#I also started this series thinking it wouldn't be very queer if queer at all

[bookwyrminspiration]

i KNOW i was going to say something else but i am actually curled up about the teraeth janel and kihrin dynamic. i am holding them gently in my hands looking fearfully at the rest of the series but holding them gently regardless. they are SO BLORBO. ALSO THURVISHAR.

LITERALLY!! I have said time and time again how I get tired of romances and am just here for the fantasy, but whatever Kihrin/janel/teraeth have going on is SO important and special to me. It's intrinsically tied to the story, but doesn't dominate. There's still a fuck ton of other things going on, but their tension and relationships have their place within all that. Because our relationships to others are important and do shape us and our world

I love each of their characters individually and the people they become when near each other. For better or for worse. janel's ferocity and Kihrin's ridiculous charm and Teraeth's expressive skill. All the different histories between them, how they've been dragged into this mess together and now they have to get out of it together. Even if sometimes they want to stab each other and they infuriate each other seemingly to death. I could not pick one of them over the other Jenn has someone created a group who are all so blorbo-able

And Thurvishar is part of that group! He's so composed and smart and endearing. Especially when something does finally get under his skin or ruffle him, since it tells us so much. Thinking about that scene where he's like "okay this isn't funny anymore guys I AM actually quite good at magic you know" when his portals weren't working. He's got the air of someone refined and quiet and contemplative--and he is! But he's also the fourth hellwarrior. Which means he's a cheeky little shit sometimes. Because what other kind of person would volunteer for something like this? And when we get to see those moments they're beautiful. I love his snark and commentary in the footnotes.

When I started this series I thought Thurvishar D'Lorus was some weird narrator we'd never see who only existed to provide footnotes, but oh how wrong I was <3

[absolutebl]

10 BLs That Shook Me

@trribledelight asked for "BLs that made you think or learn smthg or shook you culturally? Eg the political considerations in Not Me..."

Let's get the rough ones out of the way first, shall we?

1 2gether

Green. One of the most egregious reps for punching down humor against femmes in BL (and there sure are a lot out there). Seriously GMMTV? Must you?

At the time we all watched this because there wasn't anything else to watch, and it's been a long time since I bothered with a rewatch, but Green is one of the reasons I just can't with this series.

I'm not knocking the actor, but the character and how the other characters behave around him, and the director with regard to this aspect of the plot and portrayal was rough going.

What shook me was how casually homophobic 2g was. It was just so odd to watch a gay romance gloss over and degrade queerness. I was like, wait, aren't they supposed to me on our side?

(Ah, the before times.)

2 Fish Upon the Sky

Shall we address the head wrap in the room? This BL has some of the most shockingly racist content I've seen in a long time. Also punching down humor. I fast forwarded through it and I still don't want to think about it. GMMTV should be throughly ashamed of themselves... Again. I was shook, but in a bad way.

Okay, now for the ones that shook me in a good way.

3 Until We Meet Again

I watched this early in my Thai BL journey (while it was airing) and I had no idea what to expect. Frankly, you could watch it now and still not know. It's just very unusual for a Thai BL.

The plot twist about how they each ended up reborn. Just so brilliant. I still can't get over it. So simple. SO CLEVER. So punishing for the families.

Fantastic!

4 Secret Crush On You

This one kinda shook me all along but that Daisy & Touch scene. It lives on in my head rent free forever. Just because it was so beautifully sweet and genuine and kindly towards a femme character.

I still don't like this BL.

But I love that scene in it.

5 My Beautiful Man

I went on a JOURNEY with this show. Mostly because I didn't think Japan had it in them to land something this complex. But they managed it beautifully by not shying away from the delicious messy ugliness of it all.

Possibly the greatest final episode in all BL.

And from Japan. Usually so bad at endings.

I remain gobsmacked.

6 Unknown

I shouldn't have been shooketh by this one but I really was.

The style of it while staying so down home and gritty.

How old school Chinese BL it felt yet it still managed to be very modern BL about it.

The execution and quality of the acting.

How it was aired (available in YouTube?! we NEVER get that from Taiwan!)

Also the pair branding. We haven't gotten this level of pair brand from the leads in a Taiwanese BL since SamYu.

I'm was absolutely riveted by everything about this show and its production.

I loved seeing it. I hope we get more BLs like this from Taiwan as a result.

But I ALSO hope they realize that a big factor in the popularity and the success of this show was in distribution.

It's what's for dinner.

Along with the stepbrother trope.

KOREA'S SUPRISES

I watch a lot of Kdramas as well as BL, and have done for a really long time. I'm riveted by Hallyu, from an entertainment industry perspective (what I wouldn't do to get my hands on some of their proprietary data). I also listen to a ton of Kpop.

Therefore, Korea dominates the P'ABL gets shooketh list because I had (and have) more expectations firmly in place around Korea's media product sfyle than anyone elses. Even before they started to make a big play into the BL scene.

My favorite BLs from Korea, like Semantic Error and Light on Me are EXACTLY what I expect from them, manufactured perfection. But I was also shook more times by Korea than other BL nations because I had such rigid expectations.

7 Color Rush

Yeah yeah. But it starred an idol. It started out pretty and stiff and everything I was expecting and then the concept hit me up side the head and I never recovered from the CLEVER of this show. I'm not used to my Kdramas or my BL being this high concept and SMART about their sanitized perfection.

8 Blueming

What with the 8th Sense and others since, Blueming seems to have been somewhat forgotten about. But at the time, I was shook by the down home grit of this show. By the actual pain from the characters. By the higher heat concept. By Korea actually going THERE.

And then these babies came along...

9 The 8th Sense

I just didn't think Korea had it in them. Yes, I realize now that it was a bit navel gazey, and we were weighted heavily towards the seme and his pain. I would have liked a better balance between the leads, but that's in retrospect.

At the time I couldn't believe it. A KBL dealing with mental health?

And can we talk about those sex scenes? How insanely comfortable the actors were with each other? How easy in each other's personal space? I've not seen anything else quite like that from Korea. It's super rare. I had assumed they, culturally, just didn't do casual intimacy, or if they did, it wasn't allowed on screen.

Of course now I know the CAN do it, I want more.

10 Love for Love's Sake

Okay, lots to unpack with this one. A genuine isakai BL, in the original sense of the term. The death twist didn't shake me up, but the execution, acting, open gayness, and a couple other things did. Enough to make me still think on this show with fond surprise and affection, despite its undercurrent of darkness.

I like to be shooketh.

(source)

[genericpuff]

All That Glitters is Not Feminism - An Analysis of LO's Brand of "Feminism" and What Remains of its Fanbase (The Twist)

Alright y'all, I've been waiting a hot minute to talk about this because I wanted to see how it fully panned out before saying anything about it. And it's not even specifically about LO, but I do think it's very adjacent to it in a way that I'm sure you'll be shocked to hear. Much of it speaks to how we prop up white writers even at the expense of POC.

This is 'the twist' attached to my first post that I made just a couple hours ago that concerns an entirely other topic but I feel ties into this subject very well.

If you haven't heard, there's this author who recently fucked around in the Del Rey publishing scene.

Her name is Cait Corrain.

In the original tweet calling this person out, names were not dropped, but it was made very clear that what Cait did was unacceptable behavior.

You can read the entire thread that started it all from Xiran here:

There's also a GREAT recap thread from one of the affected authors, Bethany Baptiste:

I want to make it clear that Cait Corrain isn't just a debut author.

Cait Corrain is - or now, was (foreshadowing is a literary device that-) - a debut author who had an agent, a publishing deal with Del Rey (an imprint of Random House which is a MAJOR publisher) and even an upcoming Illumicrate deal - meaning, her book was going to be packaged in a monthly loot crate subscription shipped directly to people's doors, quite possibly one of the best marketing deals a debut author could ever get, usually unheard of in this industry. All the pre-reviews were strong and positive.

Cait's book was literally set up for success. All she had to do was sit back, relax, and watch the fruits of her labors roll in. She had written the book. It was ready for release. The hard part was technically over.

But I guess the racism brainrot got to her because as it turns out, since April - for EIGHT MONTHS - she's been making alternate accounts on GoodReads to review bomb the indie and debut works of her friends and peers, most of whom were POC and did not have the same opportunities set up for them as she did. There are loads of receipts to back this up that you can find in those above threads ^^^

To say that this is appalling is an understatement. This was an intentional and deliberate act of racism by a white queer writer who claimed to be "jealous" - of what, I can't imagine - so much so that she deliberately sabotaged her peers, people who had supported her and her book.

And then when she got caught? She doubled down on it and claimed it was a "friend", also an alternate account she made up.

The exchange between her and this made-up person is actually the funniest shit out of this entire thing, it's so poorly written and as soon as people noticed the time stamps were out of order, that was when it truly cemented her newfound clown status.

