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literaryvein-reblogs · 24 days ago

Note

How to write a secret society in historical fiction setup? Say, women-only?

Writing Notes: Secret Society

Secret Society

An organization whose members are sworn to secrecy about its activities.

Any of a large range of membership organizations or associations that utilize secret initiations or other rituals and whose members often employ unique oaths, grips (handshakes), or other signs of recognition.

Elements of secrecy may vary from a mere password to elaborate rituals, private languages, costumes, and symbols.

The term may be applied to such widely divergent groups as U.S. college fraternities and sororities, the Ku Klux Klan, and international Freemasonry as well as to similar phenomena in ancient or precolonial cultures.

Historical Fiction

A literary genre where the story takes place in the past.

Historical novels capture the details of the time period as accurately as possible for authenticity, including social norms, manners, customs, and traditions.

Many novels in this genre tell fictional stories that involve actual historical figures or historical events.

Characteristics of Historical Fiction

There is a wealth of accurate historical detail relating to setting (geography, customs, beliefs, culture, society, habits) as well as to characters and events.

Story lines may focus on a particular historical event or time period, or they may follow the life of a character (real or fictional). Novels may raise difficult social or moral issues through the plot.

Characters may be real or fictional, but they are portrayed in such a way that they fit the times. The historical setting shapes their lives and actions.

Historical novels are usually big books, with stories that unfold at a leisurely pace. Even shorter Historical novels are usually so densely written that they must be read slowly.

Language and style may affect a reader’s experience. Some readers appreciate an “authentic” style, while others find this distracting. Dialects and format choices (such as epistolary novels) also affect reader reaction.

The tone of Historical novels runs the gamut from rollicking to somber, and this tone may be a major, if unacknowledged, factor in reading choices.

Example of An All-Women Secret Society

Heterodoxy - a secret society that paved the way for modern feminism.

The female debating club’s name referred to the many unorthodox women among its members. They “questioned forms of orthodoxy in culture, in politics, in philosophy—and in sexuality.”

Born as part of the initial wave of modern feminism that emerged during the 19th and early 20th centuries with suffrage at its center, the radical ideologies debated at Heterodoxy gatherings extended well beyond the scope of a women’s right to vote. In fact, Heterodoxy had only one requirement for membership: that a woman “not be orthodox in her opinion.”

Heterodoxy met every other Saturday to discuss such issues and see how members might collaborate and cultivate networks of reform. Gatherings were considered a safe space for women to talk, exchange ideas and take action.

With 25 charter members, Heterodoxy included individuals of diverse backgrounds, including lesbian and bisexual women, labor radicals and socialites, and artists and nurses.

Meetings were often held in the basement of Polly’s, a MacDougal Street hangout established by anarchist Polly Holladay. Here, at what Berman calls a “sort of nexus for progressive, artistic, intellectual and political thought,” the women would gather at wooden tables to discuss issues like fair employment and fair wages, reproductive rights, and the antiwar movement.

The meetings often went on for hours, with each typically revolving around a specific subject determined in advance.

As the club’s core members aged, Heterodoxy became more about continuing friendships than debating radical ideologies.

By the early 1940s, the biweekly meetings of Heterodoxy were no more. Still, the club’s legacy lives on, even beyond the scope of modern feminism.

Other Examples. 19th Century Collegiate Secret Societies.

Organized women’s collegiate secret societies formed across America.

These societies were created with the intent of cultivating lifelong friendships with one another, encouraging passionate “sisterly” bonds with all members, and supporting an organized network of women that would encourage their own daughters to carry on this membership into the next generation.

Adopted a motto proclaiming values of boundless loyalty to their fellow “sisters”.

Below are examples of secret societies, their respective mottos, and the dates of their founding:

The Adelphean society (later ΑΔΠ) “We Live for Each Other.” 1851

The Philomathean society (later ΦΜ) “The Faithful Sisters.” 1852

I.C. Sorosis (later ΠΒΦ) “Friends and Leaders for Life.” 1867

Alpha Phi (ΑΦ) “Union Hand in Hand” 1872

Delta Delta Delta (ΔΔΔ) “Let Us Steadfastly Love One Another” 1888

Young girls at boarding school would be “adopted” by older girls who would play as pseudo motherly figures and role models for the younger classes to admire as well as emulate.

This same process can be seen in the pledging processes of collegiate societies.

Example: The Philomathean Society was originally created as a secret literary society, membership in one of these organizations was highly coveted, and the process of mutual selection between a potential new member and the respective society often caused a plethora of emotions to stir.

In their annual yearbook from the year 1900 is a story that was written with the intention to depict what life was like for a Philomathean, and detailed the secrecy and the high emotions that were involved in the pledging process.

Initiated upperclassmen were considered “the girls to be” and were admired by many freshmen for their demeanor and social presence in the school.

As these upperclassmen both from the Adelphean society and the Philomathean society sought out potential new members, there were secret interactions between potential new members and initiated members to try and connect more deeply with each new girl and sway her to pledge to a certain society.

Sources: 1 2 3 4 5 ⚜ More: Notes & References ⚜ Writing Resources PDFs

Incorporate elements and characteristics of historical fiction in your story, and research more on which women-only secret society your work will center around. You may even take inspiration from more than one secret society from history. Do go through the sources above as I only included excerpts here. Hope this helps with your writing!

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taylortruther · 4 months ago

Note

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

youtube

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

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

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

taylor swift and whiteness

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

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

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

whiteness again

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

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

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

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

she holds a mirror up to society, tho

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

taylor as cultural hegemony

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

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

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

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

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

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

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

#hot taykes #writing paragraphs about taylor swift

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kajaono · 3 months ago

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A+ Writing: Character growth done right

AKA: How the Netflix show "The Law According to Lidia Poët" wrote one of the best character growth-arcs I ever witnessed on screen

AKA: The long promised: Enrico Poët character meta

I think many shows centering around feminism - and especially period pieces - struggle to write feminism and the situation women lived - and still live in - a realisitic and relatable way. You either have male character saying stuff like: "Women belong in the kitchen" or male character being absolutly pro-women. Nothing in between. And even when sexism is addressed... a real character arc where a male person grows into realizing what women suffer from... often in silence... is hardly anywhere to be found. In a way thats not staged, but just human. Flawed and raw and relatable

And then Enrico Poet walzed in and just delievered. Its insane.

Short summary: The Law according to Lidia Poet is a show about the first female italian lawyer who had to fight against alot of prejudice, as well as a occupational ban. Enrico is her brother.

When we meet Enrico he is a mirror of the society surrounding him.

Whats really interesting about the way he is written is: He is more nuanced then your typical period piece sexist: "Go and bear babies." Instead he respects her intelligence and her intellect. He respects her wish to work... but not as a lawyer. If his sister really wants to work and earn her own money why not in a traditional female job?

Interestingly, and very telling for his character, is what he says next

He hesitates before he says that. And he doesn't look at Lidia. He looks at his daughter. So yes... he considers marrying a valid option for a woman. But not for Lidia, because Lidia is not "normal". Nowhere in the whole show he tells Lidia to marry. He maybe not agrees with her, but he always shows a certian kind of respect for her wishes.

Later he says:

So does he says all those things because he truely believes them... or because his father - a higher male authority - used to say the same things and he just repeats them?

But Lidia insists on being a lawyer so Enrico eventually agrees that she can be his assistent (he is a lawyer himself) and help with cases, but only if:

So already here the show overcomes the boring cliché trope of: "Women belong in the kitchen"-sexist. No, Enrico is much more nuanced then this. Already in the short conversation we see that there two sides: What Enrico was taught to say and what he really believes.

