#both mainstream media and social media

[sofastuffing]

i have a headache

[somethingusefulfromflorida]

I've spent my entire life in a cultural wasteland, and it fucked me up to the point that whenever I hear someone has the same media taste as me I think it must be destiny or true love or some shit. Turns out that a lot of people like Weird Al, a lot of people like Little Shop of Horrors and the original Muppet Movie, a lot of people like Douglas Adams and Max Brooks and Andy Weir, I just don't live near any of them. Just because somebody likes something I like doesn't mean it's "meant to be," or that we have anything in common, or that we'd even get along! There's more to relationships than recognizing titles.

"No way, I like that too!" Yeah, eeryone does. Grow a personality.

[dailylaurajane]

HOLY SHIT???

[fullhalalalchemist]

URGENT: 🚨🚨EARN IT ACT IS BACK IN THE SENATE 🚨🚨 TUMBLR’S NSFW BAN HITTING THE ENTIRE INTERNET THIS SUMMER 2023

April 28, 2023

I’m so sorry for the long post but please please please pay attention and spread this

What is the EARN IT Act?

The EARN IT Act (s. 1207) has been roundly condemned by nearly every major LGBTQ+ advocacy and human rights organization in the country.

This is the third time the Senate has been trying to force this through, and I talked about it last year. It is a bill that claims "protects children and victims against CSAM" by creating an unelected and politically appointed national commission of law enforcement specialists to dictate "best practices" that websites all across the nation will be forced to follow. (Keep in mind, most websites in the world are created in the US, so this has global ramifications). These "best practices" would include killing encryption so that any law enforcement can scan and see every single message, dm, photo, cloud storage, data, and any website you have every so much as glanced at. Contrary to popular belief, no they actually can't already do that. These "best practices" also create new laws for "removing CSAM" online, leading to mass censorship of non-CSAM content like what happened to tumblr. Keep in mind that groups like NCOSE, an anti-LGBT hate group, will be allowed on this commission. If websites don't follow these best practices, they lose their Section 230 protections, leading to mass censorship either way.

Section 230 is foundational to modern online communications. It's the entire reason social media exists. It grants legal protection to users and websites, and says that websites aren't responsible for what users upload online unless it's criminal. Without Section 230, websites are at the mercy of whatever bullshit regulatory laws any and every US state passes. Imagine if Texas and Florida were allowed to say what you can and can't publish and access online. That is what will happen if EARN IT passes. (For context, Trump wanted to get rid of Section 230 because he knew it would lead to mass govt surveillance and censorship of minorities online.)

This is really not a drill. Anyone who makes or consume anything “adult” and LGBT online has to be prepared to fight Sen. Blumenthal’s EARN IT Act, brought back from the grave by a bipartisan consensus to destroy Section 230. If this bill passes, we’re going to see most, if not all, adult content and accounts removed from mainstream platforms. This will include anything related to LGBT content, including SFW fanfiction, for example. Youtube, Twitter, Reddit, Tiktok, Tumblr, all of them will be completely gutted of anything related to LGBT content, abortion healthcare, resources for victims of any type of abuse, etc. It is a right-wing fascists wet dream, which is why NCOSE is behind this bill and why another name for this bill is named in reference to NCOSE.

NCOSE used to be named Morality in Media, and has rebranded into an "anti-trafficking" organization. They are a hate group that has made millions off of being "against trafficking" while helping almost no victims and pushing for homophobic laws globally. They have successfully pushing the idea that any form of sexual expression, including talking about HEALTH, leads to sex trafficking. That's how SESTA passed. Their goal is to eliminate all sex, anything gay, and everything that goes against their idea of ‘God’ from the internet and hyper disney-fy and sanitize it. This is a highly coordinated attack on multiple fronts.

The EARN IT Act will lead to mass online censorship and surveillance. Platforms will be forced to scan their users’ communications and censor all sex-related content, including sex education, literally anything lgbt, transgender or non-binary education and support systems, aything related to abortion, and sex worker communication according to the ACLU. All this in the name of “protecting kids” and “fighting CSAM”, both of which the bill does nothing of the sort. In fact it makes fighting CSEM even harder.

EARN IT will open the way for politicians to define the category of “pornography" as they — or the lobbies that fund them — please. The same way that right-wing groups have successfully banned books about race and LGBT, are banning trans people from existing, all under the guise of protecting children from "grooming and exploitation", is how they will successfully censor the internet.

As long as state legislatures can tie in "fighting CSAM" to their bullshit laws, they can use EARN IT to censor and surveill whatever they want.

This is already a nightmare enough. But the bill also DESTROYS ENCRYPTION, you know, the thing protecting literally anyone or any govt entity from going into your private messages and emails and anything on your devices and spying on you.

This bill is going to finish what FOSTA/SESTA started. And that should terrify you.

Senator Blumenthal (Same guy who said ‘Facebook should ban finsta’) pushed this bill all of 2020, literally every activist (There were more than half a million signatures on this site opposing this act!) pushed hard to stop this bill. Now he brings it back, doesn’t show the text of the bill until hours later, and it’s WORSE. Instead of fixing literally anything in the bill that might actually protect kids online, Bluemnthal is hoping to fast track this and shove it through, hoping to get little media attention other than propaganda of “protecting kids” to support this shitty legislation that will harm kids. Blumental doesn't care about protecting anyone, and only wants his name in headlines.

