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starrnobella · 7 years ago

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24 days of starrnobella - Day 19 - Snow Magic

A/N: Back to a fan favorite pairing for you all to enjoy today! This will be the last time this pairing specifically makes the countdown this year, so I do hope you like it.

I want to start off by saying that this story does portray Ron in a rather negative light, but I want to point out that I don't often view him in such a matter. I actually am a Romione shipper, it just appeared that none of the prompts went in that direction this year.

This story was prompted by @trinkisme on tumblr with a large amount of ideas inside the prompt, and I narrowed it down to this little snippet it of time. The story was beta read by @gaeilgerua, a wonderful person and I do hope she starts feeling better soon!

All of the usual disclaimers apply. I don't write for profit and I certainly don't own any of these characters. J. K. Rowling is a wonderful human being for supporting fanfiction and allowing authors to express themselves with the help of her characters and the world she created.

If you are interested in checking out my other works or keeping up with me in general, I have an author's page on Facebook that you can check out (starrnobella Fanfiction) as well as a group (starrnobella Fanfiction Friends & Fans) that I am very active in on a daily basis. I'm also on tumblr (starrnobella) that you can follow along with me as well.

Title: Snow Magic Pairing: Dramione/ Minor Romione Rating: K Summary: There may be something there that wasn't there before.

I hope you enjoy this little fic!

Love always,

~starr

He had always noticed her in school, but he noticed that something was different about her tonight. As he watched her from across the dance floor, Draco Malfoy was honestly at a loss for words. She looked stunning, there was no denying that. However, he knew that there was no way she'd talk to him after everything he had put her through over the years.

Hermione Granger would ultimately be the girl who got away from him because he couldn't be arsed to be a decent human being. Shaking his head, he decided to push the thoughts aside and attempt to enjoy the ball. He needed some kind of a distraction.

Walking across the dance floor, Draco headed straight towards the punch bowl before returning his table. He thought it might be in his best interest to make some attempt at a dance with his date for the evening. Where had Pansy disappeared off to? he wondered, looking around the room. Out of the corner of his eye, he noticed Hermione and Ron in a rather heated discussion. He turned to face them and took a few steps in the direction of their agreement. A small crowd was starting to gather, so he was sure to blend in rather well.

"I can't believe you are being so childish right now," Hermione huffed, crossing her arms over her chest and turning away from him.

"I'm being childish?" Ron scoffed, walking around her so that they were standing face to face. With a huff, Hermione spun away from him yet again and shook her head. "I'm not the one having a bloody temper tantrum in the middle of the Yule Ball."

"Temper tantrum?" she shouted, spinning around to face him and throwing her hands up in the air. "I'm not the one who stormed away in the middle of a slow dance because you assumed I was checking out someone else across the dance floor."

"You were giving him your flirty eyes," Ron hissed, crossing his arms over his chest. His skin had taken on a slightly red hue as his anger boiled just below the surface.

Hermione tossed her head back with a laugh and rolled her eyes. "Flirty eyes, really?" she scoffed. "That's the best you've got right now?"

Ron sighed loudly and rolled his eyes. He opened and closed his mouth a handful of times as though he was about to say something, but something stopped him from saying the words that were coming to the surface.

Draco laughed to himself. The weasel had really done it to himself this time. Even he wouldn't have been so stupid to start an argument in the middle of the Yule Ball and if he was being honest with himself, Draco was known to pull some stupid stunts in his time.

As he watched the scene in front of him, an idea struck him. Looking around at the small crowd, he realized that no one would notice if he slipped outside for a little while. With one last glance around the room, Draco slipped outside.

"Fine, leave. It's what you do best," Hermione yelled after Ron as he shoved his way out of the Great Hall. She wrapped her arms around her stomach and took a few deep breaths before grabbing her handbag off the table and slipping outside to catch a breath of fresh air.

Hearing the door close behind him, Draco looked back over his shoulder to make sure he hadn't been followed and made his way over to the courtyard. A fresh coating of snow had fallen while the dance was going on. It was the perfect setting for a Christmas dance. There were a few other students lurking around the courtyard.

From what he could tell, it appeared to be couples who were out looking for a moment of peace before they returned to the chaos inside. Draco just hoped that Hermione and Ron's argument wouldn't make its way outside before he was finished.

Once he found an open spot of the courtyard away from the windows of the Great Hall, he set to work casting a few spells causing the snow on the ground around him to start dancing around forming a sculpture. After the main design of the sculpture was complete, he set to work putting in the final tiny details that really made all the differences.

It took him about twenty-five minutes for the entire process from beginning to end, but when he finally finished, he was proud of his handy work. Now was the challenging part, though. He had to find a way to get Hermione to come outside and see his creation. How he was going to pull that off was going to be an entire adventure all on its own. He decided to cast a quick protection spell over the sculpture just in case before heading inside to find her.

As he made his way back to the Great Hall, he was busy trying to come up with a rouse that he could use to get her to come outside. In fact, he was so lost in thought that he hadn't been paying attention to where he was going and bumped into someone standing on the balcony of the Great Hall.

"Sorry about that," Draco said taking a step back and putting a hand out to brace the person he had almost knocked over. When he looked up and saw who he had run into, a smile appeared on his face. "Hermione, are you okay?"

Slowly nodding her head, Hermione looked up at him and smiled. "Yeah, I'm alright. Watch where you're going next time. I doubt Pansy would appreciate being run into on the dance floor. Where were you going in such a hurry anyways?"

Draco laughed, carding a hand through his hair nervously. "Actually, I was coming to find you," he replied.

"Me?" she asked, taken back by his honesty.

