#and that expressing a thought in an online space means that thought defines a person 100%

[child-of-sunshine]

Just saw a post about a controversial but not really important topic and the notes were a perfect example of the very specific tumblr demographic of "just old enough to start being socially aware and have Opinions but not mature enough to understand nuance or the concept of context in real life and the fact that not every issue is, in fact, the single most important thing facing humanity"

[doyouhearthunder]

On Pros and Antis and the Confessing of "Sins"

If you're in any way involved in fandom spaces, and in particular fanfiction, you've probably heard about the ongoing debate between proship and antiship schools of thought. It's a perpetual drama machine that I have tried to stay clear of, to avoid incurring the wrath of the 'pitchforks and torches' types, but I feel I can no longer stand on the sidelines while my friends take abuse from terminally online Unreasonables. So I'd like to set the record straight on a couple things.

First though, since we're dealing with amorphous internet terminology that means 100 different things to 100 different people, here are some quick definitions as I see it:

PROSHIP is the more reasonable, nuanced and mature stance of the two, defined as the belief that there is no automatic correlation between individual morals and the consumption or creation of fictional media. Proshippers believe that all facets of life, even darker and more taboo topics, are fair game for fictional exploration and creative expression (even in the common context of NSFW fetish material). The key point here is that one should have a healthy ability to separate fiction from reality and an understanding that finding enjoyment in darker subject matter does not somehow make one a bad person - although moral lines obviously can and should still be drawn regarding improper behavior towards real people, it does no one any good to limit creative expression or paint creators with a broad moral brush.

ANTISHIP, on the other hand, is a reactionary movement in response to the above. Antishippers believe in drawing a hard moral line in the sand around some topics and discouraging creative expression regarding them. Antis defend their conservative worldview by attempting to take a moral high ground, making themselves out to be the reasonable ones and decrying any criticism of their position as tantamount to condoning the indefensible. But the problem with antis is more one of behavior than motivation; they may think they're defending the innocent, but they function like a loaded gun pointed in all the wrong directions. Anti rhetoric is often characterized by sweeping black and white moral standards and purity tests, leading to targeted harassment campaigns, harmful slander and willful distortions of reality, and attempts to ostracize targets from fandom communities and turn public opinion against them.

It's also worth mentioning that the burden of these culture war campaigns against "inappropriate" and/or NSFW content often falls more heavily on queer and marginalized creators, due to internalized transphobic rhetoric and fear-mongering, while cis people who consume or create similar content often skate by unnoticed, shielded by privilege or anonymity.

To demonstrate my point: I am the creator of several popular SFW fics, but I'm also the creator of several popular NSFW ones. For years I've been writing "darkfics" with subject matter that could be considered extreme or controversial, under the pseudonym of SubordiSins (a more common story for many of your favorite fic authors than you might think, I should add).

My best-known (and best) work under that handle is a fic called Reindeer Games, a novel-length erotic torture porn thriller. RG was written as a collaboration between myself and @kimberlyeab, a talented and prolific fic writer and a dear friend. I'm quite proud of our work together: We took a simple premise and gradually expanded it into a twisty, emotionally complex character-driven drama. It was also, frankly, some of the most fun I've had writing anything. It's important to me to be clear that while the subject matter of RG is an acquired taste (mind those Dead Dove tags), the fact that I wrote it on an alternate AO3 account does not mean that I am in any way ashamed of it.

In addition to being a fantastic creative partner, Kim has done a great deal to uphold the most basic benefit of fandom: providing like-minded fans with safe, accepting online spaces through which to forge friendships and express themselves creatively. I've definitely found my online tribe in Kim and their friends, as have many other notable fic writers.

However, Kim has also been a magnet for controversy, in part because of our collaboration on Reindeer Games, but mainly because as a queer online figure who openly writes smut, they make a good target for hate. They have directly suffered from the crude transphobia of chuds and 4channers, the vile slander and sustained harassment of unhinged and obsessive Tumblr stalkers, and even email bombs and doxxing campaigns that pose a threat to their IRL safety and security.

Through it all, I have tried to be a supportive friend while also benefiting from a shield of insulated anonymity that means I get to be impervious to harm from writing the same fics that they get hate for. I originally took that approach for my safety, but I'm tired of feeling like I have to choose between self-preservation and being fair to my friends. We never meant it to, but the unequal footing created a wall between us and lead to hurt feelings. I've had enough of it, and so I'm finally bringing that wall down.

To summarize:

Proshippers are good people more often than not, and antis are often dangerously obsessive, inappropriate, and untethered from reality.

Fiction cannot be held to the same moral standards as reality and if you don't understand why, I don't know what to tell you other than "Give it some more goddamn thought."

Nobody needs to meet someone else's arbitrary standard for moral purity tests in order to deserve being left alone and not harassed.

Having kinks is normal, and most of your favorite fic writers have probably written about their kinks, even if not openly. As ever, the golden rule of fanfiction is and has always been "Don't like, don't read."

Just as it is the responsibility of fic authors to tag their work appropriately, it is the responsibility of internet users to make use of content filtering and block features to curate their online experience and protect themselves from material that upsets them. It is *no one's* responsibility to police what other users post online.

Anyone who throws around accusations like "p*dophile" or "gr*omer" without concrete and substantiated evidence of actual wrongdoing (aka, a lot more than just fics or kinks) is not a serious person.

Kimberlyeab is a cool and sexy person and anyone who tries to hurt them must go through me as well.

Any complaints about my/Subordi's fics or the contents thereof can be mailed to the following address:

Doyouhearthunder 69 Fuck Off Ave Proshiptopia, FU United States of Mind Your Own Damn Business

Any praise for my fics can be directed to my inbox. <3

Thank you for reading. I will not be taking questions at this time (except of course from friends in good faith).

God bless all the kinksters and the queers, Nate

[asexualityinhistory]

Welcome back once again!

This week we will discuss and analyze: "Reconsidering Asexuality and Its Radical Potential" by CJ DeLuzio Chasin. This post hopes to introduce a different perspective on asexuality and how it can resonate with others. Today's source introduces a few ideas about asexuality as an umbrella term. Chasin also explores the different implications of asexuality and its potential. I will provide a lengthy analysis and interpretation of today's source, in case it is unavailable to the public. However, if you have access to an institution, I highly recommend exploring it and forming your interpretation!

Chasin expresses that the term asexuality and its definition is not what made him identify as such. It was rather the community of people who shared similar experiences. He discusses how there should be a more distinguished difference between asexuality and Hypoactive Sexual Desire Disorder (HSDD). His main argument is that the defining line between asexuality and potential psychiatric disorders related to external factors is problematic. 

Chasin notes the community of the Asexual Visibility and Education Network (AVEN). This network was founded in 2001 and created online spaces for asexual individuals and groups. After some review, AVEN is a great source for those who want to learn more and connect with other asexual individuals to share experiences. It is a great source to gain a better understanding of asexuality and has multiple frequently asked question categories for different types of relationships. Chasin then discusses how networks and websites like AVEN show that asexuality is broader than what most people would think or believe. For example, gray-sexual or demisexual individuals fit under the asexual umbrella, but their experiences differ from the universal experience of asexuality. In other words, asexuality is a spectrum or scale just like most things we know. 

In the latter half of Chasin’s piece, I found a few concepts interesting and relevant to the discussion. For one, the idea that asexuality is a lifelong sexuality. Knowledge of asexuality in historical and modern contexts is still fairly limited. This concept means that most do not know with certainty that asexuality is a lifelong sexuality because sexuality is often fluid. He also discusses that there is not one way to be asexual or to present as a “real” asexual. This common misconception has proven to be incorrect. Asexuality is often “undermined, misunderstood, and undervalued” by a society that could care less about growing and understanding something deemed out of the normal. However, like all sexualities, there is no right or wrong way to be asexual, but society has made it out to be only one way.

Chasin also discussed the implications of heteronormativity on the asexual community and society as a whole. Heteronormativity challenges asexuality and takes away visibility to the asexual community. However, asexuality challenges the idea and assumption that humans are sexual beings, which makes it harder to advocate for in the long run. Society sticks to "safe" definitions to avoid any strong ideologies. This can be interpreted as a means to avoid confrontation and conflict since asexuality is a newer idea and faces more resistance to accept it as a sexuality over a disorder.

Out of Chasin’s entire article, I found one particular section interesting, and maybe you will too! He stated that it is common for people to think of two concepts of asexuality: 1. A lifelong asexual who is happy with their asexuality. 2. A non-asexual person is upset by their lack of sexual desire. Although these are the two most thought of scenarios, he presents the counterargument of each: 3. An asexual upset over their lack of sexual desire. 4. A non-asexual content with their lack of sexual desire. He explains in detail the differences between real-life scenarios in which all concepts are applicable. The examples provided by him are intriguing and offer a new perspective on how asexuality can be represented and experienced. Additionally, they show how certain stereotypes can be harmful to the asexual community.

To conclude this detailed post, Chasin discusses the matter of depression on sexual desires. It is common for those with depression to lack sexual desire, whether due to the depression itself or medications. This was documented in the past with women who were depressed and heavily medicated. These medications heavily influenced sexual desire and left women with the pressure to continue with sexual behaviors despite a lack of sexual desire. This effect ties into the challenge of heteronormativity placed by societal standards, which placed pressure to be in a heterosexual relationship. Women often feel the need to engage in sexual contact because of this, and men feel the pressure of expectation to 'be a man'. Chasin also discusses how the ideals of feminism and the asexual community often align or overlap in goals of normalizing being sexual and non-sexual. The end goal will be to educate the masses and shift societal perspectives.  

This week's resource had a lot to unpack. The information presented was very insightful, and I learned new things about asexuality, which helped me find comfort in knowing that there is no right or wrong way to experience it. As always, this post is a continuation of asexuality in a historical and modern context. The significance of asexuality will continue to be explored and analyzed in the following posts. Thank you for following along, and feel free to share your insights!

Bibliography:

Asexuality.org. “The Asexual Visibility and Education Network | Asexuality.org,” 2024. https://www.asexuality.org/.

CJ DeLuzio Chasin. “Reconsidering Asexuality and Its Radical Potential.” Feminist Studies 39, no. 2 (2013): 405–26. http://www.jstor.org/stable/23719054.

[bigredbomb]

8/28/23 - Notes on the Gallery Space

QUOTE: "Systems are a kind of P.R. which, among other things, push the rather odious idea of progress. Progress can be defined as what happens when you eliminate the opposition."

