#actually its a big thing in gay culture as well

[wettestwraith]

it's so weird to me that transphobic lesbians exist especially ones that want nonbinary people to be excluded from lgbtq+ spaces, like they do know that gender nonconformity is a big thing in lesbian culture right?

[moki-dokie]

been seeing some stuff on blue eye samurai and big yikes to nearly everyone pushing extremely western ideals onto these characters.

this is early edo period. 1600s. the japan you know now did not exist yet.

yall. please. there was NO concept of sexuality in pre-modern japan. that came with both the influx of christianity and western influence very very late in history. like, mid-1800s. (yes, there was christianity pre-1800s but it was not a widespread idea yet and wouldn't be until about the 1800s since, y'know, missionaries were routinely murdered before then)

"so and so is either bi and hasn't figured it out yet or..." no. that isn't how it worked then. nobody gave a shit what was between your legs. anyone could be attracted to anyone else. it was a little more common for male homosexual relationships to be between an adult and younger male - like many other places around the world - but two adult men could bang and love each other just as easily. relationships between women were quite common - especially since so many men were often away at war. there's tons of pornographic prints from the time depicting all manner of fun queer relationships. sex itself had absolutely no moral assignment to it. good sex was good health. it didn't matter who with. (well, social class/caste mattered more than anything else tbh but that didn't stop upper and lower class from fucking.) that isn't to say people didn't have preferences. of course they did. that is human nature. preferences arose more from physical appearance, caste, and circumstances with gender being about the last thing one would look for in a partner - romantic, casual, or otherwise. the only role in sex where gender actually mattered was for procreation.

there would be no queer awakening moment, no sudden switch flipped, no stigma to have internal conflicts about because it simply did not exist as a concept whatsoever. you were either attracted to a person or you weren't, it was that simple. gender played no role when it came to sex and sexual attraction. the japanese were lightyears ahead of western cultures in this particular area - like most cultures were before christianity came in and ruined everything with its backwards morals and strict good/evil dichotomy.

yall have got to realize queer rep will not and should not always adhere by modern western standards. there was no straight, gay, bi, or anything else of the sort. the closest they ever got was referring to roles during sex - as in who is giving and who is receiving.

i know this is mostly a made up story but it is still set within a very specific time period and culture, which should be honored and respected by not making it fit into our box. tons of research went into making this show historically accurate (albeit with some discrepancies but tbh they aren't really that huge) right down to the calligraphy writing. please please please don't whitewash the culture from these characters.

i say this mainly because without this knowledge, so many of you are going to build these characters up on a foundation they aren't meant to be on and then you'll rage about queerbaiting and bad queer rep if it isn't somehow super explicitly stated, if it doesn't match your very modern, very western ideal of what queer looks like. don't try to force this plot and narrative and characters into something they canonically and historically aren't. headcanons are a thing, AUs are a thing, fanfiction is a thing - leave your western thinking for those and let these characters simply exist as they should otherwise. this is one of those times where the queerness really does not need to be examined at all beyond what we get.

i know it can be hard to wrap your head around - sexuality is such a huge part of our identity in the western world and has slowly started to spread amongst other parts of the world in importance. but just keep in mind with these particular characters, that concept would be so very alien to them.

[doctorcurdlejr]

Niko!! what'd you think of I saw the tv glow. I finally saw it last night and noticed you posting about it so I wanted to know your thoughts :)

Levi!!! I was JUST wondering what you were thinking about the movie after I saw you posting about it as well... we are so media discussion pilled in this way, it's awesome. ANYWAYS I've had so many thoughts since I first saw it and I've been trying to turn them into something coherent for a little bit now.

Ummm okay I have written 1k+ words about this movie, the suburbs, and escapism via teen TV.... clearly I was dying for somebody to ask this I guess so thank you for indulging me <3

First and foremost, I absolutely loved it! I've seen it twice now and the first time I watched it I got to see Jane Schoenbrun talk about the film right after. I already really liked it from that first watch alone. I found it so deeply relatable to my experiences - both in terms of growing up gay and trans, but where I am now in my 20s trying to navigate adulthood. Hearing what Schoenbrun had to say really cemented my feelings and thoughts about the film.

Buffy the Vampire Slayer was a big influence on the movie (it's why Amber Benson makes a cameo as Johnny Link's mom). Even though I don't have the same emotional link to Buffy since I never watched it, I recognize it as the same type of warmth I experienced growing up with Riverdale. When Owen says he feels like his insides have been scooped out but that he's too afraid to look and have that wrongness everybody knows is there be confirmed, Maddy simply responds "Maybe you're like Isabel. Afraid of what's inside you." Tears forming but not falling, breathing shallowly, I grabbed the paper and pen the theater keeps at the seats for people to order food with and wrote that line down - the slip of paper is still somewhere in my car. Writing it now almost feels lame in its simplicity, but it felt like my insides were being flayed open.

During the director discussion, Schoenbrun talked a little bit about this idea of how truly fucking bizarre it is to grow up in the suburbs. Like, when we think about the pinnacle of normality in American culture, it's the image of middle-class cis-hetero-white suburbia. At the same time, despite this cultural dream of normality, everybody is hyper-aware that the suburbs are one of the least normal things ever. So, the ACTUAL cultural understanding of it is that it's where we go to, like, passively kill ourselves (*George Costanza voice* WE LIVE IN A SOCIETY YOU KNOW!). This idea isn't new, I mean there are so many films and shows about navigating that specific bizarre dissonance from Rebel Without a Cause to Heathers to Twin Peaks. Probably half the pre-teen to teen TV I watched obsessively growing up, stuff like Strange Days at Blake Holsey High, Making Fiends, Truth or Scare, and eventually Riverdale, were never shy about being weird and morbid and saying "yes, the suburbs are exactly as bizarre and lethal in the ways you can already feel in your bones at 13." I Saw the TV Glow does a really good job of keying not only into that mental dissonance but more specifically into how those of us who have felt so intrinsically weird and different and wrong fell back on these shows like they were capable of doing the emotional version of a rescue breath maneuver after being drowned.

In high school, if there were two things about me that any person who even vaguely knew me could list off it was that I watched Riverdale, and I was a lesbian - and I was mocked more for the Riverdale. At that age, I was, without a doubt, the most miserable I have ever felt in my life. I rarely left the house because my family lived in a development that made me want to scratch my skin off when I walked out our front door. Owen didn't leave the house for days, afraid Maddy could somehow force him out. I sobbed constantly and frequently to depressing indie rock on the floor of my closet while hoping my family would just once read the (honest to god) KEEP OUT poster plastered on my door since I didn't have a lock on it. Owen didn't leave his room for days, afraid of what Maddy recognized in him. I didn't go on dates and kept my chest binder shoved to the bottom of my bookbag while wearing dresses that could've come from a how-to-be the perfect 50s housewife manual. Owen didn't leave his bed for days, afraid of Maddy touching his neck and Isabel's dress. I also watched Riverdale with the kind of zeal you see in a Pentecostal who has found God and started speaking in tongues to let you know it. I own a button that says, "Don't Make Me Go Dark Betty On You," I cherish it in a way that is only achieved by knowing exactly how corny and trite it is and then moving straight past that because well actually, and most people wouldn't get this, she's holding back something deeply dark and wild and- and disgusting. something painful yet intrinsically her. but i get it, obviously. or maybe not obviously! hopefully not obviously, but- basically, I'm just saying I get it: the experience of reflection and recognition through the other and all that.

Whatever, the point is that this movie is one big glaring trans allegory about how it sucks dog shit to live in the suburbs, and even at our most repressed we find these little snow globes of actualization in the glow of a tv screen that isn't afraid to show you the world you see. I've seen some people say that, like, in this context accepting or coming into your transness is this monumental death of self, which I get, but I feel there lacks a nuance in that because either way Owen is dying. Unlike Maddy who buries herself alive only to come out renewed, Owen doesn't kill himself upon facing the reality that the world is constructed to keep him miserable and the only way out is to take back what it is that the world wants to keep scooped out of him. Instead he just passively lets it drag him to a much more permanent death. This lack of suicide sucks in the kind of way that forces you to sit in your car on the midnight drive home and think to yourself am I letting myself suffocate because at some point knowing the misery became less scary than admitting I've been capable of doing something about it the whole time?

Clearly, I’ve been enchanted by the film’s narrative and meta-textual language. If you're familiar with it, you can see how Schoenbrun built this movie like a long-form dream episode of a canceled teen show filmed in Vancouver. Lynchian? Yeah, sure. Riverdalesque? THIS we cannot possibly deny. Schoenbrun said they included Amber Benson as an act of healing the inner rage experienced at Tara’s death in Buffy. This is a Roberto Aguirre-Sacasa ending Riverdale with a bisexual polycule after his gay Archie play got ceased-and-desisted type move. There’s probably more I could say about the soundtrack and the visuals, but I’ve hit over 1k words on this, so I’ll leave it at I enjoyed this movie a lot. :)

Maddy is an out lesbian who left town to escape the misery and found it strapped to her ankles. She slinks out, an animal pressed against the gymnasium floor, and says "I'm not telling you anything you don't already know." Owen looks into the camera and narrates. He cuts himself open with a box cutter, fully acknowledges what's there, and the movie ends with his suffocating apology parade for the unremarkable inconvenience of his excruciating suffering. You can be gay and trans, you can know it and you can stop repressing it, but you're not going to stop suffocating until you can find a way to destroy the part of you that truly deeply does want to die, reaching for the comforting euthanasia of normalcy. Stop visiting the dream of the life you want and make it into your reality with the same kind of unrepentant conviction seen in some underfunded but wildly ambitious teen television series. In other words: you must try to survive the ego death of being weird. A weirdo, who doesn't fit in and doesn't want to fit in!

[distort-opia]

It's strange how differently people from different culture react to famous characters. Even outside of batjokes shippers, I have seen a lot of DC fans of my country just straight up telling that joker loves batman and batman's obsessed with joker. Or just thinking that's he's gay, cuz like, you have a hot Blondie but you only thinking of batman? Well buddy I have something to tell ya. But it doesn't have the same reaction from people from USA, at least the one that aren't from batjokes fandom? Like, they seemed to get offended when someone point out joker obsession with batman and how it would be read this thing they two had....

How do you think people from your country read theses two? Because it was a kind of shock to me see a lot o straight man fans of DC just accepting that, welp, Joker definitely not straight and batman is... 🤨 suspicious for not killing him already. I guess its because the film with heath ledger is very famous here, and the line where he said that batman complete him stuck.

This is a really interesting question, trying to look at it from a cultural standpoint... I definitely heard of or encountered people entirely lacking knowledge of comics, readily agreeing that there's something more to Batman and Joker's relationship. As you say, just with tangential contact with Nolan's The Dark Knight or maybe the Arkham games.

However, I think that no matter where we're from, there's a distinction of three groups, with their own relevant factors, which explain their attitudes (at least to me). There's people who aren't into Batman or superheroes, but who obviously heard of them or maybe saw one movie or two. Then there's casual fans: people who like Batman and maybe watched the movies, maybe liked The Batman Animated Series, maybe played the games-- but you won't find them on Reddit or Tumblr or Tiktok as super active in fandom, just because it's not their main thing. And then there's hardcore fans, people who write and read fanfic, people who post on different platforms about Batman characters, the ones who consistently engage in fandom. But I'm putting the rest under the cut since I got long (with unnecessary psychological analysis, lol).

This is of course simply my personal opinion, based on what I've observed over time. A couple of factors might influence how these groups view Batjokes, though the first two I'm mentioning are a bit more likely to be found within non-fans and casual fans. A non-fan homophobic/conservative individual is still likely to reject actual canon of Joker professing romantic love to Batman or of Batman having to deny more than once he's in love with the guy-- although I guess you could hit them with straight Batjokes, hah (Thomas and Martha Wayne of Flashpoint). Leaving this type of person aside though (which you're more likely to find in some countries compared to others), I think non-fans usually easily agree to a romantic side of Batjokes, or at the very least to the existence of obsession. Just based on the tangential knowledge they have, it's obvious these two characters come as a pair and are defined by the other, so it doesn't take much to convince them. But within casual fans and hardcore fans... and here I'd add someone who's male, homophobic or conservative... well, we start to encounter one big thing about Batman that this kind of individual cannot get over-- projection.

For many men, Batman represents the ubermasculine ideal. He's handsome, at the peak of physical fitness, rich, has the coolest car and gadgets, has got women begging to sleep with him. He's cold and controlling and bad at social skills but still somehow beloved by all. Bruce Wayne has got terminal Main Character Syndrome, and it's undeniable a lot of fans consider him the epitome of the Alpha Male. So if you're gonna bring up that he's gay for the Joker... no matter how much proof you throw at them, they'll employ any and all mental gymnastics to shut you down or prove you wrong. That's not even getting into the guys who project on Joker, and who see Joker as this incredibly cool "agent of chaos" and strive to emulate that; trying to get them to admit Joker has been written as queer for decades (with multiple writers admitting to it) is another exercise in futility. They'll tell you Joker only said he loves Batman to scare him! He flirts with men to throw them off! It's all a tactic... because of course, being gay can only be scary to someone as masculine as Batman. It's the decades-old problem of queer-coded villains which I won't get into. But my point here is that fans who project onto either Batman or Joker specifically for how "Alpha" they are, are not likely to be open to Batjokes interpretations, no matter their nationality. But of course, just as with non-fans, there are plenty of casual or hardcore fans who are perfectly fine with shipping or potential homoerotic connotations. Hell, many times you might get them to go down Batjokes rabbit holes by letting them know about comic or game adaptations. They'll easily recognize the classical enemies-to-lovers trope this ship embodies.

But then again, both within casual and hardcore fans (though it's much more often the case of the latter) you'll have people who have no issue with shipping, who follow comics, who read fics etc. But to whom Batjokes is anathema, because they're too invested in a different way: not in the characters, but rather in showing how Good and Moral they are to other fans, and how they ship only the Good ships. It's the hordes of antis you see on Twitter and sometimes here on Tumblr too: the purity police kind of fan. "How can you ship Bruce with the monster who killed his son?" or "Joker paralyzed Barbara, how can you--" but it's entirely hypocritical and mostly rooted in the current trend of hating Joker. There's plenty of DC villains who have done similar things to Joker, or harmed the Family in similar ways to Joker, but he's the scapegoat right now for multiple reasons I talked about before (Joker fatigue and DC writing him like shit, the pushback from seeing all the alpha male dudebro fans latch onto him and hating that, etc.).

I got way too long, lol. But basically I think these generalized types of fan behavior can appear no matter the nationality, though there's undoubtedly a higher frequency of one or the other in different countries. Frankly, Romania is intensely religious and conservative, so in my country... even among my younger peers it's likely I'd encounter homophobic stances. And purity policing and that way of thinking is more likely to happen among fans from the US, like you pointed out.

[milfygerard]

hello bestie you are my resident taylor swift moot so i thought you’d be a good person to answer: i’m like 40% a swiftie and i know Some of the lore around the gaylor theories but not all. is there some kind of masterpost or blog you can link me to where i can like Gain Knowledge abt it i just really feel like wasting my time on that today

hi ok. God.

Most of the comprehensive ones are either lost to the annals of tumblr or fucking historical documents at this point

the two biggest non-tumblr starting points (though a few of them are still built on a few tumblr links) are the iconic reputation is about karlie kloss powerpoint and the abandoned-in-2019 blog kaylorevidence which are great looks at of-its-time gaylor culture opinions and in jokes as well as having a pretty comprehensive swiftgron timeline, though lots of things have changed w context and time. A big problem w post-2019 kaylor is that widely agreed upon timelines split massively between LSKs and more general gaylor fandom who just like think shes gay/bi or like her music in a lesbian fashion which makes it way harder to keep track of (though i did find this extremely long post-folkmore kaylor update from before midnights was announced) and makes it harder to divide like actual interesting or relevant stuff from babygating or person-who-knows-a-person-who-knows-taylor-wears-someting-with-flowers-on-it type of stuff. @/throwbackgaylor is a good example of having a very uneven mix of both of these things that can be hard to sort through but is probably a good resource for backsearching. If anyone knows how to find the old 2018 kaylor masterlists (of which there were a TON

I know @that-curly-haired-lesbian used to do queer readings and reinterpretations of her songs that I used to scroll thru and ashley norton did a pretty comprehensive breakdown of the taytaysbeard clusterfuck from a non gaylor perspective which as someone who was in the thick of that in high school I thought was pretty respectful and well done even if its kind of unbearable to watch and remember. If you want to see the state of LSK now ttb is still active at @/spade-riddles I believe but that person is a genuine certified weirdo and i dont really recommend it. penelope and priscilla are gay twins also is a good source of at its time gaylor culture and in-jokes (warning for being probably dated I havent watched any of these in a Long time)

if anyone else has masterposts or resources of Gaylors Past pls add on! I feel like so much is lost in social media based communities like this one and it can be hard to illustrate a time in online fandom without a broad spread of examples and stories and pre 2020 gaylor was such a specific moment in time!

[a-roguish-gambit]

More turn of the century thoughts

Morph being an elder gay to the kids. Xavier is a big fan of Dr Hershfeild in germany and is thus fostering a queer positive space in his institute.

Despite being early 20th century Catholic, Kurt's early 20th century German background also makes him more progressive than a lot of people in his family's little Iowa German community. (Early 20th century Germany pre 3rd Reich had a brief but hella important queer progressive era) his parents paid for publications from Germany to come to America so he could study without attending a school for a while, and he got quite an eclectic collection of scientific info that way, including sexology papers as he reached adolescence.

And being part of the underground of New Orleans+just the general mardigras culture has made remy very chill with queerness and relatively comfortable with his own for the time period.

Ororo herself also is very open about things coming from a very non western perspective on queerness and Forge never accepted a lot of the white standards of gender and sexuality.

And well, Logan is Morph's wolf so he's absolutely chill with all this. (Wolf was a term in the early 20th century for a gay man or bi man who passed for cishet. Usually it was used in reference to gender conforming bi men as it was most often applied to those who had sex with both men and women as "bisexual" was actually a term to describe someone who was trans at the time.)

So now that all that's been established, onto my plot idea:

Kurt overhears morph talking about the various queer clubs of nyc, which has its own thriving queer community at the time. He asks them if he can see it some time out of curiosity. Mentions how much he's read from queer people but hasn't gotten to meet many and wants to learn more about them. morph and Remy come up with a plan to take whoever wants to to their first fairy ball, licensed drag balls the police couldn't mess with.

Kitty and jean are immediately onboard for the excuse to wear men's clothing for fun. Scott gets dragged along (pun intended) with his girlfriend. Remy convinces rogue with a dapper Gothic suit, and Kurt jumps headlong into the idea having morph fit him for a hoop skirt so he doesn't have to tuck his tail in anywhere. Evan comes but isn't crossdressing, mostly just casually curious. Plus his aunt and Logan promised to tag along too so it doesn't feel like he's doing something he's not supposed to like he might have otherwise.

The kids enjoy the night mostly keeping to themselves but also chatting with couples there, even finding some gay teens that snuck out for the party. They meet some old friends of morph's from Broadway, enjoy some snacks, and is forced to promise to get the kids tickets for their friend's next show. Scott and Kurt get complements on their dresses, a queen giving Kurt her feather boa when she is informed it's his first event. The kid cries feeling like he's the star of a debutante's ball. He's never had this much positive attention from strangers. He feels like he's at home. They all do.

They end up leaving at 2 am as the party wraps up. Most of them passing out on the buggy ride back home. Having had a great evening out, they silently agree, even in their slumber this wasn't going to be the last fairy ball they attend.

[madlori]

Season One, recap

So I ended up just powering through all of season one and didn't write more posts, so imma write stuff now.

I know I keep harping on this but the longer the season goes on, the more painfully, blindingly obvious it is how badly Mandy fits with the rest of the cast. It's like she dropped in from a different show. They keep having to invent stuff for her to do that's not connected to anything else. The best plotline they gave her was when her opposition paper came out, and that actually had some connection to the rest of the show, but it was too little, too late. It's made worse by the show's gradual realiziation that Donna has way better chemistry with Josh and increased her role as the season went on, and also with how well Joey Lucas fit in from the second she appeared.

Continuity! During the whole "Let Bartlet Be Bartlet" sequence Leo keeps talking about how Bartlet was so afraid of being a one-term President...except WE know that at this point in the show, he was not planning to run again because of his MS.

Speaking of, that whole reveal was done very well. When he gets the flu and faints, you just kind of...get a vibe that this is more important than it would seem. And when Abby starts questioning him in the residence ("Was it like that time at my parents? Or more like that other time?") you know something's up. Generally I think the MS plot line is really terrific...although its high point is the episode where they tell Toby, after he figures out that Hoynes is behaving like he's going to be the nominee in the next election.

The show has aged well in terms of writing, for the most part, but not so much for cultural/political references. It's hard to remember that as recently as 1999, the idea of someone being gay, or gays in the military, was such a big freaking deal. Gays in the military was a huge thing then (DADT was repealed in 2011). Of course they've just moved on to trans people in the military now.

I have gotten through Shadow of Two Gunmen but man, that season finale was a gut punch. We kind of sense something would happen - they'd dropped hints - but those shots coming out and the fadeout on Butterfield yelling "Who's been hit??" And then we had to wait the whole summer to find out who had been hit.

Shadow of Two Gunmen is so freaking good. The flashbacks to the beginning of the campaign are *chef's kiss.* Bartlet being an ass because he's scared, Josh's father dying, CJ's trip into her pool...it's all great.

Also the whole "let Bartlet be Bartlet" thing is meant to be stirring and stuff but it's really just kind of cringey.

[glittering-snowfall]

At the time even the film's creators seemed nervous about what they had created. Like, when Diablo Cody in defending the film's same-sex kiss talked about her intense female friendships, how she "wanted to sleep at my friend's house every night, I wanted to wear her clothes, we would talk on the phone until our ears ached." Yeah Diablo, I had that with some of my guy friends as a teenager too, it was called being gay. The article that quote is from still finds the time to chide Cody for not doing good feminist representation, though, and I guess that makes me somewhat sympathetic to Cody here. Did she know that culture was in fact going to be too dumb to get the way Jennifer is both a predator and victim, the way her love for Needy is at turns beautiful and toxic, the way expressions of queer desire get warped into complicated, problematic forms by a diseased culture?

The film is full of uncomfortable joke/horror ambiguities, which were at least grasped by some critics (the film did have a number of favorable reviews, though they couldn't compete with the horrible marketing). As far as I can tell, the developing blogosphere, on the other hand, understood none of this from the moment they got their grubby cheeto dust covered fingers on the script before the film's release. Diablo Cody had amassed a considerable loud hatedom at that point, of both the aforementioned cheeto boys and their female counterparts,  going apoplectic over the "fantasy" that "Diablo Cody is a magical snowflake who can spray her unique pixie dust on an otherwise conventional script and give it indie cred". Perhaps the film's obsession with female relationships characterized by violence, jealousy, and crab bucket behavior cut too close to home for such critics?

Or maybe they just genuinely hate Diablo Cody's "twee dialogue". You hear about this? Yeah, Diablo Cody writes twee dialogue. This mantra seems completely unassailable now, basically accepted by even her defenders. What's so god damn twee about it though? To be sure, I remember mentally grouping Juno in with Napoleon Dynamite and Little Miss Sunshine. Jennifer's Body reveals just how much "twee" is a function of the film in its totality, though. I mean, I feel like this should be obvious but the exaggerated quippy dialogue comes across a little differently in the context of a film featuring sexual assault, people being burned to death, ritual murder, demonic possession, and teenagers being sadistically eaten alive.

In that context her dialogue comes across more like a nightmare funhouse mirror version of Joss Whedon's now eye-rollingly ubiquitous quips. Whedon and his bazillion interchangeable hack studio vat clones never aspired for much actual wit beyond the "umm well THAT just happened". Cody's dialogue on the other hand is baroque, in love with weird wordplay and uncouth associations. Needy refers to Jennifer affectionately as "Vagisil". Jennifer, in a line that caught me totally off guard midway through taking a big sip of water, jeers that Needy needs to "Move-on dot org". Yeah, no man, you're right. This isn't how "real" teenagers talk. Also, Jennifer's not "really" possessed by a demon, it's a thing we call "Movie Magic".

Though, actually, it's not totally unreal. This baroque, warping dialogue feels now like how teens trash talk under ideal conditions: on the internet. This movie's dialogue is posting. Like Homestuck, the point is not to capture a literal representation but instead a vibe of the kind of unrestrained, often vulgar and offensive dialogue of teens shit talking each other over America Online Instant Messanger or replies to their friends' Xanga posts. It makes perfect sense that both Jennifer and the various Homestuck teens would call each other retards, for example. There's a real sense in the film of characters pushing boundaries, testing the limits of their ability to perform adulthood. It's not just an act in the sense that it's a movie you plodding dullards, but in the sense that these characters are performing their idea of maturity.

There's nothing of that performance when Jennifer, in the back of a van going who knows where, sobering up and getting a grip on her real situation, asks the members of the band Low Shoulder, "Are you guys rapists?"

The climactic flashback, late in the film, when we witness the band's brutal murder of Jennifer, still has plenty of quips, of course. It's just that now Jennifer's ability to perform any kind of mature confidence has been brutally ripped away by a bunch of third rate emo douchebags. All the quipping, over top of her desperate pleading for her life, issues from the douchebags, who treat the whole scene as a joke. The affect of this scene feels complex to me. It's still Diablo Cody's script so there's some pretty good one liners. Megan Fox, though, is playing the scene for pure horror, so the humor adds to the horror for me. For these guys, rape and murder is just, like, kind of a fun night out. They can sing pop songs while ramming a bowie knife ("Bowie! Nice!") into a teenage girl's body because their biggest concern is whether or not they can get their shit band on Letterman. 

I think it's notable that for a solid number of people--particularly though by no means exclusively women--this scene is not damaged in its horror by this dissonance. At least not now. And why should it be? Horror has never just been about what's "scary" or worse about startling people with jump scares. Horror has always partaken of a complex mix of affects: fear and visceral startlement, yes, but also grief, shock, disgust, rage, contempt... attraction... humor. The best horror might fuck with the viewer's head, prompting arousal or humor simultaneous with disgust or fear. Why play these things off each other? Maybe to destabilize us. If we feel a moment during Jennifer's brutal murder where we're just a little bit charmed by these self admittedly cute boys, maybe that prompts a question like: what other monsters might be hiding behind charming façades?

The post-9/11 years and incipient Obama cultural revolution were unfortunately for Jennifer's Body a time for dumb affects. We pretended Rudy Giuliani hadn't spent several years turning NYC into a characterless, facile police state before bungling the 9/11 disaster response. Clear Channel, now the insipidly named "iHeartRadio," banned numerous songs for fear of causing even a shred of offense. The FCC got more censorious, waving its own dick around to far more culturally degenerate effect than any superbowl nip slips. Even researching this period is tedious: the articles I access are full of euphemistic phrases ("Mr. Bush was caught on videotape last July using a common vulgarity that the commission finds objectionable") so tortured they could have been dreamed up by the Bush admin's army of Eichmanns. I did discover that the maximum penalty for saying "fuck" went under Bush from a draconian $32,500 to a wild-eyed spittle-mouthed $325,000. People who objected to the dogshit state of culture and politics were drummed out of society, as The Dixie Chicks were. Or, more commonly, folks sorta slipped out of the public eye after getting played off at awards ceremonies, quietly shelved.

The primary objection to all this unfortunately did not come from anything really resembling a left but libertarians, constitutional bill of rights fetishists, and South Park. Democrats, never willing to lose an opportunity to supplicate themselves in spineless nematoad subservience to reactionary forces, attacked the Bush FCC for not fining stations MORE for Janet Jackson's sexual harassment by Justin Timberlake. Cool!

I wanted to talk about how this extended into the Obama years but here's the weird and ominous thing: a lot of the statistics and research material on the FCC's censorship actions just sorta stop in 2006. A lot of the relevant links from the FCC's own website are dead now. I doubt that means things improved under Obama. I mean, why should the FCC have stopped fining people for saying "dickhole"? It's not like any of the natsec state's border wars ceased, or the detaining of people without trial in the torture pits of Guantanamo, or the deportation of migrants, or the wiretapping of civilians. The prosecution of whistleblowers actually increased drastically under Obama, as did the lobbing of drones at wedding parties.

We bore this because Obama offered an alternative to divisiveness and the stale politics of the Bush era. We didn't have to tear down and dismantle what the Neoconservatives and Bible-brandishing Evangelical cultists had built through rancor and strife, we simply had to present a different way. A way that would unite the country. A way of hope. THROUGH THE TREEEES I WILL FIIIIIND YOU I WILL HEEEEAL THE RUINS LEFT INSIIIIIDE YOU

Now Needy's increasingly frantic sense that something is very wrong and all the memorial rallies and posters in the world can't fix it resonate pretty strongly with me. And, of course, after watching Low Shoulder brutally murder a teenage girl the whole grief and recovery (with a hit song!) thing feels like a cathartic confirmation of what I felt a lot during this period: that all sorts of cynical fucks were exploiting tragedy to their own ends. It never seemed to be quite the right time to bring up how cloying and often disturbingly fascistic a lot of the Strong In The Face Of Tragedy pop culture was. It was either offensive to the victims of terrorism, or offensive to Our Troops, or, extremely conveniently, before the critique even had a chance to be levied it was suddenly old hat: the Village Voice sneeringly dismisses this film's "routine “risky” digs at 9/11 kitsch". It was hard to tell Republicans to go lick a d*ckh*le when President Obama was wearing flag lapels and having grotesquely performative "beer summits" to bring together a completely innocent black college professor with the racist pig that arrested him. You wanna talk kitsch? Obama was so fucking kitsch, homeskillet. Kitsch and twee to a degree no Diablo Cody dialogue could ever sink.

Here's something that's not kitsch or twee: Needy finding the sacrificial knife that stole her friend/love interest, and using it and inherited succubus powers to murder the shit out of every member of Low Shoulder. That's cathartic as hell. I said earlier that no one in this film really deserves what happens to them. Low Shoulder are the exception, and it's so satisfying to see that knife buried to the hilt in the lead singer's shitty torso.

from We Were Too Stupid for Jennifer's Body

[the-fujoshi-thesis]

I've been rediscovering BL and yaoi recently as someone who is 35 and who read their first yaoi (Gravitation) in high school almost 20 yrs ago. And I really appreciate your knowledge, research, and analysis of the genre and Fandom. I feel some times the younger fans have a hard time letting themselves enjoy the inate fantasy of it vs. Having to flagellate themselves and others for it existing. It reminds me of an article (which I need to find) about how under capitalism in the west, we only feel empowered to control what we consume, so we assign some moral value to what media we consume or not consume. It's sad because some folks are ok with NSFW bans that will target queer folks and sex workers. They are okay with bans if it means that the things they consider indecent or problematic are gone but conservative and right wing parties think the existence of queer is indecent. I fear they'd ban themselves in the public sphere because of this mindset.

Ha! Gravitation was also the first BL anime I watched and read!

And yes to the younger fans but I think there are many, many things that fall into each other to create the current fandom climate in addition to what you said about capitalism and assigning moral values to your consumption.

Things aren't as separate as they used to be, now everything falls into a big fandom hub and fans of different things with different boundaries and preferences have to see each other constantly. 15+ years ago everything was more sequestered and you had the easy option of noping out of places without having the feeling of falling out of fandom. Not to forget that having different accounts was also more widespread, sth that people forgot for a while and tried to put everything under their one and sometimes real name account.

The US, the main driver of anglosphere fandom spaces and unfortunately main influencer of other language spaces, straight up without a doubt had a huge right-wing shift in many, many aspects of its society including their culture. Some time ago you could be reasonably sure that an online queer person would be pretty leftist in many things they said and did. Now you have gays, lesbians, bisexuals and more just parroting Christian conservatism with their entire chest and that's reflected in fandom as well.

Again the US but this time their failing school system also in the last 20 years. You have one, one and a half generations of American children, teenagers and young adults who have trouble reading and understanding a text. And as sad and devastating that is for them they make it everyone else's problem and that constantly.

There is so much that goes on here and I as a non-American, non-Christian fan feel like the American cultural Christians and their teenagers are suffocating queer fandom even if they're queer themselves but it's not like we're forced to engage with them when we don't want to (most of the time)

But in my personal experience that fandom climate is on the down actually, like a pendulum that swings back and forth after reaching its high point. Unfortunately, American society itself, with its crumbling status as an Empire, is not doing well or in the path of recovery.

[cringengl]

"Delusional fangirls": the 'never ending story' of the dismissal of byler being rooted in misogyny.

As someone who is passionate about both feminism and fandom culture, when I got sent this ask a little less than a month ago, it made me ask myself the question on why shipping byler has been viewed in such a negative light, and you'll never guess, but it's rooted in misogyny.

Even if this ask is a troll, it's clearly replicating what can be seen not just in the Stranger Things fandom, but in general fandom culture, showing the prevalence of this issue. Although this post will be looking specifically at byler, what I'm discussing in this post isn't an issue specific to byler, even if I will be considering some things that are byler specific, such as the likelihood of byler endgame.

Before we start, I just want to talk about why I'm talking about misogyny instead of homophobia (though homophobia will be discussed a little later but it's not going to be the main focus of this post). Homophobia and why people dismiss byler has already been talked about a lot (for example, I've seen posts about people saying that making byler endgame would be a 'risky' move and as Stranger Things produces a lot of money for Netflix, therefore they won't do it, the belief that they wouldn't/shouldn't break up a heterosexual ship for a homosexual one or the failure to put Will outside the 'tragic story of a gay kid that falls for their straight best friend' box).

The dismissal of byler as a 'valid' ship is just as much down to misogyny as it is homophobia and it's an issue that I haven't seen as talked about, likely due to how byler is made up of two guys. If anything I've seen way more people call the byler community misogynistic, and whilst these things aren't necessarily mutually exclusive, I do want to open up the conversation about how misogyny deeply affects the public perception of byler and byler shippers as well as talk about how ingrained misogyny is in fandom culture.

The average dismissal of byler as a ship tends to look like this:

All bylers are teen girls.

All bylers are stupid and delusional.

The motivation to ship byler is born out of a fetish of mlm relationships.

Not only is this a summary of what that anon sent me in May, but it's also a rhetoric that can be seen across multiple anti byler statements/posts/comments etc. It's way more common than you may think.

So what is the fangirl stereotype?

A fangirl by Oxford dictionary definition is mainly characterised by the word "obsessive", which has been constantly portrayed in a negative light by the media, and isn't exactly a new phenomenon, with Beatlemaniacs being called "the dull, the idle, the failures" in a 1964 New Statesman article. In fact it hasn't been until the 2020s where the epidemic of constantly making fun of teen girls has finally been criticised.

The most common stereotype of a fangirl is someone who is screaming, crazy and rabid, with "rabid fangirl" having its own Urban Dictionary definition.

Even fangirls of fanbases that are most notorious for 'crazy, rabid fans' have come out and said that they have been misrepresented, such as the comments section of this documentary about One Direction fans made by Channel 4 in 2013.

The stereotype of having a fetish for mlm relationships.

Another common stereotype of fangirls is the fetishization of mlm relationships. Whilst this is a very real issue that needs to be addressed properly, I very clearly remember seeing women talking about "getting off" to scenes in Call Me By Your Name when the movie first came out, however this accusation is often misplaced, meaning it loses it's power as an accusation, leading to the perception that it isn't as big of an issue that it actually is.

Girls, women or even afab or feminine presenting people who ship two men together are often seen as people with fetishes and accused of such. Not only is this sexist as it assumes that women's interests are sexually motivated, but it also reduces women's intelligence by suggesting that the only reason that they are interested in it is because of a sexual factor. This also ties back to the oversexualisation of gay relationships due to traditional, religious, conservative roots- classic homophobia.

And whilst this might sometimes be the case, this ideology ignores something extremely obvious: not all fangirls are straight (which clearly shows why we need lesbian visibility day haha).

This era we are in right now seems to be the dawn of LGBTQ+ rep that seems to be more and more prevalent and the amount of mainstream movies and TV shows that have positive and well developed queer rep is growing day by day. However, queer representation had been previously very hard to find and even now is not perfect (remember that one lesbian purple cyclops from Onward that appeared for like 10 seconds, said the easily censorable word "girlfriend", and was then never seen again??).

Whilst fandom spaces with TV shows and movies such as Stranger Things may have lots of female or female presenting/aligned people, there is also an abundance of queer people in almost any fandom, especially one with existing queer characters or ones that claim to be "an anthem for the marginalised and imperfect", which of course leads to the abundance of queer women, and can also be seen in the byler tag.

However I do want to point out that obviously not all people in fandom spaces and the byler tag are female and/or queer, but a lot of them are and this does vary fandom to fandom. Furthermore, I really don't know the actual ratio of different genders specifically in the Stranger Things and byler fandom- however I feel that it doesn't matter as shipping and other fandom traditions have been associated with teen girls and women anyway. The suggestion that all bylers are teen girls is a sweeping overgeneralisation and the fact that it's used as an insult and a way to demean this ship is sexist.

Queer representation and shipping mlm ships- even if they are not canon.

So how does this link to the abundance of shipping male characters? This is clearly something that has been going on for a long time, as illustrated beautifully through this reddit post:

And you might be wondering that if there are a lot of queer women in these spaces, then why isn't there more sapphic ships? And of course the answer is misogyny.

Women in TV shows and movies are so often underdeveloped and fall victim to millions of sexist stereotypes that make them unlikeable and boring, such as 'damsel in distress', 'strong and unfeeling' or they just have a 2D personality. Furthermore, female characters in media are just less numerous in media. All of this is is we have measures of the Bechdel test.

This is also not helped by the constant cancellation of wlw shows after only one season, which does not allow for the development of the characters or their relationship (I Am Not Okay With This, Warrior Nun, First Kill, Willow, Paper Girls etc).

This idea is only supported by the arcane fandom, where the most prevalent ship is Caitlyn/Vi on pretty much every social media site and ao3, likely due to the focus and development on their relationship.

Moreover, male friendships often have a lot more focus on them than female characters and their relationships. This was particularly obvious and blatant in My Hero Academia, where despite Deku and Uraraka (the het ship) being set up to be endgame, the main relationship that has the most focus and development is the one between Deku and his friend turned enemy turned rival turned best friend (??) Bakugo.

Whilst positive and intricate male friendships are never a bad thing, it does become very annoying very fast when those pieces of media also push female characters to the sidelines (and then also oversexualise them, which is often seen particularly in anime and manga such as mha).

So it's no coincidence when mlm relationships become more popular through the want for queer representation, female characters being ignored and the male characters and friendships having better development (as well as the use of queerbait to bring in a wider audience). However, other fans with little critical thinking skills and the general audience tend to jump to the conclusion that the amount of mlm ships that include straight men (even though these 'straight' men are fictional and don't have confirmed sexualities) is due to fetishization and fans being "weird and delusional".

Back to byler.

So let's link this back to byler. One thing that drew me to make this post is due to how bylers have been called "delusional" which was a specific word I saw byler shippers being called a lot in the June/July era.

Even the word "delusional" implies a detachment from reality and one of the most common sexist views is that women can't lead or make good decisions due to their supposed inherent irrationality, which is apparently caused by hormones and being over emotional (despite testosterone being used as an excuse for cheating- high sex drive- and aggression issues as well as anger not being counted as an emotion. One of the biggest reasons that the stereotypes around fangirls are rooted in misogyny is due to the polar opposite treatment of male sports fans, which if you remember the insane violence that occurred when the fake Tubi ad appeared to disrupt the Super Bowl, this idea is insanely hypocritical).

It confused me as even from a general audience perspective, it would seem that byler at least had a decent chance of becoming endgame, so why is it being so easily dismissed?

It is because shipping, especially mlm ships, are strongly associated with fangirls and are therefore seen as weak, delusional and irrational, not something to be taken seriously and likely the product of a fetish.

Not only is this harmful for the perception of mlm relationships in media, but it also promotes internalised misogyny- distancing yourselves from "rabid fangirls" as soon as possible so that your not seen as one and are instead seen as more rational and sensible.

The powerful arc that Mike and Will have gone through for four seasons now doesn't matter, nor the fact that El's independence is linked with Mike's absence or even what the implications of mleven endgame for not just a queer audience but a general audience would be. None of that matters as ships like byler aren't taken seriously, they're dismissed, due to misogyny (and homophobia).

In conclusion, fuck the patriarchy, let's change fandom culture for the better.

Links to things I watched/read in order to help make this post (not including the misogynistic and homophobic is reddit/tumblr/twitter posts lol):

(Do bear in mind that these tend to talk more about music fans/fandom rather than TV shows)

Frailty, Thy Name Is Fangirl: Misogyny and Fandom Culture

Shaming Fangirls: A Practice Rooted In Sexism

How misogyny-laced comments, actions in fan culture can drive others out

Ted talk: For the love of Fangirls | Yve Blake

From Beatlemania to the Beliebers, What Makes a ‘Fangirl’?

The Channel 4 Crazy About One Direction documentary and the ad for the documentary

Fetishizing Gay Relationship: When Ship and Fan Fiction Turn Toxic

[butch-with-a-deep-voice]

I've realized something the last few days. I've never experienced big city queer culture. Most Canadian cities are notoriously small compared to metropolis sized centers like San Francisco, Washington, London, New York, Toronto or Vancouver aside of course. While the city I'm in is in fact a city, we're in that weird "big town, small city" micro-cosm of feeling like a big queer community up until you realize it really isn't.

We currently only have like. 3 gay bars, and one of them has lowkey been rejected by the community for pandering to rainbow washing and it's rampant ableism/micro-transphobia. The other is incredibly loud and packed all the time, and the third just feels a little sticky at all times. We don't have dedicated lesbian spaces. The bars we do have, only one is accessible. We don't really have alcohol free queer spaces. Usually our events are so dominated by white people that BIPOC queers just don't show up, and I feel alone as an indigenous person.

Just about every dyke I know in this city at this point complains about having slept with eachother by 3 person proxy at the very least. I can't go out without risking running into an ex, or a friend of an ex. Every Non-monoganous person here has heard of or met "that one guy" in the poly community because word just gets around like that in a smaller space (he loves the reputation don't worry). Every trans femme has at one point or another has a well meaning Gen X cishet person ask us if we know a certain trans woman that championed trans rights like 30+ years ago (it doesn't help that I actually had dinner with her once a year as a kid).

We've also had people used to big city culture come here and comment on the fact that our culture is amazing because of this unique position. Our Pride Parade isn't a party. It's still actively a protest, it's still a march to remind the conservative government that wants to take our rights away that we will fight them tooth and nail. Every big city queer who attends our Pride has said so to me. It's a point of well, pride for me. But, I want to see their party. I want to see what guaranteed diverse community feels like.

As a baby queer I thought my city's queer culture would never cease to show me new things, but as time goes on I realized its small. Being single, I've realized how not tied down I am. I'm free to go wherever really, within financial limitations. I want to travel. I want to go to big cities. I want to engage in big big queer communities abroad. Learn what their experiences are. How their local history shaped their slang, titles, identities, and social networks. I want to expand how I love my queer self and community by seeing how others love their queer selves and community.

[variousqueerthings]

8 11 32 PLEASE!

HELLOOOOO AND THANK YOUUUUUU! also I remembered how much I overthink when looking at these whoops

8. Describe your gender without using any words traditionally related to gender: You know the opening to the Mr Bean series? Mr Bean gets beamed down onto earth and then it's implied that everyone Mr Bean does after that is literally because of being an alien, but it's never actually confirmed in the text? that but like. with a much more extensive wardrobe

11. Favorite (or just one you love) piece of LGBT media?: WHY WOULD YOU DO THIS TO ME???? I'm gonna give u three out of Many that are perfect. and I'm going to connect them to a Theme (I'VE CONNECTED THE DOTS). the thing is that these movies are movies that have at some point held me gently and guided me into a greater understanding of the queer community and history generally, as well as my own feeling of place within this community

My Beautiful Laundrette: This is one of my personal seminal queer movies, I watched it as a young'un/baby queer and it's just. Oh. such softness amidst the violence of the times, and the thing is that the softness is something that saves the main characters from the violence, both as potential perpetrators and victims (and how those can be blurred concepts to begin with). the core of it is two men who come back together amidst the height of neo-nazi anti-immigration 80s England, one of whom is Pakistani British and the other a white skinhead. And they open a laundrette together. This movie is sweet, I promise! it also features one of the subtly hottest moments to me in film history, in which one of them licks the others' neck in public while being watched on one side by Pakistani family members and on the other by white racists but it's angled so none of them see it!

City of Lost Souls: Listen, Rosa Von Praunheim's documentation of trans people (and generally queer people) is so so important for our community and you should check him out, but this film in particular is such a wild fucking ride that is hard to explain. a bunch of queer artists in 80s Berlin (and this movie was made in the 80s so you get some real footage of that great big wall) just like... fuck around? share intense elder wisdom? connect? sing! (oh yeah, it's kind of a musical, a trashy punky musical). This is some of the real deep magic of queer connection. there's an iconic moment in this film (there are several) in which a trans woman picks up a one-night stand and explains to him that she's trans and he's like. "eh no idea what all of that means, but you're saying you're a woman right? great!" and it's just Fine

Desire Lines: listen this movie... I'm almost hesitant to recommend it, because I feel so personally affected by it and it's a one-of-a-kind (so far) insight into transmasculine gay culture that is just. deeply precious and not understood by a lot of even the wider queer community. myself and every transmasc person I know who's seen it have felt somewhat transcendent about it, the way you do the first time you see yourself as (positively) visible in this way, it's almost too much. it's a documentary at heart, but quite experimental in elements of its structure, with parts of it being a fictional telling of a middle-aged iranian trans man who works in an archive and is told of the history of trans men's inclusion in gay bathhouses, lou sullivan, and personal testimonies from gay transmasc people. sometimes you don't notice how deprived you've been until something gives you real oxygen

Hon. mentions: Joyland, Great Freedom, Die Beautiful my personal favourite queer films of 2023, still have me by the throat!!!

32. Do you do arts and crafts? Post a pic of a project you've done: okay I will share a picture of something, but I need to go take a picture when I have a sec. It's not complete, but I've started a little zine that's just a big collection of euphemisms and ways of talking about queerness and it's such a fascinating, fun project that's made me think more expansively about how queerness gets talked about, whether it's in the past or present (or potential futures), within and without the community, as modern, or bigoted, or outdated, or fun, or out-of-the-box, or specific, etc. -- it's very far from done, but I can give a sense of just how many words/phrases/concepts I've picked up + imagery I want to include + the construction of the zine itself, which has a few little secrets to it

[s1ll13rg00s3]

Ok but why is there always a reason. When it's about macro all of a sudden it's oh why should I care about the sob story of some bihettie who couldn't ever live through a day of real homophobia. When it's ppl like inosa or swagy or radgoose or countless others getting told disgusting things like that their bfs should kill them, it's laughed off too and it's like oh go back to your hettie world if you're so mad. When it's about catboy it's like oh why should I care if we make fun of the SA of some moid thats praxis actually. When it was ppl saying bi women are just like tims and they're weaponizing their rape it's oh why can't you bihets learn to read none of that matters. When there was a big burst of a bunch of people getting openly attacked by "blackpills" it was oh this is just so online why are the bihetties playing the victim. These ppl are just coming out to advance the position that they won't go after you no matter what you say about bihets. Like the refusal to condemn anything at all unambiguously is very much the point.

Honestly, I've come to the conclusion that people these days (esp young people) are not any more progressive than other generations... I honestly think their politics and values are possibly more conservative than 10-20 years ago - these are just my feelings as a low income bisexual woman who is pretty white passing but I've had friends of other races (esp older friends in their 30s-40s) talk about how they feel the same thing in regards to how ppl are regarding race now and there's tons of posts circulating about how people are more homophobic than 10-20 years ago and we just lost roe v wade, income disparity is worse and social services are cut, etc etc etc

I feel like people such as you described above are highly individualistic and don't really have principles in the traditional way like "x behavior is bad" like if we use examples specific to the recent state of radblr re: the treatment of bisexual users, they don't think that homophobia and misogyny are unacceptable behaviors, they think its perfectly fine to leverage homophobia and misogyny against groups they see as "other" and don't identity with in some way. There's always a reason why the people I have marked as "other" deserve their mistreatment and why my own actions and the actions of people belonging to the group I identify with are excused from scrutiny.

A lot of the time in spite of how they call themselves "radical" (feminist or leftist or whatever) they express behaviors and ideals which are sooo extremely in line with the cultural norm for treating people of marginalized groups.

Examples relevant to this convo: Gay and bi women talking about how they "don't fuck with" bi women because they are untrustworthy and flaky partners and "most of them are basically straight and will end up with men anyway" so they don't need LGB community support

Also, determining that a woman's intimate relationships overshadow all of her other actions, and feeling entitled to information about a woman's sexuality to determine how valid you think her words are and how much support from her community she deserves.

Also, telling a victim of sexual assault and homphobia his problems arent real and he should be quiet about them.

Also, you can't trust women with partners and especially children to take part in feminism because they're going to by default center their lives around their male partners and children, so they're going to at best half-ass things and probably just decide to focus on their families instead anyway, may as well exclude them and write them off.

But its okay because the women in the first example were gay and bi, even though they're saying the same things straight men say about bi women. The second example is okay because it's statements and demands made by other women a lot of whom are gay and bi, not men or gossip rags. The third example is okay because it's gay/bi women speaking to a man. The last example is okay because it's said by other women who call themselves feminists, and not a sexist boss, even if they have the same way of thinking and similar actions with similar results.

And on one hand I get it, these people are trying to pass along their own hurt a lot of the time and they are usually legitimately telling themselves and each other that they aren't doing anything worse than maybe hurting the feelings of individual strangers. But they're adults who are behaving in unacceptable ways, and honestly some behavior should just be unacceptable, like... we should be kind to each other if we want people to be kind to us. Beyond that though, the concept of "punching up" has rotted people's brains and is ruining our community solidarity, is honestly a huge class consciousness issue, and they are doing more tangible harm than they're admitting to themselves.

I see this way of thinking as way more of an obstacle for dismantling these power structures than activists being imperfect in their personal decisions. Like, structural opression does not exist in a vacuum and spring forth from nothing, it requires a culture mindset to continue. Like, the whole deal with structural opression is that the opressed groups "deserve" their structural oppression in some way like it's always "justified". While the power structures/axes of opression/classes DO serve social and economic functions, human beings are emotional beings and most people aren't evil, to get social animals to hurt each other you have to socialize them to do so... like as feminists I think we know that at least.

"It doesn't matter if you shave because you prefer it, it perpetuates the expectation for women to remove their body hair and you are indirectly socializing other women as part of society" but then, if you have a good reason you can excuse homophobia or misogyny and suddenly it doesn't contribute to any larger power structures or the socialization of those in your communities?

If you have conditions in which you support homophobic or misogynistic (or racist and so on) behavior then first of all, you're perpetuating the cultural mindset and socialization that allow the abusive power structures to exist in the first place which beings me to my second point... it will lead to them being used against you by people who deem YOU as "other" at some point, unless you're the most privileged person on earth and there's no axis of oppression someone could decide to flip on you if they feel you deserve it and we all just keep crabs-in-a-bucketing each other

It's in our own best interests to treat each other as well as possible, that is my belief. Anything else is cutting off the nose to spite the face, who benefits?

[trungles]

Regarding your winter romcoms: just wanted to say you have truly IMPECCABLE taste in films (which is to say that we have the *same* movie taste), and it makes me love you/your art all the more. Any other suggestions? Ultimte favorite films? Do share!

HELLO, it has been a hot dang minute since I did one of these, and I'm pretty sure this question was dropped into my inbox closer to Christmas of 2022. So. Thank you very much for your kind words, anonymous, and apologies for the very long delay!

This is a fun question, though, so I really wanted to answer it eventually. Forgive the typos, grab your popcorn and your Red Vines (the best licorice-ish candy, I WILL FIGHT YOU no I won't but I love them), and let's go through my favorite comfort-watch movies. They're mostly rom-coms and coming-of-age movies for teens.

As a general caveat, I am not a big movie person at all. I know basically nothing about film. You will find no sensitive critique or analysis here. My favorite movies are all VIBES. I'm also not a big horror/thriller/bloody violence sort of person, so I don't watch many of those, which is weird because a goodly number of my dearest friends are horror film buffs. Also, I have made it a habit, in my adulthood, to go watch movies that I wasn't allowed to watch or didn't have access to as a kid. I'm a first-and-a-half generation immigrant to the United States, so my way of getting comfortable with American culture was to sort of approximate its vibes by absorbing its popular culture almost anthropologically? So in this post I'll maybe go over why I like it, and I might mention some of the things that have not aged super well because, as I'm sure you know, every single thing ever made cannot help being a product of the time it was made. I believe in being able to watch these things critically, enjoying them as they are, understanding that everybody's mileage may vary, and that not everything I like will be for everyone. I'm mostly including this bit because it's internet and people don't always know how to simply disengage with things they don't like.