"Uh, yeah," he said. "I wanted to show you something."

Furrowing her brow momentarily as she thought about what he said, she looked around quickly and shrugged. "Okay," she replied, "let's go."

Draco smirked. "Right this way," he said, ushering her back in the direction he had just come from. As she took off in front of him, he took a deep breath and followed after her. Hopefully everything would go smoothly, even if she didn't accept his apology.

As she rounded the corner of the courtyard, Hermione froze in her tracks when she saw the beautiful sculpture standing in the middle of the courtyard. For the first time in her life, she was at a loss for words. Standing directly in front of her was a sculpture of two young children, a boy and a girl, kissing underneath a sprig of mistletoe.

Slowly she turned to look at Draco. He was watching her take in the sculpture with a nervous grin on his face. When he realized she was looking at him, he carded a hand through his hair and redirected his eyes to the ground. She couldn't help noticing how cute he was when he was nervous. Tucking a stray curl behind her ear, Hermione walked over to him and placed her hand on his shoulder.

"Did you build this?" she asked.

He nodded his head and turned to meet her eyes. "Yeah."

"Did you build this for me?"

"I did. I realized tonight how much of a tosser I have been to you over the last few years and I wanted to apologize for my behavior. I wasn't sure how to tell you and after seeing how Weasley acted tonight, I knew I needed to say something sooner rather than later."

"So you were part of that crowd that gathered?"

Draco nodded. "If I'm being honest, the biggest reason I came out here to build this was so that I didn't haul off and punch the tosser in the mouth for the way he was speaking to you. You deserve better than that, you know?"

"You're right," Hermione said, nodding her head. "Which might be why I ended it."

Draco's eyes widened at her revelation. "You ended it?"

"Mhmm," she said. "I decided that it wasn't worth all the arguing anymore. So I told him it was over."

"Interesting," Draco replied, stroking his chin with his finger tips. "Hermione, can I tell you a secret?"

"Sure," she said, looking back at the sculpture out of the corner of her eyes.

"The little boy in that sculpture is modelled after me and I built the little girl with you in mind," he admitted, kicking lightly at the snow in front of him on the ground.

"I see," Hermione said, nodding her head. "Anything else you'd like to tell me?"

"I've always wanted to kiss you," the words escaped his mouth before he had a chance to stop them. However, now that they were out there he couldn't take them back. "My guess is that it's why I was always such an arse to you because I figured you'd never want to kiss a guy like me��"

Hermione closed the space between them and brought her hand up to his cheek, pulling his face towards hers. Gently she pressed her lips to his as her hand slipped around to the back of his head and her fingers wove through his hair. She smiled when she felt his arms wrap around her waist, pulling her in close as his lips parted allowing her tongue to slip inside.

After a few moments, she pulled away slightly and rested her forehead against his. "Merry Christmas, Draco," she whispered, kissing him softly once more.

#24 days of starrnobella #Christmas countdown #advent calendar #dramione #romione #Hermione Granger #Draco Malfoy #Ron Weasley #draco x hermione #ron x hermione #yule ball #snow #break up #secret crush #minor hermione granger/ron weasley

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morethanjustmediocremusings · 5 years ago

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In the Details: A Deeper Look into Euphoria’s Prom Looks

Taylor Abouzeid

California Polytechnic State University San Luis Obispo

Created in a social climate marked with the upheaval of traditional standards and a call to action sung by today’s ready-to-riot young adults, Euphoria came into a world ridden with daunting social issues. Amidst the reigning chaos of the real world, Euphoria followed the debatably hyper-realistic lives of modern high schoolers. This HBO series was highly regarded for its diverse cast and variety of explored topics. Furthermore, throughout the length of the premiere season, Euphoria retained attention from the press with its highly colorful and expressive use of fashion. To fully understand the weight of these garments, one must first look to the concept creation, then to the habitat through which the ideas were fostered, and finally step into the light of the underlying messages behind layers of mesh shirts and mountains of gender ambiguous dressing. Euphoria used visual clothing cues in their final episode “And Salt the Earth Behind you” to shed light on each character’s fully developed significance and purpose within the show given its highly pertinent cultural context.

Euphoria has come to represent an entire generation. The struggles that the characters face are directly out of pages in our own diaries and journals. Hunter Schafer, who plays Jules in the show, praised the reality of it all saying, “It’s the most current representation of high school” (Nissen, 2019). The current climate of teen life is reflected without the Hollywood glamour that was once acceptable with shows such as 90210 and Gossip Girl. Gone are the days of unrealistic teenage clubbing and drawn-out heartbreak between a jock and a cheerleader. Instead, audiences want to see the poignancy of reality on their screens. In a society that values honesty and vulnerability, Euphoria holds a mirror to our generation’s unique experiences without sugar coating topics of necessary discussion; however, due to the deeply embedded nature of these signals, they could easily be overlooked. By taking a magnifying glass to the distinct looks of the finale, subtle messages can be brought to light and further the identification with its’ viewers. Kenneth Burke believed that rhetoric was aimed at creating identification with an audience rather than aimed at persuading an audience (Kolodziejski, 2019, Pentadic). Furthermore, due to the show’s success, it is easy to assume that many people have come to identify with its messages. It is important to analyze and understand the messages behind these looks because they are representative of an entirety of people, marching to a silent beat of radical self-worth.

