#but queer language has come a long way since then

[amphibious-thing]

I saw RENT (stage show) recently and I have a lot of thoughts about Angel and they’re mostly just that I wish more people understood the historical context behind her character

[kiapet2]

Alright, it’s less than a week since the Owl House finale aired and as expected I’ve already seen two direct comparisons to Steven Universe’s ending and several more vague-blogs, because one of this site’s hobbies is using other queer shows to put down Steven Universe. So let’s do this, then. Let’s compare the endings of Owl House and Steven Universe, and what each is ultimately trying to say.

Steven Universe and the Owl House are both shows that deal heavily with the clash of individualism and self-expression vs. socially-mandated conformity, and both shows’ final villains ultimately embody this conflict. One major difference, however, is that Owl House approaches this from the perspective of legal/societal structures, while Steven Universe approaches it from the perspective of family structures.

Steven Universe has always been about family--and particularly the ways traumas and biases are passed down through a family--and it has always heavily used the language of metaphor to discuss these topics. The Diamonds are the ultimate extension of this theme, something a lot of bad-faith (or just bad) takes on the ending miss; they interpret the diamonds in their literal capacity as dictators, rather than the way Steven Universe always portrays them, which is as matriarchs, i.e. the heads of a family who dictate and control all the family’s other members. This metaphor becomes more and more blatant until it outright becomes text, with the Diamonds turning out to be Steven’s literal family members, with whom his part of the family is estranged because of their previous controlling behavior.

In accordance with this theme, we ultimately find out that the Diamonds’ toxic ideology, with its rigid standards of perfection, are not only something they enforce on the gems below them, but also on themselves. They are suffering from the system in their own ways, unable to live up to the standards they themselves created. And who among us hasn’t known someone like that? A parent or grandparent who grew up under a cruel, oppressive worldview, and instead of rebelling against it internalized it--who turned around and said “I dealt with this, and so can you”? And so the ending of Steven Universe is the Diamonds realizing exactly how toxic the rigid ideology they’ve spent their lives perpetuating really is, and confronting the fact that their adherence to this ideology is what destroyed their relationship with Pink, and that the only way they’re going to have a relationship with Steven is if they’re willing to commit to changing both themselves, and the family structure they’ve enforced for so long.

Emperor Belos, in contrast, is not suffering from the structures he created, because his rules were never meant to apply to him. He sees the witches (and demons, and so-on) as lesser beings, evil beings, who exist to be controlled, and ultimately, exterminated. And every element of the society he built--the schools, the government, the police force, the religion--he intentionally constructed to keep these lesser beings under his control. The real-world allegory isn’t hard to see, here. And because what Belos represents in the story is, in fact, a fascist leader, the story shows that he can’t be reasoned with in any way that matters, and instead he is ultimately ground into paste beneath the boots of the people he sought to destroy. Different themes, different endings.

Now the usual argument that comes up here is as follows: but the Steven Universe ending isn’t as realistic! Not everyone is going to change, not everyone is going to be able to be reasoned with. Not every older, conservative family member is eventually going to accept you for who you are. And while that is true, ultimately SU isn’t meant to be realistic; it’s meant to be a power fantasy. Rebecca Sugar has come out and said before that they wrote a world in which there was good in everyone, because that’s the way she wishes the world could be. That’s the world they want to be able to believe in. And I am never going to begrudge a person, much less a queer person, for finding healing in writing that kind of world.

But you know what else is unrealistic? What else is ultimately just a fantasy? Grinding your government’s fascist leader into paste under your boot, then taking over and remaking society into something that accepts everyone. Sadly, Trump is not likely to get his ass beat any time soon. And more generally, punching fascists, while ideologically sound, is something most people are not going to get to do, due to real-world consequences such as “getting beat up by the fascist’s angry friends” and “being arrested for assault”. And even if you did depose one leader, our very society is set up in a way that perpetuates all manner of injustices, and systemic change is a complex and lengthy process that almost certainly won’t be completed in our lifetimes. But it’s fun to imagine we could, isn’t it?

Both endings are power fantasies. Both show the way they want the world to be, rather than the way it is. They are very different power fantasies, which fill very different--and at times conflicting--needs. And in situations like that, internet culture really likes to pick one to be the right fantasy, the right way to look at the world. 

But the truth is, both fantasies are needed! Some people need stories about your queerphobic relatives finally realizing the error of their ways and taking the necessary steps to accept and reconcile with you. And some people need stories where you get to grind fascist bastards beneath the heel of your boot. It’s okay if you prefer one type of fantasy over the other! But in the end, both are valuable, and both are important. 

And isn’t it wonderful, for us to have such a diversity of great queer stories? That we can explore both of these deep, conflicting needs? Let’s appreciate each of these fantastic works for what it was meant to be, rather than trying to pit them against each other or make them conform to a single, “best” way to tell a story.

[sky-is-the-limit]

"Mine."

Bi!Reader x Abby Anderson

Summary: Your friend, Abby, has issues with who you decided to share your first queer experience with and she decides to take matters into her own hands.