When we enter episode 2 Lidia starts working for Enrico. The power dynamic is clear. He is in the leading position. Nevertheless Lidia is taking every opportunity she gets to keep on working as a lawyer, independet from her brother. When Enrico finds out about her "side business" he is angry. But interestingly he doesn't try to stop her.

After Lidia solved the ep1 case really sucessfully a certain kind of trust grew between these two. Enrico doesn't want to get involved in trouble, but he trust his sisters abilitiy to solve the case.

But then - from one moment to the next - the really real danger occurrs that the public might find out that he is working with his sister, his sister who is not allowed to work in law anymore. And he snaps:

Here he only thinks about himself. Every trust between them is lost. In this moment Enrico only thinks about his career. This moment Lidias professional success is not to him... because she will not have any anyway.

But you don't think the show lets him get away with that, right? Oh our boy will learn his lesson.

He and Lidia meet a lesbian who had to hide her relationship with another woman. The following conversation takes place.

THIS! This is the first time he has to look into a mirror and realize he is part of the problem. Until this point he probably thought that he is a good guy. He lets his sister work with him, he lets her solve her own cases. But now he is forced to realize that he also judged his sister, every day. He has to realize that his sister suffers and he is one of many reasons. He is not one of the good guys. We see him being ashamed and he starts to think.

The show ends with Lidia not being allowed to ever work as a lawyer or lawyer assistent ever again.

When Enrico and Lidia are called to court, Enrico says this to Lidia:

But his tone has changed. He doesn't try to muzzle her anymore. He tries to protect her. Because he knows that whatever she will say, it will become worse... for him, but also for her.

And when the judge announce the sentence, Enrico shortly looks to her sister. Checking how this sentence will effect her. He starts caring. Because the conversation with the lesbian character - him being forced to look in the mirror - slowly starts changing him.

Episode 3 marks a turning point in Enricos character development

In epsiode 3 Lidia is solving a murder. The victim is the father of a guy she was supposed to marry when she was younger. The engagement was arranged and Lidia ran away because she didn't wanted to marry him. While she is solving the murder Lidia finds a letter from her own father to the father of her arranged-ex-fiancé.

It turns out that Lidia was only supposed to marry so that her father gets his debts canceled. Lidia shows Enrico the letter. He is horrified.

While he is reading the letter he is so ashamed he can not even look into Lidias eyes.

His voice breaks while he keeps on reading, he panics and is still not able to lock eyes with Lidia.

And now comes the quote that - imo - shows his character growth: "Thats a cattle market".

In this moment he realizes that the life of his sister, a woman, is worth nothing. That she can be easily auctioned off like a cow. That she is at the mercy of her own family... men... who can drop her any moment and cause harm to her. Because legally she has no protection and can not speak for herself. A cattle market indeed.

When Enrico hears how calm Lidia is... sad, broken... but super calm like she isn't surprised, Enrico is horrified. Because he realizes that this is what Lidia is confronted with every day. For him thats shocking, for her? thats the reality of her every day life. And being confronted with that, changes Enrico. He realizes that he can not longer close his eyes and pretend that his sister is some kind of "freak" for wanting to make her own voice heard

Its time for him to step up, to do something. To fix all the injustice that happened to Lidia, just because she is woman. Not standing in her way, but standing alongside her.

And Lidia smiles, with hope in her eyes, because it is the first time a man stood up for her and fights for her rights alongside her.

Because Enrico now knows what it means to be a woman. He saw the injustice and he can not be quiet anymore.

He grew so much. We came from Enrico telling Lidia that she shouldn't work in law to him seeing them as equal.

To him eventually waiting outside her house, neither saying goodbye to her nor trying to stop her from leaving to America. Just respecting whatever choice she will make.

This is character growth doen right!

TL:DR

This show takes a really raw and human approach to Enrico character growth: want to work along side a woman? Then you have to face the reality women are suffering from. And eventually this reality will change also your perception of the reality surrounding you. Is this character growth idealized? Sure but that’s not the point.

The point is too show how the reality of women can effect and change a male character, in a positive way, that’s also human and relatable. And they just nailed it

#lidia poet #enrico poet #character growth #male feminist #women rights #the law according to lidia poet

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peggyao3 · 1 month ago

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Relic - Pt. 16 "Destroyer of Worlds"

PAIRING: Feyd-Rautha Harkonnen x Unnamed Ambiguous FMC

SUMMARY: ✧ Dreams are messages from the deep ✧ A woman from the unknown comes to Feyd in his dreams and his nights become his days as he flees to the dreamscape to escape the nightmares that haunt his waking hours.

TAGS: Third person POV, she/her AFAB FMC, explicit sexual content, smut, vaginal sex, vaginal fingering, oral sex, Porn with Plot, Feyd-Rautha's black cum and big cock, Praise Kink, Body Worship, angst/hurt and comfort, drama, fluff, plans within plans, implied/referenced child abuse, implied/referenced abuse, Trauma, mentions of suicidal thoughts, Healing, Strangers to Lovers, falling in love, Vulnerable/ Emotional/Possessive Feyd, Feyd is a sweet baby who did nothing wrong and I WILL pamper him, nurture not nature, Stockholm Syndrome but in a consensual way, lucid dreaming, Implied/Referenced Cannibalism, murder, teaching the universe about feminism, female rage, Frank Herbert would frown, No actually he would kneel in front of me, putting the science and the porn in sci-fi, angst with a happy ending

WORD COUNT: 4.3k

A/N: We're really getting there now 🥹🥹🥹 I'm so excited. And I'm very pleased with this chapter 🤭 I can't wait to hear what you think!

Reposted from my Ao3💕| Masterlist | Relic Masterlist

Dividers by @saradika-graphics

← Previous Chapter, Next Chapter →

Day 100

No guards frame the door that is tall and glinting back, just like Feyd had assured her. When she had approached it and passed through it several weeks prior, she thought it may as well lead to hell, but today she is certain of it. Except it won't be Feyd's hell or hers, it will be his.

And he will have no time for tricks.

With her gun of clear, shiny plastic raised in front of her chest, the relic enters Baron Vladimir Harkonnen's bath chambers.

The scented, herbal fog hasn't grown as dense and thick yet and the white, fleshy heap at the center of the tub fills out her sight at once. And unexpectedly, there is movement to the right, not a guard or a servant but Glugo who quivers in a damp basket near the wall.

While the woman's eyes are briefly averted, the Baron's shield flares up around his misshapen form at a flick against the massive, silver band at his middle finger. The smallest and priciest model on the market, Ixian technology.

"I expected my nephew," he drones, voice amplified by the vaulted ceiling but distorted by the shield.

"Hands on the pool edge," the woman demands, voice as cold as cryogenic vapor. Vladimir acquiesces, unable to reach for the transponder behind his ear. An invisible muscle ticks at his fleshy jaw.

"I hold audiences every Freitak," he attempts to jest, arms spread out in mockery as he adjusts them on the slippery edge. "No need to assault me in my own bath chambers."

A blunder, he realizes quickly as her face hardens with rancor. Not a molecule would fit between her clenched teeth.

"You're troubled because of what you saw," he concludes. "It was a mistake." Vladimir concedes all too quickly. His finesse seems to have evaporated along with the curling steam and he realizes he knows nothing substantial about the woman.

"Quite," she confirms curtly, closing in with slow, deliberate steps. The crosshair projected by her interface, only for her eyes to see, dances over the Baron's face, but she won't take any risks. At the center of the vaulted chamber, a generous distance separates them still, but she feels more confident in her aim.