"oooooh he's standing right behind me, isn't he?" energy right here LMAO

yes keep expositing cait, that's really selling the "this is a genuine conversation that really happened with a real person" bit 🤡

Anyways, it became abundantly clear that Cait was just going to continue to dig her heels in over something she caused.

This has been a hot topic in the UnpopularLO Discord, not just because of how crazy of a situation it is that we had to talk about it - and we have people within the community who work in the literature and media sector - but because we noticed one very telling thing in the list of series that she had review bombed in her very own personal act of wrath.

You see, Cait made one fundamental mistake that led to her undoing - she didn't just review bomb the works of her peers, she positively reviewed her own book and others.

What's her book about though?

It's an Ariadne x Dionysus retelling set in space.

It's literally another "modern retelling" of Greek myth.

And wouldn't you know it, guess who else created a modern retelling of Greek myth that she included in her positive review raiding while she was sabotaging the work of her actual peers?

Now, I think it goes without saying that what I'm about to say should be taken with MOUNTAINS of salt, I'm sure a lot of you are reading the headline and going, "Ugh, really? You're gonna make this about LO? Could you give it a rest already???"

I need you to understand, with the current state of Rachel's fanbase and 'modern' Greek myth literature as a whole, at this point Lore Olympus - and the works that are literally inspired by it such as A Touch of Darkness - has basically become the shopping cart litmus test of basic decency. It's like when someone says they like Harry Potter - you can't take it automatically at good faith anymore, because there isn't a whole lot separating someone who simply liked Harry Potter as a kid and still rewatches the movies from time to time from someone who fully supports the politics and agenda of J.K. Rowling. No, not everyone who still watches the movies or reads the books fondly is a TERF by default, but it's justifiably a reason for suspicion when the consequences are often too dire to risk.

There's this thing that's been happening in the LO fanbase that I frankly saw coming, but has really recently started to hit its peak. It's what I call the "Kanye Effect", where the comic has become so absurd and backwards in its misogyny and white feminism that the only people who seem to be left supporting LO are the people who are legitimate white feminists and misogynists - because all the normal level-headed people fell off the comic ages ago (or transitioned into the critical side of the community).

I mentioned it in my last post, but it bears repeating - Rachel's fanbase has literally been shipping Hera, a victim of abuse, with her abuser, Kronos. I'm really hoping a lot of them realize how fucked up that is now that Hera herself has called it what it is - abuse - within the comic, but I also can't count on the LO fanbase picking up on that or even noticing it with how quickly people swipe through it each week, it's very apparent at this point that most of LO's readers don't know how to chew their food and don't pay attention when Persephone and Hades aren't onscreen.

But I'm digressing. Or am I? We're talking about Crown of Starlight after all. The debut Dionysus x Ariadne sci-fi/fantasy romance that was quite literally advertised using Lore Olympus as its baseline-

This. This is what the ongoing cultural erasure and white feminist uwu-fication of Greek myth is doing to the literary zeitgeist surrounding Greek myth as a whole. This is why we criticize Lore Olympus and works like it that are created by disingenuous people who only seek to use the assets of Greek myth material as a way to shoot themselves up into fame and stardom. This is why we demand better standards in the literature and webcomic industry, so that people like Rachel and Cait can't use their privileges to quite literally erase the source material that they used to make themselves famous in the first place.

If anything, Cait's actions didn't just affect the people she negatively review bombed, or the people she was affiliated with, but also the people she positively reviewed. While I don't support what Rachel creates, she wasn't the only one who Cait went out of her way to review positively from her alt accounts, there were many others as evident in the Google Doc - but all this really does is tarnish the legitimacy of these books and their ratings by artificially jacking up their numbers that are advertised to others.

Making Greek myth fanfiction or fun creative retellings was never the problem, but it's now being sabotaged alongside so many other genres and mediums by toxic white individuals who can't even keep themselves from committing hate crimes, let alone create something purely for entertainment that's transparent in its illegitimacy, lest it destroy the illusion that these people are qualified to speak over those whose voices are being stifled, often by these very same people. Many of these writers get caught and are still allowed to continue what they're doing - that was certainly what we feared with Cait.

Until today.

It was revealed today that Cait's book will no longer be featured in the Illumicrate May 2024 box.

Del Rey has dropped Crown of Starlight from their publishing schedule.

Daphne Press will be hopefully following suit.

And, most telling of all, Cait's own agent has severed ties with her.

For anyone not familiar with the inner workings of the publishing industry, Cait has essentially been blacklisted. Without an agent or a publishing house, she'll have to entirely rely on her own resources through self-publishing. Unless she manages to sneak her way back in under an alias (which I wouldn't put it past her to try) she no longer has access to the mainstream publishing industry that was already guaranteed for her before she let her 'jealousy' get the better of her.

Her career was already made for her. She had a red carpet laid out for her debut. Her book was getting good pre-reviews and she had quite literally nothing keeping her from her success. The best thing she could have done was nothing. Somewhere in her head, she made up a threat that didn't exist, and sealed her fate in acting on it, a self-fulfilling prophecy.

I think in these situations such as with Cait Corrain, Rachel Smythe, and - also recently and relevant - James Somerton, we need to become increasingly aware of how white voices are still overpowering POC voices, not just in their actions, but in the opportunities they're given over others which they then use to further stifle the voices of those they feel "threatened" by or feel entitled to speak over. While neither James nor Rachel have used sock puppet accounts to "take out the competition" (at least as far as we know lmao) James did quite literally steal the words and voices of queer writers who were deserving of their time in the spotlight, and Rachel's work is being quoted as "rewriting Greek myth" as if its blatant gentrification and appropriation should be marketed as some sort of positive.

It's all too common for these deeply-rooted prejudices to rear their ugly heads and for the people who carry them to act out in this way while justifying it as "jealousy" or "a mistake". This isn't jealousy. This isn't a mistake. This isn't someone "starting drama". This is genuine, targeted hate, with the intention of snuffing out the voices of others who should be empowered, not silenced.

All that time and effort, and for what? Racism and petty jealousy? It just goes to show, it doesn't matter how many opportunities you're given, how high up on the ladder you already are - it won't fix the deeply-rooted insecurity and racial pettiness that spurs people on to do such horrible things.

I've spent enough of my time and words today talking about Cait, and James, and Rachel. So to end this off, I want to join in with all the others who have highlighted the books that were review-bombed by Cait, and help in uplifting them so they can have successful debuts. I'll be pre-ordering a few of them, so I'll be happy to make dedicated posts for them in the future after they release. Please consider purchasing them for yourself if you want some new reading material <3

The Poisons We Drink by Bethany Baptiste:

So Let Them Burn by Kamilah Cole:

To Gaze Upon Wicked Gods by Molly X Chang:

Mistress of Lies by K.M. Enright

Voyage of the Damned by Frances White:

(I'm sure there are plenty others so if I missed any here, please let me know so I can add them here and check out their books!)

If there's any silver lining to this, I hope that it makes people aware of the media they consume and who it's being created by. I hope it makes people more willing to seek out the books that aren't getting the same opportunities as Cait Corrain and Rachel Smythe. I hope it's a wake-up call to the industry that matters like this need to be taken seriously and that POC writers are still being silenced under their own noses. And most of all, I hope it's a reminder that we shouldn't even need at this point that this behavior is not okay, no matter what level a person climbs to - that just because someone is part of one minority doesn't mean they're not capable of sabotaging another. It sucks that that has to be said, it sucks that despite these groups being so intersectional there are still people within them who submit to their deeply-rooted insecurities and find ways to feel threatened that they use to justify hateful behavior.

Having a platform is a privilege. It should never be weaponized against your own peers or those who you simply feel "threatened" by for no reason beyond your own imposter syndrome or doubts or internal struggles. Because as much as you may feel like you've earned where you are, that never gives you the right to weaponize your opportunities against others who were never given those same opportunities in the first place. "Feminism" is not using your power to crush "other women". "Progressiveness" is not exclusive to the progress that only benefits you.

I wish only the best to those who were affected by the actions of Cait Corrain. You deserve to be heard and seen and appreciated for the work you do and the abuse you've had to tolerate. I look forward to your debuts in 2024 <3

[anxietycheesecake]

I'm sorry that you're being attacked and blocked for having valid criticisms. It's really weird to be new to this fandom and watch it go from a fairly positive space to fans being as nasty to each other as Star Wars fans in such a short period of time, especially when the crumbs people are cobbling together and calling a canonized ship is what we scrape for in other fandoms with ships we know will never be canon and we KNOW we're stretching the material we're given. I love my queerplatonic ships, found families, and platonic soulmates. I can absolutely enjoy Nandermo through that lens, but the gaslighting and mental gymnastics here is raising such a fucking eyebrow and you don't deserve to feel like you've done something wrong for recognizing it.

Being allosexual or alloromantic is as valid as being asexual or aromatic and it's actually so fucking unchill to conflate being gay or pan with being ace or aro just because they are all under the queer umbrella.

