with their s/o? How do they spend their free time with them?

Elliott loves cooking and baking with his spouse! Even if you’re not great at it, he’s happy to teach you! As long as it’s edible, he’s happy and proud of what you made together. That phrase “a way to a man’s heart is through his stomach” applies to him specifically.

B = Beauty - What do they admire about their s/o? What do they think is beautiful about them?

It’s so hard for him to narrow it down but if he has to, it’s your generosity and strength. He could watch you do farm work for hours (and he has) and he loves that you’re so giving and that you don’t think twice about it.

C = Comfort - How would they help their s/o when they feel down/have a panic attack etc.?

Elliott is at your side immediately, asking how and/or what he can do to help. If you ask for a minute alone, for example, he’s preparing your favorite snack and movie or show. Or maybe a bath or shower, later reading you to sleep. He’s doing whatever he can to help you!

D = Dreams - How do they picture their future with their s/o?

He dreams of the typical white-picket fence dream: marriage, kids, growing old with you. More than that, he wants to take care of you, to protect you, to provide for you. As long as he knows he can do that for you, he can die happy.

E = Equal - Are they the dominant one in the relationship, or rather passive?

I can see this going both ways. I feel like if you’re a woman or feminine presenting, he’s more likely to subconsciously take on a dominating role. If you’re a man or masculine presenting, the same still applies but less so. It’s not that he has sexist views! He was raised with these values in mind and it didn’t help that a lot of the media he consumed growing up portrayed a damsel in distress. If this makes you uncomfortable, you can tell him that and he’ll be much more mindful of how he treats you. Regardless of your gender, he’ll always be protective over you and that’s something you cannot change.

F = Fight - Would they be easy to forgive their s/o? How are they fighting?

Yes, without a doubt, yes. Even if you hurt him deeply, he’s already forgiven you long before. To quote James Fraser from Outlander because I feel like Elliott would think the same: "She asked forgiveness, and I gave it. But the truth is, I'd forgiven everything she'd done and everything she could do long before that day. For me, that was no choice. That was falling in love."

G = Gratitude - How grateful are they in general? Are they aware of what their s/o is doing for them?

He’s eternally grateful for everything you do. For him and for the community. You save him from dying a lonely hermit on the beach! For that, he feels he owes you everything.

H = Honesty - Do they have secrets they hide from their s/o? Or do they share everything?

He’s very open and honest! I don’t think he intentionally keeps secrets. Like with the piano, you didn’t know he could play so beautifully and he would probably not have brought it up unless you found him playing. Or if it didn’t come up in conversation, he probably won’t mention it. Except it’s something actually important, then you can trust he’ll tell you. But in that case, it probably wouldn’t be a secret.

I = Inspiration - Did their s/o change them somehow, or the other way around? Like trying out new things or helped them overcome personal problems?

You’re his muse! You inspire him every single day. You helped him to write his book. He runs a lot of things by you because he knows that you’ll give him kind constructive criticism.

J = Jealousy - Do they get jealous easily? How do they deal with it?

I don’t think he gets jealous easily. He gets jealous like the average person. When he does, however, he becomes passively aggressive. If he notices someone flirting with you, he’ll politely remove you from them and gently scold you. He might be a little petty so you’re probably going to have to apologize a bit more than you normally would.

K = Kiss - Are they a good kisser? What was the first kiss like?

YUP. He’s a romantic and very in tune with his partner and what they like. Your first kiss with him was magical. He wasn’t clumsy or too rough. It was sweet and gentle.

L = Love Confession - How would they confess to their s/o?

On a shabby little row boat out at sea!

M = Marriage - Do they want to get married? How do they propose? What would the marriage be like?

Yes! He feels it’s the natural next step to your relationship. He proposes to you on the beach while the sun sets. Your marriage would be pretty low-key but never lacking. Especially in the bedroom. You both are happy and content with your quiet lives on the farm. Whenever Elliott goes on a book tour, he brings you along, considering it a vacation.

N = Nicknames - What do they call their s/o?

Darling, love, dear, sweetheart, beautiful. He called you darling, love, and dear before but when you started dating, he added ‘my’ in front of it.

O = On Cloud Nine - What are they like when they are in love? Is it obvious for others? How do they express their feelings?

Elliott is pretty animated already but even more so when he’s in love. He’s much happier and carries himself more confidently (if you can believe it). I don’t think it’s obvious to anyone but his friends. Leah, for example, notices it almost immediately. He expresses his feelings through writing in his “secret book” of poems expressing his love for you or your likeness captured through a character in one of his books.

P = PDA - Are they upfront about their relationship? Do they brag with their s/o in front of others? Or are they rather shy to kiss etc. when others are watching?

Yes, he’s very proud to be yours! He doesn’t necessarily brag but he talks about you whenever he’s given the chance. He’s not shy about physical PDA either. Of course, nothing inappropriate but definitely touching you in some way or kissing you. He’s not in the least bit shy!

Q = Quirk - Some random ability they have that’s beneficial in a relationship.

Elliott is a very smooth talker. He almost always knows exactly what to say. And I know that would otherwise be a red flag but he does stumble over his words frequently too! He never wants to risk loosing you, especially over something that’s his fault.

R = Romance - How romantic are they? What would they do to make their s/o happy? Cliché or rather creative?

He’s extremely romantic! He’ll happily help you around the farm and later take care of you when you come home: making dinner, bathing you, massaging you. He also loves reciting poetry to you whenever you’ll listen.

S = Support - Are they helping their s/o achieve their goals? Do they believe in them?

You can count on him for any sort of support you need and he’ll gladly help you work towards your goal(s). He has always believed in you.

T = Thrill - Do they need to try out new things to spice up your relationship? Or do they prefer a certain routine?

He doesn’t feel like it’s a necessity. He likes adventure on occasion but he’s also very happy and content with your daily routine.

U = Understanding - How good do they know their partner? Are they empathetic?

He’s very empathetic towards you. He’s good at remembering details about you too, regardless of how insignificant it may seem. He remembers what you like and don’t like, things you’ve mentioned that you want, or little stories from your past.

V = Value - How important is the relationship to them? What is it’s worth in comparison to other things in their life?

He values your relationship the most out of everything he has! He’ll always put you (and your shared family) first. He loves you more than writing and reading—and that’s saying a lot.

W = Wild Card - A random Fluff Headcanon.

Elliott absolutely hates when people touch his hair. But you’re the only exception. Even though he may tense up a bit at first, he eventually melts into your touch. He trusts you with his life, and more than that, his hair.

X = XOXO - Are they very affectionate? Do they love to kiss and cuddle?

He’s super affectionate! He loves touching you, whether that’s through hugs, hand-holding, cuddling, or kissing. He takes any chance he gets to tell/show just how much he adores you!

Y = Yearning - How will they cope when they’re missing their partner?

When he went away on his book tour, he took to sending you letters. He also called you at the end of every day. He prefers to call rather to text because he wants to hear your voice.

Z = Zeal - Are they willing to go to great lenghts for the relationship? If so, what kind?

Absolutely! Anything you need—or want, even. You can always count on him. He’d pet a sea cucumber if it’d make you happy.

— HAVE A REQUEST? SUMBIT IT HERE!

[comradekarin]

maybe this is just ,, a knee jerk reaction to not having nice things centered predominantly on people of color, but whenever i see writers include white characters as the main focuses in their fics or have a white person be the love interest for a black panther character (and it’ll be that classic white girl that defies their authority and is “sassy” and “passionate”) im not gasping in surprise im just like

[robotpussy]

like everybody has been ignoring that these movies are copganda by saying "oh so because there is a police officer in the movies it's copganda? just being blind to this because they admire the movie.... you say spiderverse and the MCU are military and copaganda and everybody is on your case telling you to shut up and it's not that deep... if you can't fathom that you can critique the stuff you like I'm sorry for you.

and i know this is twitter and on top of that comic fans on twitter (have mercy) but these people don't even know what the fuck propaganda is if they think we're calling spiderverse police propaganda because miles and gwen's dads are police officers and it stops there.

nobody likes to think of themselves as liking propaganda but that's the fucking point.... it's propaganda because it almost just slips by you. it's not always in your face, it is unknowingly being told to you!

