#Media Youth

[dangerousbrick]

[aimedbladeatyou]

[fanaticalthings]

POV: You're the oldest sibling

it's tough being the oldest.

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Bonus:

[swampthingking]

andrew’s definitely gotten in trouble with his pr manager for tweeting things along the lines of:

“no mania inducing medication will compare to the euphoria i will feel the day donald trump drops dead”

[otaku553]

Haha

[castingpods]

Representation is so important bc im sitting here crying again to foolish from the bright sessions musical episode. I never DID dream I never DID hope I never did have the time!!!! I never dared I never tried to yearn for something that never could be mine!!!!!!!!!!!!!!!!!!!!!!!

[dykedvonte]

Do you have anything you've been thinking on but just haven't made a post about it yet? Also I'm really enjoying your fic!

I have a few things but it's likely mostly headcanons that I consider somewhat disconnected from my analysis.

Curly's parents had him old, only child, died shortly after he graduated and got the pony express position. It was the last big thing they saw him do which is a reason he stayed for so long.

Doesn't admit how much their death affected him

Jimmy has a largish family. One of the cases of too many kids to keep tract of, parent never really noticed any of them nor their behaviors

Anya lived in a lot of houses growing up, regular supportive family that just struggled to support themselves.

Became a nurse largely to avoid their financial struggles but mostly because she felt too many people weren't being cared for and advocated for in the world properly

Swansea likes high top sneakers most. Likes how snug they fit and how they shield his ankles at work

Curly has a bit of a caffeine problem since he can’t sleep. Can occasionally be found wandering the ship at “night” when he had some too late or just couldn’t sleep.

Daisuke knows a little about a lot of things. Starts conversations with “did you know” a lot but please don’t ask him deeper questions

Curly has known Jimmy longer but has worked with Anya and Swansea longer, met them during his middle years, met Jimmy shortly before college.

Swansea rents a house, Daisuke’s family lives in a big nice apartment, Curly has a condo, Anya live in a small one bedroom apartment and Jimmy has a studio.

Curly's home is very disconcerting. It's too normal to a like uncanny degree.

Anya is ambidextrous but prefers her left.

Anya and Curly are both not native English speakers so occasionally they forget words and bond over the mutual mocking they get from the rest of the crew. Daisuke knows some Japanese but is still learning, never picked it up as a kid

Only Swansea and Daisuke know how to drive, Earth in my mind is very post capitalist so only older people and like the extremely wealthy can afford cars.

It's also like walkable just due to how many businesses are in your face. Probably strict living vs shopping districts

I have more but the way that I headcanon about them is like too long.

[zombie-bait]

Listen I could spend forever writing an essay on why Rocky Horror Picture Show works so well but I think it comes down to the movie just being unapologetically horny and queer. It’s a film that says it’s ok to let go of everything dragging you down, it’s ok to be monstrous and strange in all the ways normal society just can’t understand. You should go and be the person you are because you just might end up really enjoying it.

And above all that you can be desirable. You can be sexy and free and fucked up with everyone else who’s just like you.

Why be normal when you can be extraordinary?

[avvocarlo]

it has been pointed out before but I like how the 9 news logo is there because that should be the typical response to anything they do

[dangerousbrick]

Machine Vicious May 1999

[dorkbait]

"anarchism is the only philosophy which brings to man the consciousness of himself; which maintains that god, the state, and society are non-existent, that their promises are null and void, since they can only be fulfilled through man's subordination." -emma goldman

[deramin2]

I don't know how to really express this except to come across as a "kids these days" scold, but so much of the criticism of queerness in Good Omens would simply not be a thing if kids these days watched more 20th century queer media. Or more complex indie queer media in general.