Within Euphoria the very real stories of the characters hit home for many viewers. Levinson worked rigorously to diminish any potential glamorization of drug use in the show saying “somewhere around the age of 16, I resigned myself to the idea that drugs could kill me, and there was no reason to fight it,” (Chuba, 2019). He credits this deeply personal connection to the story for the shows unfiltered persona, creating high levels of identification with the viewership. Many viewers have also found his story relatable as one in five teenagers have abused prescription drugs (Centers for Disease Control and Prevention, 2019). According to Burke (1950) identification is defined as a rhetorical process that leads to persuasion. Within the space of the show, it is used to create a sense of common identity between Euphoria’s audience and the accurate portrayal of characters.

The show follows the lives of a group of teenagers navigating the ups and downs of the modern century. To give some background on the show’s main squad, Rue, the main character, is a recovering drug addict, with no intention to stay sober. Jules, a transgender-icon, has just moved from an ambiguous “big city” and is feeling bored with what this small town has to offer her. Kat, a closeted One Direction fangirl-turned sensational fanfiction author, recently had sex for the first time, it was also recorded and leaked to the whole student body. Maddy has been in an on-again off-again relationship with her abusive boyfriend Nate. Cassie is trying to keep her relationship with her college-age boyfriend alive and well. Nate, the typical quarterback character with internalized homophobia stemming from finding out his Dad is gay, is now secretly experimenting with his own sexuality. This wide range of individual character plots allows for a multitude of viewers to find identification within each of their stories.

It is, of course, important to note that the creation of this show was in some part influenced by HBO’s need to stay relevant in the competitive streaming market; I would also like to believe that despite this need for high demand programming, the actions of young adults everywhere sparked a flame in the creative community that further added to the show’s exigence. The current climate directly created a collective of educated and empowered young adults who are tired of being talked over, being told to sit down, or being shamed because “back in my day…” other people had it worse. Students these days are not participating in the same high school experiences as their parents, so in order to find a place to relate, many have turned to the Internet, and the many streaming platforms within it. The HBO-exclusive show, Euphoria, has held this identification role for many young students who have never before seen their identity correctly represented on such mainstream media as the giant outlet of HBO.

With the introduction of new streaming services occurring at radical rates, the need for relevancy remains at the top of many media corporation’s to-do lists. HBO is no different. HBO has been both celebrated and condemned for their raw portrayals of characters. Chen (2019) said, “The show is frighteningly hard to watch—it didn't temper my anxiety one bit all season—but its choice to skid easy definitions around difficult topics is what makes it an important cultural engine of our time.” Although ratings wavered in its early years during the mid to late 1970s, they have maintained steady progression for the last twenty years. In 2011 they were named the most successful network, winning nineteen Emmy Awards in one year alone (Aspden, 2011). The creation of Euphoria specifically came from a need of representation, a public desire to see real reflections of life. The hype for weekly premiers was continuous. The cast posted daily updates and many behind-the-scenes videos to keep the audience engaged. This constant contact between creatives and their fans also helped to maintain the very necessary quality of authenticity that surrounded the show. The season finale, otherwise dubbed “the prom episode,” was no different. Prom in its essence is a highly-gendered, often homophobic, and very public display of tradition, but despite this, for many it marks an anticipated rite of passage. In the prom episode of Euphoria, the queer, gender-ambiguous, and non-traditional characters reconcile this tension; prom became their runway. Dressed to the nines in creative, self-expressing garments, Euphoria’s characters hit the dancefloor with confidence. The episode showed how this generational event has become more accepting and fluid now, more than ever.

The choice to focus on the squad’s prom looks in the last episode allows for a greater opportunity to show character development and emphasize the pungently individual messages hidden in the coattails. Rue, the standout tomboy of the cast, has recently come to accept her budding relationship with her female-presenting best friend, Jules. For Rue’s prom look she wore the makings of a suit, slacks and a black coat, a manifestation of her struggle with feminine expression. But underneath the presumptuous outer shell she adorned her staple converse, one of, if not the only stable things in her life, and a maroon form-fitting, lingerie-inspired slip dress from the closet of the magnificent Jules. Jules stood out in the show as possibly the most comfortable with outwardly expressing her feelings, and her iconic prom look was no let down. A lilac and lavender two-piece crop top and wide-leg pants combo made waves in the sea of traditional prom garments. She also wrapped herself in the pièce de résistance of the night: a dark green, mesh, trench, with the symbol for transgender rights stitched onto the back with ornate black beading. Kat’s bondage and almost masochistic look reflected her growth into a strong woman, while Maddy stayed true to her values of loving yourself in a sexy black sheer halter and fitted skirt combo. Unexpectedly, Cassie was understated, but her more feminine look remained through the champagne gown’s flattering neckline. Nate stayed true to his toxic masculinity and rejected any inkling of creativity; he wore a suit.

In the past there has been a severe push back against “progressive” programming, especially those with highly explicit content. But it is also important to note that these subjects are often not foreign to the audiences participating with the artifact. Sam Levinson, the director, when asked if he was nervous about parental backlash regarding the shows content responded with, “… I feel like this is a debate that goes on constantly throughout time, where people go, ‘Parents are gonna be scared,’ and you go ‘Yeah.’ And young people will be like, ‘Yeah, that’s my life.’ I’m sure certain people will be freaked out by it and other people will relate to it” (Stack, 2019). There has been a very real struggle for liberation of the LGBTQIA+ community, to which Euphoria highlighted a homosexual relationship between its two main characters. Toxic masculinity has come to the forefront of scholarly conversation, to which Euphoria highlighted the mental and physical dangers that the suppression of emotion in boys can have on not only themselves but also the world around them. Toxic relationships have become hot topics in wellness ads, to which Euphoria showed just how serious and sometimes hidden, domestic abuse can be. An acceptance of sex workers is growing amongst younger generations, to which Euphoria explored the world of camming and subjects of porn in general. Trans bodies have come into public discourse, especially regarding the legality of their existence, to which Euphoria cast a trans actress as a lead role and used the platform to spread knowledge of the injustices many people face on a daily basis. The long running war on drugs continues, to which Euphoria used the story of a high school drug addict to bring communities together and create a safe space for all identities to be heard.

