#We need more strong female characters like Buffy

[sirenalpha]

'I'm a girl I want more feminine female characters not just badasses and always fighting and can also be a girl or not fight at all and just use empathy---'

shut the fuck up

literally shut the fuck up

pretty much every female warrior in media is also a girl who must be into a guy or girly or sexy you gotta make sure the audience knows she's straight and available for guys, her dimension as a warrior character is girl

they're buffy types, she's super strong and fights vampires and monsters but she's into fashion and also dates the male vampires

or they have to wear make up and combat heels and sexy impractical outfits and so on

and these are still NOT the majority of female characters in fiction so don't act like every female character in a published work is suddenly completely preoccupied with fighting just because they finally started making movies of female comic book superheroes

when you look at film cuz that's the only medium I've seen research done on this the vast VAST majority of spoken lines go to men

we still can't get films to regularly pass the bechdal wallace test

the vast majority of female characters ARE feminine! They're so feminine they're treated as support humans for the male protagonist and not real people or characters!! They don't fight or defend themselves they femininely absorb and coddle all the emotions of the male protag and plenty get fridged for man pain

you do not need to ask for more!!!! Shut up!

give me unfeminine as fuck women who kick ass and don't date the fucking vampire, I want my female power fantasy and please hold the damn side of pandering to a male writer, a male character, or male audience

[nimbusalba]

Neil Gaiman, my thoughts and my love for good omens

I already said something about all this deal with Neil Gaiman yesterday in another blog. But I still have Things To Say, so here it comes (with links to all the info):

Here is the article (thank you @procrastiel)

Here is a link to the podcasts for free (thank you @queermarzipan)

Here is the Xitter post with the accusations podcast thingy (thank you @embracing-the-ineffable)

Here is the transcript of the first podcast episode.

The Main Thing I Have To Say:

We need to separate the author from his work (and with this I’m not speaking only about Neil Gaiman). While we might not agree with some things about the author's life or thoughts, that doesn't mean we can not keep enjoying their work, as long as that work is not morally unacceptable, obviously. Let’s take the example of one of my favorite tv shows of all time (other than good omens): Buffy The Vampire Slayer (and with this I’m showing my age here, ahem). Buffy is a magnificent show, a wonderful exponent of feminism (strong female protagonist and secondary characters), diversity (one of the main characters is a lesbian), critical thinking, death, love, inner strength, battling your own demons… As we all know, accusations of harassment against Joss Wheddon appeared in 2020 and a lot of his work was left behind. I agree that knowing that the creator of something you love is an abuser breaks your heart. But that doesn’t mean that you have to stop loving that show, that it stops being a great work of art or that you should feel bad for still liking it. Buffy the vampire slayer is still one of my favorite shows and I still rewatch it from time to time (not on loop as I do with good omens, but that’s another problem). And why? Simply because in that show a lot of very talented people worked very hard to make it great, not just Joss Wheddon. And I appreciate it even more now knowing that the actresses and actors (and rest of the crew)  in the series didn’t have as good a time filming it as they should have. 

My take on this story:

I’ve already said that my first impulse is always to side with the victims in these cases, because they rarely lie and the accusations tend to be proven true in the end. In this particular case, for the time being, I’m waiting for developments, as the information that has transpired is fishy, to say the least. I’m not defending Neil Gaiman either, mind you. Maybe tomorrow we will find another 20 people accusing him of abuse. I don’t know him nor pretend to know what he’s done in his life. For the time being, as I said yesterday, this looks to me like consensual sex between consenting adults. That shouldn’t be news to anyone, even if the practices in themselves are not your kind of kink. It’s not on to have sex with someone who is working for you, of course, but still in this particular case that’s not exactly what’s happened. The woman in question (Scarlett) was a friend of the family, not strictly a worker. They already had a friendship relationship before turning it into a sexual relationship and a working relationship on top of that. With this I’m only trying to say that it doesn’t look like she felt forced to have sex with him in order to keep her job and she has said that the sex was consensual. The other victim has also said that even if she didn’t particularly enjoy the sex it was also consensual. 

It looks like both victims were pretty young when the relationships took place. It's true that younger people can have problems when it comes to place boundaries, and an older or more experienced partner could take advantage of that. It is also true that later in life, when that person is more experienced or has had time to think about things, they can think about what they did and feel uncomfortable with it, even though it didn’t feel wrong in the heat of the moment and they said nothing then. But, as far as I know, that's not sexual assault.

This looks to me as something that’s been designed to hurt Neil Gaiman’s public image. Maybe he’ll come out of it without any criminal charges, as he has already offered his help to the New Zealand police and they have refused to interrogate him for the time being, apparently because of lack of proof yet. But his public image has been tainted, not only because of the accusations, but because anyone who has their sexual life exposed and discussed publicly suffers a great deal of humiliation, even more so if their sexual practices are not exactly mainstream. With this I’m not implying that BDSM or any other kink is wrong, as long as it is being played by consenting adults. No judgment here, everyone has their own kink, and I don’t care as long as they don’t harm anyone (or if they want to be lightly harmed).

Keep also in mind that one is innocent until proven guilty and in this case there is not a lot of proof yet and the place the news is coming from is suspicious, to say the least. Wait for developments (and see).

Conclusion

So keep loving good omens, I know I still do, keep enjoying it, writing fanfic, drawing amazing art, writing metas and discussing about it. Because this show is still a brilliant show, in which a lot of very talented people worked very hard to make it the wonderful work of art that it still is and we shouldn’t dismiss all that work because someone wants to hurt one of the authors. 

(Edited because of wording)

[wasted-women]

ROUND 1C, MATCH 3 OUT OF 8!

Causes of Death & Propaganda Under the Cut:

Tara Maclay

Cause of Death: Shot in crossfire

Propaganda:

Ok so idk if she actually counts but I'm submitting her and please throw her out if not. Here's why I think Tara was fridged: the sole purpose of her death was to further the plot and cause pain to other characters. Now, because it's Buffy, these other characters were women. So her death was only to cause pain to her girlfriend (ex-girlfriend? They were broken up but mending) Willow, cause her to relapse into magic, and then make her essentially the big bad of the season. All of this was then to cause Buffy, the protag, to have to fight her best friend and be told she needed to either stop her or kill her. So while Buffy and Willow are both women, Tara's death was solely to cause them pain as significant other and protagonist and to further the plot. (It's also bury your guys and Joss Whedon sooooo). Tara literally was killed sloppily for no other reason than as a plot device in a desperate "well we already killed our protag and brought her back to life, how do we raise the stakes from here" ploy necessitated by crappy writing. If she doesn't count, again please throw her out, but I feel like she counts as fridging esp when looking at how Joss Whedon rights Buffy in this season to essentially bc a self insert of man pain but as a woman.

this is the only lgbt example I can think of but it definitely counts imo. link to death scene here (scene starts a minute into the video, with obvious trigger warnings for death and blood and gunshots): https://youtu.be/01NxsKojYyM?si=dxZvcvOhp3x6S8ha

Stuffing a woman in the fridge is one thing, but stuffing a queer woman who was one half of a beloved same-sex couple on a TV show famous for its strong female characters for the sake of drama while enforcing negative LGBT+ stereotypes in the process is really something else.

Her girlfriend, Willow essentially plays the role of the man in the relationship. Tara dies to facilitate her villain arc. Xander is also sad about her death and he is a man.

Mako Mori

Cause of Death: Exploded in a helicopter

Propaganda:

The Mako Mori test has been proposed as a "better" version of the Bechdel Test (which I'm well aware of the bechdel tests point and common misuse) she has a full, rich arc that is not romance oriented in the first movie. Also she pilots a giant robot. In the second movie she's textbook definition fridged.

Daenerys Targareon

Cause of Death: Stabbed by her lover for becoming a tyrant

Propaganda:

I'm just. I can't believe she hasn't been submitted yet. Classic example of end game fridging, where she *had* to be killed by her male lover to bring him pain and Man Tears TM. Clearly it effects him (sad) more than her (dead). Now obv Dany had a whole plot prior to this, but her death itself is such a classic example of fridging that I have to submit her, it legit only happened for a stupid "plot" to bring Jon ManPain. It was a death so stupid that GOT, what once was a cultural touchstone, isn't talked about except in how bad the end was

[ashima066-blog]

What I want to say before I publish his interview

This post is dedicated to the memory of Denis McGrath, a talented writer and storyteller who left a lasting impact on the television industry. Denis passed away in March 2017, but his legacy continues through his work, and his words remain alive in the stories he crafted and the interviews he gave, still resonating across the internet. As a writer, Denis was known for his involvement in Blood Ties, a television series based on the books by Tanya Huff, as well as his contributions to Canadian television. His journey into Blood Ties began through a long-standing professional connection with Peter Mohan, the showrunner. Denis brought his love for supernatural tales and his sharp writing to the series, helping shape its distinct tone. His creative input wasn’t just about adapting a vampire story; he worked to bring out the unique voices of Huff’s characters and make sure the show reflected her original vision. Denis’s love for Buffy the Vampire Slayer, Angel, and Anne Rice shaped his interest in supernatural narratives. However, he found a refreshing angle in Blood Ties where the focus was on a strong female lead, and the vampire character broke away from the brooding archetype, instead presenting something new and exciting. Denis’s enthusiasm for the project and the collaborative nature of television writing is evident in his reflection on the process, which he shared in interviews. His work as an Executive Story Editor on Blood Ties meant he not only wrote scripts but also helped rewrite and refine other writers' work, guiding episodes through various stages of development. He described the chaos of working on multiple episodes simultaneously, balancing creative integrity with production demands, and ensuring the final product reflected the original story vision. Denis was passionate about the role of writers in television and the evolving landscape of Canadian TV, advocating for writers to have more creative power. He believed that the shows people truly love, like Corner Gas and Trailer Park Boys, succeed because writers were given the freedom to influence and defend their creative vision. He also recognized the vital role of producers but stressed that the balance between creativity and production needed to favor storytelling. Denis McGrath's career was not just about the scripts he wrote but about the changes he pushed for in the industry, fighting for writers to be seen and valued as the heart of television storytelling. Though Denis is no longer with us, his words and ideas live on, influencing how stories are told and celebrated. His thoughts on writing, storytelling, and television continue to inspire and challenge creators today. In his memory, we celebrate his contribution to television and the passion he brought to every project. His legacy remains not only in the shows he wrote but also in the hearts of those who worked with him and admired his work. Denis, your stories will continue to captivate audiences, and your words will live on.

[girl4music]

Can men be lesbians? In reality… probably not since a “lesbian” is wholly defined as a female homosexual.

In fiction? Hell yes because fiction is representation.

The thing with being a lesbian is that it’s not just a sexuality. It’s a whole damn aesthetic and some actual characters that identify as male in art/entertainment do have that aesthetic and possess the qualities and traits of what you would typically have of a lesbian. It’s a stereotype, don’t get me wrong. But it’s used often enough in fiction and art/entertainment that it’s a thing. Take Spike for example. Now, to me, his whole vibe just screams out “repressed lesbian” because he undergoes an entire character arc of performing something he thinks he should or must be but actually isn’t. That of an evil thing only. A beast. A monster. But when push comes to shove is really just a hapless, scorned pathetic loser with the kindest and most compassionate heart. In his human lifetime as William Pratt he gets nicknamed “William the Bloody” not because he kills people but because he kills poetry. He is a “bloody awful poet” and he takes that insult to heart so much to the point where he rebrands himself when he becomes a vampire. With the help of Druscilla who sires him and moulds his world anew, he turns his unfortunate nickname into one that actually is because he kills people. And he becomes “William the Bloody” because he is an evil thing only. A beast. A monster. But one that only exists and is created because he was treated so cruelly himself and not because his inherent nature and identity is evil because he is now a vampire - a demon with no soul.

Why does this make me view him as a repressed lesbian? What does any of this have to do with queerness at all? Well, in much the same way that Buffy’s Slayerism is a metaphor/allegory for being or feeling queer, Spike’s vampirism is a metaphor/allegory for performing that of which doesn’t fit quite right and is only a costume one is wearing to protect themselves from feeling like nothing but a weakling and a loser. Very much like Willow. A performance and projection of evil but is nowhere near that in actuality. Spike represses a part of him that is the foundation for everything that he is and that he becomes; William Pratt. And with the help of The Fanged Four fashions an identity that is only the armor for his vulnerability. It all depends on what external influence he has how he acts because he is like a wounded animal incarcerated. Animals are genuinely the most passionate and loyal of creatures - but they do bite you if you hurt them or something they care about. They will do what they can to survive, feed off the blood and the meat and marrow of other creatures and are insanely and fiercely protective of their own.