[match-your-steps]

just read a review of the lego movie from 2014 and it is genuinely a horrible piece of literature and through perusing the comments underneath the review, I have gained an intense dislike of the reviewer. it's not even that I liked the lego movie and he didn't it's just that a lot of the stuff he says is factually incorrect, really stupid-sounding, or he doesn't provide any real reason, and in the comments, he reacts to even the friendliest and politest constructive criticism as if it's a personal attack on him.

[spider-man-2o99]

when are you gonna see the new spiderverse?

it's not set in stone or anything, but we're aiming for sometime within the first week of its release if we can afford it!!

(on the note of spoilers: i Strongly Prefer to not be spoiled, but they won't like. Ruin My Life or really even my Day, i just would prefer to not be spoiled cause it's. like. a dick move, y'know? thanks. love yall)

[gayspacemonk]

anyone else got an feeling that Greta Gerwig IS an director that observes the online community's criticisms to her movies and movies in general and truly applies them from the new Barbie trailer?

like, we've all called her out on the lack of POCs in her previous movies, and now her new movie has more POCs characters (still not enough, but at least more than before)

everyone has expressed their hate for Marvel's lack of actual props and overuse of CGI, and from the trailer alone we can spot many fun and well made props

overall my theory is that Greta really listens to her public and gives what they want instead of claiming to know better and shoving her way down their throats

[dxxdhood]

convince me

pairing: wade wilson x gn!reader

summary: deadpool forced me to write smut where the two of you act out the position you see in an,,,, ahem,,, erotic video.

tags: smut (18+), fingering, penetration, slight degradation, finger sucking, dom!wade wilson, sub!reader

wc: 1.2k

“Babe, listen, the mistake we made was going to White Castle sober.”

“Excellent defense, Mr. Wilson. You ever think about switching to a career in law?”

“Can’t, my tagline doesn’t transfer across professions. Calling yourself the Lawyer with the Mouth is like saying you’re the fanfic writer who’s horny.”

He manages to make you chuckle, as usual, even though you were supposed to still be annoyed about your frankly terrible dinner. But walking back into your apartment has you less inclined to hold grudges, somehow. It’s probably the promise of cuddling up in bed together. Either that, or it’s all the hilarious nicknacks Wade keeps dropping off in your living room. The fucked-up Pikachu plush where the eyes and cheeks are swapped is particularly getting to you.

“Wait for me in bed, alright?” you say.

“Oh?” Wade waggles his non-existent eyebrows. “Is this little cutie planning something?”

“Yeah, planning to spend an hour in the bathroom,” you shake your head and fail to hold back a smile. “Find us a good movie to watch while I’m out.”

.

To nobody’s surprise, you both end up on a site that starts in p and ends in hub.

“Nobody can get into that position,” your inner critic bursts out of you at the best of times. 

You can feel Wade smirking from where his face is tucked into your neck, cuddling you from behind. “Well, in the words of Clue 1985,” he runs a scarred hand down your waist. “Sure, they can. Let me show you.”

He nips at your neck, kissing at the sensitive skin of  your jaw. You exhale, trying to calm the burning sensation building in your gut, but you struggle to stay patient when he starts sucking a bruise into your collarbone. 

“Wade!” you gasp, trying and failing to stop your body from grinding your ass against him. He responds in turn, moving closer to you, his hard cock slowly rubbing against your ass.

He flips over, now perched on top of you and caging you in, arms on either side of your head as he kisses you. Every time he deepens the kiss, makes you feel like you’ll never want to come back up for air, he fucks with you by biting at your bottom lip or scratching his teeth against your gums. 

You bang your fists against the mattress a few too many times, understandably annoyed with his teasing, so Wade grips both of your wrists with one hand and holds them above you, plastering them to the headboard.

The action has you moaning into his mouth, and the bottom half of your body continues to move on its own, grinding against the air now. You feel so desperate, your face heats up thinking about how much of a mess you already are for him. Wishing he would close the new gap between your bodies, you arch your back off the bed, trying to feel more of his body against yours.

He giggles, watching you wriggle around. “Hold your horses there, cutie. We’re not even at the good part yet.” 

Wade brings a hand up to your face, rubbing his thumb across your cheek. You’re so thrown off by the sudden show of affection that you don't even process him slipping a rough finger into your mouth.

“Suck,” he commands. And something about Wade only using a single word when he’s usually so noisy has you whining as you circle his finger with your tongue.

His big brown eyes are glued to your lips, watching them worship his finger like he’s all you’ve ever wanted. Around the time you start bobbing up and down his finger, he slips it out of you and pats your cheek.

“Good baby, such a good slut for me,” he whispers as he slides your shorts and underwear off in one motion. He slicks up the finger and you with a small bottle of lube and carefully starts slipping into your entrance.

“What? Where’d you even–” you snap your gaze sideways to your bedside table, which is curiously unopened. 

He taps the front pocket of his pants, “Never leave home without it.” Did he really always have that in his pocket? At the fucking White Castle?!

He talks as he fingers you, pressing against your walls casually as if he isn’t making you lose your mind. “You look impressed, babe. Tell me you’re not impressed.”

“Oh my god, shut up!” you groan as he reaches deeper inside you, adding another finger and stretching you further.

“As you wish,” he pumps his fingers at a faster pace, gripping your hip with one hand and bringing his face to your chest so he can lick at a nipple. A spark shoots down your spine and you can feel him chuckle as your body starts to shiver.

His fingers are pounding against your insides. You can feel yourself throbbing around him, clenching and wanting more, so he adds a third finger and fucks you at a punishing pace. You bite your own lip to keep back what was going to be an embarrassing moan, but he nips at your nipple and you let out a small shout.

Just as he finally starts reaching at that spot in you that has you seeing stars, he slips his fingers out. You're going to berate him for throwing you off just as the pleasure was building, but he already has his cock placed at your entrance, so close to sliding in.

“You ready?” he whispers, and you nod so quickly you think you may have pulled a muscle.

 He releases a breathy moan as he slides all the way in you, reaching right where you need him but still stubbornly not giving it to you.

“Wade, move!” you cry. He responds by smacking your ass and pulling you into his lap. You’re seated on his thighs as he throws your legs over his shoulders, folding you in half as he starts thrusting in and out of you. The position has you feeling so much closer to him, like he has free reign to stroke every part of you.

You grip onto his shoulders and try to interlock your ankles together to help you hold onto him as he pumps his cock into you faster. Wade moans so deep it sounds like a growl and you clench around him at the sound.

“Fuck!” he cries before kissing you, harshly making out as his hips continue to piston inside you. You can feel the vibrations of his moans against your own mouth, and it’s enough to make your muscles twitch around him again.

“Shit, Wade,” you whisper. “I’m going to–”

“Yeah, babe?” he says in between kissing you. “Go, do it. Come for me.”

You rip away from his mouth and release with a moan, your entire body burning as you quiver around his cock. He leans his head into your neck and bites down on the juncture between your neck and shoulder as he comes, filling you so completely you never want him to leave. 

You finally come down from your orgasm and relax in his lap, wrapping your arms around his shoulders. Wade is still panting, but he keeps kissing across your face, smiling when you reciprocate and kiss his forehead. 

“You’re making every thought that passes through my head sound like an ABBA song,” he whispers, eyes closed.

“That might be the closest thing to a love confession I’ve gotten out of you.”

[couldeatthatgirlforlunch]

For the yandere! Justice League x assistant reader, how would they react if they had Deadpool as a friend? Like he randomly shows up. They would try to keep the reader as far away from him as possible, but it's Deadpool. Lol. How would Yandere Justice League feel if the reader liked Deadpool because he's funny and makes the reader laugh even if in a tense situation, randomly just talking about nonsense and/or making funny jabs at some of Justice League members? Not only that, but he would just annoy them for his and the reader's amusement. I can also imagine Wonder Woman or Superman trying to kill/critically injure him but finding out he has a super healing ability. LOL. I can imagine the scene where Deadpool punches Colossus, but his hand breaks, then he tries again while saying, "Cock shot!" but his other hand breaks. Instead, he does it to Superman and says, "Oh, your poor Lois Lane!" I feel like that would make the reader laugh out loud.

I finally saw the Deadpool & Wolverine movie, and I loved it! So now I want to see more content about Deadpool. I forget how funny he can be. I would like you to add a Deadpool & Wolverine, but I don't know if you have seen the movie yet. But I recommend you go and watch the movie.