Pulling a trigger is as easy as dropping a bomb. She should have it in her. Her kin have dropped bombs like rainfall back in the slaughterhouse warfare for oil and soil and rare earths.

The Baron gawks at the muzzle, an unassuming hole among glossy, alien plastic. His old eyes might be deceiving him, but he thinks he can see the inner cogs and channels shimmering through the surface, and a metallic component that doesn't belong.

A lasgun! She's either a maniac or an idiot! Or truly a relic of long-forgotten ages, like the sisterhood had said.

He could either deactivate his shield and die certainly, saving the palace and the capital from nuclear fallout, or he could take them down with him, his nephew included.

"You don't want to fire a lasgun at me, kid."

His voice booms and the Tleilaxu creature leaps out of its basket, hand-feet splatting across the damp tiles. Thank God, it flees out the door, the relic thinks. That tiny moment of inattentiveness is enough for Vladimir to flick the switch at the ring on his pointer, a special gift that was given to him just a few days ago, and just in time. Already, he feels safer.

"That's not a normal lasgun." Her attention is back on the Baron and she smiles knowingly. Vladimir despises the self-assured look of it.

"We can find a civilized solution for this," he declares with renewed confidence. Pretending to think, he sways his fatty neck from side to side. "I know my nephew has plenty to offer, so I don't see why we shouldn't be able to share."

She laughs out brightly, a sound like a whiplash across the Baron's heaving chest. "Where I'm from, there's the death penalty for abusers like you. I couldn't build an electric chair, so I brought something else."

"And what have you got there?" Get her talking, he thinks, beady eyes greedily darting for the door.

"Feyd's wedding gift."

"Feyd's wedding—?"

Thumb slipping over the back of the gun, she cocks the hammer.

"Did I understand that correctly? If you miscalculated, this test will cause an atomic explosion?" The memory of a few days prior fills out her mind, easing the terrible anxiety that now dampens her palms. "Yes, but I did not miscalculate." "Then why test it?" Feyd-Rautha had paced anxiously behind her and sized up the heap of towels stacked in the corner of her room, their outline blue and blurred by a softly humming Holtzman shield. "Better to be safe than sorry." "I'd feel sorry if you blew up my planet." "I wouldn't," she had responded with hardness and pulled the trigger. Doing so fires the bullet first, then a fine tuned laser beam from a smaller second muzzle, as light travels faster than matter and the bullet needs more time to reach its target. The double muzzle is calibrated to take the bullet's weight and distance from the target into consideration. Light may have no inherent mass, but photons do transmit impulse. And so the photons that comprise the laser beam collide with the Holtzman shield's nuclei and propel them into motion towards the body they are meant to protect. The beam's impact isn't hard enough to trigger a nuclear chain reaction, but just right to accelerate the nuclei. And by the time the bullet arrives at the crime scene too, its relative velocity to the shield is that of a slow blade. With a thump, the bullet had sunken into the stack of towels.

The door moves at her back and the only reason why she doesn't jump in fright is because she recognizes his footsteps.

"Wait, my darling."

The Baron could weep with joy at the sight of his dear nephew. Not who he had called, but an even more welcome sight. It was he who had given the boy everything; schooling for his cunning mind, planets to govern, blades to play with, toys to warm his heart and his cock with. Everything in exchange for a measly bit of affection!

Feyd-Rautha, dressed from neck to toe with not an inch of skin showing aside from his face and hands, loops his arms around his betrothed's waist, chin tilted and leaning against her temple.

"Let me do it."

Vladimir pales, shuffling in the sloshing bath water as his nephew gently takes the gun from the cursed woman's hand and closes in like a starved viper. His chest rises beneath the full coverage of his suit.

Desperately, the Baron looks at the door.

"My dear nephew, you're falling for a hoax! Do you want to blow up the city?"

Feyd-Rautha stops, still several meters away from the tub. Vladimir seethes.

Anxiously, the relic observes the jittering path of the digital crosshair, weapon out of her hands and out of her control. As Feyd halts, the red mark settles on the Baron's pasty forehead. His aim is perfect.

"You want me dead, then come closer, at least! Look me in the eyes when you do it, my boy." The Baron's tongue flicks out, grey-pinkish flesh, to wet his bottom lip. He wants him so close that he can see the whites in his nephew's eyes before the city blows up. Stripped naked and unarmed aside from the poison needle in the signet ring on his pinkie, he feels more than ever like a heap of flesh, defenseless and abandoned and to his own surprise, it is the latter that hurts most.

Feyd-Rautha doesn't speak.

"Say something, boy! You've had more than enough chances to do this, but you didn't, and I'll tell you why." The Baron raises himself slightly, bulging chest emerging from the inky water. "You don't want to kill your own un—"

The echo of a bang ricochets off the vaulted ceiling and the Baron finds his head knocked back, vision filled with fractured red, his shield dissolved.

With his head rolled on the tub's edge, he can only see the ceiling, and something wet slips over his brow, into his blurry eye. Vladimir had always thought, when Feyd finally manages to kill him, he would ravage his body with blades, take him apart to the last organ, gorge on his flesh while it is still warm. It had almost aroused him.

But his nephew's final touch — denied.

How cruel.

"You did it!" His betrothed's arms loop around his waist from behind, the embrace hard and stormy, her face against his spine. Feyd still stares in awe at the corpse of his uncle, massive, white flesh afloat obscenely in the tub.

"I did," he confirms, his voice hard, with tremors around the edges.

Feyd feels like he should perhaps burst into tears or yell, but none of the like wants to come out of his heart. The accomplishment might take a few days to feel real. What is entirely real, however, is the face of his darling as she slides to his front and cups his cheeks, overjoyed. The tears that his eyes are missing in his, shimmer distinctly in hers and before he knows it, she has tilted his face down to hers and pressed her lips on his, comforting and needy.

Anxiety melts under soft kisses and tears track down her cheeks, coloring their lips with salt.

"I see you've done us all a favor."

Feyd and his woman snap apart, staring in horror to the ajar door. A few steps into the chamber stands a figure swathed in black like a bad omen on the battlefield. The Reverend Mother Gaius Helen Mohiam looks appreciatively at the corpse of Baron Harkonnen.

Even through the mesh of her veil, her sharp eyes perceive the wicked twitch of the na-Baron's hands around the gun.

"Hold still!" She commands and Feyd-Rautha's finger freezes at the trigger.

A pop-up blinks in the corner of the relic's interface, signaling the detection of the soundwave pattern she had picked apart a few weeks ago.

"What are you doing here?" The relic hisses, fingers screwed around Feyd's dangling wrist. She looks a tad haggard compared to when the Reverend Mother had last seen her, with a touch of madness in the eyes.

"My presence was requested by the late Baron and he was right to do so."

"Your presence?" Feyd's voice rings out in distaste, aiming for mockery but rage oozes from every strained muscle. The Reverend Mother sees in him a toddler on the verge of a tantrum.

"I wasn't any less surprised than you are, Baron Feyd-Rautha." She tilts her head and with her moves the crass shadow thrown by her oblong headpiece. "That's how I knew the gravity of the situation. Your uncle was beginning to feel a bit uneasy. He had a feeling you were plotting something, so he requested my help, thinking I was the only one who could."

"But you are too late," Feyd barks, fingers clenching helplessly around the gun. "He's dead!"

"He is. And yet, I arrived perfectly on time." The Reverend Mother calmly crosses her hands in front of her body.

"You could have intervened and didn't?" Horror much bigger than when she had the Baron at gunpoint rises to the relic's chest.

"I must confess, I was… curious." Gaius Helen Mohiam waits but the younger woman remains silent. "How did you do it?"