CW: Afab!Reader, Porn with little plot, NFSW content, Oral sex (receiving), Suggestive language.

Song recommendation: Slow Down - Chase Atlantic

WC: 3,223 words.

''Abby, stop! Can't you walk a little slower?!'' Short of breath, you gathered whatever energy was left in you, after what was probably the most embarrassing moment you had to endure so far in your lifetime, trying to catch up with Abby's long strides down the cold corridor.

One thing for sure, she was purposely making it a challenge for you to keep up with her.

''With Nora? Seriously Y/N?!'' Finally, she turned slightly the side of her face around for a second, her piercing blue eyes now a shade darker as she shot you a look of disbelief at that, letting out a dry laugh before shaking her head, scoffing.

Unbeknownst to you, your fate was sealed the moment you decided to be brave enough to experience something your soul had been longing for since you were old enough to understand what romance was and why it only seemed to be limited between a man and a woman.

It wasn't meant to happen. Neither you kissing Nora after her blatant advances in the gym's locker room nor Abby walking in as though your life was a badly written comedy and the entire scene was scripted perfectly to humiliate you.

''I'll explain if you stop running away from me!" Your heart pounded in it’s cage, rattling the bars that were your ribs as her pace was only rapidly increasing with each second, her soaked in sweat sleeveless tee stuck on her like a second skin.

''No need. What I walked in on was pretty self-explanatory.'' Her tone was more bitter than expected, a hint of jealousy behind every word she so acerbically punctuated at you.

Your initial thought, that her anger was due to you hiding such a significant part of your identity from her, vanished entirely. It was abnormal, how a person so close to you who happened to be so openly comfortable with her sexuality, was treating you in such manner.

The last two years allowed to you get to know a woman so kind and gentle in contrast of her intimidating physique, who immediately welcomed you and only gave you unconditional support and care in return of your friendship. It scared you that your intuition was screaming that there was more to this than she led on.

''I didn't mean for you to find out this way, I was-'' Your attempt to explain was cut short as she finally stopped outside her room, leading you to bump your front into her defined back, your fingertips lingering a bit longer on her shoulder blades.

''I just don't fucking get it.'' It wasn't frequent for Abby to behave so irritably, her milky freckled skin reddening with frustration, losing her calm composure for something that could easily be solved, if she would just let you explain.

Her fingers shuffled with her keys, agitatedly trying to find the right one so she can unlock the door. Every passing second was driving the both of you to insanity, for different reasons.

''That I happen to also like women? A bit rich coming from you, Abs.'' This was getting ridiculous and you made sure the tone of your voice conveyed that, spitting out every word with sarcasm and intent.

She finally unlocked the door, pushing it with such force that it guarantied to leave spots on the white wall of her bedroom before eventually turning her body around to face you.

''That you like her.'' Abby's tone dripped with scorn as she responded to your remark, her words carrying an edge sharper than a knife. Her eyes narrowed, a vertical wrinkle appearing between her eyebrows, lips pursed slightly with her arms crossed over her chest.

Her eyes seemed to pull you in, a gravitational force that you couldn’t resist and so unable to maintain eye contact, you drifted your gaze to the floor.

''It's not that, I- fucking hell.'' The words tumbled out of your mouth in a fast-paced torrent, echoing the racing thoughts within your mind.

Seeing that you weren’t going to get her to spit out the truth and leave her stubbornness aside, you sighed deeply, tugging her arm, beckoning her to follow you into her room without waiting for an invitation.

''I just wanted to.. I don't know, confirm my suspicions. That I might like women too and Nora.. was just there." You admitted, closing the door behind you. Her brows knitted together in a mixture of confusion and curiosity

''You never told me about.. your 'suspicions'.''  Abby frowned, tilting her head clearly awaiting for you to say more.

''I wanted to make sure first, you know.'' You watched her eyes study you for what seemed like an eternity. It raged through your veins, a wildfire you were ill-equipped to temper, let alone control. 

''And?'' She muttered, her breath almost visibly lodged in her throat. You couldn't help but tore your eyes from hers, feeling your face heat up considerably.

''And my suspicions were correct, I guess.'' You mumbled, cheeks hot under her scrutiny. Abby's response to that was expressed under her breath, almost unintelligible but definitely annoyed.

''Stop with the fucking mumbling, Abby! If you have something to say to me then just say it.'' You finally snapped, every fiber of your being screaming with frustration.

''And it had to be her? You barely even know her, Y/N!'' She was seething now, eyes narrowed in a vicious glare as she slowly edged dangerously closer to your form. Her tone, like a bass drum, resonated in your chest, leaving you with a strange fluttering sensation.

''I don't understand why it's such a big fucking deal to you, Abs!'' At this, you glowered, craning slightly to get in her face before snarling,

''It was merely just a kiss! But yeah, don't worry, when I decide to finally have sex with a woman, I'll make sure to ask of your approval first.'' You huffed, chuckling at her audacity. The words came as a snarl, low and menacing with a knot tightened in your throat, fighting to hold in the urge to ask of her transparent jealousy.