It will make CSAM much much worse.

One of the many reasons this bill is so dangerous: It totally misunderstands how Section 230 works, and in doing so (as with FOSTA) it is likely to make the very real problem of CSAM worse, not better. Section 230 gives companies the flexibility to try different approaches to dealing with various content moderation challenges. It allows for greater and greater experimentation and adjustments as they learn what works – without fear of liability for any “failure.” Removing Section 230 protections does the opposite. It says if you do anything, you may face crippling legal liability. This actually makes companies less willing to do anything that involves trying to seek out, take down, and report CSAM because of the greatly increased liability that comes with admitting that there is CSAM on your platform to search for and deal with. This liability would allow anyone for any reason to sue any platform they want, suing smaller ones out of existence. Look at what is happening right now with book bans across the nation with far right groups. This is going to happen to the internet if this bill passes.

(Remember, the state department released a report in December 2021 recommending that the government crack down on “obscenity” as hard the Reagan Administration did. If this bill passes, it could easily go way beyond shit red states are currently trying. It is a goldmine for the fascist right that is currently in the middle of banning every book that talks about race and sexuality across the US.)

The reason these bills keep showing up is because there is this false lie spread by organizations like NCOSE that platforms do nothing about CSEM online. However, platforms are already liable for child sexual exploitation under federal law. Tech companies sent more than 45 million+ instances of CSAM to the DOJ in 2019 alone, most of which they declined to investigate. This shows that platforms are actually doing everything in their power already to stop CSEM by following already existing laws. The Earn It Act includes zero resources for proven investigation or prevention programs. If Senator Bluementhal actually cared about protecting youth, why wouldn’t he include anything to actually protect them in his shitty horrible bill? EARN IT is actually likely to make prosecuting child molesters more difficult since evidence collected this way likely violates the Fourth Amendment and would be inadmissible in court.

I don’t know why so many Senators are eager to cosponsor the “make child pornography worse” bill, but here we are.

HOW TO FIGHT BACK

EARN IT Act was introduced just two weeks ago and is already being fast-tracked. It will be marked up the week of May 1st and head to the Senate floor immediately after. If there is no loud and consistent opposition, it will be law by JUNE! Most bills never go to markup, so this means they are putting pressure to move this through. There are already 20 co-sponsors, a fifth of the entire Senate. This is an uphill battle and it is very much all hands on deck.

CALL YOUR REPRESENTATIVES.

This website takes you to your Senator / House members contact info. EMAIL, MESSAGE, SEND LETTERS, CALL CALL CALL CALL CALL. Calling is the BEST way to get a message through. Get your family and friends to send calls too. This is literally the end of free speech online.

(202) 224-3121 connects you to the congressional hotline. Here is a call script if you don't know what to say. Call them every day. Even on the weekends, leaving voicemails are fine.

2. Sign these petitions!

Link to Petition 1

Link to Petition 2

3. SPREAD THE WORD ONLINE

If you have any social media, spread this online. One of the best ways we fought back against this last year was MASSIVE spread online. Tiktok, reddit, twitter, discord, whatever means you have at least mention it. We could see most social media die out by this fall if we don't fight back.

Here is a linktree with more information on this bill including a masterpost of articles, the links to petitions, and the call script.

DISCORD LINK IF YOU WANT TO HELP FIGHT IT

TLDR: The EARN IT Act will lead to online censorship of any and all adult & lgbt content across the entire internet, open the floodgates to mass surveillance the likes which we haven’t seen before, lead to much more CSEM being distributed online, and destroy encryption. Call 202-224-3121 to connect to your house and senate representative and tell them to VOTE NO on this bill that does not protect anyone and harms everyone.

[jamestaylorswift]

re the last post 😅 I don’t want to pin it all on, ya know, tiktok because I am aware of and have even participated in medium clowning efforts on/spawned on tumblr. however I dare you to look me in the eye and assert that repeated clowning about what taylor swift is doing does not eventually get old

[taliabhattwrites]

I don't think there is a significant or notable number of people who believe transmascs are not oppressed.

I feel slightly insane just having to type this out, but this is rhetoric you inevitably come across if you discuss transfeminism on Tumblr.

The mainstream, cissexist understanding of transmasculine people is the Irreversible Damage narrative (one that's old enough to show up in Transsexual Empire as well) of transmascs as "misguided little girls", "tricked" into "mutilating themselves". It is a deliberately emasculating and transphobic narrative that very explicitly centers on oppression, even if the fevered imaginings misattribute the cause. As anyone who's dealt with the gatekeeping medical establishment knows, they are far from giving away HRT or even consults with both hands, and most transfems I know have a hard enough time convincing people to take DIY T advice, leave alone "tricking" anyone into top surgery.

Arguably, the misogyny that transmasculine folks experience is the defining narrative surrounding their existence, as transmasculinity is frequently and erroneously attributed to "tomboyish women" who resent their position in the patriarchy so much they seek to transition out of it. This rhetoric is an invisiblization of transmasculinity, constructed deliberately to preserve gendered verticality, for if it were possible to "gain status" under the sexed regime, its entire basis, its ideological naturalization, would fall apart.