COMMENT:

These two sentences in the reading interested me because they seem almost contradicting at a glance. The author states "systems" (the opposition, the limitations we are confined to in a space) ignite the spark of creativity, allowing us to progress and create new ways of displaying artwork. Yet, the author also states progress is what happens when the opposition is eliminated. To me, the author is saying that innovation occurs when we try to solve a problem, in this case the problem is exhibiting art work in a way that doesn't feel claustrophobic (salon style) or one where the works shown feel out of reach from each other (modern day white cube style). This limitation forces artists to think about how they want their work to be seen by the public eye before even laying down a stroke on their canvas. The display style should also reinforce the concept through all means possible to create a sense artifice between the work shown and the space it exists in.

It's quite the mission, to make something that is technically interesting, conceptually structural, and ingeniously presented. I believe here is where the opposition aforementioned needs to be transformed into a support character. This is where artists collaborate with curators and galleries to create exhibitions that feel genuine, not just a collection of images on a wall with circular colored stickers next to each work. Perhaps a curator could even select a work or series from an artist's portfolio to focus on, designing an environment that would best communicate what the artist is trying to say. I've personally always thought about this, specifically when it comes to digital art.

3. QUESTION: As digital art seems to be a medium on the rise for both commercial (illustration, graphic design) and more artistically expressive types of works, do you think digital artists should make an effort to publicly display (excluding social media) work made with this medium? Or are they better off leaving their work to only exist in cyberspace?

Digital art gets the short end of the stick in my experience. If there isn't some sort of highly advanced, giant, system of displaying the work (think about visuals at music festivals, installations that cost hundreds of thousands of dollars worth of electronics to produce) then the art just feels like a passing ad on a television screen. Being that digital art mostly exists online, or in printed form, this is definitely something I want to figure out because of the love I have for the medium itself. I just really don't like any examples I've seen (so far) of it being presented for the public eye (aside from social media, blogs, and websites).

Maurizio Gomez.

[loominaire]

Transform Your Living Room: The Perfect Blend of Hanging Wall Art, Modern Hand-Woven Rugs, and Living Room Poufs

Creating a stylish and inviting living room involves more than just choosing furniture; it’s about curating a cohesive look with thoughtful decor elements. By incorporating hanging wall art, modern hand-woven rugs, and living room poufs, you can elevate your space into a comfortable and visually appealing haven. Let’s explore how to seamlessly blend these elements for a stunning effect.

The Charm of Hanging Wall Art

1. Define Your Style

Hanging wall art is an essential element in defining the personality of your living room. From abstract paintings to framed photographs, the right artwork can express your unique style and interests.

2. Create Focal Points

A large piece of wall art or a well-arranged gallery wall can serve as a focal point, drawing attention and adding character to your space. Consider using bold colors or unique designs to make a statement.

3. Enhance Depth and Dimension

Art can add depth to your walls, especially when you mix different textures and frames. Layering various pieces creates visual interest and brings your walls to life.

The Beauty of Modern Hand-Woven Rugs

1. Textural Warmth

Modern hand-woven rugs bring warmth and comfort to your living room. Their unique textures create a cozy atmosphere, making the space more inviting for gatherings and relaxation.

2. Stylish Versatility

Available in a variety of colors and patterns, these rugs can complement any decor style. Whether your home is modern, bohemian, or eclectic, a hand-woven rug can enhance your design.

3. Sustainable Choices

Many hand-woven rugs are crafted from eco-friendly materials, making them a sustainable option for conscious consumers. Supporting artisans also means investing in quality craftsmanship.

Living Room Poufs: Function Meets Style

1. Flexible Seating

Living room poufs are versatile and functional. They provide extra seating when needed and can be easily moved around for convenience. Their lightweight design makes them perfect for any gathering.

2. Stylish Accents

Poufs come in various designs, colors, and fabrics, adding a pop of style to your decor. Whether you choose a vibrant knitted pouf or a chic leather one, they can serve as eye-catching accents.

3. Multi-Use Options

Beyond seating, poufs can be used as footrests or even as coffee tables. Their adaptability makes them a practical addition to any living room.

Tips for Creating a Cohesive Look

1. Color Coordination

Choose a harmonious color palette that ties together your wall art, rug, and poufs. This will create a unified look throughout the room, enhancing the overall aesthetic.

2. Balancing Textures

Mixing textures is key to a dynamic design. Pair the softness of a hand-woven rug with the smoothness of poufs and the varied textures of wall art to create visual depth.

3. Thoughtful Arrangement

Arrange your furniture, rug, and decor thoughtfully. Place your rug under the seating area, position poufs nearby for accessibility, and hang wall art at eye level for the best impact.

Where to Find These Essentials

Online Retailers: Websites like West Elm, Wayfair, and Etsy offer a wide selection of hanging wall art, modern hand-woven rugs, and living room poufs.

Local Artisan Markets: Check out local markets or shops for unique, handmade items that can add a personal touch to your decor.

Conclusion

Incorporating hanging wall art, modern hand-woven rugs, and living room poufs can transform your living space into a stylish and comfortable retreat. By carefully selecting and arranging these elements, you’ll create an inviting atmosphere that reflects your personality. Start your journey today and elevate your living room style!

https://loominaire.com/collections/sale

[homeimprovement31311]

Quotes About Home Improvement

In this collection of quotes about home improvement, we delve into the minds of renowned thinkers architects and everyday individuals. Who have found eloquent ways to express the significance of enhancing our living spaces.

From the importance of aesthetics to the deeper resonance of creating a haven, these quotes encapsulate the essence of what it means to embark on the journey of transforming a house into a personalized sanctuary.

For more: Quotes About Home Improvement

Benefits of improving your home

Improving your private home gives a myriad of advantages that amplify some distance past mere aesthetics. Firstly enhanced property value is a significant advantage, as strategic renovations and upgrades can increase the resale value of your home. A well-maintained and thoughtfully improved property not only attracts potential buyers.

But also ensures a higher return on investment. Additionally, home improvement contributes to increased comfort and functionality. Whether it’s optimizing the layout upgrading appliances, or adding smart home features. These enhancements enhance the overall livability of your space.

Improved energy efficiency is another notable benefit, as modernizing your home with energy-efficient appliances, windows, and insulation not only lowers utility bills but also reduces your carbon footprint.

A harmonious and aesthetically pleasing living space can contribute to a sense of well-being, fostering. A high-quality surroundings that promotes rest and happiness.

In essence, the benefits of improving your home extend beyond the tangible, creating a more valuable functional, and emotionally satisfying living environment.

Tips for starting your own home improvement journey

your own home improvement journey can be an exciting yet daunting task. To ensure a successful and fulfilling experience, consider a few key tips as you begin this transformative process. First and foremost establish a clear vision for your project.

Whether it’s a specific room renovation or a comprehensive home upgrade, having a well-defined plan will guide your decisions and keep the project on track. Additionally, set a realistic budget to avoid unexpected financial strain. Research and gather inspiration from various sources.

Such as design magazines, online platforms or even professional consultations, to refine your ideas and preferences.

Don’t underestimate the significance of thorough making plans and studies together with acquiring vital lets in and knowledge neighborhood constructing codes.

Consider enlisting professional help for complex tasks, ensuring safety and quality workmanship. Finally embrace the journey with patience as home improvement is a process that unfolds over time.

Celebrate milestones, stay adaptable, and savor the satisfaction that comes with transforming your living space into a personalized haven. With these tips in mind your home improvement journey can be a rewarding and enriching experience.

Real-life examples of successful home improvement projects

Numerous real-life examples illustrate the transformative power of successful home improvement projects, showcasing how thoughtful renovations can enhance both aesthetics and functionality. Take for instance, a family who revamped their outdated kitchen to create a modern, open-concept space.

By incorporating new appliances, stylish cabinets, and a functional island, they not only increased the home’s appeal but also improved the overall flow, making it a more enjoyable and efficient space for cooking and entertaining.

Another inspiring example involves a couple who invested in energy-efficient upgrades, such as solar panels and improved insulation.

This now no longer handiest decreased their environmental footprint however additionally caused big long-time period financial savings on strength bills. Such projects highlight how home improvement can align with sustainability goals and yield practical benefits.

In a different scenario, a homeowner transformed an unused basement into a versatile living area, incorporating a home office, gym, and entertainment space.

This creative adaptation maximized the available square footage, catering to the evolving needs of the household and adding considerable value to the property.

These real-life success stories underscore the potential for home improvement projects to bring about positive changes from aesthetic enhancements and energy efficiency to increased functionality and adaptability.

They serve as inspiration for others considering similar projects, demonstrating the tangible and lasting impact that strategic home improvements can have on both lifestyle and property value.

FAQs

Why is home improvement important?

A: Home improvement is crucial for various reasons. Beyond enhancing the visual appeal of your living space, it increases property value, improves functionality, and can positively impact your quality of life. It lets in you to personalize your house to higher healthy your wishes and preferences.

Q: How do I start a home improvement project?

A: Starting a home improvement project involves careful planning. Begin by defining your goals, setting a realistic budget, and researching ideas. Prioritize tasks based on necessity and impact, obtain necessary permits, and consider seeking professional assistance for complex projects.

Q: What are the benefits of energy-efficient home improvements?

A: Energy-efficient home improvements, such as installing solar panels, energy-efficient appliances, and improved insulation, can lead to significant cost savings on utility bills. Additionally, they contribute to environmental sustainability by reducing energy consumption and minimizing your carbon footprint.

Q: How can home improvement increase property value?

A: Well-executed home improvements can significantly increase property value by enhancing curb appeal, modernizing interiors, and addressing necessary repairs. Upgrades like kitchen renovations, bathroom remodels, and energy-efficient enhancements often yield a high return on investment in real estate.

[meishmu]

Unveiling Tumblr: A Digital Town Square for Activism, Creativity, and Expression

Week 3 - MDA20008

Within the dynamic environment of the internet, Tumblr is more than a microblogging site; it's a dynamic digital public space. The public sphere, as defined by Jürgen Habermas as a forum for free speech and civic participation (Staab & Thiel 2022), is a modern concept that Tumblr embodies. We'll explore this distinctive online space's history, features, and opportunities that foster activism, creativity, and expression as we peel back its layers.