A Day in Life: Best Friends Forever

Synopsis: A day in your life where a visit from your friend ends up in Deadpool losing his thumbs and re-attaching them back.

Pairing: Yandere!Justice League X Gn!Assistant!Reader; Platonic!Deadpool

Tw: 18+; No spoilers from the movie; Some violence; Light gore descriptions (not really); Some sexual comments (it's Deadpool); English is my 2nd language.

Word count: 830

Requested? Yes.

Extra notes: I loved this request, saw the movie on like the same week it came out, sorry this took so long</3

General masterlist | A Day in Life - Series masterlist

— So that's what happens when I’m not around, huh?! — Hal Jordan snarked, faking amusement by the sight in front of him, but being very much not amused.

How? Was the question going through everyone's minds, as they watched their dear assistant (Y/N), in the middle of Hall of Justice, chatting away with a very infamous criminal known all around the hero-villain underground, who every single soul despised, and yet, there you were, choking your laughter and in tears with Deadpool, acting as if you've been friends all your life.

Diana was the first one to approach, followed by the rest of the Justice League.

— (Y/N), is this man bothering you? — She squared up and stared directly on Deadpool’s blank white lenses. That grounded you and helped you come back from the stories your friend was telling you.

— B-Bothering me? — Your laughter slowly died down, and you wiped your tears. — No, we’re just talking. — You shrugged and sniffled, so happy that a genuine smiled was fixed on your face, hypnotizing all the heroes for a moment.

— Wonder Woman! — Deadpool gave little fangirl jumps. Diana swallowed a groan. — It’s amazing to see you again! I’m even wearing my fanciest anal plug and thinking about you, all in your honor. — Diana couldn't control the disgusted and astounded expression on her face, while Wade saluted her. You bite your lips to not giggle.

— Don't be silly, Pool. Not everyone understands your humor. — You lightly slapped his shoulder and he sighed.

— I know! That's why I'm so introverted and depressed! — He shook his head. — That's why Disney sold me to DC, they couldn't handle my deep and complex character. Let's hope James Gunn knows what he's doing now. — Everyone, including you, furrowed their eyebrows, but no one decided to question what the hell he was talking about, since the mercenary was known for being insane. — And just after my third movie with Wolvie came out! Unbelievable. — He threw his hands in the air and shook his head while looking at an empty space as if there was someone there. He did that sometimes.

— You seem… Close. W-When did that happen, (N/N)? — Flash looked between you and Deadpool, biting his lower lip, slightly anxious. You blinked.

— Oh, well. Like, a few months ago? He sent his curriculum because he wanted to be part of the Justice League. There were no records of him in the system so I Interviewed him. Obviously he didn't pass, but we became good friends! — You shrugged with an easy smile.

— That's… Great, (N/N). — You narrowed your eyes on Hal Jordan.

— Hey… — Deadpool's mask gave the slightest hint that he was furrowing his eyebrows, and he pointed at Green Lantern. — (Y/N) told me about you. I don't like you. — He took his guns out of the holsters and pointed at the brunette. You gasped and stepped back, slightly regretting having told Wade about that. — STEP BACK WORST RYAN REYNOLDS SUPERHERO MOVIE OR I’M GONNA BLOW YOUR BRAINS OUT IN 4K R-RATED! — Hal raised his arms. He was already on thin ice with you, and beating your bestie would probably be a bad idea to start over.

Batman grunted for someone to cover your eyes and threw two batarangs that disarmed Deadpool before he could react. Deadpool gasped and looked at the ground wide eyed. His thumbs had been chumped off in the ordeal (Batman was jealous and also knew he would just regenerate).

— WHAT? WHAT’S HAPPENING? — You blindly yelled, since Superman had zoomed to just behind you and was covering your eyes.

— HE CASTRATED ME! — Deadpool cried, reaching back for his swords, but since he didn't have thumbs anymore, he couldn't even hold them, making him just cry more from frustration. — THE DADDY ISSUES JUST GET WORSE! AND JUST BECAUSE I WAS READY TO BE ADOPTED BY YOU! — Batman furrowed his eyebrows at the mention of him having more than just one kid.

— Guys, we should all just calm down. — Flash tried to play the pacifist, standing in the middle of the chaos with his hands up, but Wade’s cries were covering his voice.

— WHAT'S HAPPENING? — You tried to tug Superman’s hands off, but he didn't let up, and started trying to sooth you.

Deadpool got to his knees and pathetically tried to push one of his thumbs into place, trying to accelerate his healing process, and after 30 seconds of chaos, he perked up when the thumb got attached again. He did the same to the other one.

— The sight is gross, (Y/N). You do not want to see it… — Wonder Woman mumbled, eyes fixed on the scene, feeling a mix of grossed out and impressed.

— Gross? This is natural. Like the birth of a little naked newborn baby. You wanna know what's real gross? My roommate Blind Al’s stink! She might as well be dead at this point… Uh, oh… — Wade slowly got up. — (Y/N)... Call me an Uber. I need to check on someone.

Like, comment and reblog 🥰

[drdemonprince]

The Barbie Movie is confused -- and it is confused on purpose, because it can't actually acknowledge the role that capitalism and white supremacy play in the patriarchal system that it wants to give itself credit for acknowledging. And so the film introduces patriarchy as a force with no agent or system behind it.

Ken, an oafish goof is able to find the concept of patriarchy and transmit it to the entirety of his society simply by learning about it and speaking about it to his fellow Kens. There is no use of force, no political organizing (notably, the Kens try to take over the political system after they have already taken hold of the culture), no real persuasion even -- simply by hearing about patriarchy the women in Barbieworld somehow become brainwashed by it.

This means we never have to really see the Kens as genuine antagonists, we can still laugh at their bizarrely crammed-together multiple dance numbers and forgive them when they, like the women, are freed of the patriarchy simply by women speaking about the fact that sexism exists. Both the origins of patriarchy and the solution to it is as simple as an individual person telling their story.

The CEOs that run Mattel in the Real World in the film are similarly cartoonish and devoid of real agency. They're even portrayed as generically interested in the idea of Barbie being inspiring to girls. The movie can't even acknowledge their profit motive, and it can't make any of the men running the company look too powerful or even too morally suspect -- but the film does still want to have Barbie encounter sexism in the real world and grapple with the harm "she" (the consumer product, and not the social forces and human beings that created her) has supposedly done.

In the Barbie Movie, patriarchy is a genie in a bottle, and no one is to blame - except maybe Barbie herself, since the movie spends a significant amount of time discussing how she is responsible for giving women unrealistic beauty standards.

And so Barbie is depicted as both sexism's victim and sexism's fault. She's dropped into a patriarchal world that the film acknowledges has a menacing, condescending quality -- but the film can't even have an underlying working theory of where this danger comes from, and who had the power to create this patriarchy in the first place, because that would require being critical of Mattel and capitalism.

And in the film, ultimately the real world with all its flaws and losses and injustices is still preferable to Barbieworld, because you get to have such depth of feeling and experience and you get a vagina, so how bad could really be? And hey, when you think about it, the Barbieworld is just an inversion of the real world, isn't it? A world with women in power is just reverse sexist, so it was justifiable for the Kens to want to take over, and what does it say that all things being equal Barbie still would prefer to leave behind her matriarchy and join the patriarchal capitalist world? That's the real world. Real world is struggle and sexism and loss and pain and capitalism and death and we must accept all of it but it's worth it..

It's not that I'm surprised the film's a clarion call for personal choice white feminism and consumer capitalism. I just expected the call to be a little more seductive or in any way coherent. I wanted to have frothy fun, and instead I was more horrified by the transparency of its manipulation than I was by even the most unsettling moments in Oppenheimer.

[communistkenobi]

I’ve been thinking a lot about fandom recently, both as someone who has engaged with it regularly for over a decade on various platforms and also as someone who has increasingly become disenchanted with those spaces. Not only because of pervasive issues of (especially anti-Black) racism, misogyny, transphobia/homophobia, and the like, but the particular way those things take shape within fandom.

At the most basic level I think fandom has a fundamental methodological problem with the way it approaches texts, be they shows, books, movies, etc. What I mean is that people almost invariably approach fandom at the level of character, often at the level of ship - your primary way of viewing a text is filtered through favourite characters and favourite relationships, as opposed to, say, favourite scenes, favourite themes, favourite conflicts.

This is reinforced through the architecture of dominant platforms that host fan content, particularly AO3 - there are separate categories for fandom, character and ship, and everything else is lumped together in “Additional Tags.” You cannot, for example, filter for fics on AO3 by the category of “critical perspective” or “thematic exploration”. There is no dedicated space for fan authors to declare their analytical perspective on the text they are writing about. If an author declares these things, they do so individually, they must go out of their way to do so, because there are no dedicated or universally agreed-upon tags to indicate those things, and if your fanfiction has a lot of tags, that announcement of criticality gets mushed together in a sea of other tags, sharing the same space with tags like “fluff and angst” or “porn without plot.” Perhaps one of the few tags closest to approaching this is the tag “Dead Dove: Do Not Eat,” which doesn’t indicate perspective or theme but rather that there is, broadly, some kind of “problematic content” contained therein - often of a sexual nature, frequently as a warning about “bad” ships.

Now this is not an inherent problem, as in, it is not inherently incorrect to approach a text and primarily derive pleasure from it by focusing on a given character or relationship. And I think a lot of mainstream media encourages (even requires) audiences to engage with their stories at these character- and ship-levels. The political economy of the production of art (one which is capitalistic, one that seeks to generate comfort, titillation, controversy, nostalgia, or shock for the purposes of drawing in viewership, one that increasingly pursues social media metrics of “engagement” and “impressions”, one that allows for the Netflix model of making two-season shows before cancelling them, as well as a whole host of other things) enforces a particular narrative orthodoxy, one that heavily focuses on the individual interiority of specific characters, one that is deeply concerned with the maintenance of white bourgeois middle class values of property ownership, the nuclear family, normative heterosexual sexuality and gender, settler-colonial ideas about community and environment, etc. If you do not care about the familial drama surrounding Shauna cheating on her husband in Yellowjackets, for example, because you think the institution of monogamous marriage and the nuclear family is stupid and violent and heternormative, then you will have a difficult time engaging with the show in general. We exist within a deeply normative (and frequently reactionary) media environment that encourages us to approach art in a particular way, one that privileges the individual over other narrative components (settings, themes, conflicts, ideas, political and moral perspectives, structure, tone, etc).

All of which culminates in priming fans to engage with art at these levels and these levels alone, even when that scope is deeply inappropriate. A standout example I recently encountered was browsing the fandom tags on tumblr for the movie Prey - a movie that recontextualises the original Predator film by setting it in colonial America to make the argument that the horrific violence of white colonists and imperial soldiers is identical to the violence we see the Predator do to human beings. It is a movie that makes the argument that, despite this alien monster running around killing people, the villains of the franchise are these occupying soldiers and settlers, an alien force who themselves have just as little regard for (indigenous) human life.

And when browsing the tags on tumblr, what I found was dozens upon dozens of horny posts about how hot the predator monster was. Certainly there were discussion of the film’s narrative, and these posts got a good amount of notes, but the tags were heavily dominated with a focus on the Predator itself. People were engaging with this film not as a solid action movie with interesting and compelling anti-colonial themes, but as a way to be horny about a creature that is, ironically, a stand-in for white settler indifference to (and perpetuation of) indigenous suffering. And if this is your takeaway from an extremely straightforward film with a very clear message, this is not merely a failure to comprehend the content of a text, this is something beyond it - a problem that I think is due in part to the methodological problem of approaching all texts as vessels for bourgeois interiority, individual but ultimately interchangeable expressions of sexuality, perhaps best-expressed by the term “roving slash fandom,” a phenomenon wherein fans will move from one fandom to the next in search of two (usually white, usually skinny) guys to draw and write porn of, uncaring of any of the surrounding context of the stories they are embedded in, and consequently dominating a large sector of fandom discussion.

This even gets expressed in the primary ideological battleground of fandom itself, the ridiculous partitioning of all fan conflict into “pro-“ and “anti-“ shipping compartments. Your stance on engagement with fandom itself historically was (and still is) always first filtered through one of these two labels, describing your fundamental perspective on all texts you engage with. And both of these two labels are only concerned with shipping, as if all disagreements about art can only be interpreted through the lens of what characters you think are acceptable to draw or write having sex. Nowhere in this binary is space to describe any other perspective you might take, what approaches you think are valuable when interacting with art, what themes or stories you think are worth exploring. It’s not just that the pro/anti divide is juvenile and overly-simplistic, it is a declaration that all fan conflict must be read through the lens of shipping and shipping only - the implication being that any objections raised, and criticisms offered, is ultimately just bitching about ships you don’t like.

Which, again, I think is a fundamental error of methodology. It leaves no space for people to discuss the political and moral content of a work, the themes of a piece of art, the thorny issues of representation not just as expressed through individual characters but entire worlds, narratives, settings, and themes. You are always hopelessly stuck in the quagmire of “shipping discourse,” and even rejecting that framework will inevitably get you labelled as either pro- or anti-ship anyway - and you will almost invariably be labelled an “anti” if you express any kind of distaste for the bigoted behaviour of fans or the content of the text itself, again reinforcing the idea that this is all just pointless whining online about icky ships you personally hate.

And this issue is best perhaps epitomised by reader insert fanfiction, circumventing any need for you to project onto a character by literally inserting yourself into fiction, primarily in order to write/read about a character you want to fuck. This then intersects in particularly disgusting ways with real world politics, such as reader insert fics about Pedro Pascal going with you to BLM protests. Even if this is (incredibly over-generously) interpreted as a very poor attempt at being “progressive,” it still demonstrates that many (white) fans are often incapable of thinking about anything outside of a character-centric perspective, quite literally centring themselves in the process, and consequently they think it’s totally appropriate to do things like that. The fact that this is also frequently a racist lens is not coincidental, because again, a chronic focus on (fictional) individuality prohibits any structural perspective from entering the discussion, which necessarily excludes a coherent or useful perspective on systemic issues, where people come to the conclusion that the topic of police brutality is little more than a fun stage to enact whatever romantic shenanigans you want to get up to with a hot guy.

I will stress, again, that it is not a moral sin to have a favourite character, nor is it bad to enjoy reading about two guys having sex in fanfiction. I enjoy and do those things, I engage with fandom often through a character-centric lens (see my url) - because it’s fun! But I think that this being the dominant mode of engagement inherently excludes and marginalises all other approaches, and creates a fandom space where the most valuable way to talk about media is to discuss which two characters you most enjoy imagining fucking each other

[with-my-calamitous-love]

I DONT LIKE ANYONE EXCEPT SOMETIMES YOU

shinso x reader

thoughts about how shinso would act in a relationship. same premise as the kirishima ver.

inspired by backburner

hitoshi shinso, who’s facetimes with you always run late into the night. you ramble on about your day while he hums in response, knowing that you know he’s not the talkative type. he never asks “how was your day?” he always says “tell me about your day.” because he really, truly wants to hear about your day. you could have cured a disease or simply just gotten out of bed, and he’d still want to hear every single detail simply because its from you.

hitoshi shinso, who loves to cook. only you're aware of it, because he doesn't always like sharing personal details with others, but you never complained- it just means more for you. you're always the first person that gets to try his food, though he claims you're not a very good critic. but you can't help it, everything he makes tastes so good. and with every compliment you shower him in, he'll hit you with a 'yeah, yeah, whatever.' and then next moment, make you more so you can always stay fed during long days at UA and long hours during hero-training. its his silent way of telling you he loves you.

hitoshi shinso, whose cats love you more than they love him. he has three triplets, a black british short hair, a siamese, and a grey ragdoll- pepper, lexi, and mustache- he absolutely hates the last name, but he had just adopted the kitten and you named it for its white streak right below its nose. he'll deny it forever, but he gets pouty and huffs in annoyance whenever he sees the cats run to you, even after he's fed and taken care of them for all of their lives. but he also cant deny the way his heart skips a beat whenever he seems them cuddled up with you on his bed, wearing one of his big t-shirts. it softens his heart in a way that nothing else does- your love fills his heart more strongly and more passionately than anything does.