Honestly, the actual discussions I see are centered around whether "transmisogyny" is a term that should apply to transmascs and transfems alike. While I understand the impetus for that discussion, I feel like the assertion that transmisogyny is a specific oppression that transfems experience for our perceived abandonment of the "male sex" is often conflated with the incorrect idea that we believe transmasculine people are not oppressed at all. This is not true, and we understand, rather acutely, that our society is entirely organized around reproductive exploitation. That is, in fact, the source of transfeminine disposability!

I know I'm someone who "just got here" and there is a history here that I'm not a part of, but so much of that history is speckled with hearsay and fabrication that I can't even attempt to make sense of it. All I know is that I, in 2024, have been called a revived medieval slur for effeminate men by people who attribute certain beliefs to me based on my being a trans woman who is also a feminist, and I simply do not hold those views, nor do I know anyone who sincerely does.

If you're going to attempt to discredit a transfeminist, or transfeminism in general, then please at least do us the courtesy of responding to things we actually say and have actually argued instead of ascribing to us phantom ideologies in a frankly conspiratorial fashion. I also implore people to pay attention to how transphobic rhetoric operates out in the wider world, how actual reactionaries talk about and think of trans people, instead of fixating so hard on internecine social media clique drama that one enters an alternate reality--a phantasm, as Judith Butler would put it.

Speaking of which--do y'all have any idea how overrepresented transmascs are in trans studies and queer theory? Can we like, stop and reckon with reality-as-it-is, instead of hallucinating a transfeminine hegemony where it doesn't exist? I'm aware a lot of their output isn't particularly explicative on the material realities of transmasculine oppression despite their prominence in the academy, but that is ... not the fault of trans women, who face extremely harsh epistemic injustice even in trans studies.

The actual issue is how invisiblized transmasculine oppression is and how the epistemicide that transmasculine people face manifests as a refusal to differentiate between the misogyny all women face, reproductive exploitation in particular, and the contours of violence, erasure, and oppression directed at specifically transmasculine people.

You will notice that is a society-wide problem, motivated by a desire to erase the possibilities of transmasculinity, to the point of not even being willing to name it. You will notice that I am quite familiar with how this works, and how it's completely compatible with a materialist transfeminist framework that analyzes how our oppression is--while distinct--interlinked and stems from the same root.

I sincerely hope that whoever needs to see this post sees it, and that something productive--more productive dialogue, at least--can arise from it.

[interactyouth]

It's Intersex Awareness Week! Did you know it is also Asexual Awareness Week? There are individuals who belong to both groups, such as our own Youth Program Manager Apollo (yours truly) who created this art to celebrate both. Intersex people are born with variations in their sex traits or reproductive anatomy that do not fit traditional conceptions about male and female bodies. On the other hand, asexual people experience sexual attraction in a way that deviates from societal standards, such as not experiencing it at all or only under certain circumstances. Historically, these two communities share a similar fight for bodily autonomy against societal standards that dictate what we "should do" with our bodies. Both communities also often struggle to gain visibility of their perspectives on international, mainstream social media. So, during Intersex Awareness and Asexuality Awareness Week, let's put our hands together in solidarity for bodily autonomy and to be loud and proud!

[elizabethminkel]

Tumblr: I wrote about Tumblr. 🥰 Specifically, last week's Big Announcement, and the ways both internet commentary and the site's current ownership have misunderstood the site in recent years.

This strange gap between the broader internet’s perception of the site and the reality—despite clear evidence to the contrary—isn’t necessarily a problem. I’m a firm believer that our social media spaces would be better if they were less broad. I don’t want everyone to use Tumblr; I want it to work for the people who want to be there.

[mariacallous]

The first thing to say about the hate and scorn currently directed at the mainstream US media is that they worked hard to earn it. They’ve done so by failing, repeatedly, determinedly, spectacularly to do their job, which is to maintain their independence, inform the electorate, and speak truth to power. While the left has long had reasons to dismiss centrist media, and the right has loathed it most when it did do its job well, the moderates who are furious at it now seem to be something new – and a host of former editors, media experts and independent journalists have been going after them hard this summer.

Longtime journalist James Fallows declares that three institutions – the Republican party, the supreme court, and the mainstream political press – “have catastrophically failed to ‘meet the moment’ under pressure of [the] Trump era”. Centrist political reformer and columnist Norm Ornstein states that these news institutions “have had no reflection, no willingness to think through how irresponsible and reckless so much of our mainstream press and so many of our journalists have been and continue to be”.

Most voters, he says, “have no clue what a second Trump term would actually be like. Instead, we get the same insipid focus on the horse race and the polls, while normalizing abnormal behavior and treating this like a typical presidential election, not one that is an existential threat to democracy.”

Lamenting the state of the media recently on X, Jeff Jarvis, another former editor and newspaper columnist, said: “What ‘press’? The broken and vindictive Times? The newly Murdochian Post? Hedge-fund newspaper husks? Rudderless CNN or NPR? Murdoch’s fascist media?”

These critics are responding to how the behemoths of the industry seem intent on bending the facts to fit their frameworks and agendas. In pursuit of clickbait content centered on conflicts and personalities, they follow each other into informational stampedes and confirmation bubbles.

They pursue the appearance of fairness and balance by treating the true and the false, the normal and the outrageous, as equally valid and by normalizing Republicans, especially Donald Trump, whose gibberish gets translated into English and whose past crimes and present-day lies and threats get glossed over. They neglect, again and again, important stories with real consequences. This is not entirely new – in a scathing analysis of 2016 election coverage, the Columbia Journalism Review noted that “in just six days, The New York Times ran as many cover stories about Hillary Clinton’s emails as they did about all policy issues combined in the 69 days leading up to the election” – but it’s gotten worse, and a lot of insiders have gotten sick of it.