The engineer laughs out, a sound that's shrill and unpleasant from her clamoring heartbeat. "Sure, I'll tell you and give away the single most valuable piece of information in the universe."

The Reverend Mother purses her lips. The truth is, she had made her decision the second the bullet had passed through the Baron's shield. That knowledge must die and not even reach the ears of her own sisters. Temptation brings out the worst in humans and careful plans are traded all too easily for short-lived power.

Perhaps Feyd-Rautha knows too, but he is a force they can control. The wildcard however has no place among them.

"This must not come out," the Reverend Mother declares, her tone a whiplash.

The glint in the wayward woman's eyes tells her everything she needs to know. The terrible relic is not horrified by the idea of throwing the world off balance. She embraces the potential of destruction like a tumor the flesh it feasts on. Thousands of years of selective breeding are at risk at the whims of one wicked catalyst.

"I think maybe it should," the relic snarks.

"You're an abomination!" Mother Mohiam snaps. "You should have stayed in the ice like the fossil you are."

"You shouldn't have thawed me then. This is your doing!"

And this is why the Reverend Mother must undo it. "There is no place for you here," she coldly proclaims.

"Then watch me make one! I'll carve, dig and shoot a mold for myself and if I end up destroying something on the way, I'm not sorry."

"That I can see, and that is precisely why there is no place for you in this world."

Feyd-Rautha stands at his betrothed's side, a shackled guard dog watching the heated exchange between witch and scientist, between the present and the past which might become the future once more.

"It is a pity," the Reverend Mother continues. "But there will be more opportunities to continue this bloodline." She tilts her head, sharp eyes locked onto the relic through the shroud of her veil. "Kill yourself."

Her interface flashes red, a warning at the center of her vision. For a brief moment, all joy fades from her eyes, all hope, and to end her own life seems to be the only logical consequence — until the code sequence she had programmed weeks prior is triggered into action, playing an opposing sound pattern directly into her skull.

Sound waves meet in destructive interference and only a dull, sad ache behind her sternum remains.

Mother Mohiam grows cold with terror when the abomination remains unmoving and smiles.

"You're full of surprises." The Reverend Mother's tone carries a hint of begrudging admiration. Underestimating her is a mistake she won't make again. The woman whose only ability of notable importance seemed to have been prescient dreams had somehow bested her command. But it doesn't matter. There is never only one way to the goal.

Feyd-Rautha realizes that too, but a second too late.

"Kill her."

The na-Baron slackens and turns, soulless eyes holding no recognition. She releases his wrist. Terror devours her when Feyd-Rautha points the gun at her forehead. And just like before, his aim is perfect. A red glow, visible only to her, bleeds into her vision from between her eyes and she remembers.

He aims with the gun that is linked to her brain. The trigger clicks only half a second after she jams it via remote control.

No bullet breaches her skull and the relic stumbles away from her love who stares at the handgun in confusion, pulling the trigger three more times before discarding the weapon with a dissonant clatter. A muscle tics at his jaw, cat like eyes narrowing into slits and he reaches for his belt. Glinting steel emerges from its sheath, a hissing purr. Her betrothed prowls.

"Feyd, don't—" She pleads, backing away with quickening steps. There is nowhere to go, only the tub where she could hide herself behind the Baron's floating corpse. "It's me, you don't want to kill me. You love me!"

"He doesn't know that," Mother Mohiam coldly reminds her and the relic glares hatefully.

"You're destroying his life!" She sobs, stumbling over the steps that lead up to the bathtub and falling on her bum. "How can you live like this? You're the abomination! He will kill you in revenge, he'll blow up your whole planet!"

Her beloved towers right over her, head crowned by a corona of glowglobe shine, his chiseled features entirely calm, innocent.

"Do it!"

"I'm sorry," she cries. "I love you."

Feyd grabs her by the front of her shirt as she tries to roll away. She squirms and sobs pathetically, helpless with no further tricks up her sleeve, no hidden blade or gun, no voice of her own to wield against him or her.

The Reverend Mother raises her chin in triumph, but all of a sudden, there is movement at the door, at the unsuspecting witch's back.

Mikhail Kyelug comes flying through the door, sword flung out in a wide arch. Right after him sprints Lilia, with Glugo clutching her hand.

The Reverend Mother spins in surprise, lips open, but her words are severed along with her head, terrible voice silenced forever as Mikhail's blade cleaves through her neck and spine with an awful crack. The world spins together with her head. The headpiece comes off, giving away thinning, grey hair. Voicelessly, she curses that her last ever sight is Baron Vladimir's Harkonnen's bloated face, dead eyes locked with dead eyes.

Feyd-Rautha whips around from the racket, blade quivering in his clenched fist. The relic's nails have dug inky crescents into his wrist. For a moment, no one moves and three humans and one humanoid wait with bated breath for Feyd to drop the blade.

But the voice is no link to be severed by the wielder's death, it is a temporary alteration of the brain, and so Feyd's face remains empty, shark eyes glaring at the intruders. Mikhail sees it too.

"Back! Back I say!" He roars and barges like a bull. Feyd-Rautha releases the woman's shirt, facing the threat that is bound to crash into him with hissing metal.

Blades collide.

Lilia jumps over the Reverend Mother's corpse and dashes past the fighting pair to collect her weeping Lady from the steps. Glugo's hand-feet splatter after her with haste and it picks up the discarded gun, cradling the devious, shiny thing protectively against its misshapen chest.

Glugo had known right away, when it scuttled past the tall, old witch in the hallway and she had commanded it in that terrible voice to leave, that she meant harm. So, it had ran as fast as it could and pulled at Lilia's hands and skirt, because Lilia would know what to do.

The three of them huddle down in the corner, the relic crying into Lilia's chest. Glugo slips a quivering hand-foot into her palm but its milky eyes are aimed at the center of the room where its friend and Mikhail are grappling and grunting.

By the Sun, the na-Baron fights like a demon! His pupils are shrunken into pinpricks and his mouth is pulled apart into a gashing grin. Mikhail's armor is torn at the shoulder and black blood weeps down his armpit. Every next parry burns as if his muscles were about to tear apart and with the rush of pain comes a rush of clarity.

Fists, not blades.

Mikhail drops his blood-slick sword and catches the na-Baron's wrist, stopping the tip of the blade centimeters away from his neck. Roaring, he shoves the na-Baron backwards until he collides into the wall and slams the taller man's wrist against the tiles, once, twice. Feyd's blade slips out of his twitching fingers and clatters to the ground as his lips skin back from glinting, black teeth in anger.

Mikhail doesn't hesitate. He drives his thick-knuckled fist into the na-Baron's guts like a battering ram. Wearing no armor, Feyd doubles up, spitting saliva across his own chest. Ringed hands grasp at Mikhail's chest plate, attempting to hurl the guard to the ground, but Mikhail's boot crashes into Feyd's pelvis and scarred knuckles find Feyd's soft cheek. Skin splits open and his molars sink into the soft flesh inside his mouth.

"Stop, stop, stop!" Feyd blurts out, choking on spit and blood, hands raised in the air as Mikhail's final blow cracks across his jaw. He lurches to the ground and rolls on his back in defeat, his eyes clear and wide in terror.

"My Lord," Mikhail pants, raising his bloodied fists in a shaky salute.

"I— I didn't—" Feyd's head turns to the corner where both women are huddled up, Glugo in front of them, clutching the handgun in one of its oily-black hands.

"My darling," Feyd rasps, spluttering blood. "I nearly killed you."

"It's not your fault," she sobs immediately and frees herself from Lilia's embrace. The pair meet in the middle and her arms whip around his neck, his around her waist and he squeezes her until he feels her very heartbeat against his own, convincing himself that she's still alive.