hitoshi shinso, who is the closed-off, funny but quiet dickhead of his friend group. he's known for his out-of-pocket roasts at the right times and his nonchalant nature that contrasts with the loud, spunkiness of his multicolored-haired friends. but with you, he softens. the few times he's brought you along with him to movie night or training sessions, you've softened his heart enough for the love in him to seep out towards others as well. whenever you crack a joke, make someone else at the table smile, and draw laughs and happiness from their chests, a blush blooms across his cheeks. obviously, he fell for you, how could he not?

hitoshi shinso, who's favorite activity with you is your sunday-ritual. you'll wake up together, either in the same bed or over the phone, and bike down to the coast. you'll bug him about wearing a helmet, but he always complains that it ruins your hair. he'd never admit that its because he thinks you're absolutely adorable when you dote on him. afterwards he'll share a smoothie with you- he hates all the flavors except for mixed berry, which is the one he always insists on getting. he hates the the overpricing for what the product actually is, but loves the smile it puts on your face after a tiring bike-ride. and afterwards, you two will go back to either his of your place. his place if your parents aren't home, and his place when his parents are home, and binge watch a long t.v show of your choosing. he'll always complain that its stupid, poorly written or drawn out, but get pouty whenever you watch an episode without him. it's the one thing he looks forwards to at the end of a long week, drawn out with endless studies, training, and burnout. you're his safe place, and he needs it more than he'll admit.

hitoshi shinso, who somehow remembers every tiny detail about you. his mind works like gears, arranging formulas and deciphering codes, but the intellect of his mind makes you its priority. he remembers the way you pick your nails and cuticles when you have anxiety, and how placing his warm palm over yours soothes some of those thoughts. he remembers how prefer to tie your hair back during training but how you somehow always forget a hair tie- and he knows how you always give him a peck on his cheek once he shows off the one he's been keeping on his wrist for you. he remembers how you can't sleep without your nightly calls, and how he needs to hear your voice before he drifts of too- maybe more than you need it. he remembers the first day you met, the first thing he said to you, the first time he ever felt love for you. he remembers all of it and keeps it embedded in his heart. hitoshi shinso may seem like he hates everyone, but the one exception to that is you. and he'll remember that forever.

[sharonccrter]

Here's the thing: I don't think Tashi and Patrick would have worked in the long run, even if Art hadn't meddled, because neither of them was willing to be a 'fan in each other's club,' which is why in a lot of ways their both drawn to each other – neither of them are gonna coddle each other, their going to call each other out on their bullshit, to criticise each other, to be each other's biggest critic and I think both Tash and Patrick are attracted to that, as well as attracted to the raw talent they both have. However, that doesn't mean they have the makings of a long term relationsip.

But don't get it twisted. Art did meddle.

I see a lot of people here wanting to make Art a passive participant in this, but he's not. Whether it's because he doesn't want to be left out or jealous (he wants Tashi, but he also wants Patrick), he deliberately planted the seeds of doubt in both Tashi's and Patrick's minds. Yes, they both clock it right away; Tashi says, "your a bad fucking friend", as well as what Patrick says in the churro scene.

He still ends up being the catalyst for the fight, putting doubt in both their minds that the other just isn't really into the thing they have together. As Zendaya herself says: Art is a snake. And here's the thing: they're all bad people at certain points in the film. That's literally the point; people don't have to write analyses as to why Art isn't. He's just as messy and ruthless as Patrick and Tashi are. The only difference is that Art is a sheep in wolf's clothing. He's not outwardly those things, but deep down inside he is.

For me, that's why the throuple works; they've all done shitty things and been shitty people to each other. But they need each other to survive; all three of them, they all need something the other brings to survive, that's why it's codependency the movie. We don't have to 1) make anyone the centre; they are all equally important to the throuple, and I need people to stop pushing out the POC women in favour of two white guys alone and 2) make anyone the victim or doormat.

[hotvintagepoll]

Propaganda

Anna May Wong (The Thief of Bagdad, Shanghai Express)—Wong was the first Chinese American movie star, arguably the first Asian woman to make it big in American films. Though the racism of the time often forced her into stereotypical roles, awarded Asian leading roles to white actors in yellowface, and prohibited on-screen romance between actors of different races, she delivered powerful and memorable performances. When Hollywood bigotry got to be too much, she made movies in Europe. Wong was intellectually curious, a fashion icon, and a strong advocate for authentic Asian representation in cinema. And, notably for the purposes of this tournament, absolutely gorgeous.

Josephine Baker (The Siren of the Tropics, ZouZou)— Josephine Baker was an American born actress, singer, and utter icon of the period, creating the 1920s banana skirt look. She was the first black woman to star in a major motion film. She fought in the French resistance in WWII, given a Legion of Honour, as well as refusing to perform in segregated theatres in the US. She was bisexual, a fighter, and overall an absolutely incredible woman as well as being extremely attractive.

This is round 6 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Anna May Wong propaganda:

"She so so gorgeous!! Due to Hollywood racism she was pretty limited in the roles she got to play but even despite that she’s so captivating and deserves to be known as a leading lady in her own right!! When she’s on screen in Shanghai Express I can’t look away, which is saying something because Marlene Dietrich is also in that film."

"SHE IS ON THE BACK OF QUARTERS also she was very smart and able to speak multiple languages and is a fashion icon on top of the acting/singing"

"Paved the way for Asian American actresses AND TOTAL HOTTIE!!! She broke boundaries and made it her mission to smash stereotypes of Asian women in western film (at the time, they were either protrayed them as delicate and demure or scheming and evil). In 1951, she made history with her television show The Gallery of Madame Liu-Tsong, the first-ever U.S. television show starring an Asian-American series lead (paraphrased from Wikipedia). Also, never married and rumor has it that she had an affair with Marlene Dietrich. We love a Controversial Queen!"

"She's got that Silent Era smoulder™ that I think transcends the very stereotypical roles in which she was typically cast. Also looks very hot smouldering opposite Marlene Dietrich in "Shanghai Express"; there's kiss energy there."

"Hot as hell and chronically overlooked in her time, she's truly phenomenal and absolutely stunning"

"A story of stardom unavoidably marred by Hollywood racism; Wong's early-career hype was significantly derailed by the higher-up's reluctance to have an Asian lead, and things only got worse when the Hayes code came down and she suddenly *couldn't* be shown kissing a white man--even if that white man was in yellowface. After being shoved into the Dragon Lady role one too many times, she took her career to other continents for many years. Still, she came back to America eventually, being more selective in her roles, speaking out against Asian stereotypes, and in the midst of all of this finding the time to be awarded both the title of "World's Best Dressed Woman" by Mayfair Mannequin Society of New York and an honorary doctorate by Peking University."

"Incredible beauty, incredible actress, incredible story."

"-flapper fashion ICON. look up her fits please <3 -rumors of lesbianism due to her Close Friendships with marlene dietrich & cecil cunningham, among others -leveraged her star power to criticize the racist depictions of Chinese and Asian characters in Hollywood, as well as raise money and popular support for China & Chinese refugees in the 1930s and 40s. -face card REFUSED to decline"

Josephine Baker:

Black, American-born, French dancer and singer. Phenomenal sensation, took music-halls by storm. Famous in the silent film era.

Let's talk La Revue Negre, Shuffle Along. The iconique banana outfit? But also getting a Croix de Guerre and full military honors at burial in Paris due to working with the Resistance.

She exuded sex, was a beautiful dancer, vivacious, and her silliness and humor added to her attractiveness. She looked just as good in drag too.

So I know she was more famous for other stuff than movies and her movies weren’t Hollywood but my first exposure to her was in her films so I’ve always thought of her as a film actress first and foremost. Also she was the first black woman to star in a major motion picture so I think that warrants an entry

Iconic! Just look up anything about her life. She was a fascinating woman.

[jesncin]

Caped Crusader, "Safe Diversity", and Catwoman

We're at a point where it's expected that a new incarnation of any story previously with a white-dominated cast would be reimagined with a "more diverse" cast. This can mean racebending them, genderbending them or making them queer, but for the purposes of this analysis we'll be focusing on racebends. Most of the time, executives will take the "safer" routes with diversifying their cast- pick a couple of unproblematic supporting characters to be incidentally "diverse this time". Other times, there might be "braver" takes where more prominent characters (perhaps even the main character) are racebent. This doesn't necessarily mean racebending prominent characters is an inherently better thing to do.