In July, ordinary people on social media decided to share information about the rightwing Project 2025 and did a superb job of raising public awareness about it, while the press obsessed about Joe Biden’s age and health. NBC did report on this grassroots education effort, but did so using the “both sides are equally valid” framework often deployed by mainstream media, saying the agenda is “championed by some creators as a guide to less government oversight and slammed by others as a road map to an authoritarian takeover of America”. There is no valid case it brings less government oversight.

In an even more outrageous case, the New York Times ran a story comparing the Democratic and Republican plans to increase the housing supply – which treated Trump’s plans for mass deportation of undocumented immigrants as just another housing-supply strategy that might work or might not. (That it would create massive human rights violations and likely lead to huge civil disturbances was one overlooked factor, though the fact that some of these immigrants are key to the building trades was mentioned.)

Other stories of pressing concern are either picked up and dropped or just neglected overall, as with Trump’s threats to dismantle a huge portion of the climate legislation that is both the Biden administration’s signal achievement and crucial for the fate of the planet. The Washington Post editorial board did offer this risibly feeble critique on 17 August: “It would no doubt be better for the climate if the US president acknowledged the reality of global warming – rather than calling it a scam, as Mr Trump has.”

While the press blamed Biden for failing to communicate his achievements, which is part of his job, it’s their whole job to do so. The Climate Jobs National Resource Center reports that the Inflation Reduction Act has created “a combined potential of over $2tn in investment, 1,091,966 megawatts of clean power, and approximately 3,947,670 jobs”, but few Americans have any sense of what the bill has achieved or even that the economy is by many measures strong.

Last winter, the New York Times columnist Paul Krugman, who has a Nobel prize in economics, told Greg Sargent on the latter’s Daily Blast podcast that when he writes positive pieces about the Biden economy, his editor asks “don’t you want to qualify” it; “aren’t people upset by X, Y and Z and shouldn’t you be acknowledging that?”

Meanwhile in an accusatory piece about Kamala Harris headlined When your opponent calls you ‘communist,’ maybe don’t propose price controls?, a Washington Post columnist declares in another case of bothsiderism: “Voters want to blame someone for high grocery bills, and the presidential candidates have apparently decided the choices are either the Biden administration or corporate greed. Harris has chosen the latter.” The evidence that corporations have jacked up prices and are reaping huge profits is easy to find, but facts don’t matter much in this kind of opining.

It’s hard to gloat over the decline of these dinosaurs of American media, when a free press and a well-informed electorate are both crucial to democracy. The alternatives to the major news outlets simply don’t reach enough readers and listeners, though the non-profit investigative outfit ProPublica and progressive magazines such as the New Republic and Mother Jones, are doing a lot of the best reporting and commentary.

Earlier this year, when Alabama senator Katie Britt gave her loopy rebuttal to Biden’s State of the Union address, it was an independent journalist, Jonathan Katz, who broke the story on TikTok that her claims about a victim of sex trafficking contained significant falsehoods. The big news outlets picked up the scoop from him, making me wonder what their staffs of hundreds were doing that night.

A host of brilliant journalists young and old, have started independent newsletters, covering tech, the state of the media, politics, climate, reproductive rights and virtually everything else, but their reach is too modest to make them a replacement for the big newspapers and networks. The great exception might be historian Heather Cox Richardson, whose newsletter and Facebook followers give her a readership not much smaller than that of the Washington Post. The tremendous success of her sober, historically grounded (and footnoted!) news summaries and reflections bespeaks a hunger for real news.

[molsno]

I don't think there's anything wrong with enjoying kids shows as an adult per se, like that's obviously fine by itself. however I think the fact that there are so many Queers™ that almost exclusively watch shows made for children, and that most of those shows were produced by disney, is indicative of a broader trend of reactionary ideologies in mainstream queer society. often they praise these shows for having "queer representation" in some form, such as a gay couple, usually comprised of young children given who these shows are usually about. of course even these meager scraps of representation are often enough to get a show canceled, but the fact is that for them to even be on children's television in the first place, they must be extremely sanitized. disney in particular is notorious for scrubbing any and all content that any hypothetical evangelical conservative might take issue with from their shows, but this is a problem inherent to children's tv.

I say this not to disparage people who like these shows, but to point out that these shows serve to impose heterosexual norms onto queerness, and it concerns me how many queer people seem to be completely fine with this. why should disney channel and cartoon network get to define what an acceptable level of queerness is? the most radical thing you can expect to see is a same-sex couple briefly kissing. they are wholly sexless and sanitized, stripped away of any challenges to heterosexuality, cissexism, monogamy, and patriarchy. Straight People get the idea that they don't have to worry about queerness, as long as it conforms to their sensibilities and doesn't threaten their dominance.

but worst of all is that queer people themselves approve of this sanitization. I suspect the reason that so many queer people's media landscape revolves entirely around these shows is because they seek acceptance into Straight society, and must prove that they won't rock the boat too much. in doing so, they seek out only portrayals of queerness they consider "safe", and eagerly distance themselves from any form of "degeneracy". queer sexuality, for instance, must be a wholly private endeavor, as it is something shameful. any form of kink that isn't acceptable under wider heterosexual norms is something they must vehemently abhor, and engaging in it must be responded to with violence, whether social, physical, or both.

to be clear, I'm not saying that exclusively watching children's shows causes queer people to be reactionary. on the contrary, I think it's the other way around. queer people who already hold reactionary beliefs flock to these shows because it allows them to see themselves in media while still being able to gain temporary, limited access to the heterosexual project and the privileges doled out to its participants. this is deeply disgraceful. not only is the queer project of assimilating into straightness an inherently harmful one given that it necessitates intentionally throwing queer people who can't assimilate due to being trans, black, disabled, poor, etc under the bus and subjecting them to violence; it's also a fool's errand, given that straight people ultimately still hate the queer people that do try to assimilate and will discard them the moment they stop being a useful tool.