Ace =/= celibate, but half this fandom thinks Guillermo is a virgin and I can't help but think that's being bundled into the hot takes that are coming out right now when it's canon that he's uncomfortable due to being in the closet and his Catholic upbringing. Yes, he could be ace, but that means at best were batting 1/4 for aroace Nandermo.

Nandor has sex with Gail onscreen and is very clearly not ace. The vampires would have MINIMALLY mentioned Guillermo being a virgin and wouldn't have eagerly asked about his sex life in Atlantic City if they thought he was one and they practically have radar for it. He was panicking over Jeremy being a virgin and having brought him into the house and the only thing that saved the guy was losing his virginity. Nandor and Guillermo are both romantic in romantic relationships, and both are expressive about it and tell others they love them.

When you speedrun the entire series and the notable interviews with fresh eyes and not over a stretch of years the leap between 'My Nan- Master' vs. best friends, cuddling a Nandor puppet at night, the I'll make you a vampire speech vs. the vibe in the warrior speech is SO visible and it fits perfectly with Simms' public discomfort with fans shipping Nandor and Guillermo. He is openly uncomfortable with them being in a romantic relationship or having sex with each other and uses every homophobic gaslighting tactic in the playback when speaking about it.

“No, I do think there’s a small subset of very vocal people on Twitter who are like ‘We want to see Nandor and Guillermo hook up,’ and we’re always like, I think their love is bigger and more profound than that,” Simms said. “And also do you really want to see that? Do you?”

This is literally how straight people talk when they're uncomfortable with queer shit. What haven't we seen in this show other than that? Is Nadja and Laszlo's love lesser for it?

“Times that we’ve talked about it and explored it, the power dynamics seem so problematic,” Simms continued. “I mean, that’s his boss.”

In a show where the main couple started with nonconsensual sex (it's still noncon if it turns out that they could have had sex without hypnosis) and Laszlo fucks Colin Robinson after raising him for a gag. Sure, keep telling yourselves that the power dynamic is what makes Simms uncomfortable.

"I mean, it's a nice thought, for some...I don't know about these guys" Kayvan says as he nods toward Simms.

I've seen the Harvey interviews and talking heads from earlier seasons on the subject of Nandermo. The 2024 panel couldn't have been more different, and Harvey seemed completely subdued when the others were discussing Nandermo fanart and them being a ship.

This isn't a person who deserves applause for queer representation and it seems toxic af that Harvey has been stuck in a workplace where he has to hear this drivel when he's openly gay. Yes, I am side eyeing the fuck out of this and it's not because I'm crying over wanting my blorbos to smooch.

You can actually have a romantic pair not kiss or fuck or say I love you without pulling a very clear 'no homo.' That would have been totally fine, but they didn't do that. Copy and paste that scene into anything starring Andy Samberg, or literally anything bro centric and tell me it's a romantic love confession. Or rather, try taking it off tumblr and see if anybody thinks it isn't deep platonic male friendship.

It's okay for people to be upset when they've been hoodwinked. It's okay to separate fanon from canon and still enjoy your ships. But ffs stop gaslighting each other and saying non-romance is romance or that non-romance has more worth than romance and that people are shallow for not valuing it when that's not the problem people have with this, and when that isn't the bill of good audiences we're sold in earlier seasons.

The call is coming from inside the house it shouldn't be.

(Also SO sorry for how long this was).

Never apologize for articulating this better than I ever could. I'm too lazy to look for all the recipes I know are out there, so most of the shit I say is like "source: trust me bro"; I'm glad someone else did it.

The aspec thing makes me so mad because, as a writer, I'm always going out of my way to properly and respectfully represent aspec folks. Like, I've got two novels starring an ace woman and an aromantic man. Do I deserve a medal for that? Of course not! It should be normal. But it's kind of infuriating that people are willing to give aspec rep credit to a show just because it made two male characters stay platonic after teasing their relationship for years and call me aphobic for pointing out that's not the case.

[waitmyturtles]

Final Thoughts on Spare Me Your Mercy, Thailand's Biggest Queer Show of 2024*

(*domestically!)

Due to the holidays, I was behind on watching last week's finale of Spare Me Your Mercy, but I got it in, and I'm glad I did.

I am mucho on the record that I thought, throughout this series, that the romance portion of this series was done weakly. I throughly enjoyed and appreciated @clairedaring's objective and appreciative commentary throughout the airing of this drama to provide all of us with context about novel!SMYM versus series!SMYM, helping us to understand what of the many bits were missing between the two versions of this story.

There has been a nice lot of debate online about the ultimate success of the telling of the SMYM story in drama format, both pro and not so pro regarding the script. There was also quite the revealing interview with the screenwriter Lux Sirilux, who revealed that the show's design purposely excluded NC scenes to favor more time being spent on the euthanasia ethics debate (thank you so much to @clairedaring for reblogging so much, I wouldn't have these references without you!).

I want to note that even despite the recent holidays, that the heightened online burble of debate around SMYM indicates to me -- like the ensuing debates after the airing of the 4 Minutes finale -- that the story of the SMYM drama format didn't land for everyone. If it was universally successful in its storytelling from all the classic narrative markers, then much of this debate would not be happening.

I first entered the SMYM world understanding that it was a part of a storytelling trilogy of sorts, connecting Sammon's previously adapted stories in 2020's Manner of Death and 2022's Triage (I haven't reviewed Triage yet, but I watched it in 2024 and it is absolutely one of the five best Thai BLs I have ever watched.)

To go back to the Lux interview quickly, and to note fan commentary in defense of Lux's position: what Lux Sirilux posits is that the show essentially decentralized NC scenes and intimacy in favor of giving the script more time to dwell on a debate about euthanasia -- the ethics and morality of being a part of a person's death, and the ethics of a person deciding to die in the first place. The defense of this position essentially stated: well, because the show wasn't intended to be about romance, then why criticize it on its romantic context?

When I think back to the show's original positioning as a part of the MoD/Triage trilogy, I think to myself: the couples of TanBun and TinTol were absolutely central, as romantic pairs, to the success of those two stories, and both shows absolutely balanced their mystery elements so as to leave us fully satisfied on two (!!) genre fronts. At least, before SMYM premiered, to be excited about the TorJJ/KanTew coupling was therefore a reasonable expectation.

As well: there was a lot of implied attraction and romance in SMYM. A lot!

All these scenes! And we had more.

As soon as this show started airing, I was pulling for it to work as well as Manner of Death and Triage had. And I was side-eyeing to my drama homies about what I was smelling, when I started to feel like SMYM was NOT working. While a defense that the show was never meant to be a romance is... an interesting postscript to ponder: I don't buy it, because many elements that were clearly designed to otherwise communicate romance actually failed. I squinted heavily at the middle episodes of this series, really wondering, ".....so......are these guys.... DATING? Just feeling things out?!"

If these elements weren't actually intended to be in the show, the attraction between Kan and Tew, then -- why did we get them?

What was missing, narratively, for me? It was emotional context based in the reality of how I understand intimacy to function between two humans -- an understanding that, in the very best of art, I don't need to suspend in order to make a narratively unsuccessful show otherwise work.

The progression of emotional (let alone physical) intimacy was choppy in this series, to say the least. @clairedaring gave us the very important context early on that the novel version of SMYM had two volumes -- the first of which focused on KanTew's dating, before the ethical clashes of euthanasia entered the picture. If we had had that narrative context in the drama, the drama would have worked wonders, and I believe the crew was working throughout this debate in the writing process, from how the script turned out.

The script here did not work, because even if romance was intentionally deprioritized to focus on the euthanasia debate -- many episodes still spent too much time on KanTew, without giving us viewers an emotional journey for us to understand where they were in their emotional intimacy. And I posit, because the script seemed to be so indecisive, that the euthanasia debate got lost for much of the show as well. Up until the end, in the final episode, with that utterly fabulous attic scene.

If only the show had the strength of dialogue and conflict as that attic scene! I wrote yesterday that Tor and JJ will win awards for the whole series, based on that scene alone. That scene finally held the full and holistic scope of the tension between Kan and Tew totally bursting out in all its glory.

Let me just note, though, that we had to get through the first half of the episode to get to that scene -- a first half that really, REALLY made Kan look like an AWFUL LYING SCUMBAG to Tew (HOW COULD YOU LIE TO TEW LIKE THAT IN YOUR HOSPITAL BED, KAN, AND TELL HIM THAT HIS PAIN HE WAS FEELING WAS GUILT, YOU MF'ING ASSHOLE, okay I got it out of my system). Really, with all the lying Kan was doing to Tew about Tew's mom, I was praying that Tew would do the full COPS treatment on Kan, "Bad Boys" and all.

Kan was, in my absolutely personal opinion, ultimately rendered unforgivable during that first half of the finale (regardless of my personal thoughts on the ethics of euthanasia) simply because of his disingenuousness to Tew. The penultimate conversation in attic between Kan and Tew was a phenomenal encapsulation to the ethical conflict that Kan and Tew had danced around for the entire series -- and it highlighted, to me, again, where the script had failed the show, because it actually put a spotlight on moments when the EXCELLENT and FASCINATING nuances of the euthanasia debate in Thailand were sidelined for weak attempts at romantic development. (The socioeconomic nuances, the inequity in health care nuances, the impact that terminal illness has on caretakers, all of them! GAH!)

My takeaway from all of this is that the crew of this show did not hit the exact and delicate formula of deciding what the crux of this show should have been about, despite the commentary we received posthaste from the screenwriter. While the intention of that commentary indicated that the euthanasia debate was supposed to be the only center of the show -- too much time was spent showing us KanTew moments, and those moments lacked context and clarity to give us viewers an understanding of where they stood in their engagement or relationship at any one time. Thus, I do think the postscript commentary from the crew was also a touch disingenuous, regarding the success of the narrative itself as art.

And — I believe it was also disingenuous to the two previously adapted Sammon stories of Manner of Death and Triage as well, as both of those dramas were able to hold both mystery and romantic storylines to excellent ends, with wonderful touches of intimacy along the way (MaxTul couch scene, my beloved). There's more to say, as other people have noted, about writers deprioritizing intimacy to tell "another" story, as it were, but that's a debate for another time, that I think speaks to where Thai BL is going in general.

But otherwise, while I think SMYM was ultimately narratively unsuccessful (that last "I love you" and the rushed close were just brutal), I'm not surprised about how well it did in Thailand. No one can argue with the star power that Tor and JJ hold in Asia — the show was always going to do well, no matter the artistic success of its narrative. I just wish the show had lived up to the caliber of acting and writing that Tor and JJ got to display in that attic at the end.

[graciereadshannigram]

NBC's Hannibal really Did That and created the most compelling and beautiful allegory for coming out in a world that is inherently violent towards queerness and treats it as horrifying, disgusting, and psychotic.

top of mind right now is Will's Becoming, started in S01E01 and fully completed in S03E13. buckle in folks, this may end up being a long one.

following the allegory, both episodes feature Will and Hannibal sharing a queer experience with one another.

in the first, Will (at this point, deeply closeted and in denial) engages with GJH in an effort to protect Abigail. Hannibal (also closeted, but more out of self preservation, certainly not out of shame) isn't directly involved, merely a passive observer, but he did orchestrate the experience by calling GJH to warn him they were coming. obviously, his actions at this point are driven by curiosity. what will GJH do? and what about Will? clearly, Hannibal has clocked Will as similar to himself (aka queer), but can see that Will is in deep denial and terrified of his urges.

and it's just so powerful to see that Will's first explicitly queer experience is within the context of self sacrifice for the good of someone else. he wouldn't have chosen it, but he had to do it. at this point, this is the only way his psyche will accept his queerness. this scenario also gives him plausible deniabilty about his reasons for engaging GJH. it allows him to admit to Alana that he feels "good" after the whole event, claiming that he feels good because he saved Abigail. even though we know at least part of the reason he feels good is that he finally got to indulge this particular urge.

but even so, the whole point of season 1 is Will struggling with his guilt. he has nightmares. he thinks he's a monster.

(side note: i also think it is just so perfect that it takes Will ten shots to get GJH, like of course our sweet baby queer boy having his first queer experience isn't very experienced. i can hard relate)

fast forward to the series finale, we find Will and Hannibal having yet another queer experience with one another, but this time they are equal participants and it is Will, not Hannibal, who ultimately orchestrated this encounter.

and what is so wonderfully interesting to me is that a (very) small part of Will seems to remain conflicted about what his role will be in this scenario right up until it is actually happening. will he walk away, leaving Hannibal and the Red Dragon to their own devices, and return to his heteronormative family? will he be an active participant with Hannibal? will he simply be a passive observer? the moment Will decides he's going to participate is so clear and this is the moment he fully, 100% comes into himself and arrives at full self acceptance.

and then, when it's finally over, and Hannibal holds him while saying, "see? this is all i ever wanted for you. for both of us." and Will, his eyes quite literally shining with joy and love says, "it's beautiful" while clutching Hannibal and resting his head on his chest, enjoying the embrace (do NOT get me started on Hannibal's expression of pure ecstasy, i will explode).

and to wrap it all up, we see Will quite literally take a leap of faith in the arms of his most beloved before tumbling off the cliff. together.

like. that is so fucking beautiful???? and i don't think there is ANY piece of media that will ever have this type of impact on me again?

anyway. congrats if you made it this far and stay tuned for more ramblings as i get my thoughts in order lmao i just really fucking love this entire show.

[whoishotteranimepolls]

Apparently I'm the only one that sees this, but since everyone else needs to be educated, I will message you again since you're going to post these publicly. So please post this but I really think that Victor Nikiforov from Yuri on Ice was not a good representation of the LGBT community, he reinforces so many negative stereotypes and apparently I'm the only one that sees it

First of all the gay figure skater is a stereotype in and of itself. So it feels very reductive to have the big groundbreaking queer love story be about gay figure skaters.

Second of all, Victor is a white savior. Yuri did not need his help to succeed. But yet Victor still felt the need in all his whiteness to go intrude upon Yuri's life. The audacity that took only comes from his white male privilege. I also thought it was very creepy and almost predatory how their relationship started. He was the coach. There was a power dynamic issue. That is another stereotype about gay men that they're predators. So, I do think you shouldn't put him in your polls for that reason but I digress

Yuri deserved someone better than Victor who respects boundaries and power dynamics. Someone who wouldn't intrude upon his life and the way that Victor did. Because didn't Yuri first ask him out or to be his coach while black out drunk after he lost. Victor should have known better than to travel to Japan. It was a joke. He was drunk again, it's predatory and so very creepy

So why are we worshiping? Victor for being a great representation of the lgbt community. It's a good thing that the movie was canceled because there is no way they could have saved this train wreck of a character. Tumblr was way too attached to him and we need to let him die so better characters can live.

Fandoms vs Illiteracy #3

Feel free to critique the essay but not the person nor the person's intelligence. Do not call names, degrade the person, or personally attack them in any way. The purpose of this series is to critique/analyze the arguments contained in the essays.

The above picture is a photo of Victor Nikiforov. Below is a promotional image from Yuri on Ice

So now that everyone is a little bit more familiar with everything mentioned in the essay and knows the rules, feel free to do your own research and respond.

[olderthannetfic]

https://olderthannetfic.tumblr.com/post/758964492351799296/ httpsolderthannetfictumblrcompost75863697332#notes

preface, I'm not arguing about the current ongoing war situation. I only mentioned war so that people who filter out the word have their filters catch it. I'm also only commenting on XJZs behavior on the basis of using that kinda language. One bigger incident I've seen of XJZhao getting a massive wave of criticism was using "blood libel" against a Jewish follower, when they said they wouldn't buy their next book. XJZhao: "I don't want your blood money." Once again, think what you may of the current situation, or if you're on either the person's or XJZhaos side.

All that said, using a stereotype or a racist slur against someone because you feel they (as an individual) are an appropriate target is not ok. You don't get to replicate racist, discriminating, hateful and damaging words, phrases or stereotypes which attack an entire group, just because you're mad at one specific person, and then pretend it doesn't affect an entire group of people. No not even if you're POC, you don't need to be a armband wearing moron or a white hood cross burning swine to be sit at that particular kinda table.

If you're angry at a black person and use the N-word. If you're angry at a single queer person and use the F-word. You catch my drift, that's unacceptable, and would immediately get you labelled, and rightfully so, a racist, or queerphobe. Before anyone pulls that maybe they didn't know card, if someone unknowingly says something racist or queerphobic, do we just give them as pass, or do we call these people out? We still criticise people who use racist stereotypes, even if they didn't know, because this stuff should be called out regardless. Apparently that caused quite a stir, especially completely unrelated Jewish followers. Even those that are neutral/non-political or even on XJZhao's side. 👁👁

And obviously their ongoing beef with random people who criticize their online presence. XJZhao's main tool has been making tiktoks, and insta posts where they take screenshots and post the full online name and clearly invite their followers to harass them, or even tell them to blacklist and find people related to the target. Even sending their followers after someone who basically repeated exactly what XJZhao said themselves, that they missed deadlines and started fighting with their publisher. Just that they also pointed out how much leeway XJZhao was given compared to what's normal, and was still complaining. 🐧

Some of their tiktoks against the criticisms have also been just been very petulant. This one I relate to a bit lol 🤔 Such as the tiktok/yt short where they tell everyone who criticised or commented on the very blatant Darling in the Franxx story beats that "Akshually, the makers of DitF said I was all good." Yeah, that's fine, most people don't care about that though, they're commenting on how obvious the story elements were copied. It isn't always bad, many reviewers were neutral, some critical on how blatant it was. It doesn't matter if you got the green-light, it's still going to be something that might irk people because anyone who copies another story's story beats in such an identifiable way is gonna be called out at some point. That literally happened to every Hunger games, Twilight and HP clone. 🤷‍♀️

--

My dim memory is that XJZ literally said the initial plotbunny was a response to Darling in the Franxx in a youtube video long before the book came out. I think they should calm down and take some time away from toxic social media for their own good. (And yes, I do think they're acting antisemitic and getting a pass because online lefties often give people a pass for that when they wouldn't for other bigotry.) But I don't think it was any kind of secret that it's a blatant response to that series.