I have chosen the visual rhetoric approach to better examine how all elements of the character’s prom looks may have influenced each corresponding character’s final message. Visual rhetoric criticism is aimed at understanding the intersection between rhetoric and visual elements within an artifact (Kolodziejski, 2019, Visual). Albakry & Daimin (2014) state, “analysis of visual rhetoric considers how images work alone and collaborate with other elements to create an argument designed for [a specific] audience” (pp.29). Furthermore, I will be applying the deductive approach to this criticism, meaning I will be using the existing theories and concepts and applying them to elements of the visual artifact. I partly chose this approach because I stand firmly behind its assumptions: the visual is rhetorical, what is not shown can be just as important as what is shown. Lastly, how something is shown is as important as what is shown (Kolodziejski, 2019, Visual).

Within visual rhetoric lies the concept of the semiotic triangle, a figure that shows how an artifact’s referent, sign and reference are all related. Within that, there are three types of signs. Iconic signs are representative of what they point viewers to, such as a photo of an otter being an iconic sign for an actual otter. Indexical signs point to what they represent, like smoke indicating a fire. Lastly, symbolic signs reference an arbitrary relationship, such as the branded Swoosh being a symbol for Nike as a brand (Kolodziejski, 2019, Visual). Euphoria’s prom looks are all indexical signs, meaning they point to what they represent, without directly showcasing the underlying meaning. So, the general semiotic triangle for my artifact would have the referent as the actual look itself, the sign as the nod to what it is representing, and the reference would be the meaning behind it all. As the viewers of Euphoria engage with the show, they rely on their own life experiences to decode the symbols on screen. As articulated by Foss in 1994 “The study of visual imagery from a rhetorical perspective may make contributions beyond providing a richer and more comprehensive understanding of rhetorical processes. In some cases, such study may contribute to the formulation or reconciliation of aesthetic notions…” (pp 213). Through their comprehension of these symbols, the show’s underlying messages are able to speak more powerfully and allow for further resonation between the shows viewers and the characters they are able to identify with.

I have chosen visual rhetoric because it argues that everything shown and not shown has a significant purpose within the artifact. Due to the microscopic lens I have taken to the outfits chosen for the characters, this is most fitting. I have also chosen this method to better excavate the hidden messages of the main characters. Upon first glance I, like many, missed some major hints to character expression and development in the finale. But with the fine-toothed comb I took to these garments, I left no lapel untouched and no bead under-analyzed.

(Rue’s prom look).

For Rue, the exploration of expressing gender fluidity through her clothing choices was present throughout the entire season, but subtle. There was no direct mention of the matter until the season finale. While selecting a very feminine outfit for Rue to wear to prom, Jules expresses concern for possibly altering Rue’s gender presentation. I believe that by staying in the dress for prom, and not changing into something more fitting of her stylistic history, Rue was trying to validate her trust and relationship with Jules. In this scene, Rue had let Jules pick out her prom look and rather than opting for something similar to her previous fashion choices, Jules put her in a tight and sultry, lingerie-inspired, corseted, maroon dress. The color choice of maroon was not only fitting to the color pallet of the show, but was also distinctly similar to the color of Rue’s father’s sweatshirt, which she wears daily after he passes away. This choice I believe was unintentional from Jules, but subconsciously reminds the audience of Rue’s inability to move past that time in her life. Rue also adorned a traditional men’s suit pants and coat. This is the key part in her maintenance of gender fluidity and ambiguity within the outfit. The color choice was subtle and reflective of how natural this “tomboy” style has come to her self-expression. The choice of Converse was also only visibly present for a few moments on screen, but the shoes came to represent so much within Rue’s life. So much so in fact that the actress who played her character, Zendaya, made an Instagram post paying respect to the life they lived in the show with “I’m gonna have to get some new chucks for my personal life… I guess I’ll just have them on standby for season2. Til then Rue Rue” (Zendaya, 2019). Rue initially allowed Jules to change her gender presentation via the use of a frilly dress, but later came to regret the decision, as the dress became representational of their constricting relationship. This outfit represented the fluidity of expression and the intimacy that can be shared through clothing choice.

(Jules’s prom look).

Rue’s romantic counterpart, Jules, quickly became a stand-out character on the show due to her extravagant, stylistic choices within the first few episodes, and her makeup has inspired countless other artists’ renditions of the now iconic looks. For her prom look she wore a silky lilac crop top and similarly silky lavender high-waisted wide-leg pants. To top off the look she also adorned herself with a beautiful, almost floor-length, sheer mesh, forest green, trench piece. On the back of the sheer coat was a beaded symbol for the transgender community. The entire outfit was quite the statement, but I got the feeling that she was going for that “I’m not trying, but I tried really hard to look like I’m not trying” look. Due to the casual nature of a crop top and pant combo, the pieces seem haphazardly thrown together. However, the perfect complementary colors, and the identical silky fabrics make that lackadaisical approach almost impossible. I think it is also important to mention that the outfit as a whole read a little mermaid-y. To the untrained eye this might have gone completely unnoticed, but to someone with a recent history in Women and Gender studies, namely me, this reference was another direct tie to the trans community. Popularized by the television show Life With Jazz, mermaids have become an almost superhero-like figure for many people within the trans community, and now serve as a symbol of recognition. In an interview the star spoke on their significance, “Mermaids are just the most whimsical, mystical creatures of all time. A lot of transgender individuals are attracted to mermaids and I think it’s because they don’t have any genitals, just a beautiful tail” (Jennings, 2015). Jules continued to wave her pride flag high and exuded confidence. She held the message of being proud of whoever you are.