In order to comprehend Tumblr's function as an online public space, let's take a little tour through the development of blogging. Blogging started off as a way for people to share their thoughts and personal stories in the late 1990s. In the modern day, blogging has developed into a varied ecosystem where people come together to express their viewpoints and tales, including artists, activists, and individuals (Shema, Judit Bar-Ilan & Thelwall 2012). An important turning point in this progression was the creation of Tumblr in 2007, which brought a microblogging format that would change the landscape of online expression (Chang et al. 2014).

Tumblr, which was founded by David Karp, revolutionized the blogging space by fusing adaptability and simplicity (Halliday 2012). Users can easily combine multimedia content with its microblogging style to create an immersive visual experience (Chang et al. 2014). It has developed into a center for creativity over time, giving users the means to express themselves honestly. It is necessary to comprehend Tumblr's history and features before delving into its unique role as a digital public domain.

The foundation of Tumblr is user-centric design and simplicity. With the help of the reblogging tool, users may interact with others, easily curate material, and build personalized blogs (Nield 2017). The platform's design encourages a feeling of closeness and community, which makes it a perfect place for idea sharing and the development of online communities.

The affordances of Tumblr—features that influence user experiences—are essential to the platform's function as a digital public sphere. According to Dawson (2018), anonymity gives individuals a shield to express themselves honestly, encouraging sincere communication. According to Hijbul Alam, Ryu, and Lee (2017), the hashtag system facilitates the creation of communities centered around common interests and content discovery. Tumblr is notable for having less surveillance than other social media sites, which gives users more freedom to move throughout the site (Shahbaz & Funk 2019).

Let's use the #OscarsSoWhite hashtag, which became popular on Tumblr, to demonstrate these ideas. This movement, which started as a protest against the lack of diversity in the entertainment business, is a prime example of Tumblr's ability to spark activism and social critique (McCracken 2017). Users gathered around the hashtag, sharing personal anecdotes, having deep conversations, and raising their voices in a setting that was comparatively free of surveillance.

Tumblr appears in the digital era symphony as a digital public sphere that echoes the values of free speech and civic participation, not merely as a platform. Tumblr has had a significant influence on activism, creativity, and expression since its inception as a blog platform and throughout its growth into a vibrant, diverse community. Let's embrace Tumblr's function as a digital town square, where a variety of voices come together to construct the stories of our rapidly changing digital age, as we navigate its intricate network.

References

Chang, Y, Tang, L, Inagaki, Y & Liu, Y 2014, What is Tumblr: A Statistical Overview and Comparison, viewed <https://arxiv.org/pdf/1403.5206.pdf>.

Dawson, J 2018, ‘Who Is That? The Study of Anonymity and Behavior’, APS Observer, vol. 31, viewed 2 February 2024, <https://www.psychologicalscience.org/observer/who-is-that-the-study-of-anonymity-and-behavior>.

Halliday, J 2012, ‘David Karp, founder of Tumblr, on realising his dream’, the Guardian, The Guardian, viewed 2 February 2024, <https://www.theguardian.com/media/2012/jan/29/tumblr-david-karp-interview>.

Hijbul Alam, Md, Ryu, W-J & Lee, S 2017, ‘Hashtag-based topic evolution in social media’, World Wide Web, vol. 20, no. 6, Springer Science+Business Media, pp. 1527–1549, viewed 2 February 2024, <https://link.springer.com/article/10.1007/s11280-017-0451-3>.

McCracken, A 2017, ‘Tumblr Youth Subcultures and Media Engagement on JSTOR’, Jstor.org, vol. 57, no. 1, pp. 151–161, viewed 2 February 2024, <https://www.jstor.org/stable/44867867>.

Nield, D 2017, ‘What Does It Mean to Reblog on Tumblr?’, Small Business, viewed 2 February 2024, <https://smallbusiness.chron.com/mean-reblog-tumblr-61882.html>.

Shahbaz, A & Funk, A 2019, ‘Social Media Surveillance’, Freedom House, viewed 2 February 2024, <https://freedomhouse.org/report/freedom-on-the-net/2019/the-crisis-of-social-media/social-media-surveillance>.

Shema, H, Judit Bar-Ilan & Thelwall, M 2012, ‘Research Blogs and the Discussion of Scholarly Information’, PLOS ONE, vol. 7, no. 5, Public Library of Science, pp. e35869–e35869, viewed 2 February 2024, <https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0035869>.

Staab, P & Thiel, T 2022, ‘Social Media and the Digital Structural Transformation of the Public Sphere’, Theory, Culture & Society, vol. 39, no. 4, pp. 129–143.

[taiwodemola]

How we think about social media has changed so much in the last decade that it's hard for me to define exactly what it is. Although some individuals theorize that it is a tool for forming genuine connections, others claim it is a tool for globalization; Thus, social media is too nebulous to define as having a sole function. However, to concretely have a working definition that I can refer back to, I will define social media as an online platform that links users through generated content.

But I would like to borrow an idea that was posited by Judith Butler in her Theory of Performativity, which states that identity is constructed and that we all have social scripts that we adhere to and thus perform for others in our community to affirm our belonging to specific ingroups. For this reason, social media can be a tool for identity negotiation and community building that goes beyond what was initially assumed.

For example, Tumblr is a space that historically has been important for the LGBTQ+ community because it is a platform where individuals can interact with content relating to their personal experiences and access culturally relevant information that could potentially influence how one decides to navigate identity expression. The same can also be said about how people today interact with platforms like Tiktok, but more obviously so. Namely, the "that girl" trend and its derivatives have emerged as the center of identity negotiation for young middle-class women online. However, creating a space for marginalized identities was an empowering experience. At the same time, the latter has been a means of restricting expression and identity through narrowly defined terms of womanhood.

But as much as I would like to think that I can distance myself from the influence of social media, I am just as much a product of it as the two examples listed above. I constantly scroll through various platforms when there is a moment of pause, and I would rather be entertained than sit still. But I also use media as a means of art production, a space for theorizing and connecting with others. Unfortunately, the product of this has been feeling that my thoughts are limited to the media I consume and feeling more aware of an aesthetic "gaze" in my life that I can't seem to shake. Moreover, my relationship with social media became more complicated when I rose to content creator status during the pandemic. In a short time on Tiktok, I gained tens of thousands of followers, and my hyper-awareness about my online presence was no longer the same as my peers around me. Because instead of posting for my friends and family, I was posting to enough people to fill the Super Bowl Stadium many times over. Which ironically made me feel like I was posting for everyone and no one at the same time.

However, this experience taught me how short-form content works on different platforms and how social media is headed. But my biggest weakness is my management of social media fatigue. There are moments when I feel I cannot stomach just how much content I am consuming because it is just an insane amount. I would like to learn how to interact with social media in a way that feels less personal. This means learning about how it works and what ideas drive content creation so that I am not at the whim of the content I watch and am less susceptible to scroll fatigue because I would have become a more conscious consumer of media.

[designedbyshyne]

2022 in review ❊ my character arc & how I turned a solo freelance gig into a growing studio

We have to look backwards to go forwards.

By the end of Summer 2021 (only a year into business), I was completely and utterly burnt out. After surviving the pon de replay, taking a semester off from college, turning my side hobby e-com shop into a freelance branding business, and then exploring brand strategy and 1:1 coaching, I was TIRED.

After a short hiatus, I decided to start working with an amazing Business and Leadership Coach to help me figure out how to revive Designed by Shyne in a way that aligned with my true goals, desires, and strengths.

Immediately, I was confronted by a fork in the road– out of my distaste for the traditional "solopreneur to agency owner" pipeline, I'd subconsciously limited myself to a liminal space. Ni aqui, ni alla. Operationally, I could not keep doing business on my own. But then that meant I would have to hire people to help me serve the clients I wanted to serve and do the work that wasn't in my zone of genius, and that would mean building an agency.

I really, really didn't want to start an agency, especially not while I was still in college full-time.

You see, when you come from design school, you're presented with three options: join an agency, work in house at a company, or freelance. Nobody really says, "Start an agency." And in my mind, "agency" was a bad word, an icky place akin to a creative sweatshop where dreams go to die and starry-eyed designers devolve into cynical pixel pushers.

Not only did an agency model feel like a disservice to my dream, it felt scary. I didn't want to be an agency owner at the time; I wanted to be a college student making some decent easy money. What would I do with all that responsibility and pressure?

But then, as my new Business Coach led me deeper into my own thoughts and goals, I realized I didn't have a choice. I was dead set on making a huge, deep impact. I wanted big brands with big scopes of work. I wanted high ticket projects. And I wanted to stay in school and only operate in my zone of genius. So, unwavering on all of these fronts, the only way to have my cake and eat it too was to commit to building an agency.

And like I always tell my clients, you can build your business YOUR way. See, I had forgotten one obvious truth: I didn't have to build my agency the way other agencies had been built. I could build it better, more innovative, more humane, and more focused on deep creativity and impact.

So that's what I did.

At the beginning of this year (January 2022), I committed publicly to building THE go-to branding "anti-agency" for disruptors and visionaries, and I have done just that.

I turned "me" into "we" with a stellar Avengers lineup of team members and contractors.

I brought in 6-figures of sales while juggling school full-time.

I spoke at The Conference and attended Adobe MAX as an Express Ambassador.

I taught courses and hosted workshops both online and in person to bring creative education and inspiration to entrepreneurs and students worldwide.

I went on multiple Adobe Livestreams and podcasts.

We worked with 27 brands including Adobe, Continuum, Norby, Your Social Team, Shopify, and Pineapple.

We designed 8 brand identities and co-created 12 brand strategies with our amazing clients.

We organically grew our online community The Sun Spot to 200+ members.

We hosted our first IRL event during LA Tech Week.

We were featured in 7 publications.

All within a year.

All because I decided to commit to being the change I wanted to see in the space.

See, most "agencies" only care about big fancy clients and bottom lines. They want to be known for their work and book of business. But here, at Designed by Shyne, we want to be known as a genre-defining example of how to BUILD studios/agencies/etc. for generations to come.

So here's to an epic first year.

[ghostietea]

Furuba autistic headcanons

With it being April, or autism acceptance month, I wanted to finally drop my list of characters from Fruits Basket that I read as autistic! This is based a lot on my own experience, as well as that of other autistics I know or have seen talk online. I hope some people can get something out of it, feel free to tell me what you think 😊, though please refrain from getting upset that I would dare suggest your fave is autistic.

Hanajima

Before becoming able to better control her powers, she would be constantly overwhelmed by the things she heard to the point that she couldn't even really go out in public. This reads a lot like sensory overload.