‘Fool For Love’ practically tells you everything you need to know about Spike through his backstory because his backstory is HIS backstory. It doesn’t belong to some separate human entity that died that he, as a demon, now possesses and assumes the identity of. William IS that of the same entity of that of which IS Spike. They are the same conscious entity. Spike IS the human and IS the demon simultaneously. Everything we get with Spike is informed by William and everything we get with William creates Spike. The “evil demon” that “sets up shop” in the body doesn’t exist because it is not a possession. It’s an evolution. Which is why when he gets his soul, we don’t get William Pratt back. We just get Spike with a soul. No different from the entity that was when there wasn’t one besides a change of perspective in morality. But very much the same exact person as soulless Spike because the soul is just an internal moral compass. It’s just a conscience and nothing more than that really. However, the inherent nature and identity that was William is so strong and so encompassing within Spike (because he is the same entity as William) that it was possible Spike could become good without a soul. It would be extremely difficult for him yes, because he didn’t know the difference between right and wrong on his own. He didn’t have Jiminy Cricket within him. But he did possess a human psyche that was good. His consciousness is what would have helped him eventually evolve into a selfless and empathetic being because he already possessed those traits and qualities anyway. He already was capable of doing good just as much as he was capable of doing evil and were he treated with kindness and respect from the Scoobies - would have had more opportunity to override his demonic nature and cultivate his human. And I absolutely refuse to believe that he couldn’t because as far as I’m concerned, the only damn thing that made the difference was who was in his company.

And besides from all of that - just fucking LOOK AT HIM. The bleach blonde hair, the nail polish, the eyes. Tell me he doesn’t look like the most feminine male there is and the most masculine female there is. I’m sorry to involve the stereotypes but you cannot tell me that this is not what they were going for with his characterization when they began to conceive him.

[paradoxunknown]

🌸 Five comfort characters, five tags🌸

My beloved @bambihausen tagged me in this and I'm ecstatic to play - I’m stealing Bamb’s idea of "tag I give them on my blog" too because I love the extra pizzazz it gives it 🤗 (These are in no particular order).

1. Jon Moxley; he has multiple tags - too many to pick. Mox got me back into wrestling after YEARS of being uninterested. I was captivated by him from the minute I saw him, back when he was Dean Ambrose. I was so obsessed that I went down the rabbit hole and now he’s my comfort wrestler for life.

2. Eddie Kingston; his tag is ‘Eddie Kingston my Beloved’. Eddie makes me all warm and fuzzy- he’s just so beautiful and I could giggle at him for hours. His advocacy for mental health and his struggles made me feel more comfortable about being open with mine — I was very lucky to tell him that in person. To this day, he’s the only man that can call me sweetheart.

3. Buffy Summers; no tag for her but I love her. Buffy the Vampire Slayer is one of the very first shows I remember watching growing up and getting ready for school. Seeing a strong female character, in a fantasy genre typically dominated by men that I was interested in, immediately hooked me and to this day, it’s one of my comfort rewatches. (Joss Wheaton sucks though and this is a pro-Joss Wheaton slander account always).

4. Olivia Benson; no tag for this iconic queen, but Law and Order SVU is always on my rewatch list whenever I feel the need to binge watch something. Olivia has and always will be my favorite character- loved her from the beginning. SVU is another show I remember watching when getting ready for school. It’s also one of the first shows that my mom and I watched together and liked (and as someone who has a…interesting…relationship with my mom, it means a lot to just have something that we don’t fight over).

5. The Bat-family; no tag for them but this chaotic family is my specific comic book hyper fixation. They play on my found family trope soft spot and Batman in general is such a soft spot for me (I have the Batman logo tattooed on me) because he’s the first superhero I was ever introduced too and my attachment for him and his family has only grown.

Tagging the amazing @faggotmox , @cuntertaker , @americandragonslayer , @sheinthatfandom and @kayfabebabe - please feel free to ignore or add to the comfort character fun if y’all like 💕

[reveriehq]

welcome to reverie island, v ! you’ve been accepted. blair waldorf, lila pitts, emma woodhouse, daphne blake, tessa gray, do bongsoon, and anya jenkins are now taken. you have twenty-four hours to message the main for the discord. if you need an extension, please send a message to the main. we hope you enjoy your stay here.

( gossip girl, moon gayoung, cis female, she/her, 23 ) * 【ｆｉｌｅｄ : BLAIR WALDORF 】 is a CANON and PARTLY REMEMBERS THEIR PAST LIFE. the HUMAN is known to be AMBITIOUS and INSECURE and reminds me of TENDING TO GRUDGES WITH THE SAME CARE ONE GIVES TO BONSAI TREES, ELABORATE SELF CARE ROUTINES, AND DONNING HEAD PIECES WITH THE SAME ENERGY AS A CROWN. they are INDIFFERENT about why they are on the island, but as more comes to light about the mysterious island, they will soon decide to JOIN the powers that be who brought them here. ( ooc: v, 25+, she/her, pst, n/a )

( the umbrella academy, ritu arya, cis female, she/her, 30 ) * 【ｆｉｌｅｄ : LILA PITTS 】 is a CANON and REMEMBERS THEIR PAST LIFE. the ENHANCED HUMAN is known to be OBSERVANT and IMPULSIVE and reminds me of WORN OUT JEAN JACKETS PAIRED WITH AUTHENTIC BAND T-SHIRTS AND COMBAT BOOTS, WORKING THROUGH DEMONS WITH VIOLENCE AND/OR MUSIC, AND SARCASTIC HUMOUR AND A GUARDED EXTERIOR THAT MASKS A HOPELESS ROMANTIC. they are SUSPICIOUS about why they are on the island, but as more comes to light about the mysterious island, they will soon decide to FIGHT the powers that be who brought them here. ( ooc: v, 25+, she/her, pst, n/a )

( emma, anya taylor-joy, cis female, she/her, 21 ) * 【ｆｉｌｅｄ : EMMA WOODHOUSE 】 is a CANON and PARTLY REMEMBERS THEIR PAST LIFE. the HUMAN is known to be IMAGINATIVE and MEDDLESOME and reminds me of FLASHES OF COLORED SILK SLIPS UNDER WHITE MUSLINS WITH FLOWER EMBROIDERY, ALWAYS SMELLING LIKE LAVENDER, AND WATCHING DUSK BREAK INTO DAWN FROM THE SMALL OF YOUR WINDOW. they are INDIFFERENT about why they are on the island, but as more comes to light about the mysterious island, they will soon decide to HIDE FROM the powers that be who brought them here. ( ooc: v, 25+, she/her, pst, n/a )

( scooby-doo, lee sungkyung, cis female, she/her, 27 ) * 【ｆｉｌｅｄ : DAPHNE BLAKE 】 is a CANON CHARACTER and REMEMBERS THEIR PAST LIFE. the HUMAN is known to be PLUCKY and DANGER-PRONE and reminds me of A PERPETUAL DAMSEL IN DISTRESS, THE HUMAN EMBODIMENT OF A MOODBOARD, FIERY EYES AND DEEP PURPLE EYELINER, & LATTES IN THE MORNING AND RED WINE IN THE EVENINGS. they are CURIOUS about why they are on the island, but as more comes to light about the mysterious island, they will soon decide to FIGHT the powers that be who brought them here. ( ooc: v, 25+, she/her, pst, n/a )

( the infernal devices, danielle campbell, cis female, she/her, 23 ) * 【ｆｉｌｅｄ : TESSA GRAY 】 is a CANON CHARACTER and PARTLY REMEMBERS THEIR PAST LIFE. the WARLOCK is known to be ALTRUISTIC and STUBBORN and reminds me of MUFFLED MELANCHOLIC MUSIC FLOWING FROM AN OLD RECORD PLAYER, USELESS MEMENTOS WITH TOO MUCH SENTIMENT TO THROW AWAY, & THE STRANGE WISTFULNESS OF USED BOOKSHOPS. they are CURIOUS about why they are on the island, but as more comes to light about the mysterious island, they will soon decide to FIGHT the powers that be who brought them here. ( ooc: v, 25+, she/her, pst, n/a )

( strong woman do bongsoon, park boyoung, cis female, she/her, 26 ) * 【ｆｉｌｅｄ : DO BONGSOON 】 is a CANON CHARACTER and DOESN'T REMEMBER THEIR PAST LIFE. the ENHANCE HUMAN is known to be ENERGETIC and IDEALISTIC and reminds me of A FLUFFY, SMALL & ANGRY PUPPY, THE FEELING THAT YOU HAVE TO PRETEND TO BE SOMETHING YOU'RE NOT TO FIT IN, & PINK HOODIES. they are CURIOUS about why they are on the island, but as more comes to light about the mysterious island, they will soon decide toFIGHT the powers that be who brought them here. ( ooc: v, 25+, she/her, pst, n/a )

( buffy the vampire slayer, madelyn cline, cis female, she/her, 22 ) * 【ｆｉｌｅｄ : ANYA JENKINS 】 is a CANON CHARACTER and PARTLY REMEMBERS THEIR PAST LIFE. the FORMER VENGEANCE DEMON is known to be PRACTICAL and TACTLESS and reminds me of INABILITY TO UNDERSTAND THE HUMAN CONDITION, ROLLING AROUND NAKED IN MONEY, & EASILY BORED AND ALWAYS LOOKING FOR SOMETHING NEW. they are INDIFFERENT about why they are on the island, but as more comes to light about the mysterious island, they will soon decide to JOIN the powers that be who brought them here. ( ooc: v, 25+, she/her, pst, n/a )

[thestrangestthing89]

Everyone is making a lot of really great points on this. I'm glad to see an actual discussion happening. El seems to be an off limits topic in this fandom. I think for me, the reason this theory resonates so much is not only because it has a lot of evidence, but because El as a superhero isn't all that unique. There was a while in the late 90s - early 2000s where if you wanted a female lead she was going to be tortured physically and emotionally in order to make her strong and earn her power. I love characters like Buffy, Scully, and Veronica Mars. but seriously this is exhausting. It was the only kind of female lead we got back then. She was white, intelligent, and capable of being a leader. But also needed to burden by this. She needed to make the audience comfortable with a Strong Female Lead by putting her in her place and not letting her enjoy that power. So on the one hand it was like "Yay! Finally! A female character with depth who gets to take charge of the story!" but on the other it was "Why does everything have to be torture for her?" El, on the surface, fits right into this. I think it's why I was always kind of neutral about her. I didn't hate her but she was nothing I hadn't seen before. And she gets the kind of endless praise by the fandom that only a little white girl would ever get. She makes mistakes that get glossed aside (by the fandom, not the story) and I find it ridiculous.

El isn't progressive as a hero. There are dozens of heroes like her. For me, she started to be interesting this season when it seemed like she was realizing she didn't have to be the hero. Her conversation with Brenner about how people are more than just superheroes and monsters sticks out. She doesn't need to be a hero to be a good person. Setting her free from this trope ends up setting the audience free from having to root for the stereotypical Strong Female Lead. She is a lot more interesting when she gets separated from the supernatural plot. Back in the day El would have likely been the only female character on a show so you would have had to root for her or not had a female character to root for. But that isn't true here. El doesn't need to be the hero. There are other female characters who aren't burdened by being strong - Max, Nancy, Erica, Robin, Joyce, Karen (and I suspect Holly has a bigger role too next season). And setting her free also makes space for a different kind of lead. Having Will save the day is something more unique than El. There hasn't been a gay kid who saved the day in a mainstream show before. Him getting his moment is important. The El's have already had their moment. Many in fact. This isn't "a girl is being replaced by a boy". It's all the characters like El finally stepping back and not being endlessly self-sacrificing. Because honestly, it's fucking exhausting having to root for this kind of character in the name of feminism. It doesn't feel empowering for El or for the audience. So I'm loving this theory of El being a projection. She is what people think they need in order to save everyone. But she isn't. She is a traumatized little girl who shouldn't be burdened by that. Will (and all the other characters) stepping in by choice and being empowered, not by anger but by love, is something that sends a more positive message imo.

Thinking about how if El is somehow a manifestation of Will…

@dukeofdelirium and @thestrangestthing89 both have some great posts on this.

Thinking about how if Will were to manifest himself as someone else, someone with different characteristics… I’m inclined to believe he’d pick El’s characteristics.

- She’s female and can present herself as feminine without shame (unlike him).

- She’s female and therefore it’s socially acceptable for her to be in a relationship with a male… with Mike specifically.

- She fulfills the role of Hopper’s daughter thus obtaining a loving father, unlike him.

- She has superpowers… like a wizard essentially. Plus she was able to revive/heal Max, like a cleric.

- She stands up for herself against bullies/villains. Using the fight response instead of freezing.

- Despite what she’s been through, no one views her as a “baby”.

Also, just have to point out how much Will fades into the background (sometimes literally�� since the colours he wears often match his surroundings) while El is in the spotlight. Even while Lenora, El is targeted and bullied and Will is somehow completely ignored?

Not to mention how often we have Will disappearing/El appearing or the reverse. Also, I cannot ignore how… almost strange… it is to see them both present at the same time. I mean, Mike sure as heck has trouble with balancing their attention.

El is superman. Will is Clark Kent.

[takaraphoenix]

Buffy the Vampire Slayer

Fuck. This is going to be really very long. And I am saying that knowing how long my previous rants were. Those were short compared to what’s about to come.

I absolutely, completely and unconditionally love Buffy the Vampire Slayer. It is the singular most perfect TV show in existence. Nothing I have ever seen has lived up to it and I doubt anything I will ever see will live up to this show in its whole. This is my second favorite show on my top five list and it’s held that spot for the past fifteen years (which mind sound strange that I put the “most perfect TV show in existence” on spot two, but… I’m fully aware of all the flaws in my most favorite show and that I love that one with my nostalgia goggles on, but it will still always be my number one and not even Buffy’s perfection can kick it off the throne).

Now, just because I love something doesn’t mean I perceive it as flawless. I am fully aware of its flaws. But nothing is a hundred percent perfect.

I don’t even know where to start, but I think the beginning is the best.

What I hate about most supernatural shows is how “They are now thrown into this strange, new world with monsters… and immediately forget all about their non-supernatural friends” that literally every other show with supernatural elements does.

Not Buffy. When she first meets Willow and Xander, the two kind of only had each other and their buffy who gets killed off right at the start. And even then, Willow and Xander were the non-supernatural normal friends. And they became so important.

The fact that Buffy has this group of ordinary people behind her and really just human characters and that they back her up, that alone is awesome.

The Scooby Gang in general is awesome.

That is my favorite thing about the show. The relationships between the characters and how important they are. That the friendship never takes second place to the romance, like how many other shows like to write it. Because regardless of who was added to the plot and who left again, in the very end, it always came down to Buffy, Willow, Xander and Giles and I will always cry at the show’s finale when it is just the four of them, parting ways to go into their very last battle, I mean fuck I’m crying right now just writing this because it was just so heavy with the emotions and the importance of their friendship.

They are the heart and backbone of this show and the show never forgot it.

Many shows forget themselves, they forget the values and beauty they once represented, the longer the show goes on. And Buffy never did. Sure, it lost itself in the middle - but we’ll get to that when we get to that - but it caught itself and never declined fully.

Buffy Summers is an amazing character. She’s a girly-girl who loves lollipops and talking about boys and whining. She’s the most badass female character ever written in TV who saves the world repeatedly and comes back from the dead just to do it again, who has been beaten down by life in the cruelest ways possible and still kept on surviving but never without the scars. Her struggles were never just shrugged off. They became themes that were being dealt with realistically. For fuck’s sake, we had a plotline about her working at a burger shop because yes, this is a show taking place in reality and bills are something that needs to be paid even if you save the world. She is not a perfect character, she made a lot of bad decisions along the way, but that is what makes her human. She is not some character created for an agenda to show that “girls can do anything boys can” and is thus forbidden from doing anything overly girls, as many writers mistakenly do when trying to write strong female characters, because a female is not powerful and strong just because she belittles women who like wearing pink and dressing prettily and who see “girl” as an insult. That is not how strong women work.

Women are complex characters, just like every character should be. They don’t have to solemnly be one way so they aren’t the other way. And Buffy is a beautiful example of the complexity of it all.

Willow Rosenberg is an amazing character. She’s one of the characters in TV that had the biggest character development. This shy, demure girl that became the most badass bitch around who could kick your ass into a parallel dimension with the blink of an eye. The fact that she was literally the first lesbian I ever saw only made her more amazing for me. You see, I started watching Buffy with season 4, which first premiered in Germany in 2001, because, well, I was 10 when I started watching that show since earlier was kind of a little too young in my mom’s eyes, but she’s been watching it for years at that point and I kept lingering in the doorway with pleading eyes because vampires and witches and werewolves, mom, please, until I got to watch it. Right in the season where Willow and Tara fell in love. And I was legitimately in awe, because the concept of two women falling in love was new to me. I never met a real life lesbian before and on TV, the highest of their feelings were Will & Grace with the gays, but lesbians? Never seen that before. It was amazing for me.

And I will forever be grateful that Willow and Tara were my first representation of lesbians that I met.

Xander Harris is an amazing characer. I mean, seriously, I could do this for nearly every character but I’ll only be doing it for the Big Three for the sake of time, okay? He was this fearful, dorky, kinda useless normal dude in the beginning, but he had such a strong backbone, he always knew he’d be there for his friends. And he always was. What made him so special was that he wasn’t special. He was just A Guy. Where Buffy was the Slayer and Willow became the most powerful witch in existence, he was just a normal guy. The original Matt Donovan and Stiles Stilinski and Simon Lewis (despite him turning into a vampire later on, I will still count him for this category). The quippy human best friend to the supernatural. But he adapted. He found his own place among the supernatural and his own way of prodicing for them, helping them.

It amuses me that actually, I kind of started watching this show with its weakest season. Season 4. But let’s start with the other seasons first (I mean, I warned you guys that this is gonna be long).

Buffy was my first high school TV show. All shows I had watched up to that point were family comedies like Married with Children and Full House. But this was the first real look into how American high schools work and I loved it. The first three seasons in itself are the best of Buffy. I’m not even able to pick one season as the best because I like the whole stretch of it.

The dynamics, the characters, the villains, the plots.

Cordelia Chase is - argh, I didn’t want to do this for every character, so I’ll keep it short - another amazing example at character development. From the shallow, air-headed Barbie to a strong ally and friend who fought with her head held high and I will never forget Angel for ruining her.

And okay, if I take a sentence for Cordelia, I can really, truly not skip Giles. Giles, who will forever be The Mentor. When I hear “mentor figure” or “father figure”, I will always first and foremost think of Giles. He was the father and guide to them all, but he was not the one strong pillar, he too had his struggles. It’s one of the things that made me love the second Percy Jackson movie because Anthony Stewart Head is who I pictured as Chiron when reading the books and it is the most perfect casting they could have made.

The first three seasons arched beautifully together, tying the struggles of the high school students turned demon hunters, the funny elements and self-awareness, the serious undertones.

The scene at graduation when the class gave Buffy an award for being Class Protector is one of my favorite TV moments, because this… this acknowledgment of “Yeah, we weren’t always there for you and we didn’t bother getting to know you, but we know you’re there and we know what you did for us” and honestly, I’m crying again, this is ridiculous.

They graduate from high school and then… life continues. Like. Life continues in a realistic way. They go to college, or not in Xander’s case. They struggle with what to do with their lives, they try to find their own paths in what I consider the most realistic portrait in TV. In others, it’s not just “Yup, they college. We’ll mention college every now and again, but it never interferes with the demon hunting” like with most others. Buffy struggles with college work and demon killing, Willow soaks it all up because it’s exactly her world, Xander doesn’t know what to do with it, Giles struggles with what to do with his life in general.

Still, I consider season 4 the weakest season because the Initiative was… It wasn’t used well enough. It appeared and then it kind of disappeared again and in this show where the lore and world-building are so rich and on-point, the Initiative was the one hit and miss they did. Not to mention, I don’t like zombies and Adam creeped me out and was the weirdest major Big Bad that they ever had in that show.

But it brought back Spike and made him a more complex character than just “Bad guy with bad attitude and insane girlfriend”.

Which is a good cue-in for the ships and love-stories, actually.

Buffy is and perhaps will always be the only franchise where the love-triangle clicks for me. Angel/Buffy? Yes. Oh god, what a beautiful, tragic love-story, please give me more of them, OTP all the way. Spike/Buffy? Oh, the pain but they are so good for them and when he’s good, he’s the best, please give me more of them, OTP all the way.

I literally can not decide on who to ship her with. With most love-triangles, I either do not care about both options, or I want to cross the badly written female out of the equation and want to dive right into the slash fiction, or there’s only one good pairing in the options anyway.

The tragicly ironic thing is that for Willow, I have and always will ship her most with Oz though. Willow and Oz were that perfect soft warm ship for me, when I got to finally watch the first three seasons as the reruns hit Germany.

Willow and Tara, while beautiful at times, were also very tragic. The way Willow lied to Tara and manipulated her was just so unhealthy. I do love them together, I just think that I love Oz and Willow a bit more.

Xander is a mess. Like. Seriously. Him and Cordelia. Him and Anya. I can not decide which one I like more in the end, but think that, at this point, it really does become clear that I can cut this show into two parts. The first three seasons of high school where Angel/Buffy, Xander/Cordelia and Oz/Willow are just all the yes, as well as the post graduation seasons where Spike/Buffy, Xander/Anya and Willow/Tara are just all the yes. Which really, truly fascinates me.

Because it’s really rare for a show to get me on board with its canon couples in general. This show does an amazing job on that too.

So, season 4 was kind of flawed in the way the Initiative wasn’t grounded enough in this world and how weak its endgame villain came off.

Season 5 brought the legit only thing about this show that I hate. Dawn Summers.

Urgh. It makes me shudder to just think about her. She’s such an awful and useless and stupid person. And yes, I’m saying person here, because “character” would blame it on the writing and make it sound like she’s a badly written character, which she is not. She was intended to be the annoying, dumb, useless little sister. Not every character can or has to be flawless or lovable. She’s just that… one that isn’t.

And she just becomes worse in season 6, honestly. She is such a self-centered brat that has no concept of the struggles of others. Like. Yes, I understand that she has problems and that she suffers too, but so does everyone and if someone doesn’t have time for her, she acts out. They just… They do have a lot on their plates, trying to save the world and keep you from being homeless, you know? Which, okay, was a solid portrayal of an angsty, bratty teen, I suppose, because teenagers, as I recall from my own time as one, are fascinatingly blind for the struggles of adults. Doesn’t make her less annoying though.

I take back what I said earlier, about not being able to pick a favorite season. Season 6 is my favorite season, which in itself is baffling. Normally, I pick one of the very early seasons of a show because they keep declining afterward until they crash and burn.

Season 6 did the exact opposite of what other shows do. Where other shows feel the need to top it all off, go wilder and broader and more brutal and bigger enemies until it becomes an unrealistic mess, this one just…

Three human boys.

That’s the enemy of the season. Just three stupid idiots who play pranks on the good guys, for the most part. And it was the perfect choice, because instead of having to deal with those major Big Bads, we get the chance to deal with the characters. The one thing I keep complaining about in other shows, how they’re too overcrowded with plot to even give the characters any time to deal with stuff or interact.

Buffy did it.

They stepped back from the Big Bad in favor of dealing with the bigger issues. Dawn being not a real human and not dealing well with that. Buffy having died and being brought back. Willow becoming addicted to magic. Xander… completely fucking up the best thing in his life.

We have character plots in this season.

Character plots that still end in a big battle of epic proportions when Willow literally becomes a Dark Witch powerful enough to destroy the world. But instead of it being some epic battle, it’s one of the… quietest fights ever and it’s brought home in such a beautiful way because it’s about grief and loss and pain and love.

And those. Those are the moments that make Buffy the most perfect TV show to me. It never loses its humanity. Maybe the most emotional scene in all of this show happened in season 5, when Joyce Summers died and Anya talked about her death, about the concept of death. That will never cease to make me cry.

And season 7 was the perfect ending. The way it rounded things up, it brought every single thing full circle, all the way to that above mentioned scene of Giles, Buffy, Willow and Xander parting ways before the very final battle, among all the loudness of everyone, it is brought to the forefront one last time that it is them.

The way they solved the whole Slayer thing, the Big Bad they chose for their final season, the development. Nathan Fillion as one of the creepiest bad guys ever. The fact that, even after all those seasons already, Buffy still had a struggle, had to prove herself.

I have one or two major bones to pick with it, because I hated when the group decided “Lol, nope, we don’t need you, Buffy”… that broke my heart. It breaks my heart every single time I watch it because even her friends tell her they need a break from her. I mean, I love how she found safety and support in Spike’s arms after that scene, but that it happened at all and that after things of course go wrong without Buffy, they all come crawling back… it makes me angry. It was important to bring them all as a team together, but to me it will always feel OoC coming from those she had fought alongside with for seven years, those who should always have her back who always did have her back.

And, when talking about bones to pick, aside from weak season 4 and Dawn Summers, there’s just one more major thing that I have a problem with.

Hank Summers. For those who forgot because he’s literally only been in two episodes, that’s Buffy’s dad. Because Buffy has a father. The “(half-)orphan”-trope is very overused, but I genuinely think this show would have benefitted from it.

Hank Summers does nothing. Not even when his ex-wife dies and his teenage daughter and barely-above-twenty daughter are left all on their own. He doesn’t pitch in with money, he doesn’t visit, he doesn’t even think about taking Dawn in and taking care of her himself.

I mean. Same as with Dawn, it can just be said that he is a Bad Person and a Seriously Bad Dad, but… Give me a break, Buffy deserved better than that. Having him be dead would really have been better, especially when Joyce dies and he just… “Nope, no interest in those kids”.

And on that note, let me add Faith (who I accidentally forgot about before). She’s... probably the most complex character, because it’s easy to hate her, but it’s also kind of easy to love her. She’s definitely the most flawed character and that’s what makes her good. Because she’s bad. She gets the same powers as Buffy, but unlike other Slayers, she gets morally corrupted. But she also finds her way again. She’s a badass bitch and she definitely brought something new to the table. I loved how flawed she was, because she was not a good person, but when needed, she was one of the good guys. They never pretended to turn her around into a good person though, she always stayed true to herself.

The reason I’m adding her here is because I feel like she messes up the mythology a little. Part of me really loved how they brought in Kendra after Buffy died, because “When the Slayer dies, another Slayer awakens” and that they remembered to keep with that when Kendra died. But after that, this kind of really fell apart and is one of the biggest plot-holes to the show, in my eyes.

Buffy died three times. But only her first death awakened a new Slayer. Now, you can argue that with that, the mantle was passed on, but... When Buffy came back from the dead, she still had her Slayer abilities. She was still the Slayer, she wasn’t suddenly back to being the normal girl she was before she turned sixteen and became the Slayer. So technically, considering she was still the Slayer, her other deaths should have also passed on the mantle and thus awoken two more Slayers.

Not to mention... in the history of Slayers, Buffy was the first one to be brought back to life? I always found that hard to believe. No one ever used CPR or magic on a Slayer before? I doubt it.

So in this very rich and grounded lore and mythology, I have a problem with “We got Kendra and then we got Faith and... we don’t bother explaining why we never got any additional Slayers”.

Now, as we conclude this, let me wrap up what exactly makes Buffy the Vampire Slayer the most perfect TV show to me.

1.) The superb writing.

Not just the plot as I laid it out above, the way they knew when to step back and when to give character plotlines instead of big and loud action plots. Simply the dialogues alone. This show holds up. It’s a time-capsule of the 90s, sure, but its writing and dialogues are still funny, emotional, heavy, with exactly the right words chosen. The writing on this show is in every aspect overwhelmingly brilliant.

2.) The characters.

They’re individual, they’re well-developed, they have their own plots and relationships and they are all important, not just the titular character. It inverted tropes with its characters, it managed to put strong female characters out there without having “being a strong female character” be their only and defining character trades.

3.) The story.

Okay, this is technically part of the writing too, but I think it deserves its special shout-out. Because this show has a consistent lore where not all of a sudden all the time something new is shoehorned in and retconned in and where it comes apart by the seams the more seasons it has because you notice the writers didn’t think ahead so far. No, this world is fleshed out, its lore is established and as it is. It’s consistent.

Yes, it’s not flawless, but damn it’s the closest to flawless that I’ve ever seen.

[painted-doe]

Okay, Tumblr. I’ve got a thing to say.

Here’s a fun IRL fact about Doe. I’m a Big Lady. I’m six feet tall in ballet flats. I can carry my 200lb husband on my back around a festival like a sleepy toddler. I am, as my grandmother delicately put it, “built like a brick shithouse”. As far as descriptive usernames go, Painted-Clydesdale probably would have been more appropriate.

I absolutely love the “step on me, mommy” meme/kink — partly because it’s just hilarious, but also because it feels great to think that people are actually into tall muscular gals like me these days!

Because they weren’t. There were no big strong female characters in the media I watched growing up. None. No one who looked like me, especially not portrayed in an attractive way. All the women, even the strong ones I idolized like Buffy and Agent Scully, were delicate and petite. From as early as first grade, I felt terrible about my body and my height. I learned to slouch. I hid myself as much as I could — which wasn’t easy when you’re half a head taller than all the boys in your grade.

Now I’m a grown-up human, and I’m mostly over the years of bullying and self-consciousness and have mostly learned to love my big weird body (hey, no man has ever needed to open a jar for me). But I still get genuinely thrilled to see beefy female representation like Captain Carter, Gina Carano’s character in The Mandalorian, and Luisa in Encanto — powerful women whose worthiness and femininity have nothing to do with their daintiness.

So when I see that Disney has pressured its artists to slim down She-Hulk like they have… well, it kinda stings, man. It kinda hurts.

The news that they’ve revised her character design to be smaller is so sad to me. It tells me: go back to slouching, quit lifting weights, go back to hating your body. It tells me: you can’t be both beautiful and strong. Quit trying to love yourself and get back to fixing yourself. Get back inside this box we’ve made for you.

I guess I just thought we were going forward, man.

[blind-rats]

The Rise & Fall of Joss Whedon; the Myth of the Hollywood Feminist Hero

By Kelly Faircloth

“I hate ‘feminist.’ Is this a good time to bring that up?” Joss Whedon asked. He paused knowingly, waiting for the laughs he knew would come at the creator of Buffy the Vampire Slayer making such a statement.

It was 2013, and Whedon was onstage at a fundraiser for Equality Now, a human rights organization dedicated to legal equality for women. Though Buffy had been off the air for more than a decade, its legacy still loomed large; Whedon was widely respected as a man with a predilection for making science fiction with strong women for protagonists. Whedon went on to outline why, precisely, he hated the term: “You can’t be born an ‘ist,’” he argued, therefore, “‘feminist’ includes the idea that believing men and women to be equal, believing all people to be people, is not a natural state, that we don’t emerge assuming that everybody in the human race is a human, that the idea of equality is just an idea that’s imposed on us.”

The speech was widely praised and helped cement his pop-cultural reputation as a feminist, in an era that was very keen on celebrity feminists. But it was also, in retrospect, perhaps the high water mark for Whedon’s ability to claim the title, and now, almost a decade later, that reputation is finally in tatters, prompting a reevaluation of not just Whedon’s work, but the narrative he sold about himself. 

In July 2020, actor Ray Fisher accused Whedon of being “gross, abusive, unprofessional, and completely unacceptable” on the Justice League set when Whedon took over for Zach Synder as director to finish the project. Charisma Carpenter then described her own experiences with Whedon in a long post to Twitter, hashtagged #IStandWithRayFisher.

On Buffy the Vampire Slayer and Angel, Carpenter played Cordelia, a popular character who morphed from snob to hero—one of those strong female characters that made Whedon’s feminist reputation—before being unceremoniously written off the show in a plot that saw her thrust into a coma after getting pregnant with a demon. For years, fans have suspected that her disappearance was related to her real-life pregnancy. In her statement, Carpenter appeared to confirm the rumors. “Joss Whedon abused his power on numerous occasions while working on the sets of ‘Buffy the Vampire Slayer’ and ‘Angel,’” she wrote, describing Fisher’s firing as the last straw that inspired her to go public.

Buffy was a landmark of late 1990s popular culture, beloved by many a burgeoning feminist, grad student, gender studies professor, and television critic for the heroine at the heart of the show, the beautiful blonde girl who balanced monster-killing with high school homework alongside ancillary characters like the shy, geeky Willow. Buffy was very nearly one of a kind, an icon of her era who spawned a generation of leather-pants-wearing urban fantasy badasses and women action heroes.

Buffy was so beloved, in fact, that she earned Whedon a similarly privileged place in fans’ hearts and a broader reputation as a man who championed empowered women characters. In the desert of late ’90s and early 2000s popular culture, Whedon was heralded as that rarest of birds—the feminist Hollywood man. For many, he was an example of what more equitable storytelling might look like, a model for how to create compelling women protagonists who were also very, very fun to watch. But Carpenter’s accusations appear to have finally imploded that particular bit of branding, revealing a different reality behind the scenes and prompting a reevaluation of the entire arc of Whedon’s career: who he was and what he was selling all along.

Buffy the Vampire Slayer premiered March 1997, midseason, on The WB, a two-year-old network targeting teens with shows like 7th Heaven. Its beginnings were not necessarily auspicious; it was a reboot of a not-particularly-blockbuster 1992 movie written by third-generation screenwriter Joss Whedon. (His grandfather wrote for The Donna Reed Show; his father wrote for Golden Girls.) The show followed the trials of a stereotypical teenage California girl who moved to a new town and a new school after her parents’ divorce—only, in a deliberate inversion of horror tropes, the entire town sat on top of the entrance to Hell and hence was overrun with demons. Buffy was a slayer, a young woman with the power and immense responsibility to fight them. After the movie turned out very differently than Whedon had originally envisioned, the show was a chance for a do-over, more of a Valley girl comedy than serious horror.

It was layered, it was campy, it was ironic and self-aware. It looked like it belonged on the WB rather than one of the bigger broadcast networks, unlike the slickly produced prestige TV that would follow a few years later. Buffy didn’t fixate on the gory glory of killing vampires—really, the monsters were metaphors for the entire experience of adolescence, in all its complicated misery. Almost immediately, a broad cross-section of viewers responded enthusiastically. Critics loved it, and it would be hugely influential on Whedon’s colleagues in television; many argue that it broke ground in terms of what you could do with a television show in terms of serialized storytelling, setting the stage for the modern TV era. Academics took it up, with the show attracting a tremendous amount of attention and discussion.

In 2002, the New York Times covered the first academic conference dedicated to the show. The organizer called Buffy “a tremendously rich text,” hence the flood of papers with titles like “Pain as Bright as Steel: The Monomyth and Light in ‘Buffy the Vampire Slayer,’” which only gathered speed as the years passed. And while it was never the highest-rated show on television, it attracted an ardent core of fans.

But what stood out the most was the show’s protagonist: a young woman who stereotypically would have been a monster movie victim, with the script flipped: instead of screaming and swooning, she staked the vampires. This was deliberate, the core conceit of the concept, as Whedon said in many, many interviews. The helpless horror movie girl killed in the dark alley instead walks out victorious. He told Time in 1997 that the concept was born from the thought, “I would love to see a movie in which a blond wanders into a dark alley, takes care of herself and deploys her powers.” In Whedon’s framing, it was particularly important that it was a woman who walked out of that alley. He told another publication in 2002 that “the very first mission statement of the show” was “the joy of female power: having it, using it, sharing it.”

In 2021, when seemingly every new streaming property with a woman as its central character makes some half-baked claim to feminism, it’s easy to forget just how much Buffy stood out among its against its contemporaries. Action movies—with exceptions like Alien’s Ripley and Terminator 2's Sarah Conner—were ruled by hulking tough guys with macho swagger. When women appeared on screen opposite vampires, their primary job was to expose long, lovely, vulnerable necks. Stories and characters that bucked these larger currents inspired intense devotion, from Angela Chase of My So-Called Life to Dana Scully of The X-Files.

The broader landscape, too, was dismal. It was the conflicted era of girl power, a concept that sprang up in the wake of the successes of the second-wave feminist movement and the backlash that followed. Young women were constantly exposed to you-can-do-it messaging that juxtaposed uneasily with the reality of the world around them. This was the era of shitty, sexist jokes about every woman who came into Bill Clinton’s orbit and the leering response to the arrival of Britney Spears; Rush Limbaugh was a fairly mainstream figure.

At one point, Buffy competed against Ally McBeal, a show that dedicated an entire episode to a dancing computer-generated baby following around its lawyer main character, her biological clock made zanily literal. Consider this line from a New York Times review of the Buffy’s 1997 premiere: “Given to hot pants and boots that should guarantee the close attention of Humbert Humberts all over America, Buffy is just your average teen-ager, poutily obsessed with clothes and boys.”

Against that background, Buffy was a landmark. Besides the simple fact of its woman protagonist, there were unique plots, like the coming-out story for her friend Willow. An ambivalent 1999 piece in Bitch magazine, even as it explored the show’s tank-top heavy marketing, ultimately concluded, “In the end, it’s precisely this contextual conflict that sets Buffy apart from the rest and makes her an appealing icon. Frustrating as her contradictions may be, annoying as her babe quotient may be, Buffy still offers up a prime-time heroine like no other.”

A 2016 Atlantic piece, adapted from a book excerpt, makes the case that Buffy is perhaps best understood as an icon of third-wave feminism: “In its examination of individual and collective empowerment, its ambiguous politics of racial representation and its willing embrace of contradiction, Buffy is a quintessentially third-wave cultural production.” The show was vested with all the era’s longing for something better than what was available, something different, a champion for a conflicted “post-feminist” era—even if she was an imperfect or somewhat incongruous vessel. It wasn’t just Sunnydale that needed a chosen Slayer, it was an entire generation of women. That fact became intricately intertwined with Whedon himself.

Seemingly every interview involved a discussion of his fondness for stories about strong women. “I’ve always found strong women interesting, because they are not overly represented in the cinema,” he told New York for a 1997 piece that notes he studied both film and “gender and feminist issues” at Wesleyan; “I seem to be the guy for strong action women,’’ he told the New York Times in 1997 with an aw-shucks sort of shrug. ‘’A lot of writers are just terrible when it comes to writing female characters. They forget that they are people.’’ He often cited the influence of his strong, “hardcore feminist” mother, and even suggested that his protagonists served feminist ends in and of themselves: “If I can make teenage boys comfortable with a girl who takes charge of a situation without their knowing that’s what’s happening, it’s better than sitting down and selling them on feminism,” he told Time in 1997.

When he was honored by the organization Equality Now in 2006 for his “outstanding contribution to equality in film and television,” Whedon made his speech an extended riff on the fact that people just kept asking him about it, concluding with the ultimate answer: “Because you’re still asking me that question.” He presented strong women as a simple no-brainer, and he was seemingly always happy to say so, at a time when the entertainment business still seemed ruled by unapologetic misogynists. The internet of the mid-2010s only intensified Whedon’s anointment as a prototypical Hollywood ally, with reporters asking him things like how men could best support the feminist movement. 

Whedon’s response: “A guy who goes around saying ‘I’m a feminist’ usually has an agenda that is not feminist. A guy who behaves like one, who actually becomes involved in the movement, generally speaking, you can trust that. And it doesn’t just apply to the action that is activist. It applies to the way they treat the women they work with and they live with and they see on the street.” This remark takes on a great deal of irony in light of Carpenter’s statement.

In recent years, Whedon’s reputation as an ally began to wane. Partly, it was because of the work itself, which revealed more and more cracks as Buffy receded in the rearview mirror. Maybe it all started to sour with Dollhouse, a TV show that imagined Eliza Dushku as a young woman rented out to the rich and powerful, her mind wiped after every assignment, a concept that sat poorly with fans. (Though Whedon, while he was publicly unhappy with how the show had turned out after much push-and-pull with the corporate bosses at Fox, still argued the conceit was “the most pure feminist and empowering statement I’d ever made—somebody building themselves from nothing,” in a 2012 interview with Wired.)

After years of loud disappointment with the TV bosses at Fox on Firefly and Dollhouse, Whedon moved into big-budget Hollywood blockbusters. He helped birth the Marvel-dominated era of movies with his work as director of The Avengers. But his second Avengers movie, Age of Ultron, was heavily criticized for a moment in which Black Widow laid out her personal reproductive history for the Hulk, suggesting her sterilization somehow made her a “monster.” In June 2017, his un-filmed script for a Wonder Woman adaptation leaked, to widespread mockery. The script’s introduction of Diana was almost leering: “To say she is beautiful is almost to miss the point. She is elemental, as natural and wild as the luminous flora surrounding. Her dark hair waterfalls to her shoulders in soft arcs and curls. Her body is curvaceous, but taut as a drawn bow.”

But Whedon’s real fall from grace began in 2017, right before MeToo spurred a cultural reckoning. His ex-wife, Kai Cole, published a piece in The Wrap accusing him of cheating off and on throughout their relationship and calling him a hypocrite:

“Despite understanding, on some level, that what he was doing was wrong, he never conceded the hypocrisy of being out in the world preaching feminist ideals, while at the same time, taking away my right to make choices for my life and my body based on the truth. He deceived me for 15 years, so he could have everything he wanted. I believed, everyone believed, that he was one of the good guys, committed to fighting for women’s rights, committed to our marriage, and to the women he worked with. But I now see how he used his relationship with me as a shield, both during and after our marriage, so no one would question his relationships with other women or scrutinize his writing as anything other than feminist.”

But his reputation was just too strong; the accusation that he didn’t practice what he preached didn’t quite stick. A spokesperson for Whedon told the Wrap: “While this account includes inaccuracies and misrepresentations which can be harmful to their family, Joss is not commenting, out of concern for his children and out of respect for his ex-wife. Many minimized the essay on the basis that adultery doesn’t necessarily make you a bad feminist or erase a legacy. Whedon similarly seemed to shrug off Ray Fisher’s accusations of creating a toxic workplace; instead, Warner Media fired Fisher.

But Carpenter’s statement—which struck right at the heart of his Buffy-based legacy for progressivism—may finally change things. Even at the time, the plotline in which Charisma Carpenter was written off Angel—carrying a demon child that turned her into “Evil Cordelia,” ending the season in a coma, and quite simply never reappearing—was unpopular. Asked about what had happened in a 2009 panel at DragonCon, she said that “my relationship with Joss became strained,” continuing: “We all go through our stuff in general [behind the scenes], and I was going through my stuff, and then I became pregnant. And I guess in his mind, he had a different way of seeing the season go… in the fourth season.”

“I think Joss was, honestly, mad. I think he was mad at me and I say that in a loving way, which is—it’s a very complicated dynamic working for somebody for so many years, and expectations, and also being on a show for eight years, you gotta live your life. And sometimes living your life gets in the way of maybe the creator’s vision for the future. And that becomes conflict, and that was my experience.”

In her statement on Twitter, Carpenter alleged that after Whedon was informed of her pregnancy, he called her into a closed-door meeting and “asked me if I was ‘going to keep it,’ and manipulatively weaponized my womanhood and faith against me.” She added that “he proceeded to attack my character, mock my religious beliefs, accuse me of sabotaging the show, and then unceremoniously fired me following the season once I gave birth.” Carpenter said that he called her fat while she was four months pregnant and scheduled her to work at 1 a.m. while six months pregnant after her doctor had recommended shortening her hours, a move she describes as retaliatory. What Carpenter describes, in other words, is an absolutely textbook case of pregnancy discrimination in the workplace, the type of bullshit the feminist movement exists to fight—at the hands of the man who was for years lauded as a Hollywood feminist for his work on Buffy the Vampire Slayer and Angel.

Many of Carpenter’s colleagues from Buffy and Angel spoke out in support, including Buffy herself, Sarah Michelle Gellar. “While I am proud to have my name associated with Buffy Summers, I don’t want to be forever associated with the name Joss Whedon,” she said in a statement. Just shy of a decade after that 2013 speech, many of the cast members on the show that put him on that stage are cutting ties.

Whedon garnered a reputation as pop culture’s ultimate feminist man because Buffy did stand out so much, an oasis in a wasteland. But in 2021, the idea of a lone man being responsible for creating women’s stories—one who told the New York Times, “I seem to be the guy for strong action women”—seems like a relic. It’s depressing to consider how many years Hollywood’s first instinct for “strong action women” wasn’t a woman, and to think about what other people could have done with those resources. When Wonder Woman finally reached the screen, to great acclaim, it was with a woman as director.

Besides, Whedon didn’t make Buffy all by himself—many, many women contributed, from the actresses to the writers to the stunt workers, and his reputation grew so large it eclipsed their part in the show’s creation. Even as he preached feminism, Whedon benefitted from one of the oldest, most sexist stereotypes: the man who’s a benevolent, creative genius. And Buffy, too, overshadowed all the other contributors who redefined who could be a hero on television and in speculative fiction, from individual actors like Gillian Anderson to the determined, creative women who wrote science fiction and fantasy over the last several decades to—perhaps most of all—the fans who craved different, better stories. Buffy helped change what you could put on TV, but it didn’t create the desire to see a character like her. It was that desire, as much as Whedon himself, that gave Buffy the Vampire Slayer her power.

[wordynerdygurl]

Hello Everyone! I've been conspiring with @sammy-jo1977 to create a new series of sorts. We want to explore all those characters that started us on our journey into Fandoms, large and small.

This series will be a place for those ladies and gents who haven't had a lot of attention recently, are old favorites or the ones you can't seem to shake. If you would like to contribute a chapter to this guide, please send me a message! We want to have a full and accurate guide, so we are hoping you'll hop in with your character of expertise!

As an example, I'm posting our first story... I'd love to get your thoughts! With Love - Your WordyNerdyGurl

In The Stacks - A Rupert Giles Story

Author’s Note:  This story is due, in large part, to my beta-bestie @sammy-jo1977 and it is part of the afore mentioned series.  This character might be off television, but his fiery spirit lives on!! As always, reblogs/ shares are encouraged as are comments and love!

Pairing:  Female Reader x Giles (Buffy The Vampire Slayer Series) Summary:  You get up to mischief with the librarian, in the stacks. Warnings:  SMUT ahead.  General Buffy knowledge might help, but is not required.  There’s a moment with a bit of blood, but hopefully nothing too triggering for anyone! I hope you enjoy!

“Mr. Giles?” “Just a moment!”  You heard the clipped British voice answer before being drowned out by the heavy thumping of falling books and the rustling sound of shifting papers hitting the floor. As you stepped further into the Sunnydale High library, you weren’t surprised to see the familiar faces of Buffy, Willow, Xander and Cordelia huddled around a small table.  The friends were practically inseparable and clearly close.  You found their kinship adorable and couldn’t help smiling at the group as you drew closer. “Hello to some of my best students!  And of course, to you Mr. Harris.  How is everyone today?”

Willow, stalwart student and overachiever, smiled broadly, “Pretty good.  I did ace my math quiz and got an A on my English paper… but, well, I only pulled a B on my Bio test and I just know that I could have done better.” Offering her friend a consoling pat to the shoulder, Buffy sighed, “It’s ok, Will.  You’ll get those cells next time!” “Tune in next week as Willow passes her AP Biology test with flying colors, on ‘As Sunnydale Turns’!” Before anyone could counter, Giles came around the corner carrying a sturdy stack of texts which he dropped onto the table as gently as the large load allowed, “As always, you four are the best assistants a librarian could ask for.” “Come on Giles!  You know I only hang out here for the beautiful ladies!” Pinching the bridge of his strong nose, Rupert Giles sighed, “I am well aware of where your interests lie, Xander.” “Please, he can hardly handle being with one beautiful girl.”  That was from Cordelia who pouted prettily, her hand mirror open as she fixed her hair. “My girlfriend, ladies and gentlemen!  Thanks for that, Cordy.” Snapping the case shut, staring down her beau, she smiled, “You’re welcome.” “Uh, Mr. Giles, if I may?”  You hated to interrupt but you had come in with a purpose and you meant to see it through. “Yes, of course, how can I help?” Shuffling your feet, a bit nervous now with the asking, you smiled shyly, “I asked at the local library but they were absolutely no help.  You see, I’m looking for a specific point of reference and I was led to believe that you could help me.” “Oh!  Is it something for our Inner Vision collage boards?  I love working on mine, only… It’s not my fault that I only see dark clouds and blood when I close my eyes.” “Well, Miss Summers, beauty is in the eye of the beholder.  And the best art challenges us to see that beauty.” “I hate to tell you what I see when I close my eyes.”  Xander retorted. “Ah, Mr. Harris, your collage certainly showcases your, ahem, cultured world view.” “Hey!  The Simpsons are fine art, ok?  Just because they don’t live in a museum doesn’t mean they aren’t culture.” Giles, unable to stand by any longer griped, “Xander, I am almost positive that cartoons do not count as culture.” You started to answer but Buffy cut you short, adding, “Don’t mind Giles.  If it doesn’t come out of some dirty, dusty old book it can’t be culture.” “It’s pop culture!  The entertainment of my generation!” It was your turn to cut in, turning to the tweed clad gentleman, “Actually, Mr. Giles, Xander has a point.  Cartoons and animation in general are all increasingly seen as valid forms of art.  No matter what your tomes might tell you.” Smirking a little, he appraised your answer before replying, “Be that as it may, Mr. Harris, the amount of television you consume is corrosive.” Raising his hands in defense, Xander’s head swiveled between the two of you as Willow chimed in, “Give it up, Xander.  You know you’ll never win and besides, I’m pretty sure that animation and art are different.  Wait.  They are, aren’t they?” “When I was in Rome last summer, the very attractive, very Italian tour guide told us that they’ve found painted graffiti on the Coliseum.  It only goes to prove that times change but people don’t.” “Cordy’s right!  About the art, not the dishy Italian.  And they didn’t paint it, they carved it.”  Bouncing her blonde hair decisively, Buffy made her declaration.   “Wouldn’t paint be easier?  I mean, who wants to carry a chisel in order to deface a wall?” “Oh!  Oh!  I know this!  The kind of paint needed to last for centuries hadn’t been invented yet!”  Willow, lifting out of her seat in the excitement of academic excellence, was giddy. “Yes, Willow, that is correct.  In fact, a lot of the graffiti is simple and very crude.  Mostly of the phallus, if memory serves.  I’m sure I can find a documented case in Agrippa if you’ll all just-” And you watched as everyone rolled their eyes as Giles trailed off, lost now in the hunt for a specific volume which could be sited, should further proof be needed. “Ew.  Pass.” “I’m with Buffy here, Giles.  Keep your Grecian graffiti out of my brain.” “I’ll stick with the Simpsons, thank you very much.” “Yes, well.  It’s not Grecian at all, is it?  It’s Roman-” Smiling broadly, Buffy hopped off the table, “Giles is right.  The Greeks were more into orgies!” “Buffy!”  Willow’s shocked response made you cover a laugh with a fake cough. “-Of course, cites are rare.  Very difficult to find documentation.”  Giles, typically, hadn’t given up the search. Cutting through the chatter, louder than it ever needed to be, the period bell sounded. "Ugh.  Gym class for me.  Why is this even a thing?" "I don't know Buffy, I thought you liked showing off in your little shorts and beating the boys at basketball." "Cordy, that's enough.  And while us boys do love looking at you, Buff... we don't love the beatings you regularly deliver." "Well, I have a free period Giles!  Do you want me to stay and -" Snapping shut the leather book he was gripping, Giles caught your eye and turned to the peppy student, "Uh, no Willow, I don't think so.  I believe I need to see what our Art Department is in need of at the moment." With a shrug, Willow began packing up her belongings as Xander slung his back back over his shoulder, "Will, you can come with me.  I'm going to find a nice little corner, under a tree, and sleep away my study hall." “But, I… I could help find the Agrippa?  Or… some other old Roman book?” Xander wrapped an arm around Willow and took Cordelia’s open hand, “But why do that when nothing calls?” "Another fine example of your scholastic aptitude, Mr. Harris", was your parting shot at the foursome as they walked out the door. "Well. Mr. Giles, now that we’re alone… Could I talk you into helping me out?" “Of course, of course.”  Pushing his glasses further up his nose, fixing his light eyes on yours, “What are we looking for?” Sighing deeply, knowing the chances were slim, “I was hoping we would find some examples of Pre-Columbian deity carvings.” Pausing, his look serious, Giles peered at you, “Interesting.  Anything in particular?” “Yes, actually.”  Again you flushed, more than a little flustered at what you were really looking for, “I’m researching fertility icons.” Raising his eyebrows, Giles started, more than a little outside of his comfort zone, but you had to give him credit.  He recovered from the shock rather quickly, “Oh… I… I see.  Well yes, I’m sure we can find… something.  If you’ll follow me, please.” “I’m right behind you.”  Biting into your bottom lip, you smiled to yourself.  Right behind Mr. Giles?  What a place to be.  Giles led the young art teacher through the deepest stacks of the library, pausing once or twice to confirm that she was keeping up with him.  He was ashamed to admit that he had lost travelers a time or two as he stalked through his overstuffed shelves, knowing instinctively where to find the book he needed most. For her, watching the tweed covered bottom of Mr. Giles was no hardship.  True, he was older and tad bit reserved in the best British way, yet she had the sneaking suspicion that underneath all the wool and starched cotton was the heart of a wild man poet. "Uh... just a bit further, I'm afraid.  Books like this, well, I keep them at a greater remove." "It makes sense.  Don't want the kiddos getting a hold of anything too tantalizing." "Of course not.  As you well know, they don't need much help in the libidinous response department." You chuckled softly, nodding as the air around you grew stuffier, "Too true!  You should see what some of them turn in and call art.  It would make a blind man blush." And at the mention of blushing, you were shocked to see a rosy hue grow on Mr. Giles' cheeks.  You liked it.  It reminded you of the high color in a Vermeer painting.  You couldn’t help the flutter in your belly at the thought, "Mr. Giles, have you ever seen a South American fertility statue?" "I can't say that I have... have... have you?"  Something about the idea of you examining an ancient artifact directly connected to sexual congress made his body stir.  "Hmm... Oh, yes.  I was able to study in Mexico for a semester.  Some of the art work is just incredible and the carvings, they're truly magnificent.  Carefully made.  Usually stone or..." swallowing hard, your throat suddenly dry, "hard wood." Breaking fast at the implication in your words, Giles froze in place which caused you to press directly against his broad, vest covered back.  You had a second to register the soft scent of his aftershave; something spicy and masculine, which made your mouth water.  Moaning quietly, you offered a weak apology, “Oh, I am so sorry, Mr. Giles.” Offering you his profile, the bookcases too cramped for him to turn around fully, you saw his sweet smile, “That’s… that’s quite alright.  In fact, we’re here.” Stepping out of the way, you pushed back against the opposite wall, the shelves digging into your spine in the confined space.  Giles bent over, giving you a great view of his backside, as he extracted a slim book from the bottommost ledge.  When he stood up, directly in front of you, the narrow, book covered alcove caused him to stumble. Giles’ chest collided with your own, forcing the air out of your lungs.  Instinctively, you lifted a leg, curling it over the swell of one trousered hip and lifting the hem of your knee length plaid kilt.  Nose to nose in a compromising position, you exhaled a shaky breath as Mr. Giles inhaled, “Close quarters around here.” Shifting under his deceptively hard figure, it was difficult to ignore all the places that were firm to the touch, especially when you could feel so much through the thin barrier of your cotton panties.  Bracing one arm on the obliging shelf biting into your shoulder, Giles pushed back a bit, lifting his weight off of you without making any other attempts to move away.  He was so close now.  Close enough to feel your fuzzy sweater and all the soft skin that trembled beneath it.  Close enough to see the pound of your pulse in your throat.  Close enough that when you licked over your bottom lip Giles could almost taste it too.  And why shouldn’t he?  “Giles?”  Your voice was whisper soft, fanning hotly over the face of your colleague. “Uh… yes?” “I’m stuck.” Blinking behind his thick lenses, it took the normally quick witted Brit a second to process your words, “You’re stuck?” Nodding slowly, your hair curling over your cheek, “My… My skirt.  It’s… uh, caught.  Caught on something behind me.” “Good heavens!  I’m so sorry, let me help you.”  Slowly, Giles lowered your bare leg to the floor, his hand lingering for a second longer than absolutely necessary.  He was still in your space.  Still incredibly close to you. You arched away from the bookcase in an attempt to free yourself with a groan that sounded heady in the stuffy stacks.  All you managed to do was force your sweater covered décolletage into Giles’ chest.  Stammering, a wave of sweat breaking over his brow, “Allow me?” The way your skirt was caught pulled the bright plaid lower on your waist than you would normally consider decent.  It meant that you had a fleshy strip of skin exposed along your tummy and Giles raised his eyebrows by means of asking permission to touch you.  “Yea, yes.  Please!” Tentatively, gently, you felt the strong fingers of Rupert Giles circle your waist and shivered at the unfamiliar familiarity of his touch.  Your chin rested on his shoulder as he worked and you couldn’t help sighing when he opened his hands and pulled you closer.  Under other circumstances you might have misunderstood the embrace but you were both professionals.  Not that you hadn’t considered the handsome book guardian a time or two before. “I… I think we’re almost there.  If you’ll just, maybe to the right?” “Um, sure.”  Following his directions you twisted in his arms, trying hard not to tear your outfit or rub against Giles.  All the close contact and talk of fertility gods had you feeling a little aroused and it wouldn’t do for your colleague to learn that fact. With a triumphant grunt, Giles set you free, only for gravity to kick back in.  The momentum created by your falling took the gentleman and the entire Grollier’s Gothic Almanac collection with you.  A cascade of papers, scrolls and dust rained down on you both. Coughing, aware that you were laying on something softer than the floor, you struggled into a sitting position, swatting away clouds of disintegrated pages, “Rupert?  Are you alright?” From beneath you a rumbling grumble that sounded like, “Yes quite… you?” was heard.  It was then that you realized exactly where you were.  Straddling your friendly neighborhood librarian, surrounded by debris, but safe, all the same. “Oh my!  I’m so-” “No, No.  Please, don’t apologize.  I’ve been meaning to reorganize this section and well, now it seems I’ve got no choice.” “You’ve got a bump.  Right here…”  Just over his right eye a small bruised egg, the color of lilacs, was starting to rise and you gingerly touched the swelling spot. “Then it will match the one on the back of my head perfectly.” “Poor Giles!  All of this injury in the name of research!” “No one ever tells you the dangers one might encounter in the library.” His dry British wit sent you both into giggles and suddenly nothing could be funnier than the moment you were in with Mr. Giles.  Looking up at you, his fingertip traced over your cheek, suddenly serious, “I’m not the only one with a war wound, it appears.” “Oh?”  Your hand covered his as you realized that you had a small cut, bleeding just a little, over the apple of your jaw.  Smoothing his thumb over your injury, Giles soothed you, saying, “Hush now, I think you’ll live.”  And you watched as Giles sucked the drop of scarlet from the pad there, his green eyes on yours, daring you.  Something about it was so… sinful.  So dark.  So alluring. Then his lips were on yours, suddenly and savagely.  Hands, firm and capable, slid under the fluff of your sweater along your spine as you tangled your own in his dark hair.  Giles, drawing you near, was satisfied only when you were splayed over him, writhing between the piles of text and stacks of piled paperbacks, as his tongue plundered your mouth. Trapped by his bent knees at your bottom, Giles helped center you over the firmness of his excitement, teasing you as you moaned, “Oh, oh Rupert!” “Call me Ripper.”  Before the word had left your throat, Giles was sloppily kissing over your neck, sucking lightly on the skin revealed by the v-neck of your top.  Sitting up quickly, you lifted the soft sweater over your head, tossing it away from you without concern.  Like one of the teenagers you might chastise, you then hugged your lover tight, gasping when you felt the nip of teeth over your bra.  “Giles… Uh, Ripper!  Please, go easy?”  With a hard grip on your upper thigh and one hand on the back of your neck, Giles held you still, smirking, “If you wanted easy you shouldn’t have come looking for fertility icons, my dear little art teacher.  And if this particular article of clothing-” He paused long enough to pinch at your hardening nipple before continuing, “-is dear to you, take it off.” Clenching your abdominals at his crass language, more turned on that you could remember, you reached behind you.  Unhooking the pretty scrap of lace and satin, you shyly covered yourself, biting into your bottom lip, “Fine… Ripper.  Should I be worried for my virtue?” “Absolutely.”  Without waiting for permission, Giles pulled your arms away, exposing your bare body to his blazing gaze, “You have nothing to hide, you know?  You are-” “Just shut up and kiss me, Ripper.”  And he did. Grinding your hips into his, it was impossible to ignore his hardening manhood, even through the fabric of his pressed trousers.  Giles cupped your bottom, under your skirt but over your panties, bouncing you in place as if he was already inside of you.  For your part, you tried to unbutton his pin striped shirt, but the force of his kisses was proving too distracting. “Oh, dear!  Poor thing been kissed senseless?”  He was teasing and cruel, but in the sexiest possible way. Red cheeked and huffing, you nodded, “Yes… let me touch you!” “Tsk… you didn’t say ‘please’.” “Please!  Please, Ripper!  Oh god, please let me!” Unseating you slightly, Giles leaned up on his elbows, cocking his head to one side as he took in the mess he had made of you, “Go ahead then.  Unzip my pants.” “What?” Removing his glasses, eyeing you darkly, “You heard me, I think.” Swallowing hard, your hands shaking with excitement, you reached for Giles’ belt.  Watching him, and only him, you slowly slide the leather from it’s buckle.  When you popped the button of his pants and let your hand drag over his hardened length, Rupert groaned and tossed his head back, “Yes.  Keep going.” Slowly, agonizingly so, you lowered the zipper as you were ordered to do, “What now, Ripper?” “Take me out.  I want you to feel what you do to me.” “I can do that.”  You played it cool, but the saucy words being said in that clipped British baritone did things to you.  They made your thighs tighten, your belly flutter and your breath catch.   Trailing a hand over Giles' barely exposed hip, you moved closer to the prize, your prize, as it pulsed with need.  Wrapping your hand around the meaty girth of Rupert's member, you couldn't help stroking the silky hot skin, so vital in your palm.  That it caused the man beneath you to moan your name only added fuel to the fire of your desire. Slick and sorely wanting, you licked your lips, ready to savor the flavor of your book stacking beau but he stopped you, saying, "Last chance to run back to the studio." "No way… Ripper."  And you felt a rough jerk as your panties were removed by force, the air cool on your overheated core.  Another kiss, full of needful things, distracted you as Giles parted your lower lips with his nimble fingers. Pumping into you, once, twice, just to ensure that you were ready, Rupert swiftly stretched your center.  With your small hand guiding his shaft, you lowered yourself onto the engorged tower of his power, crying out a ragged, "Oh God!" You thought you were capable of handling any man, but the delicious spread Giles' fine form forced you to endure was more than you expected.  Clutching at his bunched up sweater vest, your back arched tautly as Rupert dragged your hips down onto his unrelenting hardness over and over.   In your head, a rhythmic, tribal tattoo that made you think of ancient fires and curved statues took hold and you rose and fell against Giles on the beats vibrating through your brain.  He sensed it too, alternating his stroke, slowing down and speeding up in time with the thrumming pulse only the pair of you could hear.  "I want you to cum for me.  Do you understand?  Tell me you understand." "Yes!  Yes!  I'm so close, Ripper!  So close!" "Good.  That's very good."  Tingling now, your muscles tensed, ready for the release Rupert would provide.  You flung yourself onto his swollen sex without thought or reason, merely searching for the pleasure he had promised.  His thumb, so thick, so clever, pressed against your sensitive clit and your world imploded. Rupert felt it.  The moment your body and his melded together was forceful.  It tore his pleasure from his loins in grunting gasps as he experienced your ecstacy at his hands. Limp and listless, you draped your half nude body over his, dazed and drained.  Who knew screwing the librarian would feel this good?  In your post coital haze you started to laugh.  Giles, his hands roaming over the sweat soaked skin of your back, heard your chuckles and joined in.  It was another release, of sorts, and you found it almost as intimate as the act you had just committed. Folding your hands under your chin, flashing Rupert a wide smile, "Ripper, huh?" Sliding his glasses back into place and carding a hand through his hair, Giles grinned, "Oh, uh… yes.  Ripper.  My nickname in London." Toying with the collar of his shirt, "I'd love to hear about London sometime… Ripper." At the sound of that name in your voice, Rupert flexed inside of you, "Call me that again and you'll miss last period." Gasping against him, nodding weakly, "Hmm… promise?" That made him smile broadly as he handed you back your sweater, "We can't have a repeat of last week, can we?" "It wasn’t my fault you didn't hear the bell ring, Mr. Giles!" Sitting up, you fastened your bra and shrugged into your sweater before asking, "Did you have to destroy my undies?" "I'm afraid I did.  Although I told you to remove anything dear, didn't I?" "What am I gonna do for the next hour, Giles?" Pushing his glasses up, "I would advise you not to bend over." Swatting at him playfully, you used one of the sturdier shelves to stand, adjusting your skirt and fluffing your hair.  Looking around at the absolute mess created by falling books, embarrassed, you asked, "Can I help clean this up?" "No, I don't think that'll be necessary.  After all, Willow will be in-" "Along with Buffy and Xander and Cordelia.  Got it." Standing himself, Giles chuckled as he fastened his trousers and set himself to rights, "Precisely.  Now-" he bent over to retrieve a slim volume, "- The book you asked about.  Fertility iconography in Meso-American subcultures." "Thanks.  Ya know, I always enjoy coming to the library.  I'm surprised more people don't." Walking with you, his hand on your lower back, nuzzling into your neck, "I enjoy you cumming in the library." It was on the tip of your tongue to say something fresh when the overly loud bell clanged.  Lifting up on tiptoes you pressed a kiss to the goose egg over Giles' eye, saying, "I hope that makes it feel better!" Snagging you into a tight hug, Giles stared into your eyes before kissing you deeply, "That.  That makes it feel better." And then the library door swung wide on the four students who called the library a second home, "Um… are my eyes deceiving me or is Giles sporting a black eye?  I was only gone for an hour, big guy, what happened?" "If you must know, Xander, a shelf collapsed in the back.  We were fortunate enough not to be badly hurt but, there were some bumps and bruises." "A shelf!  Oh no… which one?!" Giles turned to Willow solemnly, "I'm afraid all the Grollier’s… and most of Crentist." "On it.  Come on Xander.  You can help me sort!" "Aw, gee.  That sounds like fun." As the pair trotted off, you turned to Giles, whispering low, "Dinner?  My place?  You can tell me about London, your childhood and why you love tweed." Eyeing Buffy, who was distracted and a distraught, Giles answered, "Tonight?  Um…" "He'd love to!  Say 9 o'clock?  And, he'll bring the wine."