(Kat’s prom look).

Kat, a plus-size girl surrounded by a sample-size school, went through many changes this season. After her first-time having sex not only gets recorded, but also then is virally leaked throughout campus, Kat decided to reclaim control of her body. Kat had the edgier version of the “Pretty Woman” makeover. With an entire new wardrobe of bondage-inspired pieces, sexy black and red lingerie, latex, leather, and laces, she conquered not only her sexuality but also gained a whole new world of confidence as well. Throughout this journey, she also struggled with the duality of being a grade-A bad ass and still navigating soft and cute teen romance. For her prom look she wore all red, the color most symbolic for both power and romance. With a red leather corset on top and red silk midi skirt on the bottom, she exuded confidence as a woman in control of her own body. The black lace-up detailing that became a motif in many of her previous outfits also made a cameo in the prom episode running through both the top and the skirt. These specific choices show her character’s development of self-confidence. In the beginning, she was self-conscious and afraid of intimacy, but as the season progressed, the audience was able to see her blossoming into a woman in charge. She was able to reclaim her body after the sex-tape scandal and make a name for herself by camming on PornHub, and also by gaining enough appreciation for herself to see her love for Ethan. Kat struggled with coming into herself as a sexual woman and in her final look is able to show that you can be strong and confident and still express emotion and love.

(Maddy’s prom look).

Maddy, Maddy, Maddy. Where do I even start? Without a doubt Maddy was the most confident female character on the show, but when her boyfriend abused her at the annual carnival she began to break down. Although she was aware his actions were brutally wrong, she forgave him, like a story of Stockholm syndrome. Following his release back into school, they reappeared as a couple only to break up again in the following episode. Their relationship was undeniably toxic. At prom Maddy went with her group of girlfriends, surrounding herself with positivity and love. She wore a see-through black, crystal embedded, two-piece halter top and form-fitting skirt. She also wore a veil. Maddy shone bright on the dance floor and conveyed the message that relationships aren’t everything, and in the end all she needed was support from her friends, self-love, and some serious distance from her abusive ex-boyfriend, Nate. Maddy loves herself, but by ignoring her case of domestic violence she lost a part of herself. Luckily, in the finale, Maddy surrounds herself with good friends and shows that self-worth and self-love are important and still sexy.

(Cassie’s prom look).

Cassie’s prom look showed less of a character arc than the others, but her message remained just as pungent. On the day of prom, Cassie had gotten an abortion. The pregnancy was the unintended consequence of her boyfriend McKay. They came to the decision together, but Cassie made sure that the decision was ultimately her own. Needless to say, she was not dressed as her usual provocative self. She wore a soft pink satin gown, the most traditional of all the looks, and barely-there makeup, which according to the makeup artist was a distinctive choice given the earlier abortion. The makeup artist for the shoot took to Instagram to explain her look, “As much as I wanted to give Cassie a glittering euphoric winter formal makeup look, I didn’t feel like it would help tell her story in this moment. I wanted Cassie’s total absence of makeup here to signal to the audience that she’s reached the start of a new phase of her life…”(Davy, 2019). The neckline was still flattering but she remained quiet and pensive for the rest of the evening. In the same girl group as the others, Cassie took that day to surround herself with those who could support her without their knowledge of the previous event. Cassie’s prom look said that it is okay to not always be okay, and that expressing that is perfectly fine. This message can be gathered through her soft color pallet the contrasted the otherwise bright evening, the simplicity of the silhouette, and the unexpected lack of dark eyeshadow, a typical element of Cassie’s normal look.

(Nate’s prom look).

I intentionally saved the worst for last: Nate. Nate’s look was boring, and quite frankly fell flat. It would have made more sense for him not to go at all, or maybe to show up in hand cuffs as he did for Halloween. But whatever, he did go to prom, and he did wear a suit. Given the extravagance of the rest of the characters’ prom looks, there was an unofficial standard for all the characters to express themselves creatively in some way for the event. However, I believe that Nate’s blatant lack of creativity is his statement. For his whole life he has been molded to become a superstar athlete, and at no point was he given the opportunity to outwardly express himself. We can thank both toxic and hegemonic masculinity for this lack of expression, for in their essence both of these ideas encourage the repression of emotion in boys and men. His outfit shows that when not given the opportunity to find oneself beyond the expectations of others, or not being able to to explore one’s own creative capabilities a person could become a drone, in this case one with severe anger issues. The suit further shows his acceptance and assimilation into the norms and expectations for his character. Rather than expressing himself through stylistic choices, like many of the other characters, Nate’s feelings come out in destruction and violence. He serves as a precautionary tale, of what the dangers of toxic and hegemonic masculinity can have on young men: crushing self- hatred. For many, fashion can serve as a critical outlet for self-expression. Especially for Euphoria’s teenage viewership, style can feel like the only controllable element of their life while the lack of adolescent autonomy is at its height.