I haven't read the actual book. Does it come across as just a repeat? My impression was that it was supposed to be more of a critique/reaction.

[greedandenby]

Jacob & Sam talking about queerness in IWTV.

A compilation of stuff they've said in interviews.

(Long post!)

A.V. Club

Q: The show is being hailed as unabashedly queer as compared to the film adaptation. Why was that important to both of you and the show’s creators?

SR: It’s what’s written in the book. We’re doing the book and it’s the way it’s supposed to be.

JA: It’s true to the story.

SR: It’s true to what Anne wanted and, yeah… it’s time.

JA: It would be rude not to.

SR: Yeah.

Comicbook

Q: How important was it for the two of you to get this aspect of the story (the queerness of the books) not only correct, but to tell the full breadth and aspect of this very unique relationship?

JA: (…) For one, we have to acknowledge that the books are very queer. I think that IWTV Louis is not talking about it, at least in terms of Lestat.

SR: Until you get to the second half of the book. By the second half of the book, Louis does sort of start to acknowledge that it was something more, which I think is such a cool… (…) I think the relationship, the way Louis describes it in the beginning is sort of like, is it subtext or has he acknowledged it or is he just angry with the way it worked out? But I really feel that as we go on, the text is the text. It’s very clear that they’re in love and that they’re in a romantic relationship. I don’t think we would be doing the Anne Rice universe or doing the Vampire Chronicles if that wasn’t the case. I think it would be something else. And it would be a waste of time for us too because the fun stuff comes from the complexities of the relationship and the dynamics and all the detail and nuance that they have. If we’re doing a “will they won’t they” or, like, subtle glances across the room then you spend all the time on that tension rather than the really complicated toxic dynamic that exists between the two of them.

JA: Yeah, and then also playing that off against that tension and the aftermath of some of those fights. It suddenly rebuilds this sexual and emotional tension. Like you said, you get to explore the breadth of a relationship. But yeah, they’re each other’s endgame, aren’t they? In the books, they always come home to each other. I think it’s telling that that seems to be the denouement or the end of a lot of the novels: Louis and Lestat being petty and in love.

Esquire (Sept '22)

Q: The 1994 film adaptation of Interview With the Vampire shied away from depicting the romance between Lestat and Louis. Your adaptation is very explicit; at one point, we even see Lestat and Louis have sex while levitating. Rolin Jones described this series as “an excitable, aggressive, toxic, beautiful love story.” What did that mean to you, finally getting to tell the story in its full, explicit sensuality?

SR: I was very happy it was going that way, because it wouldn't be Interview With the Vampire if it didn't. It’s really important that we explored that, because a big part of their relationship is this intense connection. Anne Rice describes drinking each other's blood as incredibly erotic, almost like having sex. So how do you translate that on screen? I guess nude levitation translates quite well. I think it's really important that we don't shy away from it, because if we spend the whole season going, "Will they? Won't they?," we don't get to the really interesting parts of this complex relationship. Getting straight down to it means we can look at the dynamics of this pair—how they hurt each other and how they build each other up.

JA: With the levitating scene, we talked a lot about how you need those moments of joy and excitement and romance so it's not all about tortured Catholic guilt. We've seen vampire stories told that way before, and like Sam said, you then can't get into the messiness of their relationship. You have to really believe. You have to know that these two people are in love. Being in love is complicated and beautiful and messy.

IFC Center

Q: Sam, from the beginnings of the vampire traditions in literature and theatre, there’s often been a gay subtext. But for this adaptation, subtext becomes text.

SR: Yeah, I would say it’s not subtext, cause in Anne Rice it’s pretty damn clear. So it’s not subtext becomes text, it’s just text is now being text. And I think, fuckin’ yeah, it should be. If we’re going to do Anne Rice, we might as well do Anne Rice properly.

SR (about Lestat’s otherness): He’s come from some pretty intense experiences where he’s learned the history of vampires and things like that. And Lestat has come over from Europe to get away from the catechism of humanity and the way that’s kind of slapped on top of the vampires. That it’s all about self-flagellation in Christianity, Catholicism, that we’re all monsters and as a monster you have to serve Christ by being a servant of the Devil. You’re a monster: wake up and serve Christ. Which is what he’s discovered in his past. And Lestat thinks “That is garbage, and I’d much rather have a good time and I’d much rather celebrate myself.” Because he didn’t get a choice, he didn’t get to choose to become a vampire, he was forced into it. And I think we comment on it on the show, that all vampires are born out of trauma and that’s why people identify with them so well. Because they are traumatic, painful beings – often there’s sexual trauma in it as well. So he’s come to New Orleans to get out of that, to start his own new life, really. I think his bisexuality, his pansexuality has always been a part of that character when he was human, before he was a vampire, and I think that’s something he’s always embraced. It’s also something that’s quite heavily embraced in the vampire world as well, so it’s a nice space for that to work. And then once you become a very powerful being, the mess of humanity, all of these rules and things, they don’t matter.

io9

Q: Why are vampires associated with queerness?

SR: It’s being an outsider but also owning it, and owning a space. And they’re sexy and cool. They’re awesome.

JA: There’s definitely as well something about growing up marginalised, and sometimes (…) you feel like you relate to the monsters more when you grow up othered. You feel like “Oh, this is supposed to be scary but this creature’s being treated the same way that I’ve been treated sometimes”. There’s just something very welcoming and comforting about that and I think those ideas exist together.

SR: And they also live life by their own rules, define their own terms. It’s their own space, it’s not within any conformity. And actually, in our show, we do that a lot, like “Why are you so interested in this bullshit human existence?” I mean, there’s so much more than being confined to one thing or being told that you’re one thing by society.

Pride.com

Q: In this version, the queer subtext is out the door, it is fully textual. Why do you think that was important for this version?

SR: I mean, it’s funny when we talk about subtext because, like, I was a fan of the books previous to being a part of it, and I can see why, particularly in the first book, it could be considered subtext. But I feel like, especially from the second book or even the second half of the first book, it’s really text. And so I feel like it wouldn’t be Anne Rice’s IWTV or Anne Rice’s universe or Vampire Chronicles if that wasn’t properly dealt with and addressed. And as soon as you get through the fact that they’re in a romantic relationship and that they love each other very deeply, then you get to really look at what the hell this relationship was about, what are the nuance and the complexities of it, cause it’s not as straightforward.

ScreenRant at SDCC 2022

SR: I’m really excited for Anne Rice fans to actually get to see Louis and Lestat in a romantic relationship, and we’re not shying away from that in any way, shape or form at all, and don’t even bother… It’s straight up from the very beginning.

Q: Can’t say they’re besties?

SR: Never. No, it’s love at first sight.

JA: They actually kind of don’t like each other. They’re just very in love.

SR: Yeah, very in love. I mean, it’s love at first sight and Anne was very clear about that, for Lestat at least. Had to do a bit of wooing to get him there, but he gets there. So I’m excited for people to see that, because everyone deserves it.

TV Guide

SR: You can see these two monsters, these two men, kissing under Jesus Christ like they’re supposed to be and like they’re valued and important in the eyes of God, and they’re loved; or like they’re the antichrist and they’re here to burn that church down.

TV Insider

Q: Sam, Louis and Lestat’s romance is made explicitly clear in this version, and other than it being loyal to the book, why do you think that’s important for a modern series?

SR: I mean, it’s what exists in the world. Sometimes you hear people say that we’ve made the subtext text when actually we’ve just gone back to the text. It exists. So it’s important to honour that because that’s what was written and that’s why a lot of people love these stories. This love story exists and it’s a complicated love story and they’re complicated monsters who are in love. It would be a real shame if we didn’t honour that.

Vanity Fair / Little Gold Men Podcast(June ’24)

Q: I know a lot of queer viewers who have been drawn to this show, because it’s telling this really unabashed and fluid queer story that’s also […] this bizarre melange of tones and ideas. That feels like something that this community hasn’t gotten a whole lot of, and I think that’s one of the reasons it’s resonated so strongly.

JA: And that’s what I mean. If there were people that didn’t know that we could do this, didn’t know that this existed, that there was this space. That’s where I’m excited for more people to watch it. I don’t want to generalize about areas of America or the UK, but there are areas where you don’t get access to it. I think we can be very London-centric, LA-centric, New York-centric, and only see that. I would love it if there’s a kid who really needs this and sees it and is like, “I’m going to do my own thing,” or that’s just like, “I’m going to go out into the world feeling a little bit more comfortable in my skin today.” That’s beautiful.