Constantly picked on in school because other kids thought she was weird. Eventually reclaimed this weirdness and turned it into a whole persona.

Seems to talk usually in a relatively flat tone.

Had trouble socializing with no friends outside her family until middleschool.

Has a very funny, dry sense of humor that I find very similar to a bunch of autistics I know, including myself.

Hatsuharu

Listen. You have seen the funky little man, you have seen the way he talks, the way he acts around others. He is, and I mean this in the best way, a weirdo. I do not know how you could look at him and see a neurotypical.

Once again, like Hana, Haru is funny in a way that feels very autistic.

Very flat, dry, tone delivery. Sometimes just Says Things that make everyone else go huh??? Suuuuper blunt. Doesn't emote facially a lot of the time.

When this man sees a social norm he doesn't get he WILL NOT follow it. Pierces his ears just because his hair got flak, defends Momiji wearing whatever he wants because sometimes y'know the social rules are just dumb and don't make sense. Especially dress codes.

Sometimes says things not befitting the current tone of the situation.

Represses (masks) a lot of his emotions, leading to outbursts that seem uncharacteristic.

His main childhood trauma revolves around adults branding him as "dumb" and ridiculing him. Haru, however, is super smart and wise!! Just in an offbeat way that not everyone may get.

Machi

Reads as very "flat" emotionally to the point that others would call her boring. Also has a flat vocal delivery.

Relies on specific habits or ways of doing things or else she gets super upset (her hatred of imperfection.

Has trauma surrounding adults completely misconstruing her intentions and thinking she's doing something malicious when she's not.

Generally behaves in a way that's hard for others to understand, one of her formative moments with Yuki was him saying he wanted to "see how the world looks" through her eyes.

Once again, trouble socializing.

Tries super hard to please her parents but in the end they still see her as somehow inherently "defective."

Listen. A lot of this one and the last two are mostly vibes, hard to verbally define. You just have to look at them and trust me.

Tohru

Displays behavior very reminiscent of masking throughout the story, a huge part of her arc is about how she hides a lot of herself and has a very controlled persona. I think it would fit very well if she had other autistic behaviors that she suppresed also it helps explain why she is relatively socially adept, it's learned behavior to make people like her more.

Yes she is very good at saying what others need to hear, but especially early on she is pretty blatantly imitating her mother's words. She only gets better at getting through on a more personal level later on (see her with Rin and Akito v. early series Tohru). She does this by relating her own experiences, a very autistic way of showing empathy that often gets us written off as self centered. The way she relays things her mom said could also be seen as this, and she even worries at a few points that she's being insensitive for going on about things like that.

While emotionally repressed she is hyper empathetic and feels other's emotions so strongly she cries.

Her speech patterns are all imitated from her father and she often copies verbal things from others (see Ritchan-san). Noted in canon that people think her way of speaking is slightly off/not befitting of someone her age. Additionally, her father was polite more sarcastically, while she plays it straight and sometimes takes things very literally or fails to get the message, indicating trouble with reading tone. Has numerous strange verbal tics, including saying parts of her internal monologue out loud without context.

Very expressive with her hands including waving them around and flapping them up and down.

Does have a bit of trouble with accidental insensitivity in social interactions, like how she constantly fixates on her mom and realizes that might bug the Sohma.

Has trouble paying attention in school since it doesn't have much to do with her interests

Her only friend until she was a middle schooler was her mom

Has a pretty unique outlook on things compared to others, people seem to think she's pretty eccentric. There's always a "this girl is nice but in an odd way, she's our weirdo and we love her" vibe.

Sometimes has an "inappropriate" emotional response to situations

Has a lot of trouble with change, similar to Akito. Which oh, look at the time, next hc coming up.

But first, a disclaimer. It is cathartic for me to read Akito this way, but with that reading comes the baggage that she would, mayhaps, be showing a more negative side of things... It doesn't bother me since it's a joint hc with other characters and she does develop at the end but yeah, general villain hc baggage. This is in no way me trying to excuse her being The Worst being autistic doesn't absolve you of being able to do wrong . Also, a lot of these points can and do have other explanations related to her upbringing, but things can be for more than 1 reason. With that said, she really strongly comes off as autistic to me, in a way that's sorta hard to explain. I wrote a lot more for her than the other, both because I felt I needed more to convince people and that this headcanon was more sensitive and I needed to be careful in my explanation. Also hey! She's my special interest within a special interest.

Akito

Shown to have a dislike of summer weather due to heat and brightness, could be due to sensory issues in tandem with sickness things. Also covers her ears when people raise their voice sometimes which is partially her trying to shut down opposition but also 🤔 can read a different way. She'd also avoids louder Juuni like Ritsu and Ayame because she can't handle them.

Wears pretty much the same outfit every single day. Said outfit is also pretty loose fitting.

Always seen sitting in a pretty unconventional way. Evidence:

Of course this is also the isolated in a cult thing and there is a level of her purposefully doing things to intimidate but: doesn't follow a lot of social rules (overly touchy with strangers, legit doesn't get that what she's doing is wrong, ect.). Repeatedly confused when people indicate she should act otherwise without explanation. Has a breakdown when this comes to a head and approximately says that "they" shouldn't expect her to know "common sense" if "they" never explained it to her, that the way that she was was her "common sense."

Often talks in a way uncharacteristic of her age when shown as a child in a more faux mature/pretentious way. Might just be the translation and idk how to explain it but her speech as an adult also seems off from what one would normally use in conversation. Additionally, when she tries to fake being friendly in her intro chapter, it comes of as extremely stiff and unconvincing.

Generally displays behavior that could be thought of as childish as an adult, but a lot of this behavior could also read as autistic (covering ears, emotional deregulation and meltdowns, ignorance of basic social norms, ect.). It's also important to note that she knows that this behavior makes her seem younger and more helpless to the older zodiac and uses it as a manipulation tactic. Has issues regarding people treating her like a child or only hanging out with her because of pity. While she does weaponize it, we can tell that this grates on her, as seen with her finally blowing up on Kureno, which is partially triggered by the maids saying some sorta infantalizing stuff about her. Irl, a lot of autistic adults and teens struggle with being infantalized for our behavior generally or treated as little babies that can do no wrong. Even in fandom, you see people doing stuff like jumping to call autistic adult characters, such as Entrapta from Shera, "minor coded." It is also common for us to have at least one bad experience with someone hanging around us out of pity. This is something that really gave me a similar feeling in Akito's arc. She's not a baby and she can understand and do better if she is given the chance to learn and break from all the freaky cult indoctrination she's been subjected to instead of just being constantly enabled. In the end, a lot of her growth is represented by her showing that she is capable of changing and being independent.

Shows particular difficulty with socialization, often sits by herself spacing out at social events. A lot of her fear is rooted in the fact that she doesn't know how normal relationships work, becoming overly reliant on the curse because she doesn't know how to make friends.

Clings desperately onto the notion of being "special" and in some way superior to others to be worthy and to make up for perceived inherent "flaws." It's the nd gifted kid burnout vibes for me.

Easily bothered by things that don't bother others. Feels emotions very strongly to the point of getting physically ill and has bad emotional regulation.

Relatively good at reading others in an analytical sense (though has more trouble when it comes to seeing how they feel about her since she's wildly delusional) but brings up her observations in a very cold, detached way and hurts people even on the rare occasion she didn't mean to. Has extreme trouble connecting to others and understanding their point of view. This makes her come off as pretty unempathetic even though that might not fully be the case. Also thinks that people like Momiji are trying to look down on her when they try to empathize with her. A lot of why Tohru can get through to her is that she manages to convince Akito that she's not condescending by relating shared traits and experiences. As I said earlier, autistics often empathize by sharing their own experiences with someone, and I know I often have an easier time confiding in other autistics because of a fear of being seen as lesser by those that don't understand me. I think the connection between these charachters and the way that Tohru manages to reach Akito like that while others couldn't makes a lot of sense through an autistic lense!

Additionally, when Akito herself gets around to trying to help others instead of just projecting trauma, she tries to reach out to the old maid by relating back to her own experiences. This however, doesn't work.

Has "cold" emotional reactions sometimes even to things that do make her upset. For example, how sort of calm and detached she acted after her father's death can make her seem uncaring. However, we know that this event did mess her up a lot and she is still (poorly) dealing with a lot of grief from the death of her father years later.

Copies mannerisms from others, the most blatant example is with Ren, who she directly parrots lines from as a child to Yuki.

Partly just her posturing, but gestures a lot with her hands when she talks. Also seen several times clutching her hands in her hair.

Deals extremely poorly with the idea of things changing to the point that it is a driving force of the story.

Does not understand when people tease her.

Ect. Ect. Ect. Listen, I could go on for ages but just trust me, the mean gremlin lady is autistic.

[vkelleyart]

Thoughts on fandom: inclusion and engagement.

(Art credit to the kindhearted @penpanoply​!)

There’s been some stuff floating around on Tumblr about strife in the CO/WS fandom, and though I haven’t been explicitly named-dropped on anything public, my DMs have been... active. lol Rather than rehash what’s been said already, I just want to impart a little wisdom and perspective in the hopes it may soothe frayed feelings and offer a way ahead for cultivating a respectful community. As someone who has been an active participant in online fandoms since the mid-’90s, which was the advent of online fandom content creation (shout out to my fellow X-Philes!), and who has also spent a chunk of her professional life managing social media for the federal government and for activist groups, I can promise you it’s all gonna be okay.

Here’s some context for why strife happens and what we can do to create a more inclusive and communicative fandom environment. 

1) It sounds cliché, but fandoms go through growing pains. 

In the case of the Simon Snow fandom, what was once a small and cozy space untouched by cataclysmic events (such as the release of *gasp* a sequel) has grown exponentially in a relatively short amount of time following the release of Wayward Son. Newcomers are eager to find a home in this space at the same time as folks who’ve been here a while may be consciously or unconsciously wary about widening their circle, and It’s important to remember that this is not necessarily an expression of bad behavior on either side but just human psychology doing its thing. 

The byproduct, however, is that tension and stress builds over time from the lack of meaningful communication across the divide, which subsequently fuels misunderstandings. Ironically, the interfaces we use to communicate don’t help with this because any existing communication about the tension happens in tiny vacuums until a trigger goes off and bad feelings go public. 

Way Ahead: These moments of destabilization are opportunities to see where we can be more self aware about how we engage with fandom and the kind of community we want to be. Can you promote, support, or befriend someone trying to gain a foothold? If yes, please do! Each person must reach their own decision about what they can do within the confines of their available energy, health, and time, but a little self awareness goes a long way as long as you’re honest with yourself and others if applicable about what you can contribute. Anyone who judges you for it isn’t worth the strife.