Spinning on your heel, surprised that Buffy was your champion, you grinned, "Great!  Awesome!  I will see you then."

As you left you heard the bubbly blonde doling out instructions, "No Giles.  You can't wear that outfit to dinner!  You need to look nice.  Nicer than you do now.  Also, why is there so much dust in your hair?" If Giles answered you didn’t hear it over your big yawn.  You had a lot to do between now and 9 o’clock.  Rupert Giles was coming over for dinner and you could hardly wait.

------ Fin ------- I’m tagging my minxes, even though this is specifically NOT a Loki story.  I do want you guys to send me stories that might fall under the “Hot Characters” banner though!   Minxes:   @scrumptious-finicky-illusion​ @iamverity​ @mizfit2​ @sammy-jo1977​ @wolfsmom1​ @jessiejunebug​ @iluvsumbucky​ @unadulteratedwizardlove @procrastinatinglikeabitch @shxdowofdarkness​ @nonsensicalobsessions​ @ahintofkiwistrawberry​ @alexakeyloveloki​ @rorybutnotgilmore​ @crystalizedcaramel​ @lokislittlecorner​ @capcapcapsicle @jamielea81​ @caffiend-queen​​ @otakumultimuse-hiddlewhore​​ @jenjen8675309​​ @that-one-person​​ @roguewraith​​ @toomanystoriessolittletime​ @vodka-and-some-sass​ @just-random-obsessions​ @brokenthelovely​ @lots-of-loki​ @thefallenbibliophilequote​

[variousqueerthings]

Daniel LaRusso: A Queer Feminine Fairytale Analysis Part Two of Three

Part 1

Part 3

6. Sexual Awakenings part 1: Love, Obsession, & Size Differences

[Insert that post talking about the creators making sure that Daniel’s antagonists were much bigger than him so that the audience would sympathise, spawning 10000 size kink fics]

I’m sure this won’t awaken anything in Daniel

Corporate wants you to find the difference between these two pictures

The hallmark of feminine fairytales tends to be growing into womanhood, with all those symbolic sexual under/overtones, searching for a prince, encountering monsters (or evil stepmothers), on the surface tending to be quite passive/reactive, but actually being about young girls and women getting out of their environment and choosing to tussle with those deep, dark desires – monsters. They’ve got to function within the limitations of power that they have – escaping an abusive situation through marriage, chasing forbidden desires under the guise of duress, asking questions about sexuality through things like symbolic plucking (flowers) or consumption (fruit) or pricking (needles), etc.

Daniel isn’t striking out to find his fortune or win a girl or a kingdom Like A Man, he’s not a threat to Silver, who – like Jareth in Labyrinth – is in control for almost the whole of the narrative, he’s not actually able to do much more than react until he makes the decision to stop training, and even then he’s immediately ganged up on and assaulted, needing to be saved by Miyagi while he stands and watches, bloodied and bruised. 

Daniel’s journey in the third movie is to be forced into an impossible situation, seduced by Silver, and then prove that whatever violence Silver did to him isn’t enough to destroy him. It is incredibly similar to Sarah’s in Labyrinth, who by the end declares: “you have no power over me,” and that’s her winning moment. Not strength, not wits, not a direct fight, (although Daniel does fight Barnes and gets beat up again – only winning in in the end by taking him by surprise, unlike in TKK1 or TKK2 where you could argue that he proves himself to be a capable physical opponent to Johnny and Chozen), but by declaring that whatever power was held over her is now void.

Daniel’s narrative isn’t satisfying in the same way, because the dynamic of Silver and Daniel only accidentally emulates this - it’s not an intention on the side of the film-makers.

When Miyagi tells Daniel that he has strong roots, when he tells him not to lose to fear and Daniel wins over Barnes (in an almost fairytale-esque set of events), on paper he’s defeated whatever hold Terry Silver has over him. In the film itself though, Daniel never defeats Silver (which will likely be confirmed once he returns in Season Four). Daniel cannot simply say “you have no power over me,” and see Silver shattered into glass shards. 

The film is a contradiction: It wants to be a masculine sports film, but it exists in the same realm as Goblin Kings seducing young girls with the promise of: “Just fear me, love me, do as I say, and I will be your slave.” Unlike Sarah, Daniel doesn’t claim the power that’s been promised to him on his own terms. His subtextually sexual awakening is so corrupted that all he can do is pretend it never happened.

Still, Daniel proves in the film that his strength is not in his fists. It’s in his praying to the bonsai tree that’s healed despite a violent boy brutally tearing it in two.

These looks on Daniel and Silver though?

So why does Silver become obsessed with him? What’s up with all those red outfits (that he doesn’t wear in Cobra Kai)? What does the temptation reveal about Daniel? How does it recontextualise TKK1 and TKK2? Is Daniel bisexual? (yes).

Ah, beach-Daniel, in your red hoodie and your cut-off jorts. Iconic hot-girl summer vibes. 

If you didn’t want me over-analysing this, you shouldn’t have put him in so many red outfits and then have this man leering at him like he wants to eat him alive.

Surface-level it’s not hard to read into a Dude Story: Masculine power fantasies are about strength in a very direct way. Fighting, control, suaveness – and if you’re not the most traditionally masculine of guys, asserting dominance through being a good lover or intelligent or overcoming that unmanliness in some way through beating the bully or convincing the hot girl to go out with you, levelling up in coolness. Being A Man. It’s not too dissimilar from Daniel’s arc in the first movie, if you watch it without taking later events into account, although Daniel is never interested in proving himself as a man, and more in making Miyagi proud. Still, he does win and gain respect, and arguably “get the girl,” although Ali’s interest in him was never dependent on the fight.

7. Sexual Awakenings Part 2: Sexual Assault, Liberation, and Queerness

Feminine power fantasies are often about sex. Metaphorically. More accurately it’s “owning sexuality.” Even more accurately: “Freedom.” They also inhabit a fluid space in which empowerment through monstrous desires and non-consent can happen at the same time. And on top of that, many of these “fantasies” are actually being written by men, so whose fantasy is it really? A lot of them are based in oral traditions so presumably they were originally from the mouths of women, even if modern iterations (starting with Grimm’s collections) are filtered through cis men’s perspectives.

All of that being acknowledged: In Angela Carter’s “The Company Of Wolves,” Red Riding Hood unambiguously sleeps with the wolf. Belle discovers her freedom from expectations and unsuitable suitors (and in some versions, evil stepsisters) by falling in love with a Beast (the original novel was written by a woman, the 18th century Gabrielle-Suzanne Barbot de Villeneuve). Jareth informs Sarah of his obsessive devotion to her in Labyrinth. To lean into horror for a moment – Buffy is stalked and eventually has relationships with both Angel and Spike, Lucy in Coppola’s Dracula (which I have mixed feelings about) is raped by the werewolf and Mina is stalked by Dracula, The Creature Of The Black Lagoon kidnaps Kay (the lead’s girlfriend) – subverted in both The Shape Of Water in which Eliza forms a consensual relationship with the amphibious sea-god and in the short-lived horror series Swamp Thing, in which the connection is purposefully framed as seductive…

and in The Karate Kid Part Three Daniel LaRusso punches a board until his hands bleed because an attractive, older man tells him to and in this moment he gives in to what he (thinks he) wants.

Not all of those examples are equal. Some are consensual, some are hinted as abusive and/or stalkery, all of them have large age gaps, and a few are outright non-consensual.

But they’re all fantasies.

They’re all power-fantasies.

Except for Daniel, because he’s a man and the idea that being obsessed (lusted) over by an older man who keeps you in his thrall, specifically because you tickle his fancy for whatever reason, because you’re beautiful, breakable, different – could in any way be considered empowering is a difficult concept to wrap your head around. It doesn’t contain that “but I’m a good girl, I’d never go off the path and pluck flowers if a bad wolf told me to, honest,” societal context or the social context of rape culture. It’s closest comparison is closeted (perhaps even unknown until that point) queer identity.

There have recently been some comparisons of Daniel LaRusso to Bruce Bechdel in Funhome (and everyone who says that Ralph Macchio ought to play him in the upcoming movie: you’re right and I’m just not going to enjoy it as much without him). I’ve written a post about Sam being the heir to his legacy and trauma, specifically as a queercoded man. It’s not dissimilar to the plot of Funhome in a lot of ways.

The other interesting source that’s been going around in connection with Daniel is the essay “The Rape of James Bond,” which discusses the use of sexual assault as a plot device for women and not for men: “About one in every 33 men [in the US] is raped. … [your statistically average, real life man] … doesn’t have a horde of enemies explicitly dedicated to destroying him. He doesn’t routinely get abducted, and tied up. Facing a megalomaniac psychopath gloating over causing him pain […] is not the average man’s average day at the office.” That last bit is just a descriptor of Terry Silver, (although I take issue at the blasé use of psychopath).