In my Winter Movie post, I recommended The Holiday, When Harry Met Sally, Single All the Way, Moonstruck, and While You Were Sleeping, so I won't go over those again. Let's kick this off with something to help manage everybody's expectations.

The McG-directed Charlie's Angels movies, 2000 and 2003. Both of them.

I actually saw the second one first. It was one of the first PG-13 movies I ever saw in theatres, and it sort of just imprinted in my psyche, I think? They're just fun. They're real fuckin' fun. Cameron Diaz, Lucy Liu, and Drew Barrymore have great onscreen chemistry, and the cheesy wire-fu sequences are so ham-fisted that they delight me. These movies know exactly what they are, and they're very up-front about being Movies, particularly the second one where every scene seems to have an Old Hollywood pastiche. The first one has a bit of very odd brownface moments that I did not love upon rewatch.

Singin' in the Rain, 1952

I saw this movie for the first time when I was in middle school, and I was absolutely obsessed. It was the very first time I realized that the movies had its own histories, and that there was a transition of culture when there was a change in technology. Also, I just loved watching Gene Kelly dance, for gay reasons. Plus, Rita Moreno is in it for a split second, and she's divine.

Clueless, 1995

This movie rules, I don't know what else to say. It's a fantastic Austen adaptation, and while I was too young to catch this in the 90s, it felt great catching up with this one as an adult. I think it also helped me contextualize what other kids were into in the 90s, so I retroactively feel less isolated from my peers. It's a weird sort of magic. It's also strange to me, in hindsight, that in 1995 there was an enormous hit teen movie where there is a gay character who is treated incredibly lovingly for the time? Like, no gay trauma, no homophobic bullying, no nothing. He's just there, and he gets folded into the rest of the story and remains important to the main character's life? I'd have loved that as a kid.

Shanghai Noon, 2000

The year 2000 was an incredible time for goofy action comedies, and this one was formative for me. It's extremely silly and embarrassing to admit, but this movie was the first time I learned about how Chinese railroad workers built the transcontinental railroads in the later 1800s. I first saw it as a rental from the local video store, and my parents let me watch it because my dad liked Jackie Chan movies. It's... very 2000 in its treatment of racial politics, but you could reasonably argue that not too much has changed since.

The Princess Bride, 1987

I don't need to explain this to anyone.

Four Weddings and a Funeral, 1994

God, you can see the accent on Hugh Grant's mouth. I don't know why I love this movie as much as I do. I came to it a bit later in my teen years, and I'd watch it again every few years. It's grown on me more and more as the years go on. It's the only British-American ensemble production that I really latched onto, and it's in no small part because the supporting cast is so much fun to watch.

Gentlemen Prefer Blondes, 1953

This is one of my favorite movies of all time. I watch it probably three or four times a year. Marilyn Monroe and Jane Russell star as two showgirls who embark on a cruise to France to work around the machinations of an old millionaire who refuses to let his son marry Monroe's character. It's got that iconic Diamonds are a Girl's Best Friend number, and it has one of the best third-act thesis statement speeches I've ever heard in any era. It's a great old musical.

Miss Pettigrew Lives for a Day, 2008

This is a gem that I missed back in 2008 because I was graduating high school at the time and had other things going on (being queer at a Catholic high school in the 2000s sucked ass, btw, let this ol' geezer tell ya). Frances McDormand plays a conservative governess who can't hold down a job because she, being a preacher's daughter, is a morally upright Amelia Bedelia. Out of desperation, she scams her way into becoming the social secretary for a bubbly young actress played by Amy Adams, and they spend a wild and heartwarming day together where Frances McDormand's character navigates wartime, friendship, and romance. This is also the movie that made me develop an embarrassing crush on Lee Pace (not because Lee Pace is embarrassing, I just hate having crushes on famous actors because I know, at the end of the day, that they're just weird theatre kids who have money now). It's based on a novel written in 1938, and it's aged surprisingly well.

Sailor Moon SuperS, 1995

I borrowed the VHS for this movie from the library as often as I could in the second or third grade. It was the one movie I had memorized in my brain to the extent that I could just recite the dub to myself whenever I wanted. Plus, Chibi Moon was my favorite (do not @ me, I will fight you).

Waiting to Exhale, 1995

I don't know how I caught this one as a kid or which channel aired it, but Waiting to Exhale–starring Whitney Houston, Angela Bassett, Loretta Devine, and Lela Rochon–was something I saw pieces of when I was way too young to understand any of it, and it was a joy to revisit it as an adult. I've since seen it a few times. This endlessly gif'd scene pictured above is every bit as cathartic as it looks, and the soundtrack is incredible.

The Mummy, 1999

Yeah yeah, this is an incredibly unsurprising and safe pick, but the movie is so much damn fun, and Brendan Fraser and Rachel Weisz have the most belligerently bisexual energy ever shared between a heterosexual pairing. I don't know how else to explain it.

Sister Act 2, 1993

I saw this one on TV a lot, and I watched it from top to bottom every single time. I don't think I've ever actually seen the first one.

Adventures in Babysitting, 1987

I found this movie incredibly delightful, and I'm pretty sure I watched it in adulthood because I was looking for this movie I'd only seen in bits and pieces on TV as a kid or something. It stars Elizabeth Shue and a very young Anthony Rapp. Plot-wise, it's very much like Lord of the Rings if Gandalf were a plucky teen girl and the hobbits were a bunch of literal children. I'm not kidding. It's also an 80s movie about a bunch of white suburbanites who have adventures in Chicago, so there are a couple cringey moments, but by the standards of its time, nothing wildly egregious. Bonus points for a surprise appearance by strapping young Vincent D'Onofrio.

Pretty in Pink, 1986, and Some Kind of Wonderful, 1987, double-feature.

I put these two together because they're the same movie, but gender-swapped. They're both written by John Hughes and directed by Howard Deutch, so they have the same very ineffectual Reagan-era flattening of class consciousness. They're about a poor girl/boy protagonist who falls in love with a rich boy/girl. The protagonist develops a richer relationship with their beleaguered father character and develop a better understanding of themselves, kind of. John Hughes teen comedy-dramas are significant, I think, because they're some of the first blockbuster teen movies that took teens and their feelings seriously, wrote from their perspectives, and courted teens as an audience (for all kinds of historical and economic reasons between the 70s and the 80s, I'm sure, but I'm no expert). They're also more watchable than some of the other John Hughes teen movies; Sixteen Candles is basically unwatchable to me.

Porco Rosso, 1992

I told myself I could only pick one Ghibli movie for this list, and this is it. Porco Rosso might be my favorite Ghibli movie, which might seem like an odd choice for me. Like a lot of millennials who were teens when Spirited Away came out, I got really into the Ghibli catalogue in the late 2000s but had seen some Ghibli movies much earlier in my life. My first was technically Grave of the Fireflies. I was eight, and came away with the notion that if I left my little brother alone, who was five at the time, the adults around us would just let him die, so I had to watch him as carefully as I could. I became an incredibly anxious and overbearing older brother very early. Next, I'd see the Buena Vista release of Kiki's Delivery service, so I have a soft spot for all the Sydney Forest pop songs they inserted in the 90s dub of that movie. By the time I watched Porco Rosso, I'd seen most of the rest of the Ghibli catalogue, but it really stood out to me. Most of Miyazaki's protagonists are girls, but this one is a kids' feature about a middle-aged man with a pig's head. In hindsight, I think I loved it because it is one of those rare children's narratives that conflates femininity with practicality and masculinity with frivolous ostentatiousness. It's worth a watch!

Say Anything... , 1989

This is one of those teen movies where they take small, mundane problems and make them enormous, which I sort of love as a storytelling tool. John Cusack plays Lloyd, a high school underachiever who falls in love with the valedictorian, and you watch him experience true internal motivation for the first time in his young life. It's very cute! I think the thing this sort of teen movie gets really right about being a teenager is you don't really have a sense of scale for your problems at that age because all your problems are just problems you're encountering for largely the first time. Ione Skye's valedictorian character experiences a pretty devastating family issue with her father, but it's flattened into the same strata as her anxiety about flying, her first breakup, and her feelings of isolation and remove from her peers. Plus Lili Taylor is in this as Lloyd's best friend character, and she's great, just like in the next movie on this list...

Mystic Pizza, 1988

I couldn't decide which gif I wanted to use for this movie, so I just picked two. It's another slice-of-life teen comedy-drama, and it's real cozy. The performances from all the young actors are fantastic. Lili Taylor, Annabeth Gish, and Julia Roberts are great in this, plus you get to see strapping young Vincent D'Onofrio again, which is a treat. He gets to do a lot more in this one. At this point it's worth noting that 80s teen movies are obsessed with romances among young people across different social strata, and true to the Reagan era, the movies like to impress upon its audiences that hating rich people is the same as hating poor people (cue heavy eyeroll). This honestly explains a lot of things to me about today's political discourses, I think.