''I just think you should've had your first with someone you know, someone you trust.'' And finally she, too, seemed to realize she had gone too far with this. She hesitated at the fire in your eyes, her expression softening a fraction as she mumbled the words.

''Yeah because there's a bunch of women in my life, waiting for me to say the word.'' A second, two, three passed without any motion or words exchanged. No response from her as the air grew thick with tension. The question hanged in the air, heavy and intoxicating.

''There's at least one, that's for sure.'' The words hit you with the power of a thousand crushing waves. Overwhelmed, your entire body became impossibly still and you just stood there frozen, unblinking, lips slightly parted.

Pending, whether to breathe or scream. It was doubtful whether you were meant to hear that or not yet judging from Abby's indecipherable expression, she was not fixed on an answer either.

''What?'' Even if you weren’t thoroughly sure of what exactly had been transpiring between the two of you since your group moved to the WLF base two years ago, you knew how to recognize a botched confession when it was staring you in the face. 

Eventually, you two ran out of things to say, exhaling heavily as you fall silent.

Abby ultimately decided to take matters into her own hands, her boots clicking on the ground with every step she took towards you, approaching you so painfully slow that your heart almost stopped at the anticipation she brought into your bones.

By the time she was merely inches away from you, you exhaled the breath you had been holding deep in your throat, focused only on backing instinctively away as slowly as she was approaching, until your lower back hit the edge of the desk near her bed.

That’s when it fully registered just how close you two were. Enough that you could feel her hot breath against your neck. Lifting your eyes up to look at her properly, you shuddered at her gaze, hardened eyes smoldering with burning intensity, making you mildly uneasy to this new sensation taking over your body.

''God, you're so fucking thick sometimes.'' She launched herself at you, descending her mouth onto yours, trying to take possession of lips that she had only tasted in her dreams.

Her kiss was hypnotic, so insistent, pressing the tip of her tongue to your shut lips until they surrendered to her and then pulled you the rest of the way against her, your face pushed into hers in a smothering kiss in which you hardly participated in, letting her dominate it in any way she saw fit and it was unparalleled.

One hand was in your hair, tugging it gently and the other at the base of your neck keeping you close to her as though wind was to drift you away from her embrace. Her fingertips slipped beneath your collar to tease at the skin just underneath your clothing and you found yourself melting into it, eager for what would follow.

''I always knew that one day I'd have you like this'.' Gently, she trailed her fingertips up to your jaw, turning your head to the side before attaching her lips to the soft skin, planting wet kisses all over it.

If someone asked you whether this might be a record for how quickly arousal had overtaken your senses, you may have lied. Of course not, you'd say. No way did it take just one nip on your neck to get you this fucking soaked. It started a fire within you no one else could ever ignite.

''You think I haven't noticed how you look at me?'' She latched onto that perfect meeting point between your jaw and throat where she could feel your hammering pulse against her lips and tongue while she marked you with her mouth.

''Fucking hell-'' You gasped as she found that spot that unlocked your entire body, making you squirm and whimper as she increased the intensity of her coordinated attack on it, biting and soothing, until you were a keening mess.

''I always thought that it was gonna be me but you're so god damn impatient.'' Goosebumps slithered down your spine as darted her lips up to your ear, her lips gently caressing your lobe and your hips bucking slightly, longing for her touch.

Her hands trailed down the dips and curves of your body before grasping your arse in both hands, hoisting you upward with ease. You responded, wrapping your legs around her eagerly as she guided you both backwards towards the bed.

Feeling her shins come into contact with the edge of her mattress, she sat down with you straddling her lap, her lips caressing your neck softly.

''She won't get to have this. Not with you.'' She murmured, pulling your bra cups down so your breasts were on full view over the fabric of your shirt, making you squeak, blinking owlishly at the sudden development.

A rush of excitement washed over you, feeling a near-instant reaction between your thighs. You couldn't help but quiver as she dragged her fingertip across your bare nipple, your breasts heaving with each fast breath.

''So beautiful.'' Her breathless whisper set your skin ablaze, gawking at you as though you were the finest masterpiece in a gallery.

''Abby, please-'' Your nails dragged down her defined forearms, creating red lines impatiently. You weren't sure what you were begging for but the slight smirk that formed onto her lips showed you that she understood anyway.

What was certain, was that you were a proper mess under her mercy. Suddenly, the cool temperature of the room turned into unbearable heat, skin on fire contradicting the cold sweat slipping down your spine.

A whine escaped you as she took your nipple in her mouth, latching onto the very tip with her teeth. She held your stare as she swirled her tongue around the peaked bud, the lace just thick enough to keep her from touching you, but only just.

You could still feel her lips curl around it and the heat of her mouth blazing your skin, leading you to grind against her broad thigh, desperate to rid yourself of the ache between your legs.

Driven by the heat settling in your lower half, you found yourself subconsciously grinding down into her lap, eager for any kind of friction to help soothe your ache. It wasn't enough.

Growing frustrated, you planted your hands on her broad shoulders, supporting yourself as you gently started pressing your hips against hers, subconsciously griding them up and down . