#also some women are “fan girl” culture

[dollopheadedmerlin]

No offense to all the fan girls out there but sometimes it is so refreshing to find fans of Merlin who are gay or trans.

[kindheartedgummybears]

you wanna know what??

I am

TIRED

of overmasculinized werewolves!!!!

I WANNA SEE A

WEREWOLF

WALKING AROUND IN A CVNTY LITTLE OUTFIT!!! WALKING THE STREETS!!!! DISEMBOWELING CREATURES!!!!

I WANNA SEE WEREWOLVES COVERED IN BLOOD AND GORE WHILE WEARING A SHORT SKIRT AND CROPTOP WITH HELLO KITTY ON IT!!!!

I WANNA SEE A WEREWOLF WALKING AROUND IN COTTAGE AND FAIRY AND PRINCESS CORE OUTFITS!!!!!! WITH A DEAD MANGLED RABBIT IN ITS MOUTH!!!!

AND MAKE THE WEREWOLF

D I S G U S T I N G ! ! !

[pineapplesagainstpizza]

I'm really thinking about deleting Twitter

[honeyvenommusic]

.

[renard-dartigue]

Hi now i'm curious what is the beef with the rappers

Man this is going to be long so I'll try to keep this simple and entertaining. I hope this comes across as clear cause I'm shook right now.

Here is a glossarie to break thing up:

Prologue (The Spark 🔥)

Round 1.1 (Physical Education 💪🏾)

Interlude part 1 (Roots 🏠)

Round 1.2 (2 Warning Shots 🔫)

Interlude part 2 (Pusha the Seer 👁)

Round 2.1 (Knifes Out 🔪 )

Round 2.2 (The Nuke 💥)

Epilogue (All eyes on him 👀)

My Theory 🤷🏾‍♂️

Highly recommend checking out the tracks yourself while you read along.

Prologue (The Spark)

Let it be known that I am a neutral party and that I don't take sides when it comes to rap beef. I was here for the music and creativity. I am just trying to recount events to the best of my knowledge. Sorry if some details are inaccurate.

Okay so basically, Drake, J Cole, and Kendrick Lamar are the Big 3 of the rap world right now.

A month ago, Future and Metro Boomin (two rapper who supposedly don't fuck with Drake anymore) released a song with Kendrick Lamar called "Like That". In the song Kendrick took a shot at Drake and J Cole, saying there isn't a big 3, its only him on top.

4 weeks ago J Cole dropped a track called "7 Minute Drill" that is dissing Kendrick. However, in a move that is very uncharacteristic of J, he took down the official track and formally apologized to Kendrick. Thus signaling his exit from the rap battle.

ROUND 1.1 (Physical Ed)

Drake on the other hand dropped "Push Ups" 2 weeks ago, a diss track that went after other rappers he doesn't like but mainly Kendrick. In it, he made fun of Kendrick's height and his contracts. He then ends the song with "I was really try'n keep it PG" meaning he has a nuke on Kendrick that people don't know.

Not long later, Drake dropped ANOTHER diss track "Taylor Made Freestyle" with Ai voices of Snoop Dog and fucking 2PAC! Kendrick has stated before that 2pac is one of his idols so this must have been a deep cut. In the song Drake claims Kendrick doesn't write his own music and uses the writers of Taylor Swift. Relating a rapper to pop music is seen as disrespectful.

INTERLUDE PART 1 (Roots)

Before I continue, I want to give a brief run down on how the public perceives these two rappers.

Drake portrays himself as a superstar, he's always on social media flaunting his success and partying with other celebrities, seeing alot of women and living a lavish lifestyle. His music is catchy, something you put on in the club. Most of his fan base praise him for his sick beats and witty lyrics. He's been in the music industry for a while and is no push over.

Kendrick Lamar is a very private person, doesn't expose anything about his personal life unless its on a track. He almost never gets into fights with anyone. He is a family man, stressing the importance of being there for his wife and son and encourages other fathers to do the same. His fan base praise him for his creative lyrics and highlighting the black American condition.

ROUND 1.2 (2 Warning Shots)

2 Day ago, Kendrick Lamar came back with his first official diss track on Drake called "Euphoria". In this song, Kendrick goes in on Drakes fake personality. Drake has always been known around the community as a bit of a poser, he grew up in Canada and was raised by his white mother, a relatively comfortable childhood. He was a star on the popular show Degassi when he was young. garnering him a fan base early in his career. Kendrick doesn't approve of Drake appropriating black American culture and acting like he some tough guy. When in reality he is a Canadian nerd thats disrespectful to 2pac. All throughout the song, Kendrick hits at things that many people have know about Drake, such as his behavior around underage girls. He also called Drake a deadbeat father who isn't in his son's life, even referencing his lost battle to Pusha T. Then Kendrick finally warns him that he has more dirt that he is willing to share if Drake takes things further.

Similar to Drake, Kendrick dropped another track called "6:16 in LA" later that day. This song focuses on Drake's environment, specifically the people he hangs with. Kendrick implies that Drake paid people to dig into his background and when they didn't find anything, Drake made up stuff instead. Kendrick then says that someone in Drakes group is leaking information to him about something even more serious. Also planting a seed in Drake's mind that his supposed friends don't actually like him, just like the clout from hanging around him.

INTERLUDE PART 2 (Pusha the Seer)

Taking a quick break again, we need to discuss something that occurred long before Drake's battle with Kendrick.

5 years ago, Drake was in a rap battle with rapper Pusha T, someone who was smaller than Drake at the time in terms of popularity. Pusha dropped a song called "The Story of Adidon" where he dropped a bomb that Drake had a kid and wasn't taking care of him. Drake initially denied it but it was later revealed to be true.

Since then Drake has never responded to Pusha T's diss track, making Pusha the current winner. And Kendrick is bringing it back into the light.

Round 2.1 (Knifes Out)

Around 2 am EST time of May 4th, Drake drops his diss track, "Family Matters" one of his strongest songs, switching his flow 3 times in the span of 7 minutes. In true Drake fashion, its a club song with a catchy beat. Like his previous diss, its aimed at multiple people but the main focus is on Kendrick, even bring up "I was really try'n keep this PG".

Drake doubles down on his black identity and mocks the fact that Kendrick and other rappers are saying he isn't black, (incorrectly assuming that they are coming at him for being mixed when the real issue is that he is appropriating black American rap culture as a Canadian mixed man who grew up in a safe environment) Drake not only calls Kendrick a fraud who only raps about black issues for attention, Or that his activism is performative. He makes a shocking claims that Kendrick is a wife beater. Then Drake says that Kendrick's son doesn't belong to him and implies Kendrick's producer was the real father.

The track caused an uproar. But only for the span of 15 minutes. Because Kendrick did the unthinkable.

ROUND 2.2 (THE NUKE)

Almost as if expecting Drake's move, Kendrick Lamar did what no one saw coming. He dropped his diss track "Meet The Grahams" about 15 minutes after Drake released "Family Matters".

This time around, in a fashion almost unheard of from him, Kendrick strips all the usual metaphors from his lyricism and structures his track like he is speaking to Drake and his family, 4 parts per individual.

Kendrick begins by speaking to Drakes Son, Adonis, the same son Pusha T exposed Drake for neglecting 5 years ago. He's apologizing to him for his father's behavior. Kendrick speaks to him softly but sternly like a mentor, telling him not to be like his father. Kendrick tells Adonis all the things Drake did and warns him not to do them too: involved with escorts, plastic surgery to appear more black, surgery to look more muscular, hiding a kid. (Kendrick stresses that Adonis is black regardless of being mixed, further highlighting that he isn't discrediting Drake's blackness because he's mixed but because he isn't being himself.) Finishing of by telling the kid to be proud of who he is.

The second half is Kendrick addressing Drake's mother and father, Sandra and Denise. Kendrick speaks to her like he's revealing tragic news, explaining to her that her son is involved in disgusting things. He goes down a list of things, his tone growing more intense and angry. Kendrick then claimed that Drake is employing and enabling pedos in his group, and hopes they die. Even implying that his group is going to be raided by the feds some day.

The third half is the MOST shocking of all. Kendrick begins talking to an unnamed individual, simply calls her babygirl. Similar to Adonis, Kendrick takes on a somber tone and apologizes to her for Drakes behavior. He says its not her fault Drake abandoned her, says that she is deserving of love. He warns her not to become a target for people like Drake to pray on and says she has so much to offer the world.

Kendrick revealed Drake has ANOTHER kid and isn't in their life! (Allegedly)

To close of, the fourth half is Kendrick speaking directly to Drake, his tone tired. He tries to reiterate that he doesn't have hate for him. However, Kendrick says Drake was the first one to go after his family and he couldn't let it slide. He once again calls for Drake to take the mask off. Then says this isn't a rap battle anymore, tells Drake he is fighting himself.

Epilogue (All eyes on him)

And so here we are, waiting for what will happen next.