I've been more than critical of MAWS' portrayal of BIPOC characters but especially their Asian Lois before. Sometimes BIPOC representation is just a decorative palette-swap change for these shows. Caped Crusader however, is different. It's more complicated- but it's rooted in very similar problems. Unlike MAWS (though I can only speak for S1), CC is far more willing to take on political topics: classism, sexism, police corruption and brutality, even beauty standards in the entertainment industry! Yet, in choosing to portray these topics in their stylistically anachronistic 30s-40s set piece- it makes it so the show's reluctance to discuss race intersecting with any of these topics far more apparent.

(spoilers for all of Caped Crusader)

Take for instance, episode 2: "...And Be A Villain". The story is about Basil Karlo, a less than handsome actor who wishes his appearance wasn't holding him back from both love and playing roles saved for better looking people. He makes a deal with Jack Ellman, an experimental makeup artist who turns him into Clayface. This story is set in motion when Miss Yvonne Francis, a beautiful actress, goes missing. Miss Francis is a woman of color (brown skinned, unspecified) played by Lacey Chabert: a white actress. CC goes for a generally colorblind casting what with Stephie (a white girl) being voiced by Amari McCoy (a Black actress) but it always feels icky when a white actor voices a character of color. Prominent characters of color in CC are more accurately casted. However I do think animation should be wary of using their medium to get away with their show appearing more diverse than the actual talent behind it.

The episode's theme is pretty clear on how unfair the entertainment industry is in regards to who it prioritizes in leading roles. Basil is constantly emphasized as a tragically talented actor whose appearance is holding him back. "With your talent you should be a leading man, Basil." Yvonne says to Basil in a flashback. Meanwhile as Alfred is watching through movie clips featuring Yvonne and Basil together, he comments "while lovely to look at, Miss Francis is no Gloria Swanson." So Yvonne has the looks, but not the talent and still gets prestigious roles because that's showbiz. The only time this is weirdly inconsistent is when Yvonne calls out Basil/Clayface in the finale, saying:

"I don't believe your performance. You're chewing on scenery. Relying on makeup effects to enhance weak characterization. It's insincere, Basil. It's not real."

I honestly feel like this scene was just meant to quickly "subvert" Yvonne being a damsel in distress by having her call out Basil's acting. It's a moment that isn't reinforced by anything the episode set up. After all, according to Alfred, she's not as good an actor compared to Basil. That's supposed to be how they foil each other, so this moment feels unmotivated. Again, I get what they're going for, that Basil's performance ironically relies on his newfound appearance so much that even a bad actress like Yvonne can spot his meager acting. But it doesn't work when our protagonists were actually convinced by his imitation of others. She's still a damsel in distress character regardless of her having a bit of attitude when calling her captor out.

What I don't understand is: why make Yvonne a woman of color if this was the story you wanted to tell? It's not like they're paying homage to how her voice actress looks, after all. Why, in your story set in purposely anachronistic 30s-40s era noir, did the character who was meant to represent the epitome of "not talented but gets by the industry because of her conventional beauty and pretty privilege" a woman of color? We're missing the very obvious conversation here where Tinsel Town is a white industry with white biases to what it considers attractive. It doesn't matter how many attractive actors of color exist, they're still pigeon holed into stereotyped and often racist roles (especially back then), and have to work twice as hard to get the opportunities their white colleagues get. Why is Basil, a white man, the only one afforded a marginalized narrative when Yvonne is quite literally a woman of color right next to him? The episode is especially painful to sit through when Basil is afforded so much sympathy compared to Yvonne.

"He didn't have the right look. He didn't have the right face."

"The camera is kind to some, but cruel to others."

This is transparently a colorblind narrative. Yvonne is written and even casted as a white woman. The CC crew just decided she should be a WOC likely because "wouldn't it be neat if the beautiful actress in this story is POC" without thinking about how that would drastically change a narrative already critical of the showbiz industry based on appearances. It's not intersectional and flattens the narrative to being selective of the prejudices Tinsel Town has. This episode is a great example to what CC generally does with diversity. It's not afraid to be critical of society, but it gets oddly squeamish with discussing how race intersects with these topics- opting mostly for a palette-change type of representation.

It's not entirely fair to say CC doesn't ever touch on the topic of racism. It sort of does: if you read between the lines for why the mayor gives Jim Gordon his commissioner role, and more prominently with the Gentleman Ghost (a rich aristocrat ghost that steals from the poor, believing wealth is his right) being offended that his mansion is sold to Lucius Fox (saying "and you would sell it to rabble like this?")- racism is somewhat present in the world of CC. We see the women in this show experience misogyny, but it's ambiguous if any of their struggles are intersectional with that of race. But that's... just about it. Racism isn't discussed more than it is alluded to, whenever the writers decide it's relevant. Because of this, CC has a spectrum of hits and misses when it comes to integrating characters of color in their reimagined cast.

Here's how I would visualize that spectrum using canonized instances of Asian Lois Lane. I should emphasize that representation of people of color doesn't entail the narrative owing us "a racism arc" or what have you. This spectrum is more used to measure how much racial identity was integrated in the characterization of the character: whether that be cultural identity or history. Being a person of color isn't just "person who goes through racism".

This is how I'd personally place the prominent characters of color in CC on my "spectrum of racebends" chart. Generally most of the characters of color (whether reimagined that way or were originally POC already) are fairly harmless in how they were integrated into CC's world, but none of the characters feel bespoke as a reimagining of the character and are interchangeable with their white counterparts. To quote cartoonist Juni Ba (in a discussion on CC):

"...stripping characters of color in these time period stories of any cultural, [a]esthetic or social signifiers that’d make them true to the groups being represented. Instead they dress, act and speak very western."

In my opinion, the only character that is an exception to this is Linton Midnite (or as he's popularly known as: "Papa Midnite"). Midnite is a character so interlinked with Haitian culture and mysticism that even CC couldn't erase that aspect of his identity (important note: historically, the portrayal of Midnite since his creation is riddled in racism, but that's not my place to discuss here). Midnite at most speaks with an accent, dresses more nonconformingly compared to the western standard dress of all the other characters, and practices occultish stuff (though I don't think there was anything culturally specific in that episode, please correct me otherwise if someone has more insight!). That's a lot more cultural representation than just about any other character of color in CC. Midnite can't be changed to a white character, his African identity is too interlinked with who he is.

There are a few characters I consider in poor taste to be POC- that being Arnold Flass, Yvonne Francis (who we've covered already), and Harley Quinn (who will be getting her own post, as her case is complicated). So let's talk about cops, then.

I tend to be indifferent about media choosing to diversify cop characters because it feels like choosing the most "respectable to society" role for a marginalized character to play. Cops uphold bigoted systems of power at the end of the day, so that's a very comfortable place to represent your marginalized characters. It's why we keep getting gay or lesbian cops, which Batman media absolutely perpetuates as well with Renee Montoya. It's hard to cheer for two women of color being allowed to date and kiss in public when one of them is a cop, y'know? But this doesn't mean re-imagining cop characters doesn't have narrative merit.

In regards to Jim Gordon being reimagined as a Black cop, I'm gonna refer to La'Ron Readus' video on "Fixing the Batman's Copaganda problem" where he goes into detail about the missed potential of Black!Jim Gordon from Reeves' The Batman (2022). Generally, I felt that opportunity was missed in CC as well. While I love that Barbara Gordon is in CC, nothing about her being a WOC is integrated into this version of her. It felt like if either character was white, the story wouldn't be that different. The bigger issue here is the choice to racebend Arnold Flass- a previously white, blonde, cunningly smart, and brutally corrupt cop.

CC follows some of this in their version of Arnold Flass- he's paired with Harvey Bullock (also a corrupt cop). While Bullock is the brawns of the duo, Flass is the smarts. He's cunning and even implied to be willing to frame Bullock if the worse comes to it. It isn't an inherently bad idea to racebend a corrupt white cop into a Black cop. If the writers want to tell a story about how the police force assimilates people of color into the system and forces them to be just as if not more brutal than their white counterparts, then by all means tell that story.