Time Out (August ’24)

Q: It’s a LGBTQ+-centred story. Is it important to you to be a part of queer narratives?

JA: It’s unapologetic about its queerness and that’s beautiful. I see so many stories that skirt around things because they don’t want to offend anyone. My character is a Black creole man and he’s queer and he’s kind of awful, but those things aren’t all tied in together. For me, that’s the dream of representation: that our behaviour isn’t entirely tied in with our identity.

[ssasides205]

had a realization that's making me insane but we as a fandom weren't angry enough abt sunshades

also, this is entirely related, so I'm dragging them here too, but the voltron fandom was not angry enough abt Shiro's sudden gayness

now, the similarities are these:

both were retconed gay during the second half of their series

both were given their "endgame" romantic interest at the very end of their series (yes I know TOA exists now, but it came out in 2016, 2 years after BOO)

both fandoms became really weird abt those who dared to have shipped the character with a girl (Nico was canonically gay for longer than Shiro was in their respective media, so it's very rare to see those old ships, but they exist all the same)

both fandoms were all too happy to start extreme shipping them with their last minute love interest (the voltron fandom latched to Adam so hard it makes the sunshades seem tame, Curtis way less so)

the differences:

the voltron fandom should've been angry bc Shiro hadn't had any buildup as a gay character (whatever shippers saw notwithstanding), the problem being that if the show had gone with it's original Shallura plans (I saw this in like a commentary on how the show got made), they would've had to make someone else queer (for bait reasons), and they couldn't make hunk queer cause they did the whole thign with Shay, and Pidge was the youngest so like,,, they couldn't make keith queer cause he's the only "white" character and therefore has to be the token straight protag, and if they made Lance queer without makign klance happen I think something would've exploded.

so last minute gay shiro, burry your gays trope included! but oh, don't worry, he gets married to this random two seconds background character in the end!!

the PJO fandom, on the other hand, went through more than half of HOO watching Nico and Jason be like thatTM and then just, acepted will? the same ppl who tell you valdangelo wouldn't happen cause they had only one interaction? those ppl??

what, they just took the 1.5 bit at the VERY END of BOO and ran with it? I know lack of representation was a lot worse back then, but if that thing came out now I don't trust y'all to call it out like you should

like, I remember spending that whole scene being like "who the fuck's this guy" cause I didn't register background characters unless they were plot relevant, and nothing about that scene was all that romantic either

it makes me so angry, and when they announced the show I hoped they'd make it as close to the books as possible bc then maybe more ppl would see it two, but apparently Riordan added to the first series post-fact? and the tv series is already making changes?? and they'll probably work sunshades into it earlier bc of TSATS but gods, even if they don't it might still not happen, bc y'all just settle for scraps.

anyway, sorry for the rant, I jsut wanted to get it off my chest, and sorry if I offended y'all, I just think you deserved better.

[rs-hawk]

wild to me that ppl are saying you're making being native your whole personality and that you're too political but I remember a handful of times you got ppl criticising you for writing monster smut w native mythos and "appropriating" native folklore and you're just like "I'm native tho..." like there's no winning w ppl when your very existence is political. (I'm not native but I'm disabled, queer and fat and have gotten criticised for highlighting my struggles)

Literally like?? That was wild. I got accused of basically not being Indigenous enough because made it too hard to find on my page (even though I had posted about it multiple times and only had at that time like 100 posts) so at least that Anon thought it was more likely I was appropriating myself than being Indigenous, now I'm getting crap for it being what, too obvious?

I agree though. When people consider your very existence political, there's nothing you can do to not be political.

I delete most asks about this kind of thing because I know it's a "Don't feed the trolls" situation, but I get anons all the time complaining about me saying AFAB/AMAB, trans<insert gender>, Cis, fat, how I portray Disabled!Reader in the God x Disabled!Husband series, etc etc. I think some people just like being unhappy because I get primarily overwhelmingly positive feedback and people saying that some of what I write is the most positive portrayals they've seen in a long time. I try my best to pull from my own experiences, and I do listen to criticism. I want my page to be a reprieve for people, and if someone found my work disrespectful in a genuine sense, I would want to know. That's one reason I have my anons on and my inbox and messages are always open. Also why I was very careful about my tagging and trigger warnings with the Raven Mocker piece that started that whole situation because I know many Indigenous people wouldn't want to read it. Like how I block tags relating to Sk1nw4lk3rs or W3nd1g0s because I'd be paranoid the whole time reading it, and I'd personally find it disrespectful.

I'm happy with what I write and glad other people enjoy it. If others don't just because they don't like it or me, I want them to block me. I want everyone on my page to be happy and enjoy my work. If they don't like me or my work, they shouldn't be here.

[starrylayle]

Marauders Fandom > "There is no canon !!" and other rhetorics

Guess who's back in their marauders phase after 2-3 years of being dormant lmao?? ((spoiler its me lol)). Anyways, a lot has changed since 2021 in this fandom so I just wanted to talk about the direction i think it's going.

I remember in 2020-21 the fandom started to boom in popularity on tiktok --> esp with the rise wolfstar + atyd. I remember people were so suprised with remus' characterization as 'rougher around the edges' instead of the 'soft boi' thing, and how that influenced the new wolfstar dynamic. [Just want to add that the atyd characterisation is much more complex than this and its one of my fave fics --> I'm more talking about the fandom at large's reaction to this)

And since fandom is incapable of having two nuanced and characters who are not stark opposites,, their roles were basically reversed and now Remus is the toxic dom alpha male and sirius is the cute girlyboy twink --- which um,,, the oc-ification is so real its embarrassing but whatever (omg don't even get me started on jegulus 💀)). I just assumed these would stay as headcanons. But now we have people saying, that 'we barely know anything abt the marauders in canon' or 'isn't the whole point of fandom to make shit up?' which i have sO many issues with so let me just try and compile my thoughts into dot points for the sake of coherency.

'we barely know anything abt the marauders in canon' ---> First of all, Remus, Sirius and Severus are fully fleshed out characters in the og series -- why do you think people would care enough to create an entire fandom based on their backstories if they were 2d flat characters in canon?? Like bffr. I saw a post on here (forgot who it was by, let me know if u know!) that said, 'I didn't cry over sirius' death in OotP just for ppl to say that we know nothing abt him in canon'. Like, its just mind-boggling to me lol.

'isn't the whole point of fandom to make shit up?' --> Ok y'all. For a fandom to work, there have to be some guidelines, some kind of source material, some point of reference so people can build upon it and make content. I think we can all agree on that. One reason why HP is such a popular place for fandom is the world-building and potential plots/storylines. I see some people argue that jk rowling was a shit writer anyways so might as well contradict everything she says. Now, I don't disagree with that point in particular, Jo is a pretty mediocre writer and a terrible person. HOWEVERrr, I'd argue that it is a lot more fascinating when people expand or work on the concepts in HP. JK Rowling has a lot of great ideas but executes them terribly -- I love when fic writes do this, which prolly explain why I love atyd as it is still very much canon compliant but executes themes on class, disability and queerness that jkr could barely do in subtext. This doesn''t mean I only think canon compliant fics are valid. That's not the case! I think as long as the charcterization is consistent to the character and the particular circumstances/world they're in, its fine! In fact, I love seeing how the same character would function if in a different place! I also love seeing explorations of the magic and magic systems in aus or fix it fics (or even canon compliant ones) that still fit in with the canonnical system that we know.

I guess what I'm trying to say I wish the marauders fandom explored the world and charcterizations more deeply instead of creating shallow oc-fied version of the characters that fit into whatever's trending -- like just write your own book or smth lol -- booktok will eat it up i promise.

Also, kinda related kinda not but um,,, why are we romanticising fascists -- like babe no evan rosier is not your babygirl he canonnoically tortured multiple ppl and became a death eater soo... not saying that I wouldn't want an exploration of his character or even a relationship with barty -- (who's not some cool dairk-haired edgelord but a actually a cowardly fascist murderer with blond hair -- yes the blond hair is important) -- I'd just want them to be portrayed as the not morally good people they are. Like,, if u want to oc-ify a character like pick someone whos not a death eater or has little info on them like dirk cresswell or frank longbottom,,, or ya know,, one of the MANY female characters in the fandom ((This fandom also has a problem with women and sapphic ships in general but that's a whole other issue lol).

I know this 'babygirlification' of death eaters doesn't mean to do this, but it also ends up watering down the themes of oppression, bigotry, etc and leaves us with not nearly as complex characters. Also one of the issues I had with the og HP world is that JK will introduce concepts like wizard racism and slavery and then just like,, not really do anything about it or just have half-arsed redemption arcs whilst not ever actually exploring the root of the issue. And now i feel like the fandom is following in those footsteps unfortunately.