Drake posted an Instagram story denying the claim he has another kid. But given what happened with Pusha T, we can't quite take his word for it yet. We should wait a bit to see if anything comes out.

Kendrick hasn't put out a statement on Drake's claims about him but given the recurring theme of Drake being a manipulative lier, Kendrick clearly denies it. Given how private he is, its difficult to prove or disprove it. Much like Drake's claims, we will have to wait and see if any evidence comes out about it.

Drake and Kendrick stans are at eachothers throats right now, arguing over who one and whats real or fake.

Right now everyone is looking to see if Drake is going to continue the battle or stay silent like he did with Pusha.

My Theory

Personally as an outside observer who only followed the beef for good music. I think this goes beyond a simple rap battle.

Here is my theory: Someone from Drake's clique told Kendrick that Drake and his producers were writing something about him. Real or fake, Kendrick was pissed. And so he drafted 3 tracks, dumping everything he hates about Drake into them. And then, with the leaker's help, Kendrick baited Drake into a battle, goading Drake to drop the "Family Matters" track so he can shut the battle down with "Meet the Grahams". Or maybe his first 2 tracks were a warning to Drake that if he released a track with lies on him he would reveal he has another kid.

I do think Kendrick initially had good intentions in trying to help Drake be a better person. But maybe the more he learned about Drake the less sympathetic he felt.

But I don't know thats just how I see it.

Thanks for reading my essay. I hope it made sense heh. I encourage healthy discussions in the comments and reblogs please. But everyone agrees that Drake is inappropriate with young girls. We won't argue over that.

[genericpuff]

i find it funny that one of rachel’s drawings of herself in the afterword that just went up is just fully persephone. is that something she does a lot?

Alright so I've been making it a general rule for myself to like, not harp on Rachel in any way outside of LO as much because frankly the horse is dead now and there's not much left to say outside of what can be analyzed in hindsight. I think despite everything I have to say about her and her work, she still deserves to get away from this nonsense and I don't wanna spend eternity hovering over her shoulder.

But the afterword was posted within the LO series and is clearly meant for readers of LO in the functioning of being an afterword so let's just call it fair game LOL

I will say, on the whole, it does feel very honest and sentimental and I can respect Rachel for taking the time to write out and illustrate her afterword in a way that was personal to both her and her fans. I can understand why she went at it from the angle that she did and I'm not gonna fault her for that.

But there's also something that feels deeply... disingenuous about her approach right from the starting gun. I will say, before I continue, that I'm well aware I am biased towards Rachel as a creator, and I fully acknowledge that I could very well be reading too much into things. This is just my opinion, take it with mountains of salt.

I can get looking back on your own childhood, your past self, whatever, and going "see! it all got better!" because sure! For a lot of creators like Rachel, it must be wild to look back on where they came from and there's a lot of sentimentality on expressing that through an afterword like this where she reflects on where she came from. Though she STILL didn't acknowledge her other comics outside of LO, I can understand if she wants to leave those skeletons in the closet.

But I feel like her drawing herself as a child who's being given an Eisner by her adult self and all that just feels like some gross attempt to disarm any criticism of her because "don't make fun of me, I'm just a sad lonely baby girl!"

She's not a child. Child Rachel didn't grossly misappropriate Greek myth into their own self-indulged vanity project. Child Rachel didn't claim herself a folklorist of a culture's works only to bastardize them completely. Child Rachel didn't create a hostile environment within her fanbase by bullying anyone who she perceived as a threat, sneaking into critical spaces to try and cause trouble, and writing her own clapbacks into her comic. Child Rachel didn't claim to be challenging misogyny and purity culture only to reinforce misogyny and purity culture through her own self-insert baby-virgin-gets-rescued-by-rich-tycoon power fantasy that regularly glorified abuse towards women and the lower class.

30-almost-40-year-old Rachel did though.

At best it comes across as really cringe sentimentality from a Greek-weeb (heh, greeboo) and goes to show how much Rachel inserted herself into Greek myth without ever absorbing its messages or cultural contexts, it was all about her and her feelings as a sad New Zealand girl with dyslexia who thought Persephone's story was about another sad girl being rescued from her "horrible childhood".

At worst it's an active attempt to play on people's heartstrings by drawing herself as a child who people will naturally not want to criticize. I don't want to assume she's doing it intentionally, I really don't want to leave her afterword on a bad foot, as I can definitely understand as both a creator and a person who struggled with learning disabilities in their own childhood how and why she wants to pay homage to her past and where she came from... but let's just say, as someone who's also gotten way too "lost in the sauce" concerning personal self-reflective projects, I think there's a lot to say about how this confirms that Rachel made LO entirely for herself, about herself, without any actual intention to respect the original myths, because she never truly separated them from herself when she was a child. And, in my humble opinion as someone who has Been There with the self-insert OC's and self-reflective angsty plotlines, I can fully attest to the fact that that's not fucking healthy. Even with personal projects, you NEED to learn to get your head out of the sauce, you NEED to learn to objectively separate yourself from the narrative so the story doesn't fall apart under your own hubris and ego, you NEED to learn to draw a line if you want to have any sort of identity as a human being outside of what you make for people. And that's with just normal original stories, this was a story based on Greek myth which doesn't belong to her.

And this goes for a lot of the things she's said and done in the past, so much of her own "sources" even are tethered to things that she read / watched in her childhood and only vaguely remembers, as if she never mentally left her childhood at all, which just... if the point was to highlight her past and the traumas she went through and how they contributed to her present, an Eisner isn't going to validate those experiences. And drawing attention to her past through the lens of her childhood self absolutely 100% does not absolve her of the negative effect her work has had on the modern Greek myth zeitgeist nor the things she's said and done as a 38 year old woman who should absolutely know better.

The community she entered and took from will forever remain changed by her influence and taking, in many ways not for the better. She has the privilege of walking away and never having to think about it again, with all the awards and accolades that were bought for her, the bravado that she built around being a "folklorist" with zero credentials, and the platform she was given over many other creators struggling to even be heard.

That "place" she claims to have now was built entirely on inserting herself into another culture's works and doing nothing but taking, taking, taking, while offering nothing in return but vanity and lip service. That "place" was paid for and brought to you by Webtoons.

[ralucafarcas]

Right guys!!! Mikasa is here! She took a long time because I was unsure of what I want to pick for her!

In my mind she was initially not a big fan of foreign fashion. Over time, it became popular in Paradis, and she adopted it too. The other girls also encouraged her to embrace her Hizurian ancestry, in an effort to help Mikasa find herself.

So her outfit is heavily inspired by some images I could find of Western Japanese women combining flapper girl styles with japanese kimono patterns. It's a very interesting cultural crossover! Also, feathers!

In this particular moment, Mikasa is visiting a Hizurian garden. Thankfully whatever was left of Hizuru managed to preserve its culture.

[taylortruther]

also re: the racial component of TS/fan base, if you haven't you should watch Alex Avila's video on Taylor Swift, I think it was really well done

this is SO good. thank you SO much for this recommendation.

i really liked how avila noted how masterfully taylor blends authenticity and social normativity - "the reason taylor swift seems so authentic to young girls is because she's conforming to an image [of white patriarchal girlhood] that young women internalized from a young age." similarly, the popular feminism of 2014 (when 1989 was released) was flimsy and did not challenge patriarchal norms, and we see how she made feminism part of 1989's branding.

and he asks a question i often pose: is there anything subversive in idolizing the most popular cultural object? does poptimism (the critique of pop music as a serious form of art) simply reinforce existing power structures??

taylor swift and whiteness

understanding how someone becomes a legend and icon means understanding how they challenge, but also reinforce, the biases in society, which includes race, class, gender, and so forth. and "there IS something deeply white about [taylor's] image" (1:18:33). her image is cultural whiteness! taylor swift's relatability (which is and has always been part of her brand), her social capital, her social normativity, is directly tied to the neoliberal racial philosophy that, instead of calling whiteness superior, establishes whiteness as the norm (1:21:23).

millennials want celebrities to be morally pure. this is a mistake.

also - LOVE that he points out that millennials don't judge female celebrities by their sexuality or modesty anymore, but instead they judge based on political awareness, which is just another way of continuing the "patriarchal history of regulating narratives around women's actions" (1:42:39). avila focuses specifically on millennials here, cautioning us not to consider this a a sign of true political engagement from millennials. as he points out, systems of oppression adapt to our ever-changing culture. when we try to 'cancel' or 'hold a celebrity accountable' for their ideologies or missteps, sometimes it's because they're truly terrible, and other times it's because we hold women to "unrealistic standards of purity." ie, this isn't necessarily real political engagement, it is just another example of judging women. often it's both (pointing out missteps, and also being sexist.)

whiteness again

avila goes on to discuss how white women have long been held up as virtuous, moral centers of american families - and while this is a racist and sexist practice, given that woc aren't seen as virtuous, it also lays the foundation for why white women in particular dominate conversations about politics in the public sphere. it is an Event every time a white celebrity frames their political awakening as a personal, spiritual journey of self-realization. yes, this act is important, because women must learn about their own oppression, and talk about it, in order to educate others.