As both a thoroughly engaged audience member and fan of Euphoria, there is not much the creators could have changed about the prom looks to further appease me. Throughout the entirety of the season I found that I was able to relate to every individual character within the show, admittedly even Nate. I was able to see my own life tied into bits and pieces of every character’s individual story. Maddy and Rue stuck out as the characters with which I had the most identification with, and although their characters are almost direct opposites in the show, I felt comfort in being able to compare their stories to my own. However, I feel that it is also important to acknowledge the lack of identification some of my peers felt with Euphoria’s main squad. Some have never had experiences with “hard-core” drugs, struggled with gender representation, bee involved with sex tape scandals, or instances of domestic violence, dealt with the after effects of an abortion, or emotional repression. For many of these people who struggled to find identification with the main characters, the supporting roles served as their substitute. With characters as Lexi, McKay, Gia and Fez, many other identities were explored throughout the season, although in lesser detail. I believe that if these supporting characters had also been given equal screen time, an even wider range of audiences would have been able to engage and identify with Euphoria. By digging deeper into their stories, new plot lines could have been uncovered. Many teenagers struggle with eating disorders, which were left out of the show despite alarming statistics claiming that at least 30 million people suffer from eating disorders in the United States (ANAD, 2019). Nicotine has become a significant outbreak in American teenagers with the Center for Disease Control reporting that “5.6 million of today’s Americans younger than 18 will die early from a smoking-related illness” (Centers for Disease Control and Prevention, 2019). And topics of bullying were also left unexplored by the show despite its constant prevalence in teenage society. Studies have even gone to show that “Bullying was a factor in 2/3 of the 37 school shootings reviewed by the US Secret Service” (Stop Bulling Now Foundation, 2019). However, including all of these topics could have been destructive to the season as a whole, and overwhelming to audiences. Given the relevancy of these topics, they are explored elsewhere in outer outlets. Euphoria was a show intended for people who had rarely seen their identities presented on mainstream media of this scale before. So, despite the few missing teenage issues that are more commonly explored today, Euphoria was able to uniquely cover some groundbreaking material for a show of its size.

Euphoria’s characters all held distinct messages within the show. Through the use of visual clothing cues Euphoria was able to further the identification factor of these stories by visually signaling their significance. Created out of a need for representative media and birthed into a world of social unrest, Euphoria became a breakout show on HBO’s streaming platform and now has the power to unify an entire generation. In “And Salt the Earth Behind You” Rue, Jules, Kat, Maddy, Cassie, and Nate give their final send off to the show by highlighting their completed respective messages between satin finishes and starchy, pressed suits. As a result of the creative expression of the prom outfits in the finale, viewers are left with a lasting impression of self-identification closing off the season.

References

Albakry, N. S., & Daimin, G. (2014). The visual rhetoric in public awareness print advertising toward Malaysia perceptive sociolculture design. Procedia-Social and Behavioral Sciences, 155, pp. 28-33.

ANAD. (2019). Eating disorder statistics. Retrieved from www.anad.org/education-and-awareness/about-eating-disorders/eating-disorders-statistics/.

Aspden, P. (2011, September 24). How HBO revolutionized television. Retrieved from www.slate.com/human-interest/2011/09/hbo-how-it-revolutionized-television.html

Burke, K. (1950). A rhetoric of motives. Berkley: University of California Press.

Cassie’s prom look [Digital image]. Retrieved from www.usa-grlk5lagedl.stackpathdns.com/production/usa/images/1565025651204007-66121653_654233518429076_5605336542765432610_n.jpg?w=1900&fit=crop&crop=faces&fm=pjpg&auto=compress.

Centers for Disease Control and Prevention. (2010, June 3). CDC survey finds that 1 in 5 U.S. high school students have abused prescription drugs. Retrieved from www.cdc.gov/media/pressrel/2010/r100603.htm.

Centers for Disease Control and Prevention. (2019). Youth and tobacco use. Retrieved from www.cdc.gov/tobacco/data_statistics/fact_sheets/youth_data/tobacco_use/index.htm.

Chen, E. (2019, June 6). In praise of euphoria, the perfect anti-binge TV show. Retrieved from www.wired.com/story/euphoria-anti-binge/.

Chuba, K. (2019, June 5). 'Euphoria' creator on authentic trans portrayals, mining "deeply personal" history to tackle teen drug abuse. Retrieved October 21, 2019, from www.hollywoodreporter.com/live-feed/euphoria-creator-mining-deeply-personal-history-tackle-teen-drug-abuse-1215844.

Davy, D. [@donni.davy]. (2019, August 17). Cassie’s clean slate, episode 8, euphoria [Instagram photo]. Retrevied from www.instagram.com/p/B1SOb1EJcve/?igshid=ork83uq4xhn.

Foss, S, K. (1994). A rhetorical schema for the evaluation of visual imagery. Communication Studies, 45, pp. 213-224.

Jennings, J. (2015, June 8). Jazz Jennings: the transgender teen and wannabe mermaid the internet needs (M. Ruiz, Interviewer). Cosmopolitan. Retrieved from www.cosmopolitan.com/entertainment/tv/a40068/jazz-jennings-internets-most-fascinating/.

Jules’s prom look [Digital image]. Retrieved from www.usa-grlk5lagedl.stackpathdns.com/production/usa/images/1565024720966459-66659243_159635475163665_1587604092859566839_n.jpg?w=1900&fit=crop&crop=faces&fm=pjpg&auto=compress.

Kat’s prom look [Digital image]. Retrieved from www.usa-grlk5lagedl.stackpathdns.com/production/usa/images/1565025241108497-67911105_2343940372514856_2058399465206680217_n.jpg?w=1900&fit=crop&crop=faces&fm=pjpg&auto=compress.

Kolodziejski, L. (2019, October 16). Pentadic criticism overview [PowerPoint Presentation]. Retrieved from handout sheet.

Kolodziejski, L. (2019, October 23). Visual rhetoric criticism overview [In-class handout]. Retrieved from handout sheet.