People seem to want a show that's like the straight stories they grew up with but gay. Or the gay fanfiction they grew up with. But that's not really the tradition it's coming from. First off the novel was released in 1990. Queer film classics of the time are Dead Poet's Society (1989) and Torch Song Trilogy (1988). The TV miniseries Tales of the City (1993) wasn't made until 3 years later and it was so far out there it never had a huge audience. Philadelphia (1993) is also 3 years out and was basically the first big studio queer film. The first fluffy queer Hallmark-style romcom wasn't until Big Eden in 2000, a full 10 years after publication.

Queer stories from the time it was written were about complex and often fraught relationships between people who the world was trying to force apart. There is an incredibly strong tradition in queer films of relationships with no guarantees they will work out both in the face of their personal baggage and the weight of the world. Take a film like Torch Song Trilogy that's about the two great loves of Arnold Beckoff's life over 9 years and how homophobia shapes them. Both externally (especially Allen) and internally like Ed struggling with his bisexuality and being terrified of being publicly out. Written and starred in by Harvey Fierstein, who identified as a gay man at the time and only came out as nonbinary last year.

The Boys In The Band (1968 play, filmed 1970 and 2020) was a monumental moment in Broadway history where finally there was a play about gay men in their own words where no one died and very strongly showed that homosexuality doesn't make people miserable but homophobia sure does. But that homophobia also throws their personal lives into constant turmoil and none of them are in happy relationships, although Hank and Larry are devoted to each other in their own fucked up way.

"Relationships are complicated and hard to make work and sometimes a struggle against the odds" is an aesthetic of classic queer film making. Partly it was influenced by the Hays Code (although independent films were not bound to it), partly influenced by the rampant queerphobia in society at the time that was inescapable. But it's also an aesthetic choice to resist the banal and unrealistic relationship depictions of straight media. There are actual stakes to the relationship. Queer people were actively resisting a world that said "Romance is seeing someone across the room and instantly falling in love with each other and little conflicts happen along the way but ultimately they're destined to be together and everything is happily ever after." Recall that "stalking as romance" was a completely inescapable trope in 1980s straight romance films, and every goddamn movie was being turned into a romance film.

So queer people in film and television when they can make what they please have a long tradition of saying instead "People don't always realize the feelings they've developed for a queer partner right away. They may have reasons for denying those feelings that are both a reflection of the cruelty in society and of their own insecurities. People struggle with where they belong and their relationships reflect that. Loving someone doesn't mean they don't also drive you crazy and you might fight with them constantly. But that doesn't negate the love or that feeling that even if things aren't okay, they're better with that person around. But maybe that person can't stay around. The world may be against you. And also maybe you don't just want that one person in your life. Soulmates is a very flawed model. Sometimes the strongest love is a struggle with yourself and the world and your person. You have to overcome yourself first. Happily ever after is a lie. You may be happy for a while, and hopefully for a long while, but everything ends. And you have to be ready to love again. Also your platonic bonds are just as important and life-altering as your romantic ones. Sometimes those platonic bonds include fucking if you want them to. Real life isn't a bunch of platitudes and world-altering moments, it's daily work to better yourself and the world around you. Especially when things just fucking suck. But also remember to have fun and fuck the haters. People who don't support you can eat rocks and you should yell at them more to shut the fuck up."

That is a fundamentally different outlook on what a "good relationship depiction" looks like. Personally, I thought I hated romance movies and then I started watching queer romance movies and discovered I love them and watch them all the time. Because it turns out what I hated was relationships being shown that had nothing at all to do with reality and privileged incredibly toxic ideals. Finally there was complexity, there were stakes, and there were people who had to truly want to be together enough to fight the world for it and not because they happened to be there. There were people actually talking out their problems and looking for resolutions. (And sometimes that resolutions was "I can't fucking deal with this bullshit anymore and I'm out.") For the first time it felt real.

I'm an aroace trans gay man. Nothing about relationships or being in relationships has come easy to me, and the whole paradigm of straight patriarchal romance depictions makes absolutely no sense to me. It's completely alien. Queer romance stories actually feel human.