but when taylor (or any other famous white woman) frames politics solely through the personal, it relieves her of the obligation to critique systemic issues. her own political awakening is all that matters - she must prove her own political purity (instead of sexual purity, as before.) there is a deep problem in society demanding this, rather than larger systemic change, but we'll get to that later.

this personal political purity awakening earns her a lot of goodwill, but her resistance ends with herself. and this is a pattern that we see happen all the time, in what robin james calls "neoliberal resistance discourses" in pop: someone is damaged by oppression (sexism), she overcomes it brilliantly with an awakening (miss americana/lover/denouncing trump era), and she absorbs this goodwill into her brand. these individual damages and awakenings supposedly symbolize society's own awakening and resilience(!). (1:52:48)

🚨 some readers might be getting tired/annoyed at this; i can hear y'all saying "well, what do you even WANT from her omg!!!" just stay with me here. 🚨

she holds a mirror up to society, tho

what avila so brilliantly points out is that... this cycle of damages and resilience isn't helpful. it goes nowhere! and we are all at the mercy of the same patterns as taylor. it's not about taylor, it's about us, and how capitalism commodifies everything, including social movements! including personal 'goodness'! a neoliberal system wants individuals to care about their individual choices and looking like good individuals; it encourages the use of "purity tests" and "commodified algorithmic social movements" to discourage challenges to systemic issues (reminds me of the celebrity blackout situation earlier this year, and conversations we have about politics, well, daily on here.) and the pattern of a person failing politically as an individual is part of this machine. if we're too busy policing individuals for their purity, we won't ever organize together for shared material goals. unfortunately, unlike taylor swift, most of us are not extremely powerful, wealthy, and influential as individuals. she does have more power than us in this regard.

taylor as cultural hegemony

anyway, avila goes on to talk about how taylor had this musical renaissance with folklore, and became more honest about her masterminding her own career in midnights. she has shown herself not just to be a musical chameleon, but a cultural one as well, positioning herself as white teenage purity when the culture called for it (circa 2008-2010), neoliberal pop feminism (1989 -> lover), pandemic escapism (folkmore) - and the culture has become part of her brand, part of her music. music that is already heavily wrapped up in her own life. she is the brand she is the culture. of course she put the work in, and not just anyone could do this. but imo, her whiteness (which, again, gives her this "default" "neutral" background to work with) is part of this success. "sure, she's challenged the institution but all in the effort to become the new face of musical hegemony" (2:06:25.) she challenges systems to assimilate into them, or create them in a way that requires assimilation.

of course, this is all based on her REAL experiences, her REAL life. she is living her own life, and also living it in this metacognitive way that mirrors culture.

but we don't have to hate taylor, actually!

and MOST interestingly, avila closes out by suggesting: it's not actually super healthy to always be suspicious and critical of art (2:17:24.) yes, there is a long political history of "paranoid reading," of critique based on marx, freud, and nietzsche's philosophies. it is the basis of A LOT of our frameworks for thinking about the world, including art.

as i've said before, it's interesting to discuss taylor or celebrities because they hold a mirror up to society. but we can't just relentlessly critique ourselves - after all, the critique is supposed to protect us from being bad! the critique is what keeps us good! and it's why we project so much onto them (the celebrities, or "bad" people.)

this video dove into a term that may be new to a lot of people (i only learned of it recently) - "reparative reading." rather than relentlessly critique art or what-have-you, engage with it in ways that is "affirmative, creative, and caring." this does not mean you toss out critical readings - reparative readings can coexist, and give us hope, optimism, feelings of beauty/appreciation, and affirmation.

for example, it's why -while i enjoy critiquing taylor (or what she Represents) - i am also here to just... have fun. i don't want to linger 24/7 on her emissions, or what she hasn't done, or who she's friends with. it's also why, as a fan of color, i hate that she is often dismissed and minimized to "white musician making music for white women." i find affirmation in a lot of her music, regardless of her race; i find optimism and hope in the way women so deeply relate to her, and how queer fans (also like myself) relate to her! (which avila points out too 2:21:00.) it's why i stopped debunking stuff, because queerness - like any other aspect of the fandom - is such a critical, significant part of why her music is beloved. it's so important for people to recognize that she is more than just 'music for straight white heterosexual cisgender women.'

[tippenstoepens]

Prettiest Girl in the Room

Anyone would kill to play Joseph Quinn's wife on television. Anyone except you.

part 1 - part 2 - part 3

Wordcount: 1.8k

Clubs were not your thing. But you were wrapping the first season of the show that gave you your first lead role on everyone’s favorite streaming service alongside 2022’s it-guy - Joseph Quinn. So you understood why this might be a night out that you couldn’t pass on. Even if it did end in disaster, it was a memory begging to be made.

The main cast had agreed on and planned this night out for the past three weeks in the group chat. The destination was a popular speakeasy in New York, the kind you needed a password for and entered through an inconspicuous door hidden behind a dumpster. 

There you sat at the table, forcing the coolest attitude you could conjure sitting across from your TV husband, Joe. In the six months you spent as his TV wife, you couldn’t imagine why everyone was so head over heels for this guy. Sure, he’s handsome and good with fans, but is that all it took? Was the bar truly that low? Your heart cried for women everywhere. 

He could also be kind of cocky and a bit of a smartass. He would make passive aggressive jokes at your expense. Maybe it was some kind of culture thing you weren’t picking up. He was British after all. He kept calling you “Mrs. Henderson” instead of your own, real name after you had asked him multiple times to stop calling you by your character’s married name when you weren’t filming. Then he just began to tease you about it.

“Good morning, Mrs. Henderson.”

“Sorry, Mrs. Henderson.”

“Good to see you, Mrs. Henderson.”

Holly Vanguard made sure to get the seat to Joe’s right, laughing too loudly at all of his dry humor. She even laughed when he wasn’t making jokes. Maybe she was just stuck in character. She played Joe’s secretary on the show. “We’re both British,” she took care to remind you often. “We get each other.” Why Holly excluded your very British TV father from this covenant, you’ll never know. David sat to your left.

Every so often he would reach over and squeeze your hand in reassurance. When you looked over to him, he’d be smiling softly with encouragement in his eyes. You had developed a negative reputation throughout filming the season because you preferred not to agitate your social anxiety by leaving your trailer. David was the only one you had confided in about it after a particularly stressful day on set. You’d heard whispers of your “stuck up attitude” after passing on a previous night out with the cast (which you suspected was started by Holly). You were sure your bickering with Joe when the cameras weren’t rolling hadn’t helped.

This was your first real gig and the circus of it all drove you crazy. There were a lot of politics involved in being part of a cast of public figures. Apparently, people weren’t supposed to disagree with anyone who had more public recognition than you did - especially if that one was GQ’s Man of the Year. You suspected Joe liked your attitude at least a little bit, but you couldn’t be sure.

“Why don’t we play Spin the Bottle?” Holly suggested to the table, giving Joe eyes.

Groans of opposition came from the older cast members and they excused themselves to the dancefloor after everyone had a laugh. And then there were five. You silently wept at the loss of your emotional support TV father.

“In the middle of a pandemic? No,” Jackson shut it down and made a different proposal. “Let’s play a good old-fashioned game of Truth or Dare. But you don’t get to choose either or - the person asking chooses for you. If you refuse a dare or question, you’ve gotta take a shot of tequila.”

“Every 20 minutes, I’ll refuse a question,” Joe declared and slapped a palm onto the table. His dirty martini shook next to the point of impact. 

The group made rounds around the table and when it came to you, you asked Jackson what it was like to be the most fashionable person in the room at all times. 

“Oh my god, finally someone acknowledges my plight. It’s exhausting. I spend all this time planning outfits and looking amazing, but do I get invited to the Met Gala? No. I don’t even get to look at myself all day, everyone else gets to see my color coordination and I have to look at everyone else’s sweatpants and Wallabees. No offense, Joseph,” Jackson said with no remorse.

“That’s fair,” Joe shrugged and smirked.

In the few rounds you all had, you noticed Joe always dared people to do absurd things like pose with the statues in the back of the club and “stay in character” for a full five minutes or take the fish skeleton off of the plate of the table next to them and cuddle it for a full round.

You thought it was sweet that he only came up with dares that wouldn’t inconvenience the staff and other club go-ers or violate anyone’s boundaries while still managing to be funny. He could easily be obnoxious if he wanted to. He’s not so bad, you guessed.

When his fourth turn came around, he broke the pattern. Joe said your name and you prepared to fully commit to whatever zany bit he’d come up with this time, but he said:

“Truth: why don’t you come out with us more often?”

“O-oh,” you blubbered, caught off guard. “I just… I’m not good with crowds.”

“Oh, come on. I want a real answer.”

“That is my real answer. I’d just make a fool of myself. I’m not…”

“You seem to be doing just fine so far.”