Maddy’s prom look [digital image]. Retrieved from www.usa-grlk5lagedl.stackpathdns.com/production/usa/images/1565024910235630-66213364_669264316881864_5463572260054969293_n.jpg?w=1900&fit=crop&crop=faces&fm=pjpg&auto=compress.

Nate’s prom look [Digital image]. Retrieved from www.data.whicdn.com/images/334716009/original.jpg

Nissen, D. (2019, June 6). 'Euphoria' creator sam levinson opens up about drug addiction at premiere. Retrieved October 20, 2019, from www.variety.com/2019/scene/news/euphoria-creator-sam-levinson-opens-up-drug-addiction-1203233881/.

Rue’s prom look [Digital image]. Retrieved from www.i.pinimg.com/originals/01/2f/1d/012f1d3dc6e81ba8e9d1ef7f4970d064.jpg

Stack, T. (2019, June 16). 'Euphoria' creator on why it's okay that some people are 'freaked out' by his controversial new show. Retrieved October 20, 2019, from www.ew.com/tv/2019/06/16/euphoria-creator-sam-levinson/.

Stop Bullying Now Foundation. (2019). School bullying affects us all. Retrieved from www.stopbullyingnowfoundation.org/main/.

Zendaya [@zendaya]. (2019, August 24). Thanks to season 1 [Instagram story post]. Retrieved from www.google.com/amo/s/amp.redit.com/r/euphoria/comments/cuyynl/from_zendayas_ig_story_who_knew_a_pair_of_chucks/.

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aboutthemponies · 8 years ago

Text

About clop and the sexualizing of ponies

This is not something easy to write about. The subject I’ll be discussing is controversial, and it hits hard on an emotional level. Any attempt to discuss it usually is barred down by every kind of bias and logical fallacy in the book. Yet every time the subject is brought up, my mind screams with unspoken arguments and dialogue, and they haunt me, to the point that I’ve written and scrapped this essay many times. What follows is my best attempt to discuss this, and while it might not be perfect, I will finally be at ease sharing these words, knowing that I tried my best.

The subject is clopping, so if you’re not willing to have a mature, adult conversation at the moment, it’s best to stop reading now. Most of you are probably well familiar with the C word, though there will always be some who aren’t, so to be brief, a long time ago on the forums of 4chan, there was a set of “rules” declared that the internet must follow. While most of these rules are forgotten (you can look them up if you want), one stands out infamously. “Rule 34: There is porn of it; no exceptions.” R34 (as it is frequently abbreviated) is very much more like the law of gravity than a rule; there is no denying it nor its implications. My Little Pony: Friendship is Magic is not the exception of this rule, but rather the most prominent example of it. Tens of thousands of pornographic images of MLP characters exist, and there’s so much of it that MLP probably has more porn than any other fandom in existence.

Most people’s reaction to this fact is polar. In one camp we have the audience of this porn, which takes delight in its existence, and in the other camp, we have those who don’t view it and think it’s pretty messed up. This isn’t to say there is no middle ground in between; like all dichotomies, the reality is more of a spectrum, but for the most part, people’s opinions lie on the ends of this spectrum. Either you’re glad it exists, or you’re horrified by its existence. The point of discussing clop is not to change your opinion it; after all, the response to this material is an emotional one, and people can’t ignore what their emotions tell them. Instead, we must apply logic and reason to understand the issue, and what it means for the MLP fandom.

If you’re interested in why people seek out this pornography, ShellyD provides an excellent, objective commentary on the subject. While ShellyD does a great job addressing the “why” question, his presentation doesn’t delve deeper into what this means for to the fandom. It does, however, shed light on the complicated nature of human sexuality, which is something that our species has pondered for forever yet surprisingly isn’t openly talked about in nations like the US.

While sexuality is a very large and nuanced topic, in this day and age there are two ‘rules’ that are pretty much universally upheld. Sexual behavior must be consensual among all involved parties, and it also must be safe. In most cases, as long as those two criteria are met, the sexual practice in question is considered to be okay, regardless of how other people view it. It is from this angle that most people in favor of clop justify it. As clopping only involves one individual, it is consensual, and it’s obviously just as safe as normal masturbation, so many cloppers will ask, “What’s the problem? When did clop ever harm anyone else?”

I’d like to point out here that by the above logic, consensual and safe sexual behavior at any time, at anyplace, in front of anyone, is okay, and that’s just too large of a stretch to make. In the real world, there’s a lot more rules at play: laws, morals, social norms, etc. Why such rules exist is an interesting conversation in it of itself, but there’s no denying that here context is king; having sex with your partner in your own home is very different than having sex at work, in a school, or in public. The same applies for masturbation and all other sexual activities.

So when we talk about clop, we’re talking about a very specific context, the MLP universe. As well all know, My Little Pony: Friendship is Magic is a show dedicated to ideas like kindness, generosity, honesty, loyalty, and laughter, all bundled up into an idyllic package. While this show means different things to different people, there’s two obvious things that we can say are true about FiM:

Its primary theme is the idea that “Friendship is Magic”

Its target audience is young girls

These two facts alone ensure that the show never is going to dive into sexuality at all, as it is not age appropriate but also not relevant to its platonic themes. This makes the show itself a bad place for porn, and I don’t think there’s anyone actually hoping for the show to include sex scenes any time soon.

What’s more controversial is whether the MLP universe is an acceptable place for porn and sexual activity. To be more definitive, the MLP universe consists not just what we see in the show, but also what we don’t see, and this is why it’s much harder to judge whether the universe is the right context. We simply don’t know everything. However, one can take context clues from the show to discern whether sexuality does exist within the universe.

The base assumption is that the show is representative of the universe like any smaller sample of a larger data set. So if sexual behavior (arousal, intercourse, etc) exists in the universe, we’d expect to see hints of it in the show. However (and perhaps strangely), there aren’t any hints of this in the show: the characters are never horny, they are never suggestive, and most don’t even experience romantic attraction with the exception of a few crushes. Even among pairings like Shining Armor and Cadence, and Mr. and Ms. Cake, their relationships aren’t different than that of close friends. The only hint towards any sexual experience like what humans have is that the opposite gendered couples have offspring. In other words, reproduction is possible, but its mechanism is unknown. We do, however, know of one canon mechanism of reproduction: parasprites reproduce asexually by vomiting their children.

Any further explanation starts making assumptions, but from what we’ve seen, it’s fair to conclude that the characters are asexual and only act in platonic ways (with an occasional burst of romance). This also aligns with Lauren Faust’s intention “to give girls a respectful interpretation of the thing they like.” Because young girls aren’t sexually aware, any world they would imagine would be platonic (perhaps with some romance) like Equestria. This all leads to the conclusion that the MLP universe isn’t the appropriate place for porn, due to the show’s design.

Rule 34 of course, states that there’s going to be porn, no matter what, so what happens when you take a platonic universe and make porn of it? The result is an act of transformation; in the original work all the characters were strictly platonic, and in the derivative work the characters all turned sexual (or hyper sexual, as pornographic works try to be as arousing as possible). As this transformation is from one extreme to the other, it’s not surprising that some fans dislike it. After all, if an individual likes a work because of its specific characteristics, removing those characteristics is a sure way to get them to dislike it.

But to look beyond the individual and their preference, what does this transformation, from platonic to sexual, mean to the fandom at large? The fandom (by definition I’d say) is a place to celebrate the show with others online and in real life, so the fandom’s goal should always be to do just that: celebrate MLP:FiM. This includes the creation of fanworks like art, music, and stories because these works typically reflect the same things we love about the show, whatever it may be. But because clop is transformative, it does not reflect the established characters and their platonic relationships.

This puts clop into a category I call non-appreciative fan works, and in it falls anything that celebrates ideas opposite to ones in the show, like blood and gore as another example. This doesn’t mean that these works are bad, evil, or shouldn’t exist, it’s just that they don’t celebrate the show like other fan works, and by using the same franchise to push the opposite message, these works can disrespect the show. How much they disrespect the show depends on the fan work itself; a long fanfiction with a well explained sexual relationship wouldn’t be disrespectful at all (it also wouldn’t be pornography), but an image showing the entire Mane6 being raped would be incredibly so. Typically, the more sexually explicit a work, and the less context provided, the more depreciative the work is, though this scale is different for every person.

The best way to handle non-appreciative fan works is the tried and true method of tagging. Works that are particularly sexual or particularly bloody probably aren’t what fans of the show are looking for because FiM isn’t either of those things. It’s also better if the tagging systems are nuanced; there’s a big difference between a work that’s sexual, and a work that’s pornographic (in case I haven’t made the distinction clear, pornographic works are sexually explicit works with the intention or effect of being as arousing as possible). The same nuance holds true for the “saucy” works; is the pony’s butt there to be arousing, or is it there because that’s just where butts anatomically go? If done properly, this ensures that no one accidentally views works that contrast what’s explored in FiM.

Part of this is also not pushing the clop agenda in the rest of the fandom. As stated earlier, the fandom’s goals should be to celebrate the show for what it is, and clop deviates from that, so promoting it beyond acknowledging that it exists is unfair to people who wish to avoid it. The same holds true for people who intentionally attack cloppers; cloppers are also allowed to celebrate MLP:FiM, and seeking them out to yell at them is worse. Discussion with the intention to understand one another is always fine, but sadly it often turns toxic (for the brave souls who wish to understand, I applaud you and hope that you don’t receive nasty comments like I have).

The other issue that should be resolved is the misunderstanding between the two most opposite sides. It’s always okay if someone judges MLP:FiM as a bad place for sex because of the context, and it’s always okay if someone likes the porn. But when a member of the fandom discovers the clop (or a clopper), and they find the sexual transformation disrespectful, how do they know the artist/person isn’t trying to be disrespectful? Short answer is that they cannot know, unless cloppers/artists try to make that clear. For example, when someone states, “I love clop,” what do they mean? Is it the image of consensual sex between two of their favorite characters that they like, or is it the image of all the show’s cast being raped that they enjoy? These are two very different things, so if cloppers don’t want people to assume the worst, they should be more specific. The statement “I love clop because I like sexual fantasies between my favorite ships” is much more descriptive of what the person actually enjoys, and it also explains their motivation. Really, any short explanation should be enough to rid people of doubt that one is trying to be disrespectful.

Now to quickly summarize everything I’ve stated above: Clop is a hard thing to discuss. The subject tends to polarize people, which likely due to how complicated sexuality is. There is nothing intrinsically wrong with clop, though the judgement is ultimately based on whether one thinks it’s appropriate given the context of My Little Pony: Freindship is magic. Because it’s a show about friendship, and because it depicts its characters platonically, many will reach the conclusion that porn of the show is not appropriate. Anyhow, clop is a transformative work, which means that it should be tagged and available, but not promoted and not hated. Misunderstanding can hopefully be cleared up by having cloppers explain to non-cloppers that they mean no offense when the two worlds do collide.

At the end of the day we still can all celebrate pony together, and diversity within the fandom can help make it a great place.

#mlp:fim #brony #discussion

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