To All the Boys I've Loved Before, 2018

I enjoyed this Netflix movie so much that I watched it 16 or 17 times in the month after its release. It's fine, I'm fine. I don't know exactly what it was. I love rom coms. I've seen a ton of high school romance movies, and this one hit me really hard for some reason.

And that's everything I could come up with off the very top of my head. I think I hit something like 20 movies up there? Whew! That's my evening, but it was the only thing I could focus on for more than an hour at a time today.

[diabolicalcunt]

I feel the need to pin this cause I’ve always been notorious for people loving me when they first meet me, and then finding out that my political views are not extremely liberal. So here’s all the reasons you will hate me once you get to know me. Or not. I honestly don’t care I’m just sick of the ‘You aren’t who I made you out be in my head!’ conversations.

So my unpopular opinions in no order-

1. They/them is something that’s being encouraged by big brother to see yourself as non or less human.

2. DID isn’t real and you just disassociate a specific way. I look like I’ve been drugged cause I fall down ‘inside’ myself like a well and have no reaction time and can barely speak. I’m like a sloth. You pretend to be a anime character. It’s just coping.

3. The concept of trans genocide is fear mongering by big brother and means to keep boundaries between social groups.

4. To build off 3, the push to medically transition underage children is a move by big pharmaceutical companies to create a permanent customer. Because whether you decide to stay transitioned or de transition, you’re going to be on medication for the rest of your life whether you like it or not. There’s also the whole issue with child exploitation. You’ll be judgmental against Dance Moms, but you won’t say anything about a mom who transitioned her child when they were two years old and made them a social media star.

5. Trans men and women who have been charged with a crime belong in LGBT prison wings. Because we have created a culture where male rapists can put on its dress and be rewarded with a permanent stay in the hen house where they can victimize more women and the system will just cry transphobia and call the victims liars. You got a problem with that? I have never seen a trans man pushing to get put in men’s prison. I wonder why… 😐

6. Blair White is queen.

7. I will fight Henry Cavill on sight. I don’t give a shit how bad you want motorboat him. He’s a fucking pedophile.

8. Same goes for David Bowie. When I get to the afterlife I’m gonna make him wish he could die again. Ask me if you want my full on sight list. 😂

9. I stand with Palestine. Yes I think Islam is a horrible religion that is anti woman. I still don’t think kids should die for the grievances of adults and I think it’s fucked up Israel is doing the same shit Nazis did to them and expect us to nod and smile!

10. Qu**r is just as much of a slur as f*g*t or n*gg*r. I don’t use it and if you do I will block you no questions asked. Say gay! Say lesbian! Say…bisexual! 😱

11. Butch women are valid as fuck and I adore y’all . They aren’t trans men, fuck your lesbian phobia.

12. To build off 11, the new LGBT movement has been infected by woke homophobia and the new trans movement is nothing but conversion therapy in a mask.

13 . Radical feminists are women’s last hope.

14. Marvel movies always sucked, we were just kids and ate up the pretty colors.

15. Dune is a white male savior story.

16. Your fave is not autistic, trans, gay or whatever. You just need validation cause you have no confidence.

17. The Boys should have never cast Jensen Ackles and the Supernatural fandom needs psychological help.

18. Too many of y’all try to primp and posture as the gods of your fandom and yes I say that as someone who did the same and stepped away when I realized how cringe I was. Lording over autistic adults and actual children is pathetic. Get therapy and a real hobby.

19. While gender neutral fanfiction has its place. The trend that all fanfiction needs to be gender neutral is literally killing the creativity and frankly the spice to fanfiction. I hate this trend where piece of media needs to be sterilized so it can be consumed by anyone, even people just passing by. It goes against the concept of creating at its core. Sometimes things are made for specific groups. Sometimes it’s made just for you. The things you create do not need to be sanitized to the point there’s no substance, just a hollow consumption. Think of it this way. Would you rather have a hot pizza of your preference or would you prefer to just drink a bowl of water because someone on the other side of the world might not like pizza?

20. The WWE Divas belt was iconic. I get the whole take women wrestlers seriously movement and I agree! But god damn it, it’s a Bratz belt!!! Gimme!!!!!

21. I fucking HATE koalas. They literally only exist because humans have dumped millions of dollars and keeping them alive. If natural selection were allowed to take his course, they would’ve died off 100 years ago. The food they consume has so little nutrition that they have evolved to have the smallest brain to cranium capacity of any animal to create a built in helmet!! Why? Cause they are so stupid they literally fall out of trees and drop their infants!!! They shit on their young and have permanent diarrhea due to the 0 nutrition thing. They carry chlamydia. They’re so fucking stupid they can’t fuck and have to be artificially inseminated to continue the population. If I couldn’t get laid on my own, the government would not drop millions of dollars into making sure I do!! So why did koalas get it? Literally a waste of resources that could be going to feed thousands of hungry children and instead we’re keeping a fucking retarded (I’m on the spectrum fuck you) animal alive who should have gone extinct hundreds of years ago cause it’s supposedly ‘cute’!! God! I hate koalas!

[mdhwrites]

How do you think TOH will hold up in the future? I imagine it will still have die hard fans aggressively defending it in spite of all its flaws. But if there’s one thing I’ve learned, it’s that audiences are fickle. They’ll praise something like it’s a sacred masterpiece one minute, then turn a 180 and treat it like overrated trash the next.

So my immediate response was that it would end up like Danny Phantom or Kim Possible where some people will still love it so much as to make it what they do, some will remember it fondly and most will just forget about it and never bother going back for it. And I say that as a fan of both shows. Just... They didn't become cultural touchstones. It's very hard for most cartoons to do that. One could easily argue we haven't had one (for a new IP especially) since Gravity Falls or Steven Universe and you'd probably have a decent case for saying Gravity Falls still doesn't count compared to Steven Universe. This is probably what's going to happen to Amphibia even just because there's a lot of media out there so getting picked up as a household name that isn't forgotten is hard.

But... I think TOH will just kind of get forgotten. For most, the most special part of it is either that Luz made them feel seen, and for those the show will never fade, or the specific ships they cared about which will eventually get replaced. But I actually don't want to try to assume how the fandom will be in five years. Let's actually talk about, now that the show is said and done, the simple question of: How do you pitch watching TOH's final product? Because even the CURRENT fandom constantly has to use excuses for the storytelling. To justify it being special, they already have to narrow its scope like "the first gay main character in a Disney television cartoon" or they have to cherrypick what they're aiming against, like saying Belos' death is good because they don't like the SU ending or that Luz getting to keep her found family is unique because the only other isekai they've watched is Amphibia. That's all really hard as far as pitches in general go.

So what do you tell someone looking to get into it from the perspective of a fan? Do you warn them that some plotlines don't get resolved properly because of the shortening? How many elements do you have to prepare a new viewer for with that excuse? What's worse is... TOH is just a worse product now that it can be binged. Those who watched S1 before S2 came out got to revel in the best versions of these characters. Any potential Amity had though is crushed like her necklace two episodes into S2 and only becomes more and more obvious as the season goes and you don't have months of waiting between those two versions of Amity. You don't have multiple hiatuses between murder happy Collector and "What's death?" Collector which would make the contrast MUCH WORSE and much harder to ignore. In fact, because so many of TOH's character arcs rely on revisionism to just make an audience forget who a character used to be, binging it's going to make that process much harder in general. Future audiences are just more likely to notice the lack of effort in so many elements just because the whole show will be fresher in their minds.

And most of them won't have the fandom and the like to pull them along or tell them why certain things are the way they are, though not even the fandom always has answers. Why isn't the Grimmwalker reveal setup AT ALL unless you're combing literally ever element of each episode? And even then only once? Well... *shrug* But it's a big deal now so you better just be okay with that.

Frankly, as much as I don't want to be mean about this... I think being forgotten besides by the rose tinted glasses of the fandom is its best fate. Or that it will be known as a show that had a really good first season, a good first half of S2, and then dive bombed in quality, especially in S3, and that the only really notable thing about it is the sapphic ship between the main character and her love interest.

It is a show that only functions if you know the FULL context for it coming out. And even then, like with how much the fandom contracted during S2, let alone with each special of S3, that context wasn't even always enough to keep people watching.

So yeah, I think the fact that a lot media gets to just gracefully retire with its fans nowadays, since being a classic is so much harder when there's SOOOO much more media being produced, is probably going to be a boon for The Owl House. It can just be that little witch show for those who loved it and for those who disliked it... Well, something is always new on the horizon. I know I'm keeping my eyes out.

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Okay so I wrote this last night. This morning I had errands to run and my sister helped me since she has a car. She convinced me to pick this up.

Looks cute. I was warned it gets dark eventually which... *looks at the goth art style* Totally couldn't have guessed. Also before anyone even thinks it: The comic originally began being published in 2015.