“Well, that’s because David-” You turned to look for him and found him attempting a very bad vogue in a small group of younger people. They cheered and let all sorts of onomatopoeia in encouragement. “...was helping.”

“Alright, alright, but if you don’t come out with us next time, I’ll be wounded.” Joe pressed both hands to his pectoral over his heart.

“Next!” Jackson jeered.

“Oh! Would you look at that, it’s my turn!” Holly squealed. You didn’t have the highest opinion of Holly, but the feminist in you refused to dislike her until she committed an actual crime like vehicular manslaughter. Being annoying wasn’t a serious enough offense.

Holly dramatically adjusted herself in her seat to face Joe.

“I dare you to kiss the prettiest girl in the room,” Holly slurred and puckered her glossy lips, tilting forward a bit to display her cleavage. Your stomach dropped. Everyone at the table exchanged glances, wondering if Joe was drunk enough to entertain it.

Joe’s eyelids fluttered and his head tilted as he processed what had been said. Had she really just done that? It was only after his eyes flicked over to you that you became aware of the jealousy on your face. Your recovery was quick, but not quick enough. Hopefully he took it as concern or judgement. He knit his brow and chuckled. Shit.

“You got me,” he surrendered. He grabbed a tequila shot from the tray and chucked the liquor down his throat. He didn’t even make a face. It was kind of sexy. No! It wasn’t. It was most definitely not sexy.

Holly exhaggerated a pout to play off the embarrassment. 

The rest of the night went smoothly. The game had got you loosened up enough to make your way to the dancefloor. Everyone whooped and hollered when you did. 

You couldn’t decide if it was just the liquid courage or if you were actually dancing very well. Your movements felt so fluid and you hit every beat - an uphill battle when you were sober. Judging by everyone’s surprise and the circle that formed around you in the middle of the dancefloor, you’d say your theory was accurate. Who knew the shyest cast member could be such a party animal?

After a verse of the 90s R&B song that was playing, you pointed to the first co-worker you laid eyes on and joined the circle as they took your place. 

…

The group stumbled through the hallways of the hotel at four in the morning, trying to keep the volume at a minimum and failing miserably. Your ears must’ve still been ringing from the club. Everyone was giggling and “SHHHH”-ing and repeating their room number.

“25D… 25, 25, 25…” Alex repeated.

“Shhhhh! We’re still in the under 20s! That’s 12D!” Jackson shouted.

“Both of you shut the fuck up! People are trying to sleep!” David whisper-shouted.

Joe shushed all three of them. 

When all the oversized toddlers were dropped off at their respective rooms, there was only yourself and Joe left. You’d wished you had booked a room further away just to talk to Joe a little longer. He was giggly and flushed from the drinks and you had never seen him so… cute. 

Before you knew it, you had arrived at your hotel room door. 

“Have you got your key?”

“Yeah,” you reached into your bag and retrieved the plastic card, holding it in your hands for a bit too long before looking up at Joe. You didn’t want the night to end. His eyes were glossy and full of - dare you say it - admiration.

“Well, I guess-“ “I think you’re-“

“Oh, sorry.” 

“No, no,” you said. “I, um…”

There was another long pause of sustained eye contact. It should have felt awkward or uncomfortable, but it didn’t. A smile spread across his face. You huffed a smaller laugh and found your own lips spreading. 

“Good night,” he said softly.

“Good night,” you barely whispered.

Joe walked down the hall as you swiped your key and turned the handle.

“Oh,” He muttered and snapped his fingers once.

“I’ve almost forgotten,” Joe called. He jogged back to your door and took your head into his hands. “I owe you.”

He pressed a gentle kiss into your lips. Then another. And another. Before you knew it, you were both nibbling on each others lips and swirling tongues into the other’s mouth. Which should have been raunchy and drunken and a huge mistake, but it didn’t feel like any of those things. He was so gentle and soft with you in a way that no other man had been before. Before you knew it, you were standing there: eyes blissfully closed and lips still slightly parted as Joe floated away from you.

“Good night, Mrs. Henderson,” he purred in that deep, chocolatey voice of his and walked back down the hall, disappearing into the elevator.

You stood there in front of your door for a good thirty seconds before coming back down from your high and slipping into your hotel room, dreaming of the next kiss Joe had in store for Mrs. Henderson. 

[butterfly-ribbon]

something i like about mizuki and rui's interactions is that the first time he addresses her with the suffix "-kun" when he's asking about her name? but in every instance after this, he drops it even though he uses it to address /literally everyone/ (including the cis girls, he calls nene "nene-kun" for instance). makes me wonder if mizuki herself voiced her discomfort with it after explaining that she's trans to him or if he picked up on this on his own? either way, i like that he's considerate towards her even if he doesn't fully Get her...

i also love that mizuki here immediately assumes (perhaps a little unfairly towards rui even if it's understandable) that there's some narrativization on rui's end towards her which is rooted in a voyeuristic fascination in her as a person with a unique gendered experience that ties into how she's often treated as an object or an exhibit by everyone? it also makes sense in the context of her genre awareness and performativity bc mizuki is /very/ hypercognizant of tropes and the archetypes she's often forced to occupy?

it's this the expectation of herself as a source of entertainment to others. trans girls often exist in media to be ogled at and othered. she doesn't see reflections of herself in the world. she sees caricatures. so of course she'd assume tht this is what rui wants of her. of course that isn't the case, but trust is so difficult. commodification of transfemininity and transfemininity as performance being widely seen as a source of entertainment and comedy are things that are very normalized in pop culture and media… even when trans girls aren't treated as jokes, they merely exist to reinforce the femininity of cis girls as innately more authentic. this is something mizuki absolutely knows considering her genre awareness and how much she loves to engage with fiction, but i think it's also interesting that in the context of her relationship with the other girls in niigo there's this conflict taking place in terms of being the manic pixie dream girl who purposefully elevates the cis girls by setting the stage for them and helping them address their problems (she does this in carnation recollection, mirage of light, our escape for survival and many other instances) versus using them to affirm her own femininity … we see this the most with ena, but i think this is present with mafuyu too especially in the way she represents mizuki's hope.

mizuki's introduction to the other girls in person also establishes that she's very openly genre savvy and goes out of her way to point out narrative conventions of 'isekai stories' and other media tropes relating to her social situations in a way that feels very deliberate as a parallel to being cognizant of societal prejudices and gender constructs and the way they're sustained through pop culture so she has to co-opt them for her own benefit bc so much of mizu1 is about mizuki using fiction and horror stories as a medium through which she can engage with herself and the other girl but i think this is meaningful insofar as it tells us that mizuki always understood how abuse and misogyny work bc it's been her experience for her entire life… it's interesting that she's one of the few characters in the cast that's an active Anime Fan (ie, going out to try and get merch, tickets, the soundtracks, etc), but the expression around it is /very much/ like trans culture, like how a girl is engaged with things. it isn't about figures or being the ultimate oshi, she enjoys the characters, she enjoys what goes into the creation, she's engaged with how she relates to characters over them being "attractive." there's so much… about her and her genre awareness and also her social awareness… it feels very special bc very few stories go out of their way to acknowledge the fact that trans girls are usually the demographic with so much perspective on women's issues, both bc of their own lived experience and bc they feel like they /have/ to be knowledgeable to prove their own abuse and make up for the taking up so much space in women's spaces? it's motivated by internalized guilt but it's also out of a genuine desire to connect with women and womanhood … so many anime fandoms are often sustained by trans girls and that's something i always notice whenever i'm on twitter or tumblr? magical girl and idol series fan spaces are always occupied by trans girls and the same can be said for things like gundam? mizuki is the type of trans girl who's more into the former than latter but it's still important to note, and it makes me wonder how much of an overlap there is between how that works in english speaking fandoms and japanese ones? i imagine there's a big overlap, but it's still something i'm interested in seeing something more concrete about.

but yeah, the way mizuki is so invested in the process of creation and connecting with the characters very much parallels how she's the MV animator/editor for niigo and how her entire work process is predicated around having an intimate connection with ena's art, kanade's music and mafuyu's lyrics to display them in the best way possible? we know that she was creating edits for her favorite magical girls anime before she joined niigo (and she probably still does in her own time). trans girls often connecting and finding worth in things that cgirls have cast off as childish as well - "i don't need this" versus "this makes me feel like i can have the girlhood i was denied." the lesbian contingent in these spaces is also very strong. i feel that a lot of cgirls get disillusioned and have to come back and address the internalized misogyny around it. magical girls being co-opted by misogynistic otaku also makes it difficult, but it feels broadly meaningful to actually engage with magical girls and how they are genuinely made for young women and even more than that. also the editing … the AMVs and stuff and how it's about fixating on a piece and going through all the clips, closely editing … she's probably rewatched her favorite shows and episodes so often that it's easy for her to think about what she wants to go where. i imagine she would feel self conscious actually sharing her thoughts but also … we know how mizuki is so active in the nightcord chat and how much she fills the space with ena so i wouldn't be surprised. there's a side story where mizuki invites the others out to see a movie bc she doesn't want to watch it alone, she wants someone to exchange thoughts with … it feels so personally driven, this rare chance of hers to … try to show herself to others? she never wants to tell others directly, but through fiction and other things…

mizuki is also a fan of minori but not once does she identify as Anything More than that and of course idols are relevant to mizuki, bc her being Genre Aware extends to anime/manga (specifically magical girls and idols) and films (mainly horror). in the broad context of 'oshi' as a term this is important bc mizuki likes her and thinks she's cool and admires her, but she sees idols as ppl ... she sees girls as ppl.

i also think about mizuki and "loneliness" here in the context of transmisogyny as a system to isolate transfems, to deny them safety and community and solidarity in order to enable everyone else treating them like disposable sex dolls. many ppl will pretend that the idea of transfems being uniquely threatening or predatory is something that came from genuine concerns about sexual safety (especially terfs with their "concerns" about "males in women's spaces") when the truth is that it's a deliberate campaign to convince ppl that transfems don't deserve to be treated as human beings, never mind women, they're degendered objects (aka second class women). ppl aren't /born/ believing that transfems are more dangerous than cis men; nobody independently arrives at this train of thought as much as they're conditioned into it by the patriarchy in order to do their part in maintaining the exploitation of transfems as scapegoats for the sins of cis men even if they're not conscious of it. this just makes them gullible agents of the system.

a huge difference between how 'average' misogyny & transmisogyny operate is isolation. if you're a cis woman who's the subject of constant misogyny, it's still possible to find community within cis women. transmisogynistic oppression goes unnamed, isn't shared by any peers bc transfems rarely know other transfems growing up, and is never called out by anyone even adults. it's true that all systemic violence masquarades as personal violence, but i think this goes doubly so for transmisogyny especially bc the 'mainstream' understanding of transmisogyny even in queer spaces is that it doesn't exist as long as you use a trans woman's correct pronouns or recognize them as women (and even then ppl will always make excuses when they're called out for using they/them and it's not even called transmisogyny; it's just transphobia).

when trans women exist around others they're either reduced to sex objects/freaks or mothers/manic pixie dream girls who take on the brunt of emotional labor in social dynamics, and i think all of this informs mizuki's idea of loneliness here? rui may be well intentioned, but there's an inherent power imbalance between them as a cis guy and a trans girl (even though she's pretransition, it doesn't change this) that contextualizes their isolation and this is something mizuki is obviously bitter about… it's true that her family is supportive and gives her refuge in the form of her own room to retreat back to when the world is too cruel to her, but this is simply not enough when the goal of transmisogyny as an oppressive systemic force is to erase transfems like her from public spaces, which in some part also explains why mizuki feels so insecure about her coping mechanism being avoidance and running away bc it probably feels like she's letting transmisogyny 'win', so to speak? despite how much we see her being treated like an object and an exhibit in incredibly dehumanizing ways as well as all the microaggressions from so many ppl (even the ones who care about her like an and rui) we never see any teachers standing up for her? all they care about is getting her to attend enough so she doesn't have to repeat a year and such, which reads more like they're doing bc it's inconvenient for /themselves/ otherwise to have to deal with her more if she's held back a year. the fact that she tells rui that she hopes he can find friends that he has more in common with than just solitude in response to him trying to tell her that being lonely isn't all that bad is so loaded bc rui is a cis boy, so there's no way he understands the kind of isolation she's had to endure and the fact that he's able to speak positively about isolation understandably makes her bitter for these reasons.

mizuki joking about 'losing' to rui at making friends even though she has "better communication skills" when by that she means that due to her lived experience as a transfem she's had to become very hypercognizant of social norms and conventions in order to mold herself into a very palatable expression of femininity to be accepted by others but her hypersensitivity towards these things still isn't enough and rui can surpass her simply due to the fact that he's a cis guy...

[imadhatt3r]

There's a sort of small personal story arc happening in Koujaku's route that I haven't seen talked about much, and it is one relating to Aoba's struggles with his masculinity and his perception as a man by others.

This story arc heavily deals with cultural gender norms and expectations, and so I will be working with them; This doesn't reflect my personal view on gender roles and expectations in real life. This is also not for or against any headcanons regarding any character's gender- I have no opinions on them or problems with people seeing any character as trans.

Okay, without further ado:

The moment where Koujaku and Aoba canonically meet for the first time happens during their childhood. Aoba was bullied by other children for his long hair and for "looking like a girl". Koujaku stepped in to protect him, thinking that Aoba's a girl, and was allegedly suprised when Aoba turned out to be a boy, but his attitude towards Aoba never changed.

This event clearly had a big influence on Aoba, on how he views himself, Koujaku, and how he thinks Koujaku views him. When we first meet Koujaku in-game, he is seen defending himself from a woman's overly protective boyfriend and being a charmer to her in turn when she apologizes for his behavior. It's established that Koujaku has a lot of female admirers, and a bit later it's revealed that he attracts a lot of men too, but moreso as a kind of role model/aspirational figure- that's why benishigure exists in the first place.

Aoba is shown to be annoyed or downright kinda scared of Koujaku's fans; Of course, it makes sense- Aoba is shown to be a private person that dislikes attention, but I believe that there is a second layer to all that- jealousy.

Aoba identifies as a man in-game and asserts it multiple times. He is aware of his gender. Koujaku is shown to be both flirty and chivalrous towards women around him- he spends time with them, initiates physical contact, compliments them etc. Aoba is always annoyed whenever he sees Koujaku doing that, but his reasons aren't fully clear- it seems like he feels like Koujaku's behavior is, in some way, fake, or that he just dislikes PDA in general. Aoba isn't jealous of the female attention Koujaku gets- he doesn't want to be in his place, because, as we established, he doesn't like being the center of attention. This isn't a dick measuring contest with Aoba being salty that he's coming up short.

Aoba is jealous of the women. He's the one who wants Koujaku to flirt with him, touch him, be chivalrous to him, protect him, but he believes that it will never happen, because Koujaku only acts this way towards women. Men want to be him, women want to be with him, but Aoba is neither; He's not a man who wants to be him, nor is he a woman who wants to be with him- there's not a place he can comfortably occupy, in his mind.

Mind you, I don't believe that he is aware of his feelings- hence his clusterfuck of an attempt to make Koujaku's flirting with women a bad thing. It's not coherent, it doesn't really make any internal sense, because Aoba has no idea he's even trying to lead himself away from something.

In the good ending, Koujaku briefly mentions that he thinks Aoba sleeps in so much because he wants to get his attention, and I can 100% see it as being true- Aoba doesn't know how to get Koujaku to treat him like he does women around him, so he chooses more covert ways to get that desired attention and care.

I also see Aoba's haircut to be symbolic/meaningful of his relation to his masculinity being percieved by others. Aoba's hair was the reason why he and Koujaku met as kids and established their friendship and later relationship. When they were cut, Aoba started to look more conventionally "masculine", and yet the haircut is also, in a way, representative of the beginning of his and Koujaku's relationship. It's because Koujaku doesn't care that Aoba is a man- hell, in the CD drama, he even admits that he's straight up attracted to Aoba's masculinity. If Koujaku liked Aoba BECAUSE he saw him as female-like, wouldn't he want to keep his hair long/feminine?

This is kinda explored in various extra material like the summer side story and valentine's day story- Aoba seems to believe that while Koujaku is with him out of love/attraction, he's being treated more as a novelty, a "girl-boy" that's going to be replaced by an "actual woman" one day. He's afraid that the chocolates he made for Koujaku for valentine's day will be seen as "gross", and he expects to see a mountain of chocolate given to Koujaku by women when he comes to his apartment. In the summer story, he expects Koujaku to deny their relationship when they're being harassed by drunk benishigure, and that he will be left behind when Koujaku is approached by female admirers. This never happens- Koujaku actually reassures Aoba that he's never going anywhere, and that Aoba has nothing to worry about. This is framed as Aoba being simply jealous, but I think that there is enough evidence to imply that his gender has a lot to do with it. We don’t know how would he react if Koujaku was approached by a man, but it's mentioned multiple times that it's seeing and thinking of Koujaku being surrounded by women gets Aoba down especially hard.

I feel like it's also important to look into the bad ending for Koujaku's route too, because if you look at it through that lense, you can see some interesting stuff. First and foremost, Shiroba is dressed in a sexualized version of the miko garb (miko are shinto shrine maidens, and they are exclusively women) that includes stockings, and his hair is just as long, if not longer, than Aoba's. He also has red tassels in his hair, right behind his ears, which sort of look like earrings. In short, it would almost appear like Shiroba is trying to look more "feminine" in order to appeal more to the way he percieved Koujaku's tastes- after all, Shiroba/Desire is all of Aoba's impulses, thoughts, and desires taken to the extreme. Aoba thought that Koujaku likes women and femininity, so Shiroba WILL make himself look as feminine as he can to make Koujaku like him more.