[communistkenobi]

I’ve been thinking a lot about fandom recently, both as someone who has engaged with it regularly for over a decade on various platforms and also as someone who has increasingly become disenchanted with those spaces. Not only because of pervasive issues of (especially anti-Black) racism, misogyny, transphobia/homophobia, and the like, but the particular way those things take shape within fandom.

At the most basic level I think fandom has a fundamental methodological problem with the way it approaches texts, be they shows, books, movies, etc. What I mean is that people almost invariably approach fandom at the level of character, often at the level of ship - your primary way of viewing a text is filtered through favourite characters and favourite relationships, as opposed to, say, favourite scenes, favourite themes, favourite conflicts.

This is reinforced through the architecture of dominant platforms that host fan content, particularly AO3 - there are separate categories for fandom, character and ship, and everything else is lumped together in “Additional Tags.” You cannot, for example, filter for fics on AO3 by the category of “critical perspective” or “thematic exploration”. There is no dedicated space for fan authors to declare their analytical perspective on the text they are writing about. If an author declares these things, they do so individually, they must go out of their way to do so, because there are no dedicated or universally agreed-upon tags to indicate those things, and if your fanfiction has a lot of tags, that announcement of criticality gets mushed together in a sea of other tags, sharing the same space with tags like “fluff and angst” or “porn without plot.” Perhaps one of the few tags closest to approaching this is the tag “Dead Dove: Do Not Eat,” which doesn’t indicate perspective or theme but rather that there is, broadly, some kind of “problematic content” contained therein - often of a sexual nature, frequently as a warning about “bad” ships.

Now this is not an inherent problem, as in, it is not inherently incorrect to approach a text and primarily derive pleasure from it by focusing on a given character or relationship. And I think a lot of mainstream media encourages (even requires) audiences to engage with their stories at these character- and ship-levels. The political economy of the production of art (one which is capitalistic, one that seeks to generate comfort, titillation, controversy, nostalgia, or shock for the purposes of drawing in viewership, one that increasingly pursues social media metrics of “engagement” and “impressions”, one that allows for the Netflix model of making two-season shows before cancelling them, as well as a whole host of other things) enforces a particular narrative orthodoxy, one that heavily focuses on the individual interiority of specific characters, one that is deeply concerned with the maintenance of white bourgeois middle class values of property ownership, the nuclear family, normative heterosexual sexuality and gender, settler-colonial ideas about community and environment, etc. If you do not care about the familial drama surrounding Shauna cheating on her husband in Yellowjackets, for example, because you think the institution of monogamous marriage and the nuclear family is stupid and violent and heternormative, then you will have a difficult time engaging with the show in general. We exist within a deeply normative (and frequently reactionary) media environment that encourages us to approach art in a particular way, one that privileges the individual over other narrative components (settings, themes, conflicts, ideas, political and moral perspectives, structure, tone, etc).

All of which culminates in priming fans to engage with art at these levels and these levels alone, even when that scope is deeply inappropriate. A standout example I recently encountered was browsing the fandom tags on tumblr for the movie Prey - a movie that recontextualises the original Predator film by setting it in colonial America to make the argument that the horrific violence of white colonists and imperial soldiers is identical to the violence we see the Predator do to human beings. It is a movie that makes the argument that, despite this alien monster running around killing people, the villains of the franchise are these occupying soldiers and settlers, an alien force who themselves have just as little regard for (indigenous) human life.

And when browsing the tags on tumblr, what I found was dozens upon dozens of horny posts about how hot the predator monster was. Certainly there were discussion of the film’s narrative, and these posts got a good amount of notes, but the tags were heavily dominated with a focus on the Predator itself. People were engaging with this film not as a solid action movie with interesting and compelling anti-colonial themes, but as a way to be horny about a creature that is, ironically, a stand-in for white settler indifference to (and perpetuation of) indigenous suffering. And if this is your takeaway from an extremely straightforward film with a very clear message, this is not merely a failure to comprehend the content of a text, this is something beyond it - a problem that I think is due in part to the methodological problem of approaching all texts as vessels for bourgeois interiority, individual but ultimately interchangeable expressions of sexuality, perhaps best-expressed by the term “roving slash fandom,” a phenomenon wherein fans will move from one fandom to the next in search of two (usually white, usually skinny) guys to draw and write porn of, uncaring of any of the surrounding context of the stories they are embedded in, and consequently dominating a large sector of fandom discussion.