But that's not what CC gave us. By rarely acknowledging race, we don't get to have a conversation or themes surrounding that delicate intersection of identities. We just have "diverse Flass". Look at these panels from Year One for example, can you imagine how Flass' casual disrespect for Gordon by constantly calling him "Jimmy" could be re-contextualized with a race change? Unlike other characters who just feel like missed opportunities for not integrating race into their characterization, Flass is an elephant in the room. To not acknowledge his race in themes of police corruption and brutality is to white wash the narrative with diverse paint.

I personally think the stronger narrative decision would have been to racebend Bullock as Black instead of Flass. Flass could still be the conniving cop, but he encourages Black!Bullock to be the more "violent brute" who does the dirty work for him. It would put a newfound racial layer to how Flass considers Bullock disposable. Then we could have some kind of commentary on how the police force encourages a system of abuse that makes even fellow POC turn on each other. It'd also make it so a certain scene would be better in optics.

I have many criticisms for the scene where Batman holds a gun to Flass in the finale of CC. It's a narratively unmotivated (see my criticisms for CC's Two Face here for elaboration) and weak moment that relies on metatextual shock value to cover up how underdeveloped this take on Batman is. But it's also just very uncomfortable optics-wise. It's a common and valid criticism that Batman as a character can very easily fall into copaganda, with his status, goals, and collaboration with the police force. In many ways, Batman is often written to be committing his own kind of vigilante police brutality.

Caped Crusader wants to be a deconstruction of a Batman tied to power and hellbent on his mission to eliminate crime. But because CC occasionally omits race from its narrative, the scene where Batman holds a gun to a Black cop-a man stripped of his ability to fight back-just falls flat for me. There's no acknowledgement in this scene that Batman basically gets to be an anonymous cop, "warning shots" and all. Batman shoots at an unarmed Black man several times. It's meant to be shocking to us how Bruce is willing to stoop to such a level and indulge in gratuitous gun violence, but it honestly hits too close to real incidents where this is racially the case for me to enjoy the narrative point of this scene.

You know a character who would be perfect for calling out Batman's many privileges? Selina Kyle. Let's talk about Caped Crusader's biggest downgrade.

I've heard just about all the arguments in favor for CC's reimagining of Catwoman and none have convinced me that this was in any way a good take on the character. I see people saying that this Catwoman is a return to her golden age roots, and there's a lot of misconception surrounding that assumption. So bear with me as looking at Catwoman's history is necessary to discuss race and how a character evolves.

Catwoman debuted in the 1940s as a jewel thief who disguised herself as an old lady. She was just called "The Cat" and would not don her more feline appearance until later. True to the mystery woman femme fatale trope she was inspired by, her backstory was left unknown for a long time. 10 years later, in Batman #62 it is revealed that after a plane accident bonked her head, the now named Selina Kyle got amnesia and went on a crime spree. Giving her leeway to reform and be an ally to Batman. This would historically inform how Selina Kyle toed the line between good and evil as an anti-hero.

Her origin would be revisited in 1983, in the Brave and the Bold #197. Although not canon to the mainline universe, it is still a crucial development for her character's history. In this story, Selina reveals that she lied about having amnesia to get out of facing punishment. Her true story was that she entered a life of crime to escape an abusive relationship with a rich man. The only loss her husband understood was material loss, loss of property, so stealing was how Selina fought back.

This crucial re-examination of her character transformed her from shenanigans inducing femme fatale, to a marginalized fighter. Shortly later in 1987 in Batman Year One, Catwoman is reimagined as a street-hardened sex worker in poverty. She is inspired by the Batman to become a vigilante for her own goals and gets annoyed that she's assumed to be his sidekick.

The moment Catwoman became marginalized by power, was the point where she became worthy of solo-character status. She was not only a compelling foil to Batman-capable of going toe to toe with him and make him question his motives even though she did not share his privilege-she could lead her own adventures reflecting a side of Gotham Bruce Wayne's perspective doesn't. She actively makes the setting of Gotham stronger because of how she's evolved as a character.

Catwoman's character would continue to evolve, with some iterations reimagining her as a latina woman and others where she's canonically bisexual.

While Catwoman has been portrayed by Black actresses before, I want to focus on the most recent and prominent iteration of a race-swapped Catwoman. When Matt Reeves' The Batman (2022) featured Zoe Kravitz as Selina Kyle, an explicitly biracial character within the text of the story, we see another step this character evolves. I think La'Ron Readus' video on "Why Race-Swapped Characters Are Not The Full Story" does a fantastic job of explaining why this is a narratively great race swap. To summarize (though I do encourage watching his video as he goes into depth about 2022 Batman's Jim Gordon as well among many other examples) and add analysis of my own: Selina being the byproduct of an Italian crime lord and a Black sex worker is a brilliant marriage of her original backstory (being connected to and abused by powerful men) and her modern backstory where she's poverty stricken (and tangentially related to a sex worker if we're talking about Batman Year One).

We understand why someone of her background would have an affinity for stray cats because of how she lost her mom at a young age, she is sympathetic to fellow people from the lower class, and explicitly calls out privileged white people- including Batman who attempted to over moralize Selina's partner as a sex worker.

"All anyone cares about in this place, are these white privileged assholes."

It's especially that last line that makes it so Selina's character isn't interchangeable with her white counterpart. She's a textually rich character to contrast Bruce in Batman 2022, and we can see how years of history and evolution has brought such an empathetic character to the screen. Interestingly, Readus feels that while 2022 Selina was an example of a race-swap that works, he believes it was great by coincidence, because of the miss that was Gordon's characterization in the same movie. I think with Reeves as a collaborator on Caped Crusader, that assumption was correct.

Selina in CC is back to being a rich socialite, but (unlike her Golden Age counterpart) she's not married into wealth- she's got generational wealth (with a dad serving jail time for tax evasion). Worse yet, she's taking what little remains of her money and spending it on superficially imitating the Batman to create her Catwoman persona. She even has her own reluctant Alfred, a Catmobile, the works. Selina steals things because. She likes shiny things. And is something of a kleptomaniac. Catwoman is instantly discovered to be Selina because of course she's not as good as Batman is with keeping a secret identity (another key difference from her Golden Age counterpart, whose backstory was shrouded in mystery for a decade).

It is laughable to me that CC touts that their version of Harley Quinn has an origin of her own outside of the Joker, only to turn around and make a Catwoman that is completely tied to copying a man as her origin (did they decide Harley's goofyness as a character needed to be replicated in Selina for some reason? In their supposed dark and edgy show?). What a strange choice to fixate on the part in Year One where Selina didn't like being mistaken for Batman's assistant despite being inspired by him and turn it into a quirky bit. It feels like such a regressive take that frames Selina as a sillier, whimsical version of Bruce that just spends money on a whim because women just aren't smart enough to know how to keep track of their money. They're too busy looking for shiny things to steal. The fact that both 2022 Batman and CC have a scene where Selina is looking through her many bills she's yet to pay is wild to me. How am I supposed to care for a Selina that has the expendable wealth to create a Catwoman costume, car, and gadgets, but delay paying her maid? One of these versions of Selina is far more sympathetic than the other.

Again, I get what CC is going for. Batman is characterized to be hellbent on catching criminals, Catwoman is supposed to serve as some kind of reflection of his obsession. They're both self destructive in their goals, but one is vengeance and the other is chasing thrills. But is that really as interesting a foil as having Catwoman be marginalized, just as skilled, and making Batman second guess himself? Is it a take that strengthens Gotham as a setting by shedding light on its lower class characters? Is it a take that makes her worth revisiting as a perpetual rogue and not a one off episode where's she's basically a shenanigans-inducing nuisance to Batman? Evolved takes on Catwoman have talked about her desire to seek thrills and paired it with how she dismantles power. So it's not like CC's take is particularly unique, it just lacks all the depth that usually surrounds Selina's thrill seeking.

In a show that is frankly desperate to make it so Bruce doesn't have a personal relationship to his rogues gallery because he's too busy being "A cold, remorseless avenger of evil, seemingly more machine than man. Forged in the fire of tragedy, every fiber of his being is dedicated to the eradication of crime." (according to promo) that's how we end up with Barbara as the foil and humanity to both Harvey Dent and Harley Quinn. How the show focuses on the police force more than Bruce. It feels especially pointed that Catwoman is characterized this way. When she doesn't contrast Bruce, she becomes less personal to him as a character that is poverty stricken but still matches up to him in skill. She can't challenge him or his worldview, he can't find her fascinating as an equal, all of their chemistry and intrigue is erased.