There's also the fact that, compared to their good end sex scene, Shiroba is much more... Placid. In the good end, Aoba speaks, he laughs, he laughs AT Koujaku, he tries to turn his head away but agrees to look at Koujaku in the end; He is an active participant who is willing to laugh at his partner (in a way) and make demands. In contrast, Shiroba mostly goes with what Koujaku wants to do; He participates to a degree, sure, but he allows Koujaku to bite him, lick his blood, and fuck him pretty violently without any sort of resistance. This might be a stretch, but it can be seen as Shiroba trying to play a more "feminine" role- which means being passive, allowing your (male) partner to do whatever he wants to do with you (even when it's painful or uncomfortable), and let him essentially use you as a receptacle of his emotions and bodily fluids.

This is a very narrow understand of conventional gender roles, but given that Shiroba is a being of extremes, it makes sense for him to see his own gender and dynamic with Koujaku as that simple and two-dimensional. This whole ending is all about misunderstood intentions/desires, so Shiroba is doing all he can to embody the most extreme conventional femininity in an attempt to appeal to Koujaku, while not having a clue that Koujaku was actually attracted to Aoba's masculinity.

The funniest part of it all is that Koujaku is actually a pretty feminine man himself; His very design blends masculine and feminine elements, which @asarigg points it out in her excellent essay on Koujaku, (among plenty other things), and the way he acts mixes masculinity and femininity too. However, Aoba either doesn't see it, or he treats Koujaku as a "special case"; It's probably the most clear in the scene in the CD drama where Aoba says that hairpins "usually" look bad on men (after Koujaku asked him if he'd like to wear one), but that Koujaku makes it work. The whole plotline/emotional core of this route centers on Aoba relying on his simplified image of Koujaku when it comes to how he thinks about him, only to be proven dead wrong and forced to confront how multi-layered of a person Koujaku is- to reject the image he made of him in his head as a child and make a new, more nuanced one as an adult.

When Aoba was a kid, he saw Koujaku as his hero, someone who protected him, watched over him; He was kind of his masculine ideal, someone he wanted to be when he'll be older. Now that they're adults, Aoba still sees Koujaku as someone hyper-masculine, whose feminine traits and behaviors are glossed over because Koujaku is "allowed to" be feminine a bit. The sad thing is that a lot of Koujaku's masculinity is kind of a ruse that was taken on as a defense mechanic, learned back when Koujaku was living in an abusive household, when he was a victim of abuse, saw abuse inflicted onto his mother, and was possibly forced to perform violence to some degree as means of "education" (things like learning to fight hand-to-hand or swordfighting).

Koujaku can fight because he tried to fight his abusive father and was trained to kill in the future, once he takes over the criminal empire. He flirts with women to fill the void he feels due to his rock bottom self-esteem and because he doesn't want to see women sad or mistreated after what he saw his mother go through. Koujaku's persona is carefully build and maintained, because all masculinity (or gender in general) is performed- this is what people around him expected him to be, that's what he was taught to be, and so he performs, even if it twists him up inside (we know he bottles up any negative emotions and doesn't share his struggles and trauma with anyone, which is also a part of toxic masculinity). It also seems like he's often out drinking with someone and he's a smoker- that's more of a theory, but people often find brief respite from their stress/unadressed emotions in substances, and while people of all genders do it, there seems to be a bigger social acceptance for men to indulge in order to "deal" with their problems and avoid showing "weakness" for just a bit longer.

The good thing is that Koujaku seems quite comfortable in his femininity. He loves his (stereotypically feminine) job, he remains kind and gentle to those who need it, he respects women around him and treats them well (even if that relationship is far from ideal of course), he's always considerate and caring towards Aoba, etc. It's interesting that despite liking and being attracted to Aoba's masculinity, he encourages him to branch out and seemingly embrace his own femininity more (he tells him he'd look nice in a hairpin, or that he'd love him no matter how he'd look like). I wonder if Koujaku found some kind of respite in his femininity back when he lived in his father's house and was potentially held to strict masculine gender roles enforced through violence.

It feels like one of these things that Aoba needs time to process and accept; In a couple years, he'll be doing deliveries with the most complex braid with flamboyant decorations and the most bitching eyeliner ever performed on Japanese soil.

[sweettomyhoney]

The race thing in the NHL is weird… Like no wags that are black (even with Black players). Black women get so much discrimination by athletes (and men in general) and even the ones who are Black themselves. A shocking example is with the France international soccer team: most players are Black or men of color (like 80% or even more), and yet you can count maybe like 2 black wags… It’s really sad. So much to fit a mold.

Obviously, the NHL is so intense with their “aryan” standards. Like we are shocked when a wag is a brunette….Like think about it, being a white brunette girl breaks the mold in this sport…It’s actually insane. We will be relieved and happy and applaud those guy if they follow or date brunettes. 😅 The standard is so low. It’s actually insane!!

Wag culture looks awful (especially the hockey one) to be honest and I would not wish for any WOC to be in an environment where there would be white mean girl behavior… I hope there is a change, but the first one to break this cycle will go through a hell of a time. And knowing also that some of the fans (male and female fans) are racists…Damn, like I wouldn’t be surprised if we saw a black wag dating a white player, there would be the same reaction to when FKA Twigs (a black artist) dated Robert Pattinson. Especially, if it’s one of those Hughes bros or young player type who are popular with the ladies.

The brunette thing is absolutely insane?? one player even spoke about how some of the kids didn’t know which lady was their mom when they were running up to ask them a question because they all look alike. That’s absolutely horrifying. I don’t wish that type of pain on any women of color or black women. And I hate that we are conditioned to aspire to look one way in order a be seen by a man 😭

[demonslayerunhinged]

Unhinged rant >:(

Demon Slayer fandom discourse

I want to start this by saying, I know that Demon Slayer isn't an explicitly queer manga/anime because Shōnen Jump, but I believe that Demon Slayer is for the queers and has lots of themes that we can identify with like love, acceptance, loss, guilt and strength.

Despite what these stupid, smelly, ignorant, power-scaling, non-ass-washing, Cheetos-dust-snorting, once-a-month-showering, dude-bros would have you believe, Demon Slayer isn't just another battle Shōnen anime/manga, it's a love story and about the perseverance of the human spirit and if that doesn't speak to the queer experience then I don't know what does.

Plus, I don't know how Gotogue-sensei is as a person, but I think the fact that she managed to make one of the kindest mcs in shōnen speaks volumes about her disposition. I don't think she would be one to reject queer fans identifying with her story so well.

In these recent times, it seems like everything is going to shit, the world is slowly regressing into the dark ages destroying decades of progress and trying to distract ourselves from all this by engaging with the fandoms we love is hard because everything seems to cater to cis, straight, white men.

To be honest, I created this blog mostly out of spite, but I also wanted to carve out a tiny space for myself where I can talk out of my ass and not have some decrepit reddit dude bro go all 'well, ackshually ☝🤓' on me, and I'm happy to have met so many like-minded people.

So, I've compiled a list of answers to the common types of nonsense drivel these fuckers post in response to shipping and queer discussions and theories about Demon Slayer. You can copy and paste whenever and wherever you encounter these black holes of ignorance and stupidity if you want.

In the Taisho era, there were no gay/queer people: This is one of the dumbest statements I've ever heard, and the fact that it's a really common response really shows how we've failed as a society. Queer people have existed for ages all over the world, Japan has an extensive queer history. Demon Slayer is based on samurai culture and samurai culture was really, really, really, really, really, really, really gay. Sure, it had rigid roles, but that doesn't make it any less queer. A quick Google search would go a long way to nourish that dried-out, shrivelled husk you call a brain. Go read a book you walking condom ad, your parents and education system have obviously failed you.

It's forcing sexuality into the story: We literally had a whole season dedicated to the mcs going to the 'entertainment district', we have a sexy man with three wives who talks about 'loving' them all equally, we have the abundant male fanservice, one of the mcs talks about women on the daily, we have a boy who eats demons and is horny shy around girls all the time, we have his brother who exposes his tits because he's proud of them, we have a demon who was essentially a sexual predator that targeted 16-year-old girls and ate them, the main villain shape-shifts into a woman to 'get' information as a Geisha, we have a girl who literally lusts after almost everyone she meets but yea no lets not force sexuality into it 🙄.

I don't care: Okay cool, but I value your opinion as much as I value the shit I took this morning.

It's who they are as a character that matters: Sexuality is a part of a person's character. Your sexuality defines your experiences, decisions, options and outlook on life. That's why you as a straight man can be so ignorant.

It's forced*(I really hate this one): Honestly, fuck you. Why is it that you only think something is forced when it doesn't revolve around you and your experiences? You guys are fine with tons of anime/manga that sexualize women and girls to an insane degree even when it doesn't make sense, but that doesn't stop you from consuming and glazing the hell out of the authors, but when we talk about including queer characters suddenly it's forced? Your existence is forced, and you can just eat shit.