This even gets expressed in the primary ideological battleground of fandom itself, the ridiculous partitioning of all fan conflict into “pro-“ and “anti-“ shipping compartments. Your stance on engagement with fandom itself historically was (and still is) always first filtered through one of these two labels, describing your fundamental perspective on all texts you engage with. And both of these two labels are only concerned with shipping, as if all disagreements about art can only be interpreted through the lens of what characters you think are acceptable to draw or write having sex. Nowhere in this binary is space to describe any other perspective you might take, what approaches you think are valuable when interacting with art, what themes or stories you think are worth exploring. It’s not just that the pro/anti divide is juvenile and overly-simplistic, it is a declaration that all fan conflict must be read through the lens of shipping and shipping only - the implication being that any objections raised, and criticisms offered, is ultimately just bitching about ships you don’t like.

Which, again, I think is a fundamental error of methodology. It leaves no space for people to discuss the political and moral content of a work, the themes of a piece of art, the thorny issues of representation not just as expressed through individual characters but entire worlds, narratives, settings, and themes. You are always hopelessly stuck in the quagmire of “shipping discourse,” and even rejecting that framework will inevitably get you labelled as either pro- or anti-ship anyway - and you will almost invariably be labelled an “anti” if you express any kind of distaste for the bigoted behaviour of fans or the content of the text itself, again reinforcing the idea that this is all just pointless whining online about icky ships you personally hate.

And this issue is best perhaps epitomised by reader insert fanfiction, circumventing any need for you to project onto a character by literally inserting yourself into fiction, primarily in order to write/read about a character you want to fuck. This then intersects in particularly disgusting ways with real world politics, such as reader insert fics about Pedro Pascal going with you to BLM protests. Even if this is (incredibly over-generously) interpreted as a very poor attempt at being “progressive,” it still demonstrates that many (white) fans are often incapable of thinking about anything outside of a character-centric perspective, quite literally centring themselves in the process, and consequently they think it’s totally appropriate to do things like that. The fact that this is also frequently a racist lens is not coincidental, because again, a chronic focus on (fictional) individuality prohibits any structural perspective from entering the discussion, which necessarily excludes a coherent or useful perspective on systemic issues, where people come to the conclusion that the topic of police brutality is little more than a fun stage to enact whatever romantic shenanigans you want to get up to with a hot guy.

I will stress, again, that it is not a moral sin to have a favourite character, nor is it bad to enjoy reading about two guys having sex in fanfiction. I enjoy and do those things, I engage with fandom often through a character-centric lens (see my url) - because it’s fun! But I think that this being the dominant mode of engagement inherently excludes and marginalises all other approaches, and creates a fandom space where the most valuable way to talk about media is to discuss which two characters you most enjoy imagining fucking each other

[renthony]

On "Consuming Content"

Every now and then a post crosses my feed that follows the vein of, "you have to do things other than consume media or else you'll be a dumb person who doesn't know anything about how the real world works and does nothing but pointless fandom stuff."

I hate those posts for three major reasons, not counting the inherent ableism and classism of "you must have approved Smart People hobbies or else you're worthless" rhetoric:

You don't know what people do or talk about outside of what you see on their social media. Responding to fandom communities on a fandom-driven website as if all these people are one-note cardboard cutouts of people is asinine. In many cases this genre of post feels like repackaged 2012 tumblr "not like other girls" and hipster discourse. Yes, yes, you think you're better than everyone else on this website because your hobbies are less mainstream, more morally pure, and have greater intellectual merit, we get it.

What do you even mean by consuming content? As someone who purposely avoids using the phrase "consuming content" because I find the term too vague to be useful, please be more specific. Are you including every single form of media engagement and art enjoyment? Are you just talking about mainstream TV and film? What about novels? Plays and scripts? Nonfiction books and instruction manuals? Do you mean to imply that going to a book club is a worthless non-hobby? Are you including academic reading? Are you including going to the art museum? Going to the theatre, concerts, or other performances? Taped liveshows? Watching sports events on TV? Are you including news media? Are you including YouTube tutorials about how to do various tasks, crafts, or other hobbies? Are you including trade magazines? Are you including industry publications in various fields? What constitutes "content," and what constitutes "consuming" in this discourse? Define it. "Consuming content" is a nothing phrase that people use to mean multiple different things depending on what they, personally, judge as valid media. It's a buzzword at best, and when the same buzzword can be used to describe both "idly scrolling social media" and "reading and discussing a book," it's a meaningless phrase.

As an artist and author, if engaging with media is bad and worthless, am I supposed to conclude that making it is equally worthless? If "consuming content" is a bad, lazy, worthless, fake hobby, what makes creating art a worthwhile pursuit? If I am constantly being told as an artist that engaging with media isn't a worthwhile pursuit in its own right, and the people who want to engage with my art are just brainless fandom losers, what incentive do I have to make that art anymore? Furthermore, to everyone reading this paragraph and thinking, "that's not what content creation is," I refer you to bullet #2: If the phrase "make content" can be used to mean "low-effort posts made to advertise cheap and useless products" as well as "being a novelist" or "getting a gig as a writer on a TV show," it's a meaningless phrase.

