#and kirsten lowkey but that's another story

[mischas]

Yesterday I saw this tweet quoting a list of the ‘ao3 ship stats of 2023’ and they were talking about how out of 100 ships, the list only had 27 women total. Then someone said that couldn’t simply be just misogyny, and another person said they had seen others explaining they mostly ship male characters because women are badly written/under developed, and I mean… Please, that’s such bullshit! It made me sad, and also it made me think of these characters we’ve been loving for so long and despite them being written by men, and sometimes being BADLY written or written ooc, they’re still so important and it’s so worth exploring their layers and giving them voice. I just wish female fic writers would step up and write about ourselves, write characters we can relate, flesh them out—we’re in 2024, ffs! How can we blame men for not writing women well and then just dedicate our time and creativity to write this so called interesting fictional men we have love or whatever? Sorry, I know this sounds more angsty than anything but it really pissed me off. We need to stop calling male blorbos “baby girl” and start writing and voicing real baby girls!!! (That obviously includes wlw relationships!) That’s why I love this blog so much, btw. That’s why when I thought of venting about it I thought: oh, she would understand! Thank you for always talking about Marissa’s layers and potential, thanks for making women who relate to her in some level feel understood. 🫶🏻

Oh wow, that's crazy. But also... unsurprising. So that's 27 total women out of 200 characters/individuals? Jesus. I'm not terribly versed in modern fandom (or even, like, old fandom, really) but male characters have historically been babied and loved on more. I don't really get it. A huge chunk of that is they were created and crafted by men and those stories come from a patriarchal perspective. How shows/stories shape and shift can really define how things are written moving forward and it's frankly true that audiences are much more harsh about the fallibility of female characters than they are of their male counterparts. I personally think it stems from men being generally terrible irl so people take male characters and run with them because it's safe and comforting rather than dealing with the reality of dudes irl.

You're right, we need to stand up for the ladies!! And that absolutely includes wlw relationships!

You're very sweet. I love Marissa. I could talk about her all day. It blows my mind that people still misunderstand her in 2024.

[formulinos]

@jedivszombie dared me to post my top 7 comfort movies in no particular order! as i am a supreme kinofile i regret to inform you i will give you also some synopsis so you guys can see these, please: 1) in the mood for love (2000) [dir. wong kar-wai]: two married couples lived next to each other in 60s hong kong (then occupied by the brits). one half of each couple (tony leung and maggie cheung) starts suspecting that their respective other halves are cheating on them with each other and join forces to get to the bottom of it. perhaps the greatest movie of all time, it's a masterclass on acting from both tony and maggie and the cinnamon tography is exquisite as well. i promise you that once you watch it you won't forget it and keep going back to it as well. the longing. UH! 2) marie antoinette (2006) [dir. sofia coppola]: basically a biopic of marie antoinette's life from her engagement to the dauphin of france, future king louis xvi until the start of the french revolution. clearly, sofia isn't that concerned about the historical subtleties - although since the film is inspired by antonia fraser's biography (very good by the way), so she actually happens to be a bit more accurate than some other interpretations of marie antoinette at least. but mainly, the film has pretty candy colours and lovely gowns, such beautiful gowns. kirsten dunst also kicks ass in the title role. 3) possession (1981) [dir. andrej zulawski]: this is not a comfort movie for most people because it's pure body horror, but i'm so fascinated i don't care. isabelle adjani and sam neill are a couple living in west berlin who go through a Very Bad Breakup, to say the least. sam starts to suspect the separation is motivated by cheating from his wife's side, but when he decides to investigate it... might as well just sat there and ate his food. isabelle adjani just gives a bizarre lesson on how to lose oneself in the character and goes full unhinged in a way i can only admire. trigger warning for every single thing that could be though, so this is def not for everyone.

4) bacurau (2019) [dir. kléber mendonça filho & juliano dornelles]: i can't go through this list without adding at least one brazilian film, and i might just do one because i kinda have a hard time watching those because they hit too close to home, but that's precisely why i like bacurau. it hits so close to home for me as a brazilian (and one who has heritage from the northeast, where the story takes place) that it's incredible. weird happenstances start taking place in the small village of bacurau, located in the sertão, while the townspeople get together for the burial of one of its most influent citizens. soon, the city disappears from all maps online and things start happening. this kinda borrows from western style films, but it's better because it's not american, so. again, it can get bloody. 5) love, rosie (2014) [dir. christian ditter]: since i suggested two weird gory films now, here's a cute rom-com that just hits all the right spots. lily collins and sam claflin have been childhood best friends who are too thick to realise they are into each other, and life forces them to go separate ways as he goes to boston for medical school and she stays in england being a pregnant teenager. the story unravels as they transition from adolescence to young adulthood and mature, still remaining friends (and lowkey in love). it never gets tiring. i love sam's dimples.

6) and then we danced (2019) [dir. levan akin]. here's a banger from georgia! a young man is a dancer trying to get in the national georgian ensemble (a very traditional, very manly occupation in georgia, actually). his best friend, a girl, tries to get with him but it never really works... until he meets another guy who joins the same company and then things just click. this one hurts but in a great way, 7) rope (1948) [dir. alfred hitchcock]: two besties decide they are the ubermensch and because of that they believe they can get away with murder, inviting their closest friends and family to have a kiki right after they kill their classmate. they also call their teacher (james stewart), who basically inspires them and who starts clocking them right early on. the movie is set during the two whole hours between the murder and the ending of the party and it's shot to look like a continuous single shot. alfred was a bitch but he knew. also the guys are gay for sure no way. anyway, these might not be the best movies ever but they are my faves and i go back to them everytime. i need to get a life. hugs and kisses.