Anyways, i've been rambling for too long so I'll just leave it here. Sorry if this came off as mean spirited in anyway,, I just have a lot of thoughts™ and my family is sick of hearing them lol. These opinions are not set in stone however so I'd love to hear your thoughts on this subject! At the end of the day this is fandom and we're supposed to have fun -- so yeah !! thanks for reading if you made it this far!

[am-i-the-asshole-official]

Would I be the asshole if I refused to go on a trip?

A family friend has a 6 year old who is in a harry potter phase. I used to have the phase, I grew up, I found stuff out, now I'm not a fan, but I still own some fan stuff from the time (the books, a wand, a card game). They're covered in dust now, so I didn't mind gifting them to him. After all, it was ages ago. The friend recently started vagualy talking about a trip to London (we're czech) to the HP museum for his upcoming birthday, and asked me whether I'd be up for joining them, as she doesn't speak english well and considering my past love for the series, she thinks I'd be the perfect person to go with them and translate. I've also already visited London, unlike her, so the thinks I have some valuable experience. She offers to mostly pay for it and promises me some great stuff, she's pretty much begging me to do it.

The thing is, I'm not a big fan of JKR, for publicly known reasons, and I'd hate to support her or her work in any way. My country is very outdated when it comes to queer people, same sex marriage isn't even legalised, let alone some ultra great rights for trans folks. I'm a teenager and I'm not even trans, if I spoke to the friend or my mom about it, they wouldn't support or respect my choice and call me out on overreacting. They for sure just wouldn't understand. The friend is always there for me, I love her a lot and it feels ungrateful to dissapoint her over the one thing she's asking from me. And I love London, I'd absolutely love to see it again, god knows when I get such an opportunity, but this feels wrong. Or I could try to make up a false excuse? Am I being an asshole?

What are these acronyms?

[rachelillustrates]

My top 7 Faerie stories/worlds atm 🦋

**Note, I am super dupes aware that I haven't read/watched everything, so please feel free to reblog/comment with recommendations!**

Faerie is the pulse of my heart, and my mind/spirit/etc. spends a LOT of time thinking about it, SO here's the most resonant of depictions of the realm/faeries themselves in my current opinion (and why).

(And not in any particular order:)

Elfhame, @hollyblack 's "Folk of the Air" series and all related books

Arda, Tolkien's "Lord of the Rings" and all related adaptations

"Suitor Armor" by @thepurpah

Studio Ghibli's take on spirits in Japanese folklore

Brian and Wendy Froud's take on Faerie

"Fraggle Rock"

"Tock the Gnome," by myself!

Thoughts:

(Art by Rovina Cai, from "How the King of Elfhame Learned to Hate Stories")

I feel very much that Holly Black gets the lushness and richness of Faerie, plus the trickery of it, and that level of dangerous beauty - what attracts humanity to it, etc. How everything is in extremes, too, but also how parts of it echo the human experience - both in terms of courts, but also in terms of the heart, and the emotional impact of intense circumstances and intense feelings.

I am, admittedly, not all caught up yet since I haven't read her earlier works, but of course I recommend starting with "The Cruel Prince" and reading forward from there (the more recent "Stolen Heir Duology" having an extra special place in my esteem)!

(Also special shoutout to the fact that there are Nisse - Gnomes! - in the recent books, AND that her take on Redcaps is absolutely Orcish 💚)

(Also also, cw: Changelings. They can be a triggering/upsetting subject, considering how our concept of them as humans seems to have come about. She does make pretty heavy use of them, but not in the ways that one might expect, and always from a very emotionally-centered space - not a humans-abusing-potential-fae space.)

So, Tolkien - yes, I am including the world of his works in this because even though he considered them religious and specifically-denominational, he took SO MUCH inspiration from folklore and faerie tales (do not even get me started on what got edited out of "The Silmarillion" istg) that Arda is not wholly Christian, from my Faerie-worshiping queer-ass faerie perspective thankyouverymuch. Not to mention what is being done in fandom with the faerie-races, especially the Dwarves and the Hobbits, AND what recent adaptations are opening up with the Orcs!! Obviously, his take on Faerie is a much more literally-grounded reality - they exist in the Earth-based world (as if Faerie has bled into what we expect Earth to be), they have magic (at least the Elves and Dwarves do) but it's both somehow super ethereal and super physical at once. And divinely connected, since the biggest magic in Middle-earth (or any part of Arda) comes from the lesser Gods - the Valar, and the Maiar who serve under them as well as from Big Sky Daddy Eru, but we're not talking about him right now. So that, to me, really speaks to the spiritual nature of Faerie too - which is always always always personally interesting to me, and Jrrt's take on the fae was absolutely foundational in my budding concept of them, before I even really thought about who they are in a conscious way.

I don't know where to recommend starting, since I got into the world through the Jackson films, first, and I wouldn't change my experience for anything because it's given me SO much. But in fandom, shoutout to the works of @conkers-thecosy (read her fics here!) as well as "A Long List of Happy Endings" by vicious_summer and "The Mushroom Mine" series by @chrononautintraining for Dwarf Stuff - and "Splint" by HelenaMarkos for Orc Stuff. Plus, as much as I know it's divisive, "Lord of the Rings: The Rings of Power" is - again - doing wonders about the Orcs AND doing very well by the Dwarves too, in my opinion, showing them as a fully realized and thriving people (though Dwarf women should still have beards, Amazon!! And there seems to be some confusion around how the name of Durin functions...)!! Available to stream on Prime, here.

"Suitor Armor" takes place in a world that appears very similar to medieval Earth, and as such the worldbuilding itself doesn't feel very specifically Faerie - yet. However, with the main character having significant ties to the fae, and with the story still having space to explore their culture once the tale takes the characters there, I have faith that we are gonna see more of this take on Faerie specifically soon. In the meantime, what we have seen so far - how faerie magic works, how they relate to each other, etc. - rings true for me, and is lovely to behold, especially in the face of the tragedy around their circumstances in the Big Plot.

Free to read here (and coming to bookshelves in 2025!!).

As for Studio Ghibli - Miyazaki's take on the spirits of Japanese folklore - which are absolutely Faerie - was SO formative for me growing up. I don't have anything else to say about that except that he's right!!

I recommend "Princess Mononoke," "Spirited Away" and "My Neighbor Totoro," particularly. All available to stream on Max right now (but buying physical media is better, and they're very likely available to rent other places, too).

Brian and Wendy Froud's work has, of course, also been absolutely formative for me - especially when I started getting into Faerie properly. Their work doesn't require much commentary either - they're just correct 💗 Nothing I've experienced has ever contradicted what I've read in their books, and I feel like their work really, really gets the energy of the fae and the liminality of their existence. And that there is kindness, and light, as well as danger.

I recommend "Trolls" and "Faeries' Tales," to start with, and of course the quintessential "Faeries" by Brian Froud and Alan Lee, which started it all.

(Also, considering what's below, special honorary shoutout to their work on "The Dark Crystal." Definite overlap there and absolutely counts.)

Obviously there's some crossover with The Muppets here, considering they come from the same studio, BUT if we're looking at just "Fraggle Rock" on its own - absolutely. Though a very different take than those mentioned above, if you're looking for the whimsy and delight at the heart of the fae, the Fraggles have it.

Both the original series and the reboot are currently available to stream on AppleTV.

Okay, and my own! What I'm doing with the world of "Tock the Gnome" is a little bit different - again, we're looking at a realm that isn't free from some of the physical bounds we find on Earth - but in its vast history there is Faerie at its purest, and the characters are on a Big Quest that will be instrumental in restoring the realm to what one would expect of Faerieland (all wrapped up in a body-positive, sapphic-presenting queer romance, btw). My focus is on Gnomes and Orcs, in particular, since the fact that they're also fae is a big part of my message. Recognizing that, as well as recognizing the importance of connectedness between people and the balance of that and personal sovereignty, and how damage to those things might impact the whole of a magical realm.

All pages available to read for free here, across several platforms (with print issues available here).

🦋💗🦋👏👏

[cipheramnesia]

hi :) i know youve already answered recs for queer horror movies, but do you know of any more trans horror movies, specifically?

Trans horror films by and staring trans people is pretty thin. I'm not versed enough in the small and indie short film world where I think most of these are likely to be found. The closest I know to a mainstream horror movie with a trans protagonist played by a trans actor is Bit, which is a movie so bad I would have not finished it otherwise. Not recommended.

My most controversial pick is probably going to be Sleepaway Camp 2+3. I've talked about this series at length and it's probably going to in the trans movie discussion for as long as humanity exists. That said, I find trans woman slasher Angela Baker delightful fun. The first movie is a different animal and it's um something.

The Wild Boys is honestly amazing. I don't know if there's a right way to go describing this, but the basic premise is a group of murderous juvenile delinquent boys are shipwrecked on an island which slowly transforms them into women. Women all play the roles of the delinquent boys, creating a strong sense of realism. It's a strange, violent, queer, surreal French film and I would call it a queer horror essential.