None of that is even getting into issues such as the way influencers are preyed on by both brands and targeted harassment from trolls. Influencer culture has major issues, but boiling those issues down to "stupid vapid young people who are too lazy to make real art or get real jobs" (which is a mindset I see frequently online) is unhelpful. So many people pursue influencer deals because they're living in poverty but are skilled at various social media and advertising related tasks, and just like any worker, they're being exploited because they need to eat. Labor rights for influencers are a huge topic that entertainment industry unions have been actively discussing and working toward. (Related links for further info: [x] [x] [x] [x])

"Consuming content is not a hobby" is a worthless statement unless you define what you mean by both "consuming" and "content." Quite frankly, you also need to define "hobby," because if you're putting requirements on what is and isn't allowed to be a "real" hobby, you mostly just seem like you're moving goalposts and defining "worthwhile hobby" as "hobby I, personally, think is good." Use more specific language to articulate your actual problems with the entertainment industry, the art world, influencer culture, or whatever else you're actually upset by.

Media and fandom can involve any number of enriching, satisfying hobbies that take up a perfectly acceptable and healthy space in someone's life. If you aren't into it, go find hobbies you do like and stop policing how other people spend their precious free time in this nightmare hellscape of a world.

[olderthannetfic]

Ok. Dumb question incoming, but I'd much have a 'conversation' than try to read fanlore or watch video essays or something because I want to hear individual people's contributions.

Why Star Trek?

Don't get me wrong - I like the franchise! I'm not super duper familiar with it, but I do enjoy the bits and pieces that I do know. But I am wondering why that in particular is hailed as the grandmother of all fandoms? Obviously people were fannish before Trek, but I don't think anyone can deny the impact that OG Trekkies had on fic, zines, and eventually on the internet.

I know that it's always been popular and well-liked, but it's not as if there was NO SUCH THING as popular culture/fan culture before that (I mean, come on, the term "parasocial" predates the first Star Trek episode by 10 years!) . Was it just a perfect mix of timing + popularity + etc? Is there something in particular about ST that "hit different" than other series at the time? Or is the fandom really really just that mighty and it's almost "luck" in a way? I guess I'm wondering what particular dominoes cascaded in a line in order for Star Trek to have the impact on fandom that it does today.

or am I wrong? were there just-as-big fandoms before and I simply overhype Trekkie power in my head / happen to see more talk of that than I do of other fandoms? It could definitely be a social circle bias thing.

Ugh. Asking OTNF why Star Trek is so important to fandom history feels very much like asking a Russian History major why War & Peace is so important to literature - hence why I warned you that it'd be a dumb question! But I am just so damn curious what sort of crack was in early ST fandom that made it SO widespread and SO strong.

Like, I guess the TLDR is: what was particularly 'different' about Star Trek, either as a fandom or as a franchise or both, that made it Theeeeee OG fandom, rather than something, like, i dunno, LOTR or the earliest versions of Marvel/DC comics or General Hospital or something else like that?

--

I await the hordes of angry Man from U.N.C.L.E. fans eager to prove that they were first.

And, no, it wasn't that popular. Hence the aggressive Save Our Show campaign and explosion of fan culture when it ended after three seasons.

Part of the answer to your question is that there were like three things on TV at the time. What big fandoms? 'Parasocial' was about non-subculture people feeling warmly towards news anchors or hosts of variety shows or something, wasn't it?

LOTR got rediscovered in the 60s or 70s from what I hear, but science fiction and fantasy books were for fringe weirdoes. SFF was not mainstream for the most part. There are a bunch of History of Book SF Fandom things on Youtube, and you should consult them on the complex role of LOTR in that space. LOTR wasn't a mainstream thing until there were live action movies a billion years later.

The key about Star Trek is that it was a hit with the pre-existing book SF crowd. They were an organized subculture. Some of their favorite writers wrote episodes. Other shit on TV was for people who did not form subcultures in that way. Other shit for SF fans had an audience 1/10,00th the size.

MFU was insanely popular. Illya Kuryakin was the heartthrob of a certain era of girl and inspired many a Russian major. (Seriously, there are soooo many Russia-boos of a certain age who probably still have a poster of him somewhere.) The actor set a record for fanmail. The show may have more influence on fandom history than we think now, but it also didn't rerun the way Trek did, at least in some eras, and it didn't have sequel series in a franchise. I'm always finding 2015 movie fans shocked that there's a still extant and semi-active fandom—or even shocked that the movie is based on something.

Starsky & Hutch was also hugely important and is the moment slash fandom and "Media Fandom" really split from book SF fandom. As Trek fans moved on to buddy cops, they were into a completely mainstream show but in a non-mainstream way. Trek was an awkward bedfellow at SF cons, but S&H just didn't fit at all.

Of course, while Trek is the grandma of AO3 type fandom, don't forget that a shitton of modern fans who are doing "research" just look at the same few sources. Enterprising Women is great and all, but even other fans of the same stuff are like "Oh, that was just X's friends. Where's [thing] and [thing] and [thing]?" Ditto Textual Poachers and the other scant early sources that people think have academic weight.

While Trek would still be central, the picture of what was going on in the late 60s-early 80s would look a bit different if you just found a bunch of 70-something nerds and asked them than if you regurgitate other people's research, you know?

If you want an idea of what else was going on in SF fandom back in the day, check out Galactic Journey, where they roleplay that it's 55 years ago and review SF things "as they come out".

If you want to understand MFU, here's a vid of Illya:

--

What say you, readers?

What have acafandom and fandom history and meta left out?