I don't like it: Who the fuck do you think you are dictating how other people consume and interpret the media they consume? How about you go hump your smelly, cum-encrusted anime body pillow.

Men can be touchy/emotional with each other without it being gay, it's just our western standards: No it isn't the majority of shipping activities and works come from Japan, which wouldn't happen if it was just part of their culture. We're not stupid, we know men and boys can be friends without it being sexual, and we know when a friendship is just that, and then we know when two guys are straight up pining for one another.

It's not canon/the mangaka didn't explicitly state it: They can't because of Shōnen Jump, so a lot of them pass off information about a character through subtext, metaphors and allegories. They also don't have to, things don't have to outright stated or 'canon' for them to make sense and if you need them to be so for you to understand or enjoy the story then a moment of silence for your head since it's without a brain.

It's not common: Despite Shōnen Jump, there are lots of mainstream anime/manga that have queer characters: One Punch Man, Hunter x Hunter, Dr. Stone, Windbreaker, Jojo's Bizarre Adventure, Naruto, Gintama, Dragon Ball Z, My Hero Academia, Fairy Tail, One Piece, Attack on Titan, Tokyo Ghoul, Jujutsu Kaisen, Chainsaw Man, Blue Period and that's not to talk of the ones with queer subtext like I dunno ALL Sports anime/manga to ever exist!

Why do you look for LGBTQ in everything?: It might be hard for straights to understand but growing up queer and looking for a connection causes us to develop what we call a gaydar that helps us identify characteristics, mannerisms, features and vibes from a person that screams 'ONE OF US! ONE OF US!'. It's only natural, and our gaydar doesn't suddenly turn off when we're consuming media, especially when it's media that we love and hold dear to our hearts. It doesn't matter if the mangaka inserted these characteristics intentionally or not, that doesn't stop us from picking up on them, and why should it?

Shipping is stupid: So is power-scaling, but that doesn't stop you assholes from making thousands of posts, creating YouTube channels and sharing content about it and cramming it down our throats. It's even worse because it's from grown-ass men.

The characters have no chemistry/they hate each other: A lot of queer ships have more chemistry, history, interactions, personality and development than a lot of 'canon' straight couples. It's literally a trope in media that all a man and a woman need to be in a relationship is to be in close proximity to each other, then their relationship goes on to be drier than salted crackers in silicone packets scattered in the Sahara desert. Well, I guess you can't blame the creators, you write what you know after all.

I know this is a lot and I know how angry I sound right now, but I'm so sick and so tired of all these guys who are as useful to the human race as pieces of freshly shat out dog turds that have been thrown in the grass by the sidewalk in a hot summer afternoon, who can't see past their lice-infested neck beards trying to make something as colorful, interesting, joyful and queer as anime and the fandoms fit their own boring, stupid and misogynistic worldview.

In Conclusion, Demon Slayer is amazing, horny* and unbelievably queer.

*I'm talking about the male fanservice btw :)

[some-triangles]

I found a video essay which is about Neil Gaiman but is also a critique of fandom culture from the left. It's fun! My guy dresses up as Death from the Seventh Seal and talks about Roland Barthes in rhyming couplets. It's too long and overly pleased with itself but hey, leftists.

I took a break while watching it to go on a milk run to the bourgeois grocery store (might as well not abbreviate it under the circumstances) and saw this:

Given that the video was just talking about Gaiman being more a brand than an author I took this as a sign to share my two cents.

The cents are these: beyond considerations of fandom, parasocial attachment, Death of the Author and capitalism, which the video covers admirably*, can we posit that the art you find yourself the most attracted to as a teenager might not be stuff you should be buying as an adult?

*(they do quote an Alan Moore article from The Fucking Guardian in which he says he hates the growing trend of treating authors as "part of the costumed entertainment" without pointing out that the man wears a costume at all times, which is part of his branding, just like Gaiman. Also maybe given the company he keeps we should start asking more questions about Lost Girls. But I digress.)

Do you want to live in the moral universe of C.S. Lewis? J.D. Salinger? J.K. Rowling? J.R.R. Tolkien? (Maybe going by one's initials is the problem here, actually.) A grown person who thinks for a living shouldn't be going around saying that Neil Gaiman is one of their heroes. Even if you like his books, you've got to admit that the dude's mostly style and reference, that his actual insights don't go beyond those of a bright teenager. It's commodified rebellion for rebellion fans, sitting on the shelf next to Rowling's commodified conformity for conformity fans. We can still have fun with pop but we have to understand that the people who make it are in the sales business. (Yes, even Kendrick.)

The reason this stuff is constantly sold back to you is that it's really easy to sell things to children. The less like a child you become, the harder it is to market to you, so it's in the interests of money to draw you back to your childhood in a million different ways. So: grow up and get some esoteric, contradictory tastes, just to fuck with them. Cut out the hero worship - don't respect people for their "talent" any more than you would respect them for being rich. This will make you less likely to be starstruck enough to follow around a third-rate tumblr daddy dom who thinks he's a wizard.

(no, not me)

Finally, because I'm also a leftist, here's the overlong and self-satisfied part. I read a lot of Gaiman in high school but I also read a lot of one of Gaiman's heroes, Harlan Ellison. He was my favorite! I liked him because he was stylish, aggressive, arrogant and brutal. Teenagers like power and he had it. The fact that none of his stories had real people in them and that he seemed to have a problem with women in particular was nothing to me in the face of his Muscular Prose. Then I went to college and met some people who were smarter than me.

I ended up dumping Ellison for what was in his work, long before I knew much about all the other stuff. Same thing with Gaiman. So if you're worried about being let down by one of your heroes, I suggest looking at all of them carefully. Particularly at their feet. (Not for horny reasons.) And then maybe stop looking at them at all and go do something else.

[theninth09]

ive been looking at liams room for funsies. as one does, right. anyway im gonna talk about what his room looks like in season 4 first. (please excuse the ugly fucking filter i put over the pics, i wanted to be able to actually see things and teen wolfs lighting is.. like that)

i find it interesting that they put a picture of a woman (im assuming its a woman?) with a surfboard and an actual surfboard in his room. does this imply that liam has an interest in surfing? i mean, he does live in california... i dont know where exactly beacon hills is located as it doesnt actually exist and i know nothing about surf culture, in california or otherwise, in general. i dont think this means liam knows how to surf or anything but i thought it was a fun detail. maybe he just likes the aesthetics. i personally often like to connect him to ocean/beach imagery so this makes me very happy.

another detail is that next to the picture of the woman at the beach is a picture of what im assuming is a model in a "sexy" outfit and pose holding a soccer ball. considering he gets together with hayden, who plays soccer, the next season, this was just kinda funny to me. apparently liam likes girls who play sports. also, on the floor behind mason theres a soccer ball as well. feels really random since liam is only really interested in lacrosse, but i guess he likes sports in general?

theres more posters above his bed:

you can see the one saying "blood brothers" better here. its pretty obviously a lacrosse thing, based on the guys in their jerseys and the sticks they're holding but i couldn't figure out what/who exactly it is. perhaps some players that liam likes/looks up to? no idea if they actually exist or if its just a random picture of lacrosse players.

even further up theres another poster of a woman in a bikini/underwear. lovely that they portray liam as this stereotypical teenage boy with half-naked women on his wall. personally i think its really funny. theres a few other posters but its simply too dark for me to be able to tell what they are. i think the one right above the blood brothers one could be lacrosse related as well? not sure.

other than that, theres not that much interesting to see. his closet is a literal cage which?? sure, why not. apparently he likes to wear caps as he has four of them hanging off of it. his closet actually changes in s6 to a regular dresser which you can very briefly see.

this is in no way serious but my friend cody and i came up with a silly little interpretation for this. his closet in s4 is a cage, but its also see-through. hes in the closet (not out about his bisexuality yet) even though its quite obvious (see-through closet.) pre-s4, brett and the lacrosse team put him in a cage at the zoo and hit him with lacrosse balls = he feels like an animal, a monster, he represses who he truly is. his last name is dunbar, like the bars of a cage; hes caged in by his past and his biological father. and in s6 he has a regular dresser: he manages to break free, he grows closer with theo... he comes out of his cage/the closet. again, we're not actually serious about this. this is just for funsies.

moving on. back to his room in s4. heres shots of his desk:

we could already tell that his pc is on the opposite wall of his bed due to his and masons position when playing video games, but theres definitive proof of that. his pc and printer on his desk and what seems to be a tv? to the right over there. theres a few more posters too, one of what seems to be a.. mountain bike? motor bike? something like that (i guess liam really is a fan of anything sport related.) i cant really figure out what the other posters are of, sorry. although theres a few framed pictures and just pictures attached to the wall as well, which i think are supposed to be of him and friends and/or family. the last interesting thing to me here is that theres at least three trophies on his shelves. lacrosse? or did he play soccer before his step-dad introduced him to lacrosse... i guess we'll never know.