Their foreheads fall against each other and she gently cradles his aching jaw, thumb stroking under the bleeding cut on his cheek. Feyd-Rautha's long, lowered lashes cast shadows across his eyes and something dark and bitter flashes in them.

"No," she insists immediately and her tone forces his eyes back on hers. She won't allow him to hate himself for something he almost did. "We're alive and they're dead. This is our victory."

Next to Feyd-Rautha and his Lady, Lilia has rushed over to her husband, making an endearing fuss over the wound on his shoulder and his bruised hands. Deft fingers have unclipped the shoulder piece and tugged the cut fabric apart to inspect length and depth of the laceration.

"S'fine, my darlin'," Mikhail rasps with exhaustion and slings his good arm around her middle, pulling her into him to place mindless kisses atop of her head.

The relic peeks over Feyd's shoulder and unlatches one hand from her beloved, beckoning for the pair to come closer. "Thank you," she sighs with tear-thick voice.

Lilia confidently seizes the offered hand, thumb brushing comfortingly over her Lady's knuckles. Mikhail stands awkwardly behind her, one hand on Lilia's waist, not daring to touch the woman of higher standing so affectionately. "My Lady."

Feyd-Rautha releases his woman after all and turns to face his saviors. At once, the guard and the handmaid drop to one knee before him and lower their heads in devotion.

"Baron Harkonnen," they mumble in unison and a muscle twitches across Feyd-Rautha's cheek.

"No," he interrupts with grating tone. "Stand up!"

The pair obey, glancing up with confusion as they raise themselves. Feyd-Rautha regards them with a long glance and exhales deeply, then slowly kneels in front of them, pale head rolling forwards until his eyes are trained on the ground.

"Thank you," he says. "You saved her life, and mine."

"My Lord," Mikhail mutters, overwhelmed and looks to the Lady for help while squeezing Lilia's waist. "It was only our duty, eh?" He insists but that is hardly true. Not duty but friendship had hastened their steps and fueled his fists when they barged into the room.

Glugo can no longer contain itself and scuttles over on hasty hand-feet, mewling with worry as it flings four of its eight limbs at Feyd's chest, tugging on the thick fabric while pressing its misshapen pug face against his sternum.

Feyd winces when shiny plastic is waved about right next to his face and he tries to capture the gun out of Glugo's innocent, little hand-foot while cradling the creature's head with one big, pale hand.

"It's jammed," his betrothed reassures him. "Come here, give that to me, hm?" Gently, she grasps the weapon and places it back in its holster.

"Hush, hush," Feyd mumbles and allows himself in a moment of vulnerability to rest his bruised cheek atop Glugo's head while his darling softly squeezes his shoulder.

"It is actually Glugo who deserves your gratitude, my Lord," Lilia reveals and Feyd holds the glugging creature a bit tighter. "It came to me crying and begging and I knew you needed us."

Glugo doesn't know exactly why everyone smells so much of tears and joy, but it knows it did something right and that it is surrounded by the kindest beings it has ever known.

"I wouldn't go near," the relic remarks, stopping Feyd whose prowling footsteps have carried him closer to the round tub in which the fleshy, white mountain of his uncle's corpse still floats, unmoving. "He's radioactive."

"I won't," Feyd grates out, plush lips skinned back from his teeth in distaste. He feels none of the morbid fascination he had always assumed he would feel when his uncle is finally dead by his hands, only a grim, long-awaited sense of accomplishment. Turning his head, he finds Glugo tugging curiously on the dead Reverend Mother's dress. The poor thing does have a penchant for liver after all. Feyd clicks his tongue. "Don't touch that!"

Glugo scuttles away and back to Lilia's outstretched hand. It will receive a proper victor's feast later, something more worthy of its bravery than an old witch's, rotting corpse.

"I want the bodies completely eradicated, both of them," Feyd demands. Lest they return as Gholas, a voice of paranoia whispers to him, but he is all too happy to listen.

"How?" His woman curls her arm around his middle and Feyd pulls her to his chest, inhaling the scent of her hair before he makes a decision.

"Burn it down," he rasps. "Burn down the whole wing."

In the afternoon hours, the citizens, guards and slaves of Barony are left gawking and gasping, faces turned in shock towards the colossal palace pyramid where vicious smoke curls from the very top, black claws against the crass, white sky. At the na-Baron's behest, no one is to extinguish the wrathful flames.

Proudly, he watches it burn, the place that holds two decades worth of abuse. The biting smoke soars towards the stars, like the herald of a new age.

I am Time (Death), cause of destruction of the worlds, matured And set out to gather in the worlds here. Even without thee (thy action), all shall cease to exist, The warriors that are drawn up in the opposing ranks.

- Krishna in the Bhagavad Gita

A/N: Killed the baddies with the power of friendship and science 🥹 (2 more chapter to come)

FEYD TAG LIST

@nostalgichoya, @forgedfromthestars, @sweetiee-o, @missbingu, @minedofmoria

@sebastianswallows, @charmingballoon, @flower-frog, @welliah, @aoi-targaryen

@coastalcowgirl35, @esolean, @szapizzapanda, @tatertooted, @sunny747

@ughdontbeboring, @meetmeatyourworst, @gravesdiggergirl

#feyd rautha #feyd x reader #feyd #feyd rautha x reader #austin butler #feyd x oc #feyd rautha x oc #peggysuave fanfics #peggysuave;relic #feyd rautha harkonnen #feyd fanfiction #feyd rautha fanfiction #feyd smut #feyd rautha smut #feyd imagine #feyd rautha imagine #dune part two #dune part 2 #dune fanfiction

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merwgue · 3 months ago

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The Retcon of Nesta Archeron: From Modesty to "Empowerment"?

Let’s talk about the absolute character assassination—sorry, "development"—of Nesta Archeron, shall we? You know, the once-reserved, morally complex, and fiercely loyal older sister who somehow morphed into a character that thinks empowerment means drinking herself into a stupor and sleeping with every available male. Nesta’s original character in A Court of Thorns and Roses (ACOTAR) was someone with nuance, quiet strength, and a genuine sense of duty. And then... A Court of Silver Flames happened, and it was as if Sarah J. Maas decided that being modest, or god forbid, having restraint, just wasn’t feminist enough.

Remember the original Nesta? Let’s go back to the beginning. The cold, aloof, older sister who had her flaws—yes, many of them—but was also deeply protective. Nesta wasn’t easy to love, and she didn’t go out of her way to make herself likable. But she didn’t have to. She had layers. She had depth. In A Court of Thorns and Roses, her protectiveness over Feyre was masked in cruelty, but it was still there, quietly underpinning her actions. She wasn’t trying to be the center of attention, wasn’t jumping into bed with anyone to assert her femininity, wasn’t tearing herself apart for the male gaze.

In fact, Nesta was modest. Not in the sense of being shy, but in a way that signaled self-worth and a sense of boundaries. She had a cold dignity about her—a refusal to be charmed or coerced by men like Tamlin, which made her interesting. She represented a kind of strength that wasn’t loud or flashy, but something rooted in self-control, pride, and quiet resolve. She didn’t need to be sexualized to be powerful. And that was her strength.

But then... Sarah J. Maas apparently thought: “Nope, we can’t have that.” In A Court of Silver Flames, we see an entirely different Nesta. It’s like Maas forgot who this character was and instead rewrote her as someone who needs to hit rock bottom in the most cliché, destructive ways possible. Apparently, for Nesta to heal and "grow," she had to drink her way through Velaris, have casual sex with Cassian like it’s a competitive sport, and alienate herself from everyone around her. Because of course, women can’t be strong unless they burn everything around them to the ground first, right?

It’s honestly a little offensive. The message that Maas seems to be sending is clear: in order for a woman to truly grow and become empowered, she has to become hypersexual, lose all sense of self-respect, and essentially lose control. Nesta’s story could have been one of quiet resilience—she could have healed through introspection, through reconnecting with her values, her family, and herself. But no, instead, we get the "empowerment" arc where Nesta’s modesty and dignity are stripped away, replaced by reckless behavior that we’re supposed to cheer on as part of her "feminist journey."

But here’s the thing: Feminism is about choice. Real empowerment is about a woman having the freedom to define herself on her own terms. Nesta was already a strong, independent woman, but she did it quietly. She didn’t need to become this unrestrained, aggressive, chaotic version of herself to be strong. It’s almost as if Maas didn’t know what to do with a woman who wasn’t expressing her power through sexuality and rebellion.

It’s frustrating because this narrative suggests that modest, reserved women are somehow less empowered, less interesting, less feminist. Nesta’s original character had power in her restraint. She wasn’t throwing herself into anyone’s arms, wasn’t out to prove her worth by how many drinks she could down or how aggressively she could argue. She had a strength that was quiet, simmering beneath the surface, and that’s just as valid as any loud, rebellious display of female power.

But by the time A Court of Silver Flames rolls around, it’s like Maas decided that all of that quiet power, all of Nesta’s restraint, just wasn’t enough. In order to make her "strong," she had to rewrite Nesta as someone who found empowerment through reckless, destructive behavior. The message seems to be: unless you’ve hit rock bottom, unless you’ve drunk yourself into a stupor and slept around, you haven’t truly grown. You haven’t really healed. And that’s absurd.

Let’s talk about the sexualization of Nesta. Why does her "empowerment" arc have to revolve around sex? Feyre’s journey was sexualized in A Court of Mist and Fury too, but Nesta’s descent into casual sex with Cassian is somehow framed as this liberating, freeing act. It’s presented like Nesta needed to throw herself into this intense sexual relationship in order to heal. But the reality is, Nesta didn’t need to have sex to find herself. She didn’t need to drink away her pain or drown her emotions in self-destructive behaviors to be strong.

In fact, her earlier arc proves she didn’t need that at all. The moments when Nesta showed true strength were the moments when she was composed, when she held herself back, when she maintained her boundaries. Her refusal to be charmed by Tamlin, her willingness to defy him for Feyre’s sake, even when it came at personal cost—that was strength. Her coldness was her armor, not because she was weak, but because she valued herself enough not to throw herself at anyone. But instead of building on that character trait, Maas chose to tear it down.

The thing is, Maas didn’t just change Nesta’s personality—she retconned it. She rewrote Nesta to fit this idea of what a "feminist" character is supposed to look like, but it’s a shallow, one-dimensional version of feminism. It’s the kind of "feminism" that thinks sex equals power and that modesty or restraint equals weakness. It’s not real empowerment—it’s just a cliché.

Nesta could have remained the reserved, morally complex woman she was and still been just as powerful. Feminism isn’t about turning every female character into a loud, sexually aggressive rebel. It’s about giving women the space to define themselves on their own terms. Nesta didn’t need to lose herself to find herself, and that’s what makes this retcon so frustrating. Maas had the opportunity to write a story about quiet resilience, about a woman who finds strength in her modesty and her self-control. But instead, we got a story about a woman who had to lose everything—including her dignity—before she was allowed to heal.

At the end of the day, Nesta’s transformation isn’t real growth. It’s just a shallow attempt to fit her into a mold of what SJM thinks is "feminist"—and it’s a mold that doesn’t allow for real complexity or depth. Instead of letting Nesta grow in a way that honored her original character, Maas rewrote her into someone unrecognizable. And that’s not empowerment—it’s just bad writing.

#acotar #anti rhysand #pro tamlin #anti ic #anti rhys #anti feyre #pro nesta #anti mor #pro nesta archeron #nesta archeron #nesta acotar #anti nessian #nesta #neris

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velvetvexations · 14 days ago

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what is the appeal of TRFism? how does it supply external validation? explain pls!

From a post I wrote the other day:

A lot of trans women and trans men both are really invested in the idea that trans men have privilege over trans women because they’ve come up with the idea that being either a Man or Woman can be objectively proven tangibly true by looking at how society treats us. If trans women are treated as “Women,” by which they mean “bad in a way that has to do with gender,” then that must mean they’re ~really~ women in a way that they can point to and say “that’s why we’re women, because it makes the most sense to classify us that way, taxonomically.” The obvious other side of the coin is that for trans men to really be men, they must be treated like “Men.” They sincerely think that anyone “moving towards masculinity” gains more social privilege than they had. They are, at worst, given respect that’s “begrudging” as though all a woman has ever had to do is declare her pronouns are he/him to escape the patriarchy. This is even ran with by a lot of transmascs who are super validated by the idea they’re such manly men no one would ever reject them and violently try to push them back into the woman box through murder or sexual assault. The false idea that they’re accepted by the patriarchy is just as soothing to their dysphoria as the idea that our oppression as transfeminine people makes us objectively “feminine.” This is all inherently radical feminism, like, definitionally. This is obscured by the focus of modern TERFs being increasingly centered around trans issues, but while they are bioessentialist, if you look past the explicit transphobia to examine what they believe about gender, the core of their ideology is that “man” and “woman” are okay to exist as medical terms but that if feminist liberation were fully achieved then it could could be nothing more than that, everyone would just be ‘people’ outside the context of biology. True “gender” as radfems define it is exactly what I explained above - a taxonomic classification within a patriarchal society, and the enforced expectations that come with it. For this reason they consider themselves gender abolitionists. Whether or not that’s true or a consistent bead of logic throughout either their actions or stated beliefs is another matter - that’s the belief system of radical feminism, that’s the outline of how they profess to view Womanhood and it’s relation to Manhood.

#trans radical feminism #transfeminism #teerf #discourse

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nushkiespeaks · 1 month ago

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PSEUDO FEMINISM?

Well this is something I wish to talk about in regards to Mahabharat and out of Mahabharat, the general perception towards 'feminism'.

This is so weird that it has almost been fitted in our mind that a true feminist woman is someone who is 'strong physically' or can handle weapons both in historical era and present. People always want to see women with guns/pistols or during that time with bow/arrows or swords, and then they will be worthy of 'applaud'. Else, they're just aren't worth any eyeballs. Be it any story centered around feminism, they will make the lead or OC a sassy character, too much sassy with a foul tongue, adamant and arrogant and who loves to mess with others for the sake of it, and it of course is either learned in martial arts or swords/bow-arrows. They're then regarded as embodiment of feminism. The soft spoken ones, introvert ones and good-natured women are 'weak' or 'dreamers' or the 'damsels in distresses' always.

You can't deny that. This is what you all think don't you?

A woman who has undergone through a lot of trauma only is a true feminist. A woman who is having cigarette, drinking alcohol, drug is a feminist. A woman who is learning martial arts or is in an army etc. is a true feminist. A woman who can't apparently do her own chores also fits into that category.

IN SHORT, A TRUE FEMINIST WOMAN IS SOMEONE WHO BEHAVES EXACTLY LIKE A MAN 🙃. AND I CAN'T JUST UNSEE THE COMPARISON NOW.

You want a woman to beat 20 enemies out and out with a little scratch and boom! You have a strong female lead then only, a feminist woman then only. You want her to be physically strong even, then she'll be worth eyeballs. Or when she's in a revenge mode. She's wild, aggressive and sassy. She's no explanation to why she misbehaves, but she will and the audience will go nuts.