[psychotrenny]

It's funny to me how Armoured Core 6 spawned like an entire sub-section of Mecha fiction that isn't even based around the game's actual overall content but rather an exaggerated form of some very specific dynamics and ideas that crop up. And like the extent to which this sub-section "really" exists is kinda debatable, being something you only see in like short-form erotic fiction posted on Social Media and Fan-Fiction websites. But it's "real" enough to spawn a whole backlash to it which is also funny because of the stubborn refusal to recognise this fiction as like its own thing

And I'm not saying that this whole sub-section is "good" or that you have to respect it or that it's a thoughtful and compelling reflection of broader Mecha fiction. It's certainly reasonable to dislike this style of Mecha fiction. But you have to at least realise that this sort of thing is it's own style and stop criticising it as just a failed attempt of something more mainstream. Like I'll often see indignant cries of "Do these people even watch Robot shows? How can they call themselves Mecha fans?" and like yeah I'm sure a lot of people who enjoy this form of Erotic Mecha fiction only engage in that specific form of Mecha; which may make them fans of something you don't like but it's stupid to call them "fake fans". And there's also people who do very much engage with and enjoy other works of Mecha fiction but are obviously going to take a very different tone when talking about such erotic Mecha fiction in contrast to Gundam or something. They are very different takes on the same broad idea; interest in one doesn't automatically include interest in the other but that doesn't make them mutually exclusive either

I think an obvious illustrations of this is the whole "Imagine if a Mech Pilot was just a normal guy" post that was going around. To fans of the broader Mecha genre, both Super and Real robot, this comes off as a pretty inane thing to say. It's a common enough idea even among the most well known and successful properties; hardly something you have to "imagine" because most genre fans would have outright seen it. Not to mention the fact that most "proper" mech pilots are just ordinary human soldiers who have been trained for a special job. Like it's not a novel idea in the slightest. But within the specific context of (loosely) Armoured Core 6 inspired erotic Mecha fiction it takes on a whole new meaning. In such fiction your average pilot is some sort of lobotomised cyborg puppygirl, with the simultaneous transhuman and subhuman status of the pilot being a consistently major thematic aspect of the sub-genre. In that context, it would be pretty weird and fucked up for an ordinary guy to be caught in the middle of all that

Which isn't something you need to find interesting or compelling as a Mecha fan. It's perfectly understandable to reject this sub-genre and its ideas as stupid or obnoxious or whatever. But that rejection has to be a conscious act, not a reflexive outburst about how it's different from your preferred form of Mecha fiction. If you're going to criticise this sub-genre of Mecha then the criticisms need to be on its own terms; around what it's actually trying to achieve. You're missing the point entirely if you main criticism of horny mech posts is their failure to understand the themes of Mobile Suit Gundam.

[covid-safer-hotties]

The US Government Is Shutting Down A Key Covid Website

Tomorrow the US government agency responsible for biomedical and public health research, The National Institutes of Health, will shut down its Covid-19 ‘special populations’ website.

This site hosts a huge amount of information about how to treat covid and long covid in the immunocompromised and in people with HIV, cancer and similar immune supressing conditions - so-called ‘special populations.’

The site is going totally offline.

It’s a shameful dereliction of duty by the NIH which, behind Harvard, is the second largest publisher of biomedical research papers in the world. Doctors and clinicians all over the world use the NIH site for advice and treatment ideas.

And it’s going offline during a massive summer surge of covid infections in the US, a surge that is now topping 1.3 million infections per day. (One of whom was Anthony Fauci, who was infected for the third time last week). A surge killing 750 people a week in the US. Many of whom will be precisely the type of people this website is intended to help clinicians treat.

It’s a scandal.

The message it sends to vulnerable people could hardly be clearer - when it comes to covid, there’s nothing else we can do for you. Sorry. That’s it. We’re done.

It’s so terrifying.

It also sends a terrible signal to the medical community about where we are with covid

and will be materially damaging in efforts to treat vulnerable people, both in the acute stage of the disease and those with long covid.

The move to shut the page down is premised on an entirely false assumption: that we already know everything we’ll ever know about how to manage covid so there’s no point keeping a live web resource because they’ll never be anything to update it with ever again.

This is simply not true. While we know a lot about treating covid four years in, we absolutely do not know everything, not by a long stretch. As evidenced by the hundreds still dying every week in summer 2024. And as for long covid, we know very little about how to treat it. For a start, there is no agreed treatment plan. Absolutely none. But apparently we also know so much about this disease we can start shutting down online resources dedicated to it.

Please imagine for a second if a Trump administration rather than a Biden-Harris administration was doing this.

There would be an outcry.

But this move has so far been greeted by media silence.

It is left to a few disability activists and the covid aware to shout into the social media void.

Not that this is a surprise. This is how it has been for the last two years at least, guided by the business as usual, vax-and-forget strategy. More people have died of covid under the Biden-Harris administration than died under Trump. Despite having vaccines since 2021. You’d never know it by mainstream media coverage.

Some people have written to the director of the NIH, Monica Bertagnolli, and asked them to keep the advice live and up-to-date. If you want to do this her email address is:

monica.bertagnolli@nih.gov

Long Covid Action has archived the site here

Maybe if enough people write to her and enough noise is made the decision will be reversed. Worth a try.

Overall it’s just another grim episode in the handling of the pandemic by the current US administration, an administration who, we should never forget, won power in large part due to the outrage at Trump’s handling of the first nine months of covid.

Solidarity to everyone still trying to protect themselves and their communities from covid against all the odds.

At least we can keep fighting for each other.