And that's the tradition Good Omens is coming from, even as it's being retold in 2019-2023 and hopefully beyond. Gaiman's work has always been based in that queer media paradigm. (I've been remiss and daunted and haven't read Pratchett but from what I do know his work also seems to sit more in that world view.) It's a beautiful cinematic tradition and it's baffling to me that people would resist it instead of embracing it for being honest.

And that's when I turn into a crotchety old man complaining about the youth not connecting with the history of their beautiful culture and instead begging for assimilation into a shithole allocishet media landscape that doesn't actually want them except for their money and has nothing at all interesting or valuable to say. But it's very funny (annoying) to me when people claim Good Omens is someone against queer culture when it's so thoroughly bathed in the best of queer media's storytelling traditions and what people are asking for is straight media with the serial numbers filed off. Like, stop being boring please and know literally anything about the culture the adults in the room lived through and were influenced by. The world didn't begin in 2015.

EDIT: I also want to add that in straight media arcs are linear. Traditionally in queer media arcs are cyclical. Queer media very often depicts people going around in circles relearning the same lesson over and over as they inch towards it sinking in. But every time they go through the cycle they gain just a little bit more enlightenment and slowly move towards a better place. From the comments this is an immensely important distinction. People don't actually have cathartic moments where suddenly all their past bad programming is shed and they saunter forward a new person with none of their old baggage. In reality people fall into the same patterns over and over even though they have had every opportunity to learn better. "People magically get better" is a trope of straight media that's an outright and frankly dangerous lie. Again, Good Omens follows the queer tradition not the straight one and it's depicted 6,000 years of that cycle. The world didn't end, and the wheel keeps turning, as it always has and always will. That's so fundamental to queer storytelling traditions I forgot to even mention it.

[yasmeensh]

I have decided to stop meddling with this piece. It has to be done at some point, and here it is! I'm happy with how it turned out 😁 My last chimpanzee painting was two years ago, so it's time I make another one! Painted in acrylics and touched up with CSP. Shared some process shots too, just below :)

it was very messy.... and the lighting made a HUGE difference in the end!

[whereserpentswalk]

It’s fascinating that you think trans people’s names come to them like wands in Harry Potter, you can’t just culturally appropriate bc you’re trans

Ok, this is about comments I made like a year ago on a comedy bit. While I stand by my feelings that the bit was bad and transphobic, my reasons why are a lot diffrent.

When I first wrote the comments my arguments were very thermian. I treated the story the comic was telling as if it was real and objective. Which feels right for most people, because stand up comedy is often presented like conversation, where we do treat stories like that as real things. But that's not how comedy works, comedians don't tell stories the way we do in conversation, they're creatives, the stories they tell are basically fictional, the art form might look like real conversations but it's not.

Comedians want to make you laugh, and sometimes want to send a message or make you think about things in a new way, but they have no reason to want to portray events accurately. They might be basing some things off of real experiences, but that's true for everyone, Tolkien might have chosen to explore his experience in world war one in lord of things, that doesn't mean we have to argue about orcs as if they're real entities when we're talking about if those books were racist.

So let's actually look at the skit, and analyze its outlook on trans people keeping in mind its a story that a cis man is telling, and not actual events: So the summery of the skit is that a white trans man comes out to his to his family, and he picked a name you'd expect a black person to have. He has older black relatives (who are implied to fully accept him, which would make him possibly the only trans person on earth with a fully accepting family) who refuse to use this name, and instead call him "the boy". The sketch ends with the comedian saying he should pick a name like Kevin, because even if he's trans he's not interesting (keep your thoughts on that last one).

Now, ignoring how this would play out in real life, what does this as a peice of fiction say about trans people:

First off: it's creating a plausible but unlikely situation where the woke thing to do is to not respect a trans person's identity. A lot of political humor exists to call ideas into question with hypotheticals, and the idea being questioned here is the idea that trans people's identities deserve respect.

Second off: it's creating a situation where a trans person is entitled and arogent for wanting his identity respected. In the fiction this trans person is that. But it's promoting the idea that they are in real life. Transphobes will show you a lot of spooky examples of trans identities that are unreasonable to respect, but that's not useally ever what it's like in real life. (An otherkin robotgirl isn't going to demand you communicate with her through beeps and boops, she probably just wants you not to laugh at her.)

Third off: it's pitting minorities agaisnt eachother. Conservatives love this, but it's super common when people try to convince progressives to a specific group from their advocacy. It shows us a world where trans rights and poc rights are at odds with eachother, in the real world they aren't, in the real world they're part of one larger struggle and diminishing one is diminishing the other. A lot of people do this with different identities, lgb types do it with gayness, terfs do it with womanhood, class reductionists do it with class, trscum do it between trans people. But it doesn't help one oppressed group when you shit on a diffrent oppressed group in their name. It's white conservatives who love it the most when trans people and poc at pit agaisnt eachother, and it's trans poc who suffer the most.

Fourth off: it's feeds into a very old myth amoung queerphobic progressives, which is the idea that queer people are privileged people looking to pose as the marginalized to get special rights. This is a myth we really have to get over, because its been internalized by a lot of people, and we get these hunts for fake minorities. This is why the "you're not interesting" line sticks out to me. Most trans people don't give themselves appropriative names, but trans people as a group constantly get accused of trying to steal other people's struggles. This is a myth that preys on the fact that white skined white colar queer people are more visible, and its one that is based on treating that disparity in visibility as a fact. We have to cut this out, nobody fakes minority status to get privileges because minorities aren't privileged. It's not true for queer people, even the queer people other queer people hate like bi people and ace people. It's not true about mentally ill and ND people, or converts to non Christian religions, or East Asian people, or anyone who gets accused of this. Stop it dearly.

Fifth off: this entire sketch is based in the idea that families can accept their trans kids, but only conditionally, only if they prove themselves to be doing it for the right reasons, and they please their family's whims. This is a transphobic idea, it's a transphobic idea most neolibs hold. Comedy bits are a lot like story books (no shade at either) where a problem is presented at the beginning, and a solution at the end, that the audience is expected to take for their own problems. And the solution here is a form of transphobia, the idea that trans people aren't owned acceptance, they need to earn it. I've seen a lot of trans people tormented by their families over that idea. And when a person of color goes and stage and wraps that idea in racial justice, it's young trans poc who get hurt by it the most.

Sixth off: not a huge point, but I feel like a cis black man, of all cis people, should be the most likely to understand that calling a trans man a boy is dehumanizing and insulting. I guess this goes to show he's not interested in thinking about how trans people's struggles are like his, he stands alongside a lot of marginalized trans people there.

Finally I kind of don't know how to end this. This is long. Really long. I don't know whose going to read this, because its a lot. Hopefully you got a bit of media literacy from reading all of this. Early on in my tumblr career, when I had just moved from Brooklyn to Manhattan, I had read an essay by @wifelinkmtg about a concept called the ditch. The idea was we often argue about media wrong, talking about things in hyper literal cannon obsessed terms, and that was the ditch, the ditch we dig for ourselves when we ignore things like themes and audience experiences. Hopefully this series of words dug less of a ditch than my words did a year ago. Sorry I don't have the actual sketch on hand. Mabye I'm wrong, but if someone wants to prove me wrong I'd rather they do it outside of a ditch. Mabye the ask wasn't even about that post. Mabye I'm tired. Maybe you should be tired too.

Sorry for the long post. Media literacy matters. Black trans lives matter. Goodbye, enjoy your night well.

[galacticjava]

"what's ur favorite kakagai fanfic?" naruto

[melodymonaei]

My trans ass is an art of cock 🍆🍑🍑 Reblog if you wanna get my private stories on Snapchat