All this to say that of the characters revealed for CC, I was honestly surprised that Selina wasn't one of the many characters racebent. CC followed up on a Black Jim and Barbara Gordon, two characters that have been race swapped before in previous media. Most prominently! Harley is Asian in this iteration, something never done before. So why is it that Selina doesn't follow up on the many times she's been portrayed by Black actresses?

It's because it's an actual good racebend if written well. It wouldn't be a "safe" racebend because writing Selina this way means you'd have to acknowledge racism, and it would be much more noticeable if you didn't. There is no canonized version of Asian Lois Lane that parallels her relationship to Superman as an immigrant. But there is a version of Selina as a Black woman who directly calls out white people and is aware of systemic power. It's in something as prominent and mainstream as Matt Reeves' 2022 Batman. So instead it just reads as cowardice to me that CC couldn't follow up on this evolution of Selina.

Not only does it weaken Catwoman and Batman's relationship to regress Selina this way, but it actively weakens Gotham as a setting and the very themes of Caped Crusader. I personally think all the energy that went into Harley Quinn should have been shared with (or straight up gone to) Selina Kyle. Because unlike CC's take on Harley, the way Selina Kyle's marginalization intersects with race and queerness would have actually critiqued Gotham's class corruption effectively. As a Black queer woman, Selina would be among the most vulnerable people in Gotham. We don't have prominent characters in CC that truly reflect the lower class, there are these unnamed characters Harvey Dent sits next to on a train. There are some orphans with Batfam names. A proper Catwoman reimagining that takes advantage of her evolution would have filled this gap in their narrative.

But that's not how "safe diversity" works. CC would rather racebend and canonize the queerness of a character like their take on Harley Quinn. A WOC who gets to kiss a cop and call out powerful men, but not in a way that makes white people uncomfortable.

If I could edit the Sandman quote that "The great stories will always return to their original forms" for Superheroes, I'd say "The great stories will always return to their most resonant forms" because without iterations we don't get characters like the Kents, Alfred or Catwoman as we know her today. Classics are good to look to, but we like these characters because they evolve. In my opinion, none of CC's takes on these characters of color feel resonant. They're not definitive to the level of Mister Freeze's tragic love story in BTAS, among many standout narrative choices in BTAS that continue across media iterations.

In my opinion, CC isn't as thoroughly clumsy as MAWS is in regards to POC representation and race-swaps (all characters of color in MAWS get put in the left side of that chart I made. In the Sunken Place. Where they all Missed The Movement). However, I can't help but see Caped Crusader's take on the world of Gotham as nothing more than an anecdote in the evolution of Batman's story for the modern era. "It's BTAS but superficially more diverse and with less compelling narrative choices."

[ganondoodle]

since i have seen this argument pop up again and again and now its used to defend the minecraft movie

i really hate the argument that something, be it a movie or a game, can be as shitty as it wants when its primarily aimed at kids (or people THINK it is aimed mostly at kids) bc its 'just for kids'

like children are lesser an stupid? like they arent incredibly impressionable and deserve good movies? im not saying they should only watch critical acclaimed drama movies, but you can make a movie 'for kids' AND make it good, its been done before, sure there will always be shit movies, and thats fine, but dismissing any kind of criticism towards them bc "its just for kids" feels so unecessarily mean spirited towards children, like they are little people in wildly different stages of development!! they can think too!!

'kids' itself is such a wide range that i feel its not very useful as a category anyway, a 5 year old isnt the same as an 11 year old, both of them should get good things, and both can watch or play things they may not completely understand yet! i grew up with shrek, and while a big parody and haha fart humor movie, they (1+2) have an incredibly strong core, i didnt udnerstand them fully when i was little, so what? i still enjoyed them, i felt more connected to them than any disney movie (bc hey .. the monster is the main guy and no they dont all turn into conventionally pretty humans as the ultimate reward- i felt othered throughout my life too) and i still do, theres jokes and themes and meaning i understood fully only when i was rewatching them as an adult, i still enjoy them even at 27

and like, shouldnt it ESPECIALLY matter what children watch? (not in the puritan brain worm way) bc they are ... people in development?? do you think if they just sit down and watch shitty movies and play games that dont challenge them at all, be it thinking critically or emotionally, all day it wont have an affect on them??

(im sorry to bring up totk again, but that 'its for kids' argument has been used to defend it so much too, and its so incredibly annoying to me, ah yes, its puzzles are all skippable or easy as shit bc its main target are kids and children are stupid and shouldnt be challenged ever, the story is a simple fairytale type deal maybe to you, but contains alot of harmful stereotypes that have led to real world harm and its repeated unquestionably while offering nothing intersting to think or engage with, theres a reason alot of childrens media contains alot of stereotypes to propaganda even but its just for kids of course its not propaganda bc kids are stupid and cant understand that lol BECAUSE they are so impressionable, if a series 'for kids' only lets the girls be in frilly pink dresses and do 'girly' stuff do you not think that wil affect how they think about themselves??

if they keep seeing the light skinned blonde heroe stab the unquestioned evil arab stereotype bc he wants to take over your holy land bc hes just 'evil' and is never ever humanized in any way and only presented as a monster, while the good little maiden princess does everything she can to support her hero in shiny armor with big sad doe eyes and pretty little white dress- do you not think it will affect them? if it were an isolated incidence perhaps not much, but its a stereotype perpetuated to such a degree that you think its just 'how fairytales go'? yeah, you have been influenced by these portrayals, they are working as intented- and if they are used as such in media without the writer intending to influence you that way? thats even worse bc it means it has been so normalized to think that way people dont even realize it- while alot of real people in the world are ganondorf, they are demonized and dehumanized, others think of them as inherently evil.. but its just a "simple fairytale"

yes i know children can also question things on their own, but you shouldnt assume that comes naturally and then also in just the correct way, i questioned why i was just doing whatever the talking boat told me to do when i first played windwaker as a kid, but more bc i liked how ganondorf looked and hated being told things to do without a good reason being given (autism much?), 'evil' didnt do it for me, but that doesnt mean i knew he was an evil arab stereotype, i didnt like tetra turning white as zelda, bc i thought she looked cooler before and i didnt like 'girly' things myself, not bc i knew it was whitewashing

-not saying media should be free of anything 'problematic', the problem is how its presented and never questioned or engaged with critically and then that stupid argument being used to dismiss it like children are both unable to think and not influencable somehow-)

[animentality]

I don't particularly like the Purge movies, but it does annoy me when people say they hate the Purge movies because they "support the idea that humans without laws would immediately kill each other."

You know. A somewhat conservative, pro-state message.

But I say this simply, and carefully:

The Purge movies are the opposite of that. Completely.

From the beginning, they have always been a scathing criticism of the middle class and the wealthy for their blatant disregard for the lives of everyone else and their love for state sanctioned violence.

They aren't even fucking subtle.

Every villain in those movies dress like fucking Republicans. They worship guns. The Purge in universe only exists to fund the NRA.

The first movie was about a black man being hunted by Ivy League looking ass white people in suits and shit.

Said black man was the only decent person too, and he saved the people in the house he took refuge in, despite the fact that they beat his ass up and were going to give him to the crazies that were chasing him.

Purge 2 was about how state sanctioned violence always affects the underclasses more than the wealthy, since the wealthy can buy fancy defenses and nice weapons, while the poor are forced to defend themselves by any means necessary.

Purge 4 actually showed the FIRST PURGE in a majority black community, and guess what they were doing?

Having sex in public.

Doing drugs and partying outside.

It was stated that white people in charge literally had to unleash a serial killer on the community to force them to commit acts of violence.

And the latest purge, Purge 5 I think, was centered entirely on the struggles of immigrants, trying to cross the border and not get murdered during Purge night.

So no.

The Purge movies do NOT say, "Oh people would immediately kill each other if given the chance."

They actually say, rich white people would kill minorities if given the opportunity.

And are they wrong?

Seriously.

Lord of the Flies moment, guys.

Neither Lord of the Flies, nor the Purge movies suggest that people would kill and cannibalize one another as soon as they can without the rules of society.

They both say actually, privileged spoiled brats who are used to having everything would support violence for the sake of violence.