Titane wasn't intended as a trans movie by its director, but its also hard not to interpret trans elements in a movie where a woman disguises herself as a man including breaking her own nose to radically alter her face, eventually is sort of taken on as an adoptive son, and never really wholly returns to any feminine roles. Much like The Wild Boys, it's a glorious and surreal movie and another movie I'd consider required viewing.

Boarding School is a whole lot. I'd say it needs some trigger warnings for child abuse, child death, and nazi / holocaust trauma at least. Boarding School is a strange and highly distressing mixture of revenge, ghost story, and child abandonment, all wrapped around a young trans child exploring gender. It's a stunning, gorgeous and dreamlike movie. Not precisely surreal, but paralogical in places.

We're All Going To The World's Fair is by a trans filmmaker! Fuck yes! I wouldn't call it mainstream, and it's clearly on the experimental end of the film spectrum, but it's widely critically acclaimed and has a lot of trans feeling put into. I'd also recommend it for atmosphere and a sort of quiet sense of emotional unrest. Filmmaker Jane Schoenbrun's next film, I Saw The TV Glow has been picked up by A24, so keep an eye out for it.

Bad Things is sort of the inverse of World's Fair, a queer movie staring queer and trans actors, it's, well, fine. For a film with a banger of an idea (The Shining but all queer) and so much queerness in the production, it's shockingly flat, listless even, as if no one wants to be on the set. But, well it exists I guess.

Der Samurai is hard to say if it's intentionally trans, but features a strange gender ambiguous figure in a gorgeous flowing dress who terrorizes a small German town with a samurai sword and seems to be seducing a young, lone policeman through the night. Ultimately tragic in its conclusion, still a beautiful film and dear to my heart.

Lastly, I want to give a shout out to the Chucky movie series. Starting with Seed Of Chucky and going through at least season two, it gets very weird with gender and is very queer.

[diaphin93]

Racial Allegory: The Quick guide on how to write The Whites as the true victims of racism

Okay, try to keep it quick here, I got this hitpiece shown to me and it dabbles into a topic I wanted to write about for a while: Racial Allegory

To make things super short, racial allegories can make for captivating and engaging narratives concerning bigotry and can often be a good narrative tool to subvert tropes and conventions in genres such as fantasy, sci-fi and horror, to analyze relations and depictions of fictional races under the lense of bigotry and marginalization.

The issue with the whole 'genre' of racial allegory is though, that it does very little to actually adress racial injustice and White Supremacy in real life, especially in the western world, as this would require a closer and more critical look into how our history, culture and social systems are shaped to benefit white people over people of color and how even to this moment, the western quality of life is entire build upon colonialism and the continuous exploitation of the global south.

More importantly and more problematically, racial allegory as a genre is highly centered around removing people of color, or in some cases also queer people, from stories about their own oppression project them on a cast of mostly whites and cisheterosexuals. Even in cases where racial allegory is utilized in a diverse cast, it is often used to defocus stories about oppression away from the people affected by them, by inserting liberal colorblindness onto human ethnicity. The X-Men started off as an allegory for the civil rights movement, yet its original cast was comprised of white mostly middle class teenagers, lead by a an upper class white man who owns his own private school. The very premise of the series takes inspiration from the struggle of the black community for equality and instead makes it a fantastical adventure about white kids. And lets not get started with the messy origins of Magneto as a character.

And don't get me wrong. I love the X-Men. They are my favorite Superhero series ever and I absolutely adored X-Men 97. They are great and they are capable of telling good stories about opression, marginalization and resistance. Magneto is my all time favorite Marvel Character and one of my favorite characters in fiction period. And potentially they can be a good starting point to teach younger people their first lesson in concepts such as bigotry and tolerance, but we are all adults here, and I think at some point there is something wrong with grown up people to whom the X-Men are still their first point of reference when it comes to making a point about bigotry.

Because the problem with the concept of the X-Men is exactly of what the original poster brought up here: They fall apart under any closer critical evaluation, because yeah, they are actual dangerous. We wouldn't want in our real lives people who are capable of copying in every detail, up to the intimate, who can cause rapidly changing climate conditions, mess around with he earths entire magnetic fields or infiltrate and manipulate our very mind at a whim running around without any accountability and oversight. You know with what butwhatifidothis surely would agree? That we don't want people to have the means of commiting mass murder at any public location without any regulations, control and oversight. I'm talking of course about gun control here. What we also don't want surely is people being able to change the climate around us for whatever personal benefit they deem fit, to invade our privacy and gain access to our most personal information, to incorperate our image in any context on very public plattforms or be able to kill any innocent civilian without any means to stop them.

These exist in real life of course. They're giants of industry, tech companies, people who creat deepfakes and any police officer, armed redneck standing his ground or white Karen calling the guy on a black guy in a park. And this is really where such racial allegories fall flat, because minorities in real life are not those who wield this form of unchecked power against their environment, but those who get targeted by it and protest to stop it, to creat checks and balances.

X-Men ultimately is build around never thinking too deeply about the implications and just accept the premise, to engage with the fantasy of superheroes who are the underdogs fighting against oppression and for social acceptance. They live off of ignoring the bad optics of, for example, a white girl lecturing a black man about oppression. Becoming too immersed on them on the other hand, to obsessed with their initial premise, too uncritical of it, leads to some fairly bad understanding of bigotry and marginalization, to the point where one basically becomes obsessed with contextualizing those who hold power as the oppressed against the weak, impotent masses. You start at X-Men and end at The Incredibles, of which the randian subtext has already been well enoug discussed.

Going back to Fire Emblem here, away from X-Men, there is already a fairly objectivist fantasy present in the people who make Nabateans their primary racial allegory. Lets not ignore the problematic aspect, that the game doesn't really do racial allegory. It does racism, targeted at people of color, with the most violent examples being commited by the Holy Kingdom of Faerghus and with Claude, a mixed race man, having already confirmed it to be the result of the churches doctrine of xenophobia. Instead of getting invested in this though, people like OP focus on the Nabateans as their primary racial allegory. A group of immortal dragons with power beyond any human, who are the offspring of an alien dragon goddess and who used to rule humanity as deities. And who are, of course, depicted as whiter than white, their differenciating traits being elvish ears and mostly light green hair which, lets be honest, would be understood analogous to blonde hair if it wasn't explicitely shown to us to be special, considering the presence of colors such as blue and pink as regular hair colors in the setting. Ignatz and Linhardt even have green hair without being ever framed as looking anything out of the ordinary, lol.

And I think it becomes fairly self-explaining here. There is something deeply randian about hyperfocussing on a race of superhuman immortals who frame themselves as superior and with the duty of leading the weaker, dumber, mundane masses as someones primary racial allegory. Because it becomes immediately muddy. Rheas entire outlook on humanity and her role in relation to it is never one of equal co-existance, it is practically her claiming the white dragons burden, as horrible as it sounds. And many of her defenders among the Edelcrit community take exactly this stance as a moral good, which is inheritly problematic. I'm talking about people such as butwhatifidothis, gascon, randomnameless and fantasyinvader, Boofire too if we want to include youtubers.

There edgy "humanity can't be trusted and is inheritly incapable of controlling itself" position is not progressive. Its deeply elitist. It is ultimately a reflection of contempt towards the common masses. It is the act of primarily immersing oneself with those who stand above those supposedly unenlightened masses and taking the position, that they are incapable of governing oneself. And the act of hyperfocussing on constructing a racial allegory around it, it also means to immerse oneself into the idea that those born with powerful are the most victimized and marginalized group in society by the inferior, who want to take away their rightful positions of leadership and power. It is also sadly one I feel like is highly encouraged by the Blue Lions route in general, by its decission to focus mostly on the way those born with crests into nobility are mistreated and envied by those without them, probably by accident encouraging those kinds of randian implications.

And as a disclaimer, I'm not saying here that one can't chose the Nabateans as ones favorite and feel deeply sympathetic and empathetic around their plight, because this is one is real real as well. They were victims of a genocide orchestrated by Agarthans in their attempt of getting vengeance against the Goddess Sothis for their own destruction, they had their blood stolen and their bodies defiled by bandits who wanted to claim their power for themselves and uplift themselves to the status of rulers. They are deeply human and their depth comes from the fact, that they deal with trauma in very flawed, very human ways. The issue comes from viewing the Nabateans as both sympathetic victims but also inheritly superior beings with Rhea being framed as justified in the oppressive systems that are the root cause of the majority of issues inside of Fodlan. Something the games text supports. Their Crimson Flower ending describes Byleth as ending the Tyranny of a Godlike being. In comparison, the Azure Moon Version speaks about crushing the Ambitions of the Empire. Rheas own S-Support has her admit her guild and be remorseful for it, the ending card speaks about her rehabilitating the church.

So in the end, yeah, hyperfocussing on racial allegory over actual depictions of racism centering people of color can be problematic, they often have messed up implications and require just accepting the premise and alot of people are really into imagining themselves to be both the superior elite but also the underdog.