2) In a fandom comprised of vulnerable/marginalized people, it’s more accurate to say that cliques are “bubbles of trust.”

This one's important. Just by nature of the source material, the CO/WS fandom includes fans with a wide array of backgrounds and experiences, especially when it comes to those who identify with the characters’ queerness, mental illness, and/or trauma. I really believe––based on individual conversations/group chats––that the difficult lived experiences that so many of our fandom peers have endured has produced one of the most open, aware, and accepting fandoms I’ve had the pleasure of participating in. Our vulnerability is, in a real way, our strength.

That said, a community of survivors also has the side effect of cultivating small circles of engagement that I call “bubbles of trust.” When you’re a survivor of abuse, marginalization, mental illness, fill-in-the-blank, it’s often quite hard to risk casting a wide net and expanding your circle to include new faces––which can subsequently be internalized by equally sensitive and vulnerable newcomers as rejection, judgement, or inadequacy.

Way Ahead: First of all, there may indeed be gatekeeping and exclusion going on. But before internalizing someone’s cagey behavior as gatekeeping or purposely exclusionary, ask yourself if you have all the information. Many people are private (I include myself in this assessment) because life has regrettably taught them to be this way, and so they may insulate themselves to a small group of people who have earned their trust. Some people might also triggered by certain content (case in point: smut triggers my anxiety) so they don’t engage with it. Others might have something in their pasts that define how they handle certain subjects (for example, a person of color should not be tone policed for getting angry when confronted with a racialized microagression, however accidental it was). You just don’t know what you don’t know. 

The solution here is to regularly check your privilege and ask questions in a private space if you sense you’re being treated unfairly by someone. If you go public with your grievances in hopes of mobilizing the mob, you may accidentally find yourself stepping into the role of the aggressor instead of the victim.

3) Social Media is not built to help you get engagement. It’s built to help itself make money off of you.

Repeat after me: Hits/likes are not a measurable indicator of talent or worth. There are ridiculously talented folks on Tumblr and elsewhere who, for whatever reason, haven’t had their viral moment, and it’s not their fault. Loads of factors come into play where things like likes, reblogs, and comments are concerned, among them being posting frequency, subject matter, the time of day, the day of the week, the week of the month, the month of the year, the current administration, the stock exchange, the concentration of middle class users, who just won the Superbowl, a madman trying to steal an election and undermine the democratic process, a PANDEMIC, do you get where I’m going with this?? lol

At the end of the day, my humble successes have been helped along by good luck, good timing, high profile signal boosters, and an absurd amount of work. (This is why I try to signal boost new work whenever I get a chance over at @vkelleyshares.) 

So while you cannot control Tumblr’s interface, trends at large, or your fellow users, here’s what you can do to ensure you give your work the best possible chance of exposure.

Have an image ready to go with your post. Tumblr is a visual platform (no matter what it says about being good for text). Not good with images? Set up a Canva.com account and get access to free graphic software with a gazillion templates to create whatever attractive image you want to attach to your post.

Keep the outward facing text brief and easy on the eyes. Too long and eyes will glaze over. Put excess text behind a “read more.”

You may think you’re being cute when you do this, but don’t put yourself down in your posts. (Don’t put yourself down in general, of course.) Doing so acts as engagement repellant. If you don’t believe in your work, no one else will.

Related: Be your best cheerleader. Confidence is a magnet, and if you don’t have it, go ahead and fake it until you start to convince yourself you are worth the buzz. So promote yourself! You have gifts that only you can impart. Use that knowledge to fuel everything you do from your art/fiction writing to your outreach with other content creators, and by golly, if someone’s done it already, acknowledge that contribution and then tell the world that this is YOUR unique take on it.

Treat your fellow fandom creators as human beings, not art/fiction/content boosting machines. I cannot count how many times I’ve had folks slide into my DMs with offers of friendship only to disappear once they realize I’m not available to draw a picture for their fic. It hurts because it’s manipulative and it makes me want to hole up and not signal boost anyone. Creators who truly support each other will not give off a transactional vibe. I want to help you reach more people, but not if that’s all I’m good for in your eyes. 

The long and short of it: Lead with compassion, do your best with the opportunities at  your disposal, and remember that fandom belongs to everyone in it. ❤️

What saves a fandom made of sensitive and vulnerable souls from imploding when it goes through growing pains is radical compassion from those who can offer it. Begin with the assumption that your fellow fandomers are not trying to harm you, and wade into the water knowing that your insight into the lives of your peers is limited by default and you may need to temper your words or actions accordingly. If you’re a content creator, save compassion for yourself as well, as there are indeed challenges to gaining an audience, and lack of engagement does not mean you lack talent or skill. Be your best advocate, and if you have the bandwidth to lift up a fellow creator and make a new friend, please, go ahead do it! 

And finally, fandom belongs to everyone, and no one has a monopoly on characters, tropes, or themes. Create and consume what you love (with respect for your more vulnerable peers), and bask in the variety, my friends!

That’s all I’ve got in my head at the moment, although I’m sure there’s more I’m forgetting. Thanks so much to @penpanoply for letting me use her art for this and to everyone else, hang in there and try not to judge each other too harshly. These are unprecedented times, and most of us are doing our best in circumstances that are pushing us to our limits. 

As always, if you have questions or want to sound off on anything, shoot me a message or an ask, or ping me on Discord. It might take me a second to respond (thanks, Covid) but I’ll get to it! Love, love, and more love to all.

[gedankenspaziergang]

Diversmagazin Interview  Translation

Diversmagazin released an interview with director Sarah Blaßkiewitz and Head-Writer Jasmina Wesolowski today. Read it here in German.

Jasmina (she/her), DRUCK writer since season four and head writer since season six together with Jonas Lindt. In a writers Room with Paulina Lorenz and Raquel Kishori Dukpa (Jünglinge)

Sarah (she/her) director of the last four episodes from season six

I’m leaving out the general introductory questions.

Alicia: Can you talk about the writing process? And what’s the most important thing for you while writing and telling stories?

Jasmina: We especially wanted the profound exchange with young adults who represent our protagonists. For season six we had the challenge that we wanted to tell the lovestory of a Gambian-German girl and a Vietnamese-German girl, perspectives that aren’t represented in the writer’s room. That’s why we talked a lot to research partners, to make up for our lack of knowledge/ experience, but we also talked to the actors and actresses.

Alicia: Why do different directors work on DRUCK?

Sarah: We try to produce as much in real-time as possible. And of course, we have to pre-produce but still have to work [overlappingly]. While one director is already in the editing phase, the next one already starts to shoot. Another reason is of course, that this way, also in the writer’s room, there’s more space for diversity.

 Alicia: It’s similar to the writer’s room. You’re also dividing the writing of scenes between different people. … Are you working together with racism and LGBTQIA+ experts?

Jasmina: I think we all have blind spots and that it’s absolutely impossible to end up with a perfect result. It was an important first step, that the Jünglinge collective joined. They are big advocates for queer BIPoc representation in German media. They were always present for feedback loops and made all of us, crew, actors and actresses, participate in an anti-racism workshop. We were lucky to have the brilliant author and anti-racism trainer Arpana Berndt, who advised us on these topics. On top of that, we did a lot of research on different topics. I think now it should be the only way to produce movies and shows this way, with an intensive research phase. This way you don’t appropriate the stories of others and also don’t tell inauthentic stories or, in the worst case, use hurtful clichés/stereotypes. It was helpful and needed that Black perspectives were present also behind the camera – Sara as a director, but also in the social media team, make-up department or costume design. But we are also aware that more can be done.

Sarah: It’s important to me to highlight the make-up and costume design department. When I, an afro-German person, joined this project and met other afro-German women in those departments, who can relate to me, the character of Fatou and Ava, I was really glad. I can say from many years of experience that that’s not a given.

 Alicia: How about experts on LGBTQIA+ issues?

Jasmina: To talk a bit about the process: We were set on Fatou being a lesbian pretty early on, and that was already discussed in the earlier writer’s room, where that perspective wasn’t present yet. In the beginning, those were loose ideas, and we had to implement them with the casting. The casting team Raquel Kishori Dupka, Melek Yaparak and Angelika Buschina worked closely with the directors and contacted different institutions and specifically asked for actors and actresses who could be queer. At this age this is of course a super sensitive topic. You don’t want to force young people to [define themselves/come out]. It’s a huge challenge to handle that with care and it was extremely important that the Jünglinge collective was part of the casting process.

But also, apart from the casting process, we profited a lot from the queer people in the writer’s room in the cast.

Sarah: For my part I asked the authors and queer people “What would you like? What is nice? What hurts? What’s important? Or what have I never seen before?” And then I put those different experiences into the different scenes. On top you of course need common sense (?) to portray something that you haven’t experienced yourself.

 Jasmin: I just thought of a small really beautiful example: How Fatou was given these rainbow socks as a Christmas present. You immediately notice, that was the idea of a queer person who knows what non-queer parents give to their kids as gifts. The fans notice: Queer people were in the writer’s room. Or “Ah, these actresses know, what they’re doing.“ And those are the small things that make a difference.

 Alicia: For sure! In DRUCK you notice that queer people were part of this in really subtle ways, and that [resulted] in really nice fan-moments. I can confirm that.

Right now, the community is discussing the conflict between Mailin and Ava a lot. What role does that conflict play for you and what does it teach us?

 Sarah: I’m editing the last episodes right now, so I really feel it, also because you already see the reactions online.

For me, the conflict is important because it shows over a long period of time, that not everything is always only good or only bad. That it takes a lot of time, patience and confrontation to understand all nuances of that kind of conflict.

That Ava could be prevented to outright say what’s bothering her, because we’re talking about a really serious trauma of exclusion. How do you even tell people really personal stuff when you were bullied for years? And now we have that conflict, that seemingly takes forever, and you’re always asking yourself: “Why aren’t they talking to each other?” But it’s only in real time that you realize how hurtful this conflict is. How hurtful it is what they experience. What racism means, and also what it means to [deal] with that topic as a white  German girl. And I think it’s really important that everyone is going through that with this season. That takes time and sometimes hurts. And you don’t always understand Ava and you don’t always understand Mailin. When we really [dedicate ourselves to understand this conflict] then I think, we can experience what for example a person like me experienced their whole adolescence. I’m not saying I was bullied my whole adolescence, and maybe it wasn’t because of the color of my skin, but because of something else. But that went on for half a year. After being bullied in school for half a year you’re not up for school and your classmates anymore. And you don’t talk to them anymore. And if people realize that because of this season then I’m glad. I think it’s really touching that this conflict takes up so much space.

 Jasmina: I found it really interesting what you said about the nuances, because it was a real process for me to learn how many facets this conflict has. And especially that us white people, who grow up in a society with structural racism, have a particular idea about what racism means. And that’s not a detailed and uncritical perspective of that topic: As soon as you call me racist, I feel attacked and start defending myself.

The role that this conflict played for us was to show how incredibly exhausting it is as a Person of Color, to always have to deal with these problems and that there’s a kind of fatigue, that you don’t want to talk (or should want to talk) about certain topics anymore, especially if you have other things going on in your life on top of it.

On the other hand, we have Mailin, who has a strong desire to understand. She’s not aware of her privileges as a white girl. We want to take this journey together, when she starts to realize things and when she goes through different stages; until she understands, what it is really about. We also have an arc there that isn’t finished. Because in real life, you have to deal with some topics over and over again. We think it’s especially important to show that it’s not the job of Black people to explain racism to their white  friends. By now, they have all the resources to educate themselves and to talk with other white people about this topic, to unburden Black people.

 Alicia: That’s really interesting! The lovestory of Kieu My and Fatou is an important part of season six, which many queer young adults love. How is the relationship between Fatou and Kieu My representative for a generation?

Sarah: I can actually also see it in an older generation. When I send the cuddle clip of Kieu My and Fatou to my grandpa, he says “Wow, how amazing that a Viet-German and a Afro-German girl are lying in bed together, talk in German and are in a relationship.” This generation hopefully isn’t alone anymore, for example in the sense of: being the only Afro-German person in a small city. That changed and now we see it in that second and third generation. And that’s why it shows me something very real and beautiful.

 Alicia: Which scene are you really proud of and why?

Sarah: My favorite scene, and one I’m really proud of and that was really important concerning the pressure of school, was with the main character Fatou. It’s about a path of finding yourself from Fatou and a [Reinigungsmoment] with her brother. Two people, who know each other from the moment of their birth, are sitting together. When I read that scene I thought yes, I can relate, I can feel that, and when we shot that, a world opened for me. And that was partly because of the music, which was decided before we shot this scene. Then we shot it and it was fucking cold, but we shot it again and again but every time we really felt it like the first time. And when I now watch that scene while editing, it really is the perfect moment. Every facial expression is perfect, every reaction. And that’s that kind of truthful (?) moment you’re looking for as an actor, actress, director or author. When everything fits.

 (There’s a script for every social media part, What’s App Chats and ideas for social media stories. )

 Alicia: When can we expect the next season and what will it be about?

Jasmina: For now, DRUCK is finished and we have to wait how it will continue. Fingers are crossed and of course we’re hoping for a new season.

[Note by me: We‘re not gonna spiral, Jünglinge looked for more writers, Black writers, on facebook a while ago. Nothing is safe but they probably don’t want to make any promises]

[potteresque-ire]

More ask answer about Word of Honour (山河令, WoH) and the so-called “Dangai 101 phenomenon” under the cut ~ with all the M/M relationships shown on screen, does it mean improved acceptance / safety for the c-queer community?

Due to its length (sorry!), I’ve divided the answer into 3 parts: 1) Background 2) Excerpts from the op-eds 3) Thoughts This post is PART 2 💛. As usual, please consider the opinions expressed as your local friendly fandomer sharing what they’ve learned, and should, in no ways, be viewed as necessarily true. :)

(TW: homophobic, hateful speech quoted)

The following are three opinion pieces published by state-controlled media re: Dangai and WoH:

O1) Published on 2021/03/04, in Shanghai Observer 上觀新聞

8.6分爆款武俠劇《山河令》背后，是90后愛看的江湖 Behind the 8.6-score Wuxia drama WoH is the Jianghu loved by those born after 1990

[Pie note: the 8.6 score refers to the score WoH got from the popular TV and film review site, Douban]

O2) Published on 2021/03/16, in China Comment 半月談:

國產電視劇掀起「耽改」熱：「腐文化」出圈，青少年入坑 The Rise of Dangai in C-dramas: “Rot Culture” exits Circle, Youth fell into the Ditch

and its related editorial:

「耽改劇」 盛行？警惕對「腐文化」進行無底線炒作和過度消費 Dangai Dramas Prevailing? Be alert to the Uncurbed Hyping and Excessive Consumption of “Rot Culture”

[Pie Note: “Exiting the Circle” (出圈) and “Falling into the Ditch” (入坑) are both fandom vocabularies. “Exiting the circle” refers to something being so famous that it is no longer contained within fandom (the circle) and instead, breaks into public consciousness, mainstream. “Falling into a Ditch” means to fall for a fandom so hard that one cannot crawl their way out it. For example, c-turtles commonly refers to their joining the YiZhan fandoms as ditch falling, followed by being “hammered to the bottom of the ditch” by Gg and Dd’s candies.

“Rot” 腐 refers to the same rot as in fujoshi 腐女 and “rot selling” 賣腐 described in PART 1.]

O3) Published on 2021/04/07, in 光明日報 Enlightenment Daily

耽美作品改编盛行带偏大众审美 Popularity of Dangai Dramas leads the Public’s Aesthetic Astray

To summarise first,

* Article O1 was very light on the characterisation of Danmei—the terms Danmei and Dangai never even appeared in the article. It focused, instead, on WoH’s Wuxia elements, including the beauty of its presentation—much like People Daily’s review of TU focused on the drama’s aesthetics, including its world view. The relationship between Zhou Zishu and Wen Kexing was never mentioned, not even garnering a description such as 摯友 (“close friend”) as LWJ and WWX did. The article did point out that the drama was catering to a women audience.

* Article O2a (the opinion piece) and O2b (the editorial) are about Danmei and Dangai, collectively as the subculture they named “Rot Culture” (腐文化). No drama names are mentioned (in reading Chinese news, it’s important to note whether the critiqued target is named or not; the former (點名批評) is considered significantly harsher). The article, as hinted by the word “rot” in its title, leaned heavily towards characterising Danmei and Dangai by the traditional BL characterisation. Article O2a was also the only article out of the four that explicitly addressed  homosexuality. Rather than addressing the queer elements in Danmei/Dangai as queer, however, the article argued the genres could turn their young audience queer.

* Article O3 is also about Danmei and Dangai as the “Rot Culture” subculture, without the naming of any dramas. This article is notable for its association of the genres and the state’s concern with the “feminisation” of Chinese men.

Based on these op-eds, the state is characterising Danmei and Dangai predominantly as characterisation 2 — traditional BL, women’s fantasy. They recognised the psychological need behind the popularity of the genres among their (het) women audience, and the tone, is overall, of understanding and approval:

One of the cores of Dangai is the pursuit of “beauty”. The “double male leads” in Dangai dramas score sufficiently high beauty points to become the party to be defined, to be gazed, to be consumed. It is a counterattack to the male gaze. In addition, such “double male leads” enjoying equal relationship, admiring each other and fighting together shoulder-to-shoulder, also reflects the ideals of women towards relationships.

In the visual world of Dangai, two beautiful men respecting and treasuring each other, progressing together shoulder-to-shoulder, not only fits with women’s ideal model of  relationships, but also also create wide, yet-to-be filled emotional spaces for women’s unstoppable imagination to flex. Such relationships have less considerations of reality and self-interest, and thus appear to be more pure.

However, these opinion pieces have also made clear that the state saw the queer elements surrounding the genre, and its opinion of them is much more … reserved, especially when they cross the fiction / reality line and become the focus of the promotion of the dramas via the actors, who straddle that fiction / reality line.

Due to the lengths of these articles, I’m only translating the notable “chunks” in each of them—the “chunks” that connect the genres with queerness. I’m deliberately keeping these passages as “chunks”—ie, without removing sentences in the middle—to highlight the state’s logic in making the connection.

From O2a: 國產電視劇掀起「耽改」熱：「腐文化」出圈，青少年入坑 The Rise of Dangai in C-dramas: “Rot Culture” exits Circle, Youth fell into the Ditch

“M/M CP”, “Beautiful Men Economy”, topics surrounding this market—today, nobody bets an eye anymore at “selling the rot” being the industrial phenomenon. “Sell the rot” is to sell “rot culture”, with “rot culture” being the subculture for the audience’s imagination, of M/M (ambiguous) love stories for major content.

Such subculture, if confined within its fandoms, may be harmless. However, if it is to be adapted into TV dramas in significant scale, if it is to break through the subculture circles and enter the realm of general public entertainment, then one must take caution of its bad influence, especially to inexperienced youths.

With the established review system for web and TV dramas, production teams often remove the “romantic plot line” between the two male leads in the original Danmei canon and display “brotherhood love” in the TV drama, while “playing edge ball” to provide their audience with room for imagination. In the subsequent promotion and marketing, however, the two male actors may have to “sell the rot” as well.

[Pie note: I’m translating 打擦边球 literally as “playing edge ball” as this is a very commonly used term in discussions of China’s censorship. It means to step as close to the forbidden line as possible without crossing it, to take advantage of loopholes.]

Author of the article “On the Danmei-ization of Chinese Dramas” believes that, in recent years, CPs “selling the rot” , the practice of which is rooted in Danmei culture, have become a hit in the Chinese TV industry. TV dramas with Danmei elements entice their audience to create CPs around the leads of the dramas; they make use of the fervour generated by the discussion topic to achieve high viewership.

In recent years, academics have already expressed concern and investigated the influence of Danmei culture on the youth’s gender awareness, their opinions of marriage etc. For example, the article “Sexual Orientation of Some Youths in Hunan Province and Analysis of their Potential Causes” investigated the sexual orientation of 1,260 youths in the province and discovered that: among males, 2.9% self-identified as homosexuals, 4.9% bi-sexuals, 12.4% unknown; among females, 2.4%, 12.4%, 14.3% respectively. 37.5% of the people knew about Danmei or Doujin (同人; fandom), among which 32.3% indicated they “liked” it. 11.9% indicated that they longed for the homosexual romance in such works.

The author of the article analysed that, students who knew about Danmei or Doujin were more likely to report bisexuality or unknown sexual orientation. This demonstrated the influence of such culture on the sexual orientation of youths.

( Cartoon from O2a, titled “Learning to be “cool” 學酷 )

From O2b:「耽改劇」 盛行？警惕對「腐文化」進行無底線炒作和過度消 Dangai Dramas Prevailing? Be alert to the Uncurbed Hyping and Excessive Consumption of “Rot Culture”

Not to be overlooked is this: the severe reality of “Rot culture” exiting the circle and becoming immensely popular is urgently awaiting the entire society’s alert and attention. Objectively speaking, many Dangai works are not aspiring to positively, proactively guide and display Danmei culture, but only to set up attention-grabbing gimmicks, the purpose of which is solely to “sell the rot”. Not a small number of Dangai’s plots are illogical. Worse, in order to attract attention and satisfy the “taste” of fans, some production companies are forcibly selling “M/M CPs”,  conducting “bound” promotion [Pie note: as in bound by CP pairing] and embarrassing interactions [Pie note: as in, getting the actors to interact in a suggestively romantic way] , “playing the edge ball” [Pie note: as explained above] to generate personalities, consuming “Rot Culture” without a bottom line. These poor marketing tactics not only hurt the interest of Danmei audience, but interfere with the online environment and its order. The indulgence of radical language, moreover, challenges and affects mainstream values. These bad influences must be paid attention to and supervised.

From O3) 耽美作品改编盛行带偏大众审美 Popularity of Dangai Dramas leads the Public’s Aesthetic Astray

In addition to the explosion of the number of Dangai dramas, many dramas that are not originally Dangai are attaching themselves to the Dangai genre, by setting up double male leads, by playing up the suggestive atmosphere between male characters in their plot lay out. Some variety shows make use of the plot setup, the post-editing, the promotion of topics etc, to forcibly pair up their male guests for the purpose of hype and attention. This vulgar custom of “playing edge ball” as a means to tempt, to lead the audience into indulging in fantasies [Pie note: sexual fantasies implied by the idiom 想入非非] have spread from visual media production to the areas of promotion and marketing. Some interviews, magazine photoshots, short video production have also joined the bandwagon of borrowing the popularity of Danmei culture. They use all sorts of sensitive topics to tease and excite the public, tirelessly, happily guiding the fans to overanalyse Dangai dramas and even, the relationship between the actors of Dangai dramas. With the push of such gimmicks, Danmei is reaching the public through multiple channels, gathering popularity and turning into a phenomenon.

From O3) 耽美作品改编盛行带偏大众审美 Popularity of Dangai Dramas leads the Public’s Aesthetic Astray

Men with delicate looks, with traditionally feminine (soft and reserved) quality, are often sought after by the rot women (fujoshis). There has been a recent, popular saying in the industry: to find out if a male star is popular or not, find out if there are fans calling him “wife”. Artists with a tough image often do not make it big, but explode in popularity once they switch to a soft beauty style. Netizens have teased “Ten years as a tough man known by none; one day as a beauty known by all”. This take on aesthetics is influencing visual media creation and entertainment production to a certain extent. Watching from a distance, more and more traffic-generating stars look like “cream young men” [Pie note: 奶油小生, from 奶油 “cream” + 小生, “the role of young men in traditional Chinese opera”, is an old-fashioned term traditionally used to describe young, good-looking actors who often presented as pale, mild-mannered, scholarly]. Some entertainment venture capital picks “flower men” as their choice for leads regardless of the TV dramas/films’ subject matter, follows the young (male) idol path. Commercial products and ads extend their offers to “little fresh meat” [Pie note: 小鲜肉 is the nickname for young (male) idols]. Even cosmetics, which have conventionally been thought of as women-only products, are no longer asking only women stars to be their spokespeople. Feminine beauty can exist, but all things shouldn’t be taken to the extreme. As “flower men” overflow on screen, masculine, tough men are reducing in numbers. This may counter the basic rules of art creation, and disrupt the development of diverse social aesthetics.

Any product produced by the mind, in the process of production, is also producing minds that will accept it, consume it. Audience of Dangai include not only adults, but also not-too-mature youths who pursue “Rot Culture” as a fashionable trend. In particular, as the aesthetics of men in the eyes of young women turn even more feminine, such change can indirectly influence the cognition of young men, cause the young men to subconsciously shift their own gender expression closer to the feminine beauty anticipated by women. Most Dangai stories are far removed from reality; some young audience nonetheless mix them up with real life, develop biased understanding such as “only love that doesn’t treat matrimony and reproduction as destinations is true love”. Although Daigai is often made “Danmei-less”, in that the romantic relationship between the two male leads are re-written as brothers and zhiji (confidants), the canon and the Rot Culture behind it still hides large amounts of pornographic, violent content, including biased, unhealthy perspectives on gender, and un-scientific, even wrong biological knowledge. If such content isn’t given restrictions, it will seriously mislead the values and self-fulfilment of the young.

PART 1 PART 2 <-- YOU ARE HERE PART 3

[hacawijo]

Hi there

I just saw your post about the whole elithianart situation and it’s pretty sad that this artist is getting harassed. I completely agree that this harassment does absolutely nothing positive.

I’m not sure as a fellow Elriel how to navigate the ACOTAR fandom in the midst of this ship war. What can we do (not just elriels) to make the energy less negative in this fandom because currently it’s very volatile.

Anyway, just keep up the wonderful posts and I hope you’re staying safe👋

Hi!

Thank you so much for this question, I think it’s so good to be thinking about ways that everyone can reduce toxicity in the fandom. I got a LOT FOR Y’ALL. I’m a Gemini sun with a Gemini in Mercury and a Cancer rising, I usually have a lot of feelings and a lot to say 😂 (my Taurus moon keeps me sane).

I have a bunch of ideas for everyone:

More often than not, you can save it for your private discords and group chats. I understand that folks need to blow off steam and talk about takes they can’t stand, but we need to be doing the vast majority of this in private, safe spaces, because sub-blogging someone on Tumblr or commenting on something that doesn’t live in your ship tag is needless. You are NEVER GOING TO CHANGE THAT PERSON’S MIND, and very few people are ever going to respond positively to being publicly called out. DMs work when you want to talk to a specific person about what they’ve said, they’ve worked for me! If you’re having trouble finding a safe group chat or discord, please feel free to DM me. I won’t judge you for the ship you’re looking to discuss! I’ll just connect you with someone involved in that ship who might have some more info about a private chat :)

Now, sometimes there are things we need to say out loud, and sometimes we need to publicly call out posts that are in the wrong tag or to defend someone being harassed in real time. I get that, but folks need to remember that online communication doesn’t have the advantage of being face-to-face, which means we REALLY need to hold ourselves accountable, because the look on someone’s face or their tone or tears isn’t going to do it for us. Be respectful, speak from personal experience, and try not to assume that someone is sub-blogging/vague-ing you and only you. Most of the time, people have seen an idea repeated over and over, and that’s why they need to independently post about it.

I also see a lot about “bad faith” communication. It does absolutely happen, and people are well within their right to express it if they feel that’s what’s happening. But there is a reason that the word ‘faith’ is in there. It sucks and feels annoying and maybe even like you’re “giving in,” to assume best intentions, but this fandom is not gonna work if we don’t make an effort to do that. At the same time, EVERYONE NEEDS TO UNDERSTAND THE DIFFERENCE BETWEEN INTENT AND IMPACT. If someone tells you that your post hurt them, your first reaction should not be to defend yourself or tell them they read it wrong. Your first reaction should be something like “it was not my intention to cause harm, but nonetheless I did, and I’m really sorry about that.” That will only make you look like a good, thoughtful person, there is no downside to that apology.

Now for stuff that’s a little more fun. There’s no way we all love these niche books by this niche author and have less in common than we do. We can take some armistice times and days to discuss things that aren’t so heated. I often try to comment on the non-ship-related posts of folks who are die-hard Elucien or Gwynriel, because that’s how we remember that we’re all just people and that none of us are defined by a single opinion that we have. Appreciation weeks are a great way for us to come together! I also think that we could definitely spend more time finding common jokes and laughs as opposed to mocking others. There’s plenty to discuss, from Sarah’s most-used phrases to Cassian the Clueless. If there’s one place we must be able to find common ground, it’s in humor.

Also I want to be clear, there’s a difference between shipping specific couples and stanning specific characters AND being anti- for the sake of being anti-. A lot of people hate Elain, and a lot of the time it seems like it’s because she’s feminine. A lot of people seem to hate everyone but Nesta, and in that case I TRULY am curious as to why they are reading these ensemble-based books 😂 I also don’t like it when people put down Sarah and her writing and others for trying to find clues in that writing. YOU DON’T NEED TO TELL PEOPLE SHE’S NOT SHAKESPEARE, WE ALL KNOW THAT. Doesn’t mean her writing doesn’t have merit, and it definitely doesn’t mean what she does doesn’t require skill. If what she did were so easy and cheap, I doubt this many people would be so attached to her work - which is pretty much unlike anything else I’ve ever read (I’ve never quite found a romance fantasy that I love the way I love Sarah’s books). With this kind of negativity, my advice is to block-block-block. You don’t need that on your dash.

[betweentheracks]

LGBTQ+ and Queer Operated/Founded Brands

A composite list of some of the notable brands I have worked with or been in contact with throughout my time as a stylist. Rooted in queer communities, founded by LGBTQ+ designers, and dedicated to pursuing gender inclusive styles as well as providing an uplifting community committed to showcasing the talents of LGBTQ+ persons. A number of these also have a deal of activity in supporting POC or black owned and operated fashion brands and design studios. 

Otherwild: Los Angeles, California. 

Queer identified and woman-owned, Otherwild was established in 2012. It is a store, design studio, and event space. They offer apparel and accessories, as well as lo/no-waste home cleaning products and personal care products. Very grassroots and have a foundation of ethics and sustainability, working in earnest to establish a countercultural relationship to exploitative, extractive, and excessive consumer capitalist culture. They’re quite cost-effective with fair pricing on their range of products.

Rebirth Garments: Chicago, Illinois.

Entirely gender non-conforming, Rebirth Garments caters specifically to all non-binary, trans, and disabled. Their clothing line is custom made upon order, touting a distinct lack of standard sizes since part of their mission and manifesto is to tailor their styles to exactly the consumer’s specifications regardless of body type. Their party line is��“Radical Visibility” and have a zine under the same name; their manifesto expressed as a desire to establish and nurture a community of people that have been excluded from mainstream fashion but are still deserving of an outlet to feel confident in expressing pride in the intersections of identity. Their materials are all vibrant and wild, bold and exuberant as a means to challenge the ableist and sizest ideals of mainstream fashions which still centers on gender and binary conforming styles. -- They also offer virtual lessons on accessibility, entrepreneurship, and much more. 

Automic Gold: New York City, New York.

Queer owned and queer operated all inclusive jewelry, Automic Gold promotes their products as the most comfortable and versatile jewelry available. The founder is genderqueer and makes a point to create truly genderless accessories and does so with designs that specifically mix and warp the essence of masculinity and femininity, bringing together that which is both outside and inside to form that which is beyond. Sustainable and eco-friendly, all of their jewelry is made from reclaimed gold and 100% recyclable material. Automic Gold is the only known jeweler that carries rings in sizes 2 to 16 and utilize this point to shade the fashion industry for being so constrained by sizing standards. 

Wildfang:  Los Angeles, California/Portland, Oregon.

Women found, women run, women oriented. Wildfang is seated in the belief that women can and should wear whatever they want and be whatever they want. They give much of their profits to charities and organizations that center on the rights of the oppressed communities, namely queer, reproductive, and immigrant activism. Their collections offer full suits tailored to a female body, workwear made of truly durable materials to outlast even the worst of working conditions, and button ups that won’t gap at the boobs and are not super form-fitting. They promote the sort of modern feminism that holds no underlying toxic ideals of woman’s superiority, and works in the name of women having their rights unrestricted so that they can live their fullest lives with a true sense of self and self-worth alike. 

STUZO CLOTHING: Los Angeles, California.

Steeped in the ideals of love, people, and life STUZO celebrates existence without emphasis on identity. Women owned and black owned, STUZO offers apparel with no gender bias with designs meant to invoke thought and feeling; an experience of the self, expressed without boundary. STUZO looks at clothing as being without life and therefore cannot be limited by borders of gender; textiles worn and filled out by consumers breathing life into them.

PYRAMID SEVEN: Chicago, Illinois.

A niche brand; they provide boxer briefs for periods, not gender. Their philosophy and belief is that regardless of where you fall on the gender spectrum or identify yourself as, if you menstruate you should be wearing their briefs. Designed with comfort and protection in mind, PYRAMID SEVEN briefs offer assurance that there is no longer a need to worry about leakage or bagginess - discomfort does not exist in their brand. These briefs are made to be used either in tandem with menstrual products of all kinds or even for free bleeding, it’s all at behest to comfort during an uncomfortable time. They are also advocates of privacy and neither reveal themselves too freely nor make comments on their consumer base, only expressing the validity of their representation being that of all who menstruate. 

Fluide: Brooklyn, New York.

Beauty brand founded by a mother’s goal to establish a gender-expansive beauty line to celebrate under-represented faces and voice, supporting young people’s self-expression and creativity. Fluide is queer oriented and offers a full range of vegan/cruelty free cosmetics for all skin tones + types and gender expression. Their belief is that makeup is joyful, transformative, and meant to be inclusive of all with a wish of being expressive and to invent themselves as they want to be seen. They are a platform of queer voices showcasing queer beauty and work with many LGBTQ+ non-profits and advocate for revolutionizing the world of fashion and all of it’s mainstream conception of beauty standards and create a style space of authenticity.

Official Rebrand: New York City, New York. 

A unique brand founded by a non-binary artist, Official Rebrand revives discarded clothing and remakes designs by breathing life back into what was unwanted. The mastermind behind the concept paints or otherwise alters (rebrands) items that have been cast aside and turns them into works of art which in turn proposes an anti-waste alternative.  The rebranding process strips clothing of their proposed gender categories and promotes the fluidity of identity. Official Rebrand dominates the medium where art and fashion overlap, reintroducing his pieces without any sense of today’s arbitrary societal constraints. 

PHLEMUNS: Los Angeles, California. 

Black and queer owned/operated, PHLEMUNS is a non-binary all inclusive brand that seeks to merge elements of nostalgia and modern contemporary fashion. With a goal of bridging the gap between high fashion and every day communities, this brand takes what is called a slow-fashion approach to their designs and crafts meticulously and intentionally on styles meant to be seen as accessible, inclusive, and wholly unisex. This is a brand which exists in the grey areas of society, fashion, and thrives on the idea of intersecting identity. 

NO SESSO: Los Angeles, California.

The brand name itself is Italian for “no sex/gender” and the fashion it produces truly encompasses this meaning. This is a fashion house that cranks out collections specifically targeting conventions of art, fashion, and culture. Their lines offer ranges in color, fabrics, prints, and reconstructed materials but their true signature is hand embroidery. Much of their collections are made from upcycled fabrics and materials found at flea markets and make use of patchwork designs as a motif of their community-based foundations. Think streetwear but couture, and this is what NO SESSO is defined by. 

gc2b: Maryland, USA.

Trans-owned, founded, and operated. gc2b produced the first chest binder and snapped off transitional apparel and established themselves as the first gender-affirming company in the industry. The credence of the company is comfortable, safe, and accessible binding options designed by trans people for trans people and to accomodate the vast spectrum of humanity. gc2b has donated over 6000 binders to those in need and sponsors over 100 LGBTQ+ organizations while working extensively with LGBTQ+ communities and charities to raise funds and awareness. 

Likely I will revise this post from time to time and update the listing. 

I really like being able to use my position as a platform to provide notice of undervalued communities within the fashion industry and world of style. I have often purchased outright and incorporated many key pieces of some of my most notable styles and ensembles from LGBTQ+ brands that deserve recognition and think of it as a soft promotion of their talent and falls within the conduct my company expects me to abide. 

Originally I did intend to have links in this post to make checking them out easier, but I was having some issues with tumblr being crotchety and had to forgo them sadly. Still, I encourage anyone interested to take a peek at their online sites or social medias - they’re all very lovely and inspirational!

[itsclydebitches]

There's something really strange about how certain parts of the RWBY react so negatively to criticism of the show. There is a complete denial of the criticism, especially if its in good faith, for reasons only tangentially related to the critique. For example, the Youtuber hbomberguy made a really good faith critique of RWBY and I saw fans utterly dismissing it because he says he was a life long fan of Monty's work and they found screenshots from 2008 where he said he didn't like Monty. (1/2)

Yeah, outside of that primary point — that disliking an author/the author's work more generally doesn't automatically invalidate critique; there might be bias at play, yes, but it's not a foregone conclusion — there are a lot of complications there. One that I've actually been thinking about lately is this idea that opinions are not allowed to change over the course of our relationship with a text. There's this assumption that if you said you didn't like Monty in 2008 (whatever "didn't like Monty" even means in that instance — the person? The authorial persona? His company? Some works? All his works?) then you'd better either dislike his work the exact same amount now, or love it without question. No developing new or complicated opinions across twelve-odd years allowed. Which becomes the core of the, "Why are you watching if you hate it?" question that is constantly leveled at those who post critique. "Hate it" is an incredibly narrow approach to not at all easy to define feelings about a show and "hate" means something very different for every fan. For many, the knee-jerk response is simply, "I don't hate it. If I truly hated it I wouldn't still be watching." It's ouroboros eating its own tail: if you hate RWBY you shouldn't watch RWBY, but we watch it, so we must not hate it. Now what? The conversation often stalls when someone refuses to acknowledge that there's more to interacting with a text than the two neat boxes "I love it completely" and "I hate it completely."

But I'm getting off base here. The point is that changing opinions crops up a lot when discussing the critical side of the fandom, with some assuming that if you're critical now then you've always been critical and you're nothing but critical. The idea that you once loved RWBY and are now negotiating a different kind of interest in it, or that you're frustrated by the show while also enjoying other aspects is, it seems, not on the table. It's presented as that either/or situation: you like it, or you don't, and if you've got any gripes with the story, the author(s), or the company at any point... then you're in the "don't" category.

But beyond all that, I also mean that opinions aren't allowed to change in the sense of fans not acknowledging that online spaces are a kind of Wild West where opinions as a whole are incredibly malleable. To use myself as an example, I've posted A LOT of stuff about RWBY. That means I've said a lot of stuff and given how humans work... a lot of that stuff contradicts! Sometimes it's for easily explainable reasons — I got a new piece of information and changed my tune accordingly, a new Volume warmed me to a character or topic that I wasn't previously interested in, etc. — but other times it's just... a mess. Because our relationships with texts can be a mess. I've got posts where I'm criticizing Sun when talking about RWBY. I've got posts where I'm defending Sun when talking about Before the Dawn. I've got posts where I'm 100% backing Ozpin's choices. I've got posts where I acknowledge he really fucked up. I've got posts where I gush about how much I love Ruby's optimistic outlook. I've got posts where I express how much I can't stand her naive outlook. This stuff isn't static and it's certainly not neat and tidy. Not only do our opinions about texts and their creators often change over time, they don't always change across a set number of years for easy consumption by an outside observer. Sometimes your opinion changes daily. Hourly. Sometimes that occurs through conversations followers never see, posts that are later deleted, nothing but your own thoughts because we're not posting every hour of every day. And then you're back saying Thing #1 again because it's all just messy, repetitive conversation expressed via quickly written tweets and the like as an informal hobby. No one is double-checking our work here, demanding to know if we really, truly back what we're saying 100% because someone might one day drag it back out into the light and try to hold you accountable for it. Presenting any one, quickly expressed opinion from over a decade ago as some sort of 'gotcha' is in far more bad faith, imo, than the critique that's getting dismissed.

All of which is, of course, far from just a RWBY issue. We see this kind of behavior everywhere online, where past opinions, mistakes, or just casual responses are dredged up with the intention of erasing any and all present credibility. Pay no attention to what the person is saying now, instead form your opinion of them solely by what they said years ago, with no possible wiggle room allowed. Fans dismissing RWBY critique? That's fine. No one needs to engage with criticism of a favorite show — if anything, I highly encourage those who dislike critique to steer clear of it — so as frustrating as it can be on our end, it's the cleaner side of a very ugly coin. If the worst our community ever did was go, "Your critique is invalid because you said once in 2008 that you don't like Monty's stuff" and left it at that... said community would be a far kinder, gentler, safer place. As it stands, that urge to go digging for a 'gotcha' post generally leads to full-blown harassment (which, frankly, I'm sure hbomberguy got anyway). It is weird that fans are so eager to use an old screenshot to "disprove" a two and a half hour video... I just wish that's as far as that kind of behavior ever went.