This is what 'female' centric films/book are like mostly. MOSTLY I REPEAT.

I admit there are a few films where a woman is normal and just a simple aspect of her life is considered. But no one would want to see it, that's what. No matter how good it is. Even if you see the film, the back of your mind will run around with the thought--'eh' what's so new about this girl? She's the same; gone is the time we love shy, innocent woman too, who upholds values and is goodie-good. Nah, she's weak lol.

And this is where modern authors fail to sketch DRAUPADI. The authors, and the serial makers.

This is why the retelling Draupadi is never like the OG Draupadi of Mahabharat. Never.

People/authors deliberately make her 'arrogant' or unnecessarily sassy, and times when she doesn't know how to speak and where to speak. Breaking rules has been the new normal. Her shouting at the top of the lungs is applauded. Her literally going berserk with smallest of issues is feminism. She's egoistic, proud and doesn't know where to speak correctly. 'Deliberate' attempts to make her seem like forcefully fierce has been incorporated. She's smug and can't take things the way it comes. Always complaining. Ungrateful to her husbands for this life, and to God also.

Yes, and that is the Draupadi most people love and will love. ( This is the reason I am not a fan of the characterization of Draupadi in Star Plus Mahabharat, and BR Chopra.)

The BORI Draupadi will eventually be labelled as a 'damsel in distress' or a 'scaredy cat'. Her being so much lovey dovey with Pandavas even after Dyut will make her seem powerless. Her running towards Bheem during assaults will make her seem 'weak'. Her being so grounded to the rules or Dharma will make her look weak.

Apparently, her surrender to Krishna/Dharma during Dyut is also labelled as a sign of weakness by some.

Internalized misogyny is just all over. A woman has to be like a man to be labelled as a 'true woman'.

The authors who 'write' about 'feminism' or rather it becomes a piece of 'pseudo' feminism. Please. They diss men in their books and yet make the women behave like men-

I mean. . . *smh*, like WOW. If you hate men, why make your women like men?

#mahabharata #arjun #star plus mahabharat #krishna #mahabharat memes #bookish #booklr #feminism

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olderthannetfic · 1 year ago

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I know about the origins of the Bechdel Test, but I do think it's inaccurate to say it's not meant as a criticism of movies that don't do that. I think that when people stop thinking in binary terms of "is this feminist?" or "is this anti-feminist?" and instead look at things more holistically, that you can recognize both that a character like Mako Mori is great, a step in the right direction for female characters in action movies and especially WOC, go forth and stan her and write all the fanfic you want.... but yeah, it is also a valid criticism of the movie (and many others like it) that she doesn't talk to or have relationships with any other woman in the film.

I think one thing to help people realize just HOW much of women's lives are being left out of media representation when we never talk to other named women about something other than a man in movies, is to just think about your own life. I talk to my mom every day, and if we are not talking about my stepdad or my brother-in-law (and I don't think we've ever had a conversation that wasn't at least IN PART not about them or another man), then it passes the test. I'm a professor and when I talk to a female student about her homework or project (which is, again, something that happens pretty much every day I teach), that's passing the test. If I order food from a female cashier and she has a name tag, that's passing the Bechdel Test! It's literally just constant for the vast majority of women on the planet, and that's what's being left out of our stories.

Like, I like the takes I've seen about how part of the joke in Dykes to Watch Out For is that this is *particularly* alienating to lesbians - as a lesbian myself I agree - but I also think it should be frustrating to straight and bi and ace women as well, because like unless you are like exclusively interacting with your husband or male relatives every single day + you work in a workplace where you are literally the only woman, you are almost certainly passing the test constantly. That's a pretty big part of women's lives that Hollywood is leaving out!

But I think it's important to view it as just one piece of the discussion about feminism and women's representation in film, not the final judge on if a film is feminist or not. Which it wasn't intended to be - as you said, it was mostly a joke on the extreme maleness of 80s action movies. Honestly, I do not miss those days on Tumblr where people were obsessed with declaring certain movies/TV shows/other fandoms they liked as "feminist" or "anti-feminist" and the really bizarre granular discussions people would have between two works that BOTH had a long way to go in terms of representing women. I remember people in the Fullmetal Alchemist fandom would use this to argue about if the original anime or Brotherhood/the manga was better - when both have some fantastic female supporting characters, but are ultimately male-centered stories where even a lot of those women's lives and stories are centered around their male love interests and family members. It's better than a lot of shounen, but if that's your bar for feminism - either version - you have a long way to go (and need to watch WAY more anime because there's sooooo much of it that is female-centric). I also remember people coming up with other tests that were blatantly silly: like I thought the Mako Mori test about "if a woman has a motivation/story that isn't centered on a man" was fair because it did point out a legitimate criticism, but there was that ridiculous "Tauriel Test" where it was "a woman who is good at her job." And it was entirely about someone just disliking that movie critics and feminist commentators alike were down on the Hobbit movie trilogy, which a) were bad movies, sorry you have bad taste, b) are absolutely not where you should focus your attention if you're so concerned about women's representation in film, Tolkein has always been a sausage fest! And her big thing was being mad that people thought Judi Dench's M in Skyfall was a better female character, and so she arbitrarily decided she was "bad at her job" and Tauriel was "good at her job" even though that's completely subjective and can be challenged in both cases.... but also, once again, why are you looking to the fucking JAMES BOND franchise for movie feminism! There's nothing like comparing the relative "feminism levels" of JAMES BOND and LOTR to make it obvious that this is 100% about validating your subjective taste preferences by giving it a "progressive" excuse, not actually about feminism and not actually caring about women's representation beyond how it makes you look good. And yet SO many people took that transparently stupid post seriously. I'd see professional articles mention the Tauriel Test as "one of the new tests" like there was anything serious about it.

And then on the flip side, over-reliance on the Bechdel Test alone led to some clueless conclusions especially in anime fandom, given that anime has an abundance of shows that exclusively feature female characters in school clubs being cute, where those characters are nonetheless two-dimensional archetypes designed for the male gaze. Someone like fandomsandfeminism did a presentation at an anime con that called one of those types of shows "feminist" and some Japanese user eviscerated it, but that just led to the equally shallow fandom analysis of "everything a Japanese person says about anime is automatically more valid" and "any Westerner who wants to criticize anime on feminist/progressive grounds is culturally appropriating and ultimately coming from a place of ignorance, even if they literally have a degree in Asian studies."

Wow, this turned into a rant about the history of bad "feminist media criticism" on this website. Sorry about that, I think I had a point in here somewhere. I guess that the Bechdel Test is indeed a joke and those origins should be understood, but also, I don't think it's wrong to say that it identifies a real problem and one that people could probably take MORE seriously than they do - but as just one part of the conversation, not the Feminism Litmus Test, and certainly not as a dick-measuring contest about whose fandom gets them more progressive brownie points.

I think as long as we grasp that the joke is "The bar is so far under the ground that we might as well go home and eat popcorn there", it's fine.

The real issue with the test is that people started thinking a pass was meaningful.

If you say something like "X% of 2020s movies can't even manage this weaksauce level of women existing", that's a meaningful statistic. Even if you got a couple of data points wrong, you're not factually wrong enough for it to matter because X is going to be some massive, massive percentage, and the overall trend is so clear.

But a pass is nothing to celebrate, and that's where we went wrong.

Like you say, litigating which of two big franchises that barely do anything with women wins on tumblr points is idiocy.

I think people are so unaware of what media that genuinely centers women even looks like that it's hard for them to even begin having a discussion.

I personally have been a massive fujoshi type from adolescence, and media that centers female characters isn't actually what I typically want. (Though media that is by and for women and that doesn't give a fuck what men think of this is.) I am also not much of a fan of slice of life in general...

But when I was coming out and figuring my shit out, being able to go buy collections of Dykes to Watch Out For was incredibly valuable to me.

Ditto the other lesbian comic books that were just sitting there in the bookstore. I'm sure if I went back and reread them all now, I could find things to nitpick or ways they were more for lesbians and less for me as a bi girl, but the really distinctive thing they did was let me exist in a world where media isn't all 80s sausagefest action movies where women are not people.

In fact, they were a world where men don't matter terribly much—not because they're dramatically rejecting men in some facile and reactionary way but because... who cares? They just had other priorities... and this was normal.

It feels like people who've never taken a vacation from really mainstream media just have no concept of what it would feel like to exist in some other space.

And I think that's a pity even if, like me, they later choose to go read mostly BL later instead of focusing on female characters or they genuinely love trash 80s action movies despite everything wrong with them. It's not just sexist media that's the issue: it's that feeling like the fish can't see the water it's swimming in.

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i-drop-level-one-loot · 1 year ago

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You watch slasher movies? I haven't done so in years (much to my disappointment), got any recommendations, classics, popular, underrated, anything really?

I knew I hadn't watched them in a long time, but it wasn't till I had to try and write something based on classic slashers, that I realized how long its been since I consumed that kind of content.

My only plan so far is that I need to watch The Texas Chainsaw Massacre

Alright, Pandora, it depends on your tastes, and what you look for in a "slasher" ❤️

As you may remember, I fucking love the OG the Texas Chainsaw Massacre, and when I got pretty bad last month emotionally I watched it on repeat for two weeks straight. However, if you go in for a regular slasher film you will be disappointed. The first movie is incredible, focusing on amazing shots and atmosphere for nearly the entire first half. It's less of a slasher as we would come to know the genre, and more of an artistic film centered around the horrors of humanity. The series is a wonderful mess of multiple timelines and little continuity, but the sequels better fit the slasher archetype. The best sequel (imo) is the one directly after the first, and it's a black comedy slasher, focusing more on the kills.

Now, slashers ❤️

If you're a nerd and want to experience the slasher history, then before Halloween (which still holds up) there was Black Christmas, and before that the Town that Dreaded Sundown.

The Town that Dreaded Sundown is based off a true serial killer, and unlike TCM which is loosely inspired by Ed Gein, a lot of the kills (except the trombone scene) are based on actual murders, with his mask accurate to the only real world survivor's testimony of her assault. It's very slow pace, and with how desensitized we are as a society you might find it boring, but if you ever get a phonecall from Ghostface, then you have to know the Town that Dreaded Sundown. Fun fact, his mask also inspired Jason's mask from Friday the 13th part 2!

Black Christmas is awesome! I'd recommend it more than Sundown, because of pacing, characters, acting, and overall atmosphere. I love my second wave feminism horror (Stepford Wives (mwah)), and it did a lot better with it's feminist themes than the loose remake from 2019 that tried to be intentionally feminist (ignore the 2006 remake entirely, so bad, so lame, so gross). It did the first person perspective of the killer nearly four years before Halloween's iconic opening. It introduced the idea of the final girl, but she wouldn't become a sexually repressed younger woman until Halloween solidified the trope. It has some great kills that still hold up, and Billy is iconic. I really feel the only reason why he isn't more well known in non-horror spaces is because he doesn't have a mask or outfit that can be replicated and sold in Spirit.

After that we have our most well known slashers, and they're popular for good reason ❤️

A Nightmare on Elm St, Friday the 13th, and Halloween spawned sequels that spiraled off into varying degrees of madness, but still have fun moments.

After the success of Friday the 13th (and the realization of the franchise-ability of slashers) there were a lot of slashers that tried to capture the money magic of the first few success stories. Not all of them were great, but a few notable slashers imo are My Bloody Valentine and the Dentist.

Although Candyman is often lumped in with slashers, like the Texas Chainsaw Massacre, the first movie is more than a traditional slasher. I recommend the first one as a beautiful love story about the horrors of American racism. It's score is still incredible, the behind the scenes are so interesting, and Tony Todd is absolutely beautiful. Such an amazing actor. (Not so) Fun fact: Tony Todd said in the behind the scenes that there originally was a romantic scene where Helen proclaimed her love for Candyman, but they were forced to cut it, because "they were okay with a tall, black man covered in bees.. but, mm, when it came to a kiss, or something like that, it was a little bit too risque..." ( :/ )

(Please please please watch Candyman)

Then the best, or worst (depending on your views), thing happened to the genre; Scream.

One of the best slashers there is, it isn't the first self referential, meta horror (see Wes Craven's New Nightmare), but it did change the slasher genre for a very long time. It was a revival for the genre, since it was declining in popularity by the early 90s. However, post Scream horror was very meta. See Chucky's personality changing from the occasional funny quip, to Bride of Chucky levels of silly (still love him tho). Of the terrible horror trying to copy Scream, I'd recommend Urban Legend over I Know What You Did Last Summer. It was a shame, just how silly a lot of scary movies got back then, trying to be as smart and self aware as Scream was.

But my favorite (outside of Scream) meta horror slasher film is Behind the Mask: the Rise of Leslie Vernon ❤️ took meta to a whole new level, mockumentary style, a camera crew follows a wannabe slasher killer explaining how to be a slasher icon.

I've watched too many slashers to remember all of them right now, but if you want really meta black comedies, Tucker and Dale vs Evil isn't a slasher but a loving joke on the genre, and the Final Girls made me laugh and cry like a little bitch.

A lot of slashers since the late 90s have drifted closer to the black comedy sub genre. Killers that kill for the sake of killing are often B-rated blood fests, that can be great for mindless fun but not so great for box office gains, especially in our current horror renaissance. Slashers don't fit in to the current horror culture. Serial killers aren't scary for desensitized audiences, and the mindless gore expectations set by older slasher films have created a pretty specific genre setup and pay off (dumb people who only exist to die get brutally murdered). It either has to be B-rated mindless fun (Laid to Rest 1 and 2 had terrible camera work and directing, making even incredible actors like Lena Headey feel lackluster, but the practical effects are so impressive I'd recommend it just for the blood and guts (and bewbs)), or comedic (the Hatchet series has great cameos, genuine laughs, and more impressive practical effects, but with good cinematography and directing (still bewbs)). Slashers that don't lean in to how ridiculous the concept of slashers are and try to take themselves seriously often end up falling short, either creating boring killers with no personality or trying to force a plot into a generic slasher shaped hole.

This does include most remakes of slasher movies, as a lot of slashers were remade in the early 2000's with less interesting characters to be killed off by the slashers. The remake of Candyman was an exception, because even though it wasn't as good as the original, it did go back to it's non slasher roots, learning from the mistake that was the third Candyman.

TLDR:

Non slashers that are considered slashers because of the slasher sequels/iconic murderers:

the Texas Chainsaw Massacre

Candyman

Child's Play

Best Precursor to the genre:

Black Christmas

Popular Classics:

Halloween

Friday the 13th

a Nightmare on Elm St

Pre 90's Slashers that I recommend:

The Dentist

Sleepaway Camp (it's divided on whether it's problematic or interesting representation)

Alice, Sweet Alice

My Bloody Valentine

Post 90's meta commentary/black comedy:

Scream

Behind the Mask: the Rise of Leslie Vernon

Hatchet

The Final Girls

Tucker and Dale vs Evil

There are obviously a lot more, but these are a few off the top of my head ❤️

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