thats it for s4, now lets look at the things that change for s6. his bed and the chair next to it are like the only things that stay the same.

first off, all his posters are gone and replaced instead by two framed pictures (which just look like generic decor to me) but theres also small pictures tucked into the window frame/attached to the wall. cant tell what exactly they are, but to me this seems like pics of him and his friends/family again. hes got a few new lamps, the red table that used to be his nightstand is now just a regular table where he puts stuff (it looks like the same table to me at least.) theres a corkboard on his wall, but we didnt get a good shot of that wall in s4 so maybe thats not new.

boring stuff, lets move on to slightly less boring stuff!

the door behind scott is interesting to me. one, this lets us know that liam has a bathroom adjoining his room (since the scene of mason and liam in s4 starts by the camera "entering" liams room through his door on the exact opposite side of his room.) two, the door changed. if you look back at the s4 pics, theres the door as well but it has glass panels instead of being solid wood like in s6. now, im aware this was just whatever department is responsible for making a set like that forgetting/not caring/etc and thats why the door is different. i dont fault them for that, i dont think anyone else has payed this much attention to it like me.

but! this allows me to speculate about canon reasons for that change. and me personally... i think it would make a lot of sense for liams character if he accidentally destroyed the door during an outburst. punching is one of liams common reactions when he starts struggling with his anger: he punches the wall when he's stuck in the well in s4, in s6ep12 he punches the locker until its dented and hanging off of the hinges after brett provokes him on the field, he punches the wall instead of nolan at the zoo. theres more than enough events between s4 and s6b where he could've destroyed his door, but it also just could've been a regular outburst due to his IED. either way, his door got replaced.

i wonder if liam is familiar with the difference between feeling glass splinters and wood splinters being stuck in his skin. i wonder if theres a constant ache in his knuckles. i wonder if when he calmed down and saw the aftermath, he panicked because his parents didnt know about him being a werewolf and how was he supposed to explain a broken door but no injury on his hands to match? i wonder a lot about liam dunbar. anyway.

lets talk about something lighthearted and fun: video games! i ignored the guitar (that you can see leaning against the wall behind scott) until now, because its not an actual guitar. its a guitar hero controller made to look like a black-white fender stratocaster. meaning, liam just likes to play guitar hero, and doesnt actually play the guitar. im still taking this as a win since i personally headcanon that he has a huge interest in music. (also if you're wondering how i knew that its a controller: my captain's friend is in a band and figured it out in like a minute. he says you can tell because of the black pad in the middle. shout out to him.)

heres another shot from s6, which also shows us that his room is a lot more boring now. why did they take his shelves and only give him those four lousy boxes omg... whatever. take a look:

thats mortal kombat. they're playing mortal kombat!!! im pretty sure its mortal kombat ll but gladly correct me if im wrong. i got extremely excited when i recognized it being MK because i made another post about thiam & video games and, unknowing that he canonically likes MK, claimed that its one of liams favorite games. anyway, we know that liam plays cage because the screen says "cage wins" and in the scene mason and liam talk about liam winning. which makes the way they're sitting really funny. it'd make more sense if liam was on the right, yknow, in front of the character hes playing as. ah well, tv logic. fun stuff.

one last detail and then im done yapping. first pic is from s6, the second one is from s4.

these look like xbox controllers to me. i dont have much more to say about that other than pointing it out. liam prefers xbox over playstation, good to know.

[cinnamonest]

Don’t worry about replying to this in any capacity. Just wanted to say that I read your most recent post and it was extremely helpful and informative for me. I was just talking to my dad earlier about really struggling to understand how anyone could support Trump when he is just a complete bumbling fool of a man at best and a piece of shit bigot and sexist at worst. (Not to say that Harris is some beacon in the darkness, not a fan of her either.) But the perspective you offered was really enlightening so thank you for it. and I hope you are doing well enough, all things considered, and that regardless of what happens in the coming days that things get better for you and your community.

Thank you, that's very kind. I'm very glad it was helpful, I was worried I was coming across the wrong way or didn't word it very well or could be misinterpreted.

If it helps, I had some more thoughts I think would expand upon that, specifically for women — since I see a lot of posts essentially asking how women can possibly vote for the guy, and I think I can explain that too, as I've been thinking and talking a lot about that with women who I know intend to do so.

1) I think for the upper class, they tend to focus more on social issues, because economic issues don't affect them as strongly.

But for some of these people, especially moms, the increased cost of living is literally a matter of "how am I going to feed my children, how am I going to pay electric AND water," etc. So it becomes a priority, especially as many families have lots of kids, and some are single moms. They don't really think as much about social issues, whereas when I went to college, most of the kids cared only about social issues. The more financially secure someone is, the less preoccupied they are with economy.

But for a mom, the safety of and provision for their kids is paramount above all else, so economy and crime will take priority.

But since we only have 2 major parties, people often assume that whichever you vote for, you must agree with ALL of the party's official stances, which is often not the case. That's part of why our bipartisan system is so divisive and breeds hostility, because it creates an "us vs them" mentality.

2) women in the area I talked about don't really even think about abortion/reproductive rights. They're not militantly anti-choice (like some of the more suburban moms of kids I went to school with), it's more that no one ever really thinks about it at all. Many of them have kids very young and lots of them, it's just normal. They also don't have careers to focus on in the way higher-class women do, and many have no chance of ever going to college, so there's less reason to hold off on it.

People do what's normal per their class/local culture — so here, if a girl gets unexpectedly pregnant (which is... not uncommon), they don't freak out or think about how it will affect their future, how they'll afford it etc, they usually just... shrug, drop out of high school, marry the guy, have the kid.

When we were 16, one of my good friends got pregnant, and she too did exactly that. She was unironically overjoyed to find out too, rather than panicked or dismayed. Like, when she took the pregnancy test, I was there with her, sitting on the tile floor of the church bathroom at 9 pm with the test we scraped cash together to buy from the gas station-pharmacy hybrid shop down the road, and she, as a 16 year old high school junior, was actively hoping, fingers crossed and smiling and everything, that it would be positive. She's now 24 and is about to have baby #5.

And part of the reason she was fine with it was... because her mom had her at 15. It's a very cyclic thing. The possibility of abortion would not occur to them unless someone else brought it up.

3) Moreover, when women vote, they focus on what affects them specifically as a woman — and prioritize what's most "real" to us as an individual woman, the hypotheticals one can most realistically see happening to them. But what that most realistic thing is, varies a lot from woman to woman.

For a woman living in, say, Maine or northeast California or even a safer rural place like Idaho, I can see how abortion is probably the most "real" thing to them, that they can see themselves being in a position to affect them.

Whereas for me, having experienced harassment and aggression, reading about these statistics and headlines, violence is something I am much more afraid of happening to me. I'm very careful to avoid an area where I was harassed before.

But for someone in a low-crime place, that isn't something that's going to be a priority.

I personally now realize that a lot of the misunderstanding and clashing is a matter of the fact that women in many blue areas simply don't think about this, because they've never had a reason to, and that's perfectly understandable.

But a lot of women in areas like my home do not realize that. Many women at home strongly believe that "them uppity rich white women out in California or wherever the hell" (quoth my 90-something year old neighbor), are aware of, but simply don't care about, the consequences women here/poor women face. I used to think so too, when I was younger, because that's what I was told.

As a result, they view their blue vote as a very "let them eat cake" heartless-rich-person sort of thing, as selfish and/or classism, in the same way that women in blue areas likely view their red votes as female-class betrayal, religious brainwashing, believe their husbands must be controlling them, etc.

Now, with greater life experience, I not only understand that it isn't like that at all on either side, but I can also see why many blue-area women dismiss our experiences as "not really happening" or "right-wing propaganda," simply due to the fact that it's very difficult for them to fathom it, because it's so different from the reality they live in, it feels like it can't be real.

4) it *is* true that these women are often demonized and gaslit for talking about the rapes, job loss etc, so that has shifted even more moderate women very rightwards over the last few years, because they feel silenced/censored.

Donald is a sort of savior figure — he acknowledges the issue they otherwise feel censored on, and moreover, has essentially promised to take away the men that hurt them, their daughters, sisters etc. They want to feel safe again, they want their husbands to get their jobs back, feel like they have a secure future, etc, and his platform is literally "make America safe again, make America rich again, make America great again."

That line you may have seen all over the internet a few days ago, where Donald said something along the lines of "I'm going to protect the women if they like it or not"? And you know how it earned disgust from the mainstream population of women?

That line was received extremely positively by women at home. I've already seen them sharing it around with my mom/aunts/grandma on facebook, in a positive light, ecstatic. It makes them feel seen and heard in a culture that otherwise puts a hand over their mouth, and they cling to those words in hope of a better future.

Tldr: it's women who are vulnerable and afraid and desperate, going for the only option that has promised to address their needs. Much conflict comes from the limited human ability to grasp things outside of ourselves, our tendency for solipsism — an unfortunate part of the human condition that has plagued our species from the dawn of time.