The two part youtube essay  Sexual Assault of Men Played for Laughs posits that there is nothing more de-masculinising than the threat of sexual assault and therefore any narrative that features this “rightfully” must mock any man who has been a victim or who fears being a victim of sexual assault. It is feminising. There is nothing more humiliating – and therefore unheroic – than a man dealing with sexual assault.

So what do we feel when we see an attractive young man being put into a vulnerable position by an older man? A trope associated with female characters, a trope that is considered unpalatable for men (see reactions that happened when the hint of sexual assault was introduced in Skyfall).

Was it the fact that he was being threatened, or the fact that James’ next line is: “what makes you think this is my first time?”

Some thoughts added by @mimsyaf​ are around the idea of safety in how a lot of cis women might relate to this narrative through Daniel’s eyes. He’s not a woman, he has – societally – more power than a girl or woman would have, which makes this a different watch to, say, if Danielle were to go through the same narrative. Daniel doesn’t carry that baggage of rape culture, or of the male gaze that you might find in a similar scenario of Buffy the Vampire Slayer or Christine in Phantom of the Opera (and once more the age differences between these characters and the men who love/lust over them are substantial), which makes the narrative “safer” to engage with.

I agree with that, although as a transmasc person I also come at it differently. I specifically like to headcanon Daniel as a trans guy and find his fraught interactions with masculinity through his own non-toxic lens relatable, as well as the way other boys and men react to it – also I think Terry Silver is hot. I know there are people who write Terry Silver with female OCs, which is also a form of empowerment.

On the flipside putting Daniel in this space runs a risk of fetishising him as a queer youth who is either Innocent and Pure, or a bisexual stereotype that deserves to be assaulted for not being a real man. After all, Real Straight Men don’t run the risk of sexual assault.

 Alas, the road to empowerment never did run smooth. 

The comparisons between the way Daniel is treated by the text and how female characters are often treated in texts are undoubtedly there. Through Ralph Macchio and TIG’s casting and the direction and acting, but also within the text itself. 

It might not be with the same purpose as Neo’s symbolically trans journey, but it puts the whole narrative that Daniel’s going through from TKK1 under a different light than if there had only been one movie that ended on a triumphant sports win and a girlfriend.

Johnny’s masculinity and the use of tears as liberation, now that’s a whole other analysis….

[avelera]

“Break the Cutie” aka Whedon’s just writing his fetish over and over and people are just beginning to figure that out

(Title from TV tropes “Break the Cutie” trope of the same name)

I’ve been thinking a lot about the latest “reveals” about Joss Whedon, namely, that his take on certain superhero franchises is just objectively bad (as someone who loathes “Age of Ultron”, this comes as no surprise to me) and the even less shocking (to those paying attention for the last 20 years) “revelation” that he’s abusive to his cast (all except for his self-selected male stand-in who plays his Mary Sue) which is even less surprising from a man who referred to his actors not-so-jokingly as “meat puppets”.  

But I do find this implosion of his reputation, for the lack of a better term, rather objectively interesting as someone who liked Buffy Season 1-2 back in the day and is from the era where worshipping Joss Whedon was like worshipping Johnny Depp’s Jack Sparrow-- simply put, it was inescapable in most nerd communities. And the worship was largely by female fans because, shocker, Buffy was largely aimed at young nerd women.

Were all those women simply blind? Did they not see the subtly misogynistic mind behind the creation of such breakout “feminist” nerd icons as Buffy? Were they taken in? 

I don’t actually think that’s the case. Rather, beyond the fact that complex feminist theory wasn’t necessarily being taught in the late 90s to young nerd women, I think there is a nuance between idolizing and fetishizing “Strong Female Characters” that can be difficult to distinguish and that the differences are not necessarily visible during most parts of a standard story structure.

Buffy was a strong female character, no sarcastic capitalization needed, because the fetishizing parts are largely limited to individual story beats, such as the “Long Night of the Soul”, for example. 

Simply put, Joss Whedon’s fetish was the moment that Strong Female Characters are broken, so 90% of the story buildup of the character remains indistinguishable from someone building up a strong female character because they want her to be strong vs. wanting to see the moment she breaks.

And here’s the thing, as a writer, I get it. I get that we all have our story fetishes. We all have things we write about, over and over, the niggling loose tooth of a concept we can’t stop prodding at. 

And yeah, as an angst writer in particular, I get it when the thing that gets your motor running for the objectively difficult slog of writing a story is seeing your beloved character bruised, suffering, and at the end of their emotional rope because of all the trials you’ve thrown at them. My personal story “fetish” is seeing characters transformed into the thing they most fear themselves becoming, either physically or mentally, and their struggles with that confrontation and what they and their loved ones go through during this horrific event. This story fetish colors pretty much all of my long-form stories. 

Heck, I loved Season 2 of Buffy because Joss Whedon’s “see the strong character bruised and in anguish” fetish resonated with me. Not for the weird sexual aspects--for those uninitiated, Buffy sleeps with her Good Vampire boyfriend Angel, who promptly loses his soul and becomes essentially a demonic version of himself she has to fight and eventually kill, for maximum emotional anguish, at the climax of the season--I ate that up as an angsty teen! Not because of the actual sex, I admit I could have given that part a miss and I consider that part of Whedon’s weird sexual hangups coming into play around Purity and Sin and Anguish or whatever, but the idea of your moment of greatest intimacy/joy becoming your moment of confrontation with your worst nightmare is the stuff that really melodramatic angst is made of. So I get it and I enjoyed it as a viewer, at one point.

But where Whedon lost me there is that Buffy and Angel never get to be together. They’re perpetually apart from that point on, and eventually see other people, end up with other people, etc. I mean, what’s the point of the Ultimate Suffering around needing to kill your own soulmate if the story is then just going to ignore them being your soulmate? The suffering was just never ending. Buffy was a bit like Dean Winchester after a while, just never allowed to catch a break. Because Joss didn’t want a Strong Female Character overcoming obstacles and eventually triumphing for good, he was in it to see a Strong Female Character who he gets to watch at her lowest moment, surrounded by other Strong Female Characters repeatedly going through their lowest moments of pain and anguish, over and over, until we reach some sort of network-required conclusion. 

Like the cruelty of Benioff and Weiss of Game of Thrones fame, it’s not difficult to understand once you see it. Sometimes, the angst and cruelty is the reward. The real sin of Joss Whedon is that he didn’t stop there but let his fetish spill over into his working and personal life by fetishizing the women who played the strong female characters he wrote and by being cruel and abusive to men and women on set who weren’t fitting his weird fetishistic obsession when it spilled into the way he ran his real life. Because word to the wise, all you creators out there, your fetishes will keep you going in your art, and keep you warm on a cold night, but letting them take over you creative process rather than simply provide power for it is a fast track to becoming a failed creator for a multitude of reasons. Hopefully, just that you can’t objectively view your own work anymore and accept critique, but more harmfully as we see here, when you play out our story fetish skit on real people, which only grows worse when you’re so insulated by fame and fortune that no one can tell you no.  

(There’s another aspect of Joss’s storytelling that I’m going to break into another post, if you got this far. That is, that Joss doesn’t accept the premise of most of his stories. That is, he rarely takes a world he didn’t build himself seriously and that lack of accepting the premise of the world, is why he can be great at banter, but often fails at the new era of superhero movies. 

Part 2 - link once it’s up.)

[summers-pratt]

Would admitting that I don’t really like Faith make me a heretic? (Wait I just realized I made a god tier pun - HA I just did it again). She could be fun sometimes as a villain, but her overall character arc really did not land well from my perspective and she can be REALLY annoying at times, especially when it comes to how she treats Buffy. Most of the other people I’ve found who also feel that way about Faith are Bangels who also don’t like Spike (besides like two mutuals of mine), so I feel like I’m mostly on my own.

The only heresy possible 'round here is hate on a good pun and you're obviously not in danger of that lol we are all entitled to our own opinions :)

I've had mixed feelings on Faith since I first watched the show, and the more I read of other people's takes the more mixed they become, I guess because I never had strong opinions on her. I agree she's fun as a villain and her arc could be a lot better, and because there's so much potential for her to redeem herself and they never really get into that, it gets annoying. Yeah you could argue she was influenced by the scoobies and watchers' treatment of her, but there's more to her character than purely reactionary actions. I like what she does for Buffy's arc in the third season, how she influences her as a shadow/love interest, but she goes so far into villain territory in s3 and s4 and then never has a meaningful turning point or exploration into her guilt and desire to make up for what she's done and it does her character a disservice. It's briefly glossed over in ats, and then she goes to prison and poof she's fixed. Like most things in ats, it takes a female character with great potential and throws her into an easily written box for her to be of use later without taking the time to actually delve into her psyche and try to rectify her impact on the story and Buffy (but ohoho ats isn't Buffy's show even though it wouldn't exists with Buffy (the character and the show) so we just don't have to deal with any of that??). So I do see where you're coming from in your frustration with Faith, it sucks they just made her a hero turned villain and didn't give her a chance to atone or even really apologize to Buffy.

I can see how people who don't like Faith can also not like Spike; they're both shadows of Buffy that also serve as love interests, and both have done really awful things and are framed as villains, but they really only give Spike a meaningful arc (which don't get me wrong, was the right choice, Spike is a fantastic character and deserved the elaboration, and more). I feel like not liking Faith or Spike and liking Bangel is a very simple take, like, those are the surface opinions the writers want you to have, at least in the earlier seasons, they're easy opinions to have (and it's fine if you do!) But I'm a big fan of complexity and digging deeper into characters and relationships so I have very opposite feelings. Though still, not liking Faith for her actions against Buffy and her loved ones are more than understandable, and I do agree to really get her back to a kind of protagonist status, I need more repentance and effort from her for it to make sense, rather than just plopping her into the last season like "look prison works everything is fixed!" I guess there just wasn't enough time to fit an actually meaningful arc for her into the show? And the show is Buffy the Vampire Slayer, not Faith the Vampire Slayer. Still, her own redeptive arc couldbe complimented or contradicted Buffy's somehow, like maybe in season 5 and 6, as Buffy feels like she's losing herself, she doesn't know how to marry these two parts of herself, woman and slayer, it might've been interesting to see Faith doing just that as she worked through her stuff. I dunno, I'm just spitballing, my point is that whatever it could be, it would have to subtextally be about Buffy. Though maybe they were already doing that with Spike so that would've been Too much lol

ok I'm stopping there before this gets any longer lol

[girl4music]

God I just want more strong female representation. Not necessarily WLW representation but just female in general. Women-led TV art/entertainment. Female empowerment. Female vulnerability and strength.

I want a representation of the human condition where females can have all their internal conflicts and conditions but not be punished for them. Or if they have to be punished in the narrative - fully explore as to why they do. What the necessity for it is. Whether it’s valid and justified. Whether it serves a purpose in the narrative for that female character. Does it help them grow and evolve into a better person? Does it help them combat their internal demons and heal their mind, body and soul? Or is it only there in the service of someone else’s story arc because they don’t matter as much as that other character does? I’ve always said that punishment for punishments sake is just stupid. It serves nothing. It helps nothing. It evolves nothing. And when it comes to female punishment in TV art/entertainment in particular, there is very rarely an exploration of the reasoning why they have to be. And that’s because of poor narrative writing choices more so than it is because of purposeful ignorance or spite.

Poor narrative writing choices because of the anxiety of providing sufficient representation and the anxiety of cancellation. Rushed written and produced content. Female representation in particular has had a real hammering. I mean you still are provided it but the problem is the lack of care and conscientiousness with it. Representing a female on-screen is different to representing a male on-screen. Not necessarily because there’s differences in the genders or sexes. I am the last person to care about gender stereotypes and the “correct” gender roles and bullshit like that. That’s not what I mean. No, it’s more so about trying to depict the subtle nuances of gender identity. Think of it like the treatment of ability VS disability. What’s required to treat that disabled individual person equally to the abled person will obviously be different things. So you’re more so pointing out the differences in how females VS males are treated on-screen than you are of how they’re represented. Females need to and should be treated differently to males and vice versa on-screen but it should never be in an unequal way the same way it should never be between an abled person and a disabled person. You shouldn’t have to point out the weaknesses or debilitations of one more than the other. You shouldn’t have to punish one more than the other. That’s what I’m trying to say about how female representation has had a real hammering taken to it recently in TV art/entertainment. Or at least since the likes of ‘Xena’, ‘Buffy’ and ‘Charmed’ were on air. All notoriously women-led shows. Two created by men at that.

I haven’t really seen anything last or stand the test of time since. I mean I’ve found ‘Wynonna Earp’ but I don’t know if it’s significant enough in female representation to have longevity well after it finished with it being produced by a small network then and an even smaller one for when it comes back next year with a 90 minute scripted special titled ‘Wynonna Earp: Vengeance’. It’s certainly something but it’s not enough. We need more female representation and specifically female empowerment representation because what we’ve got at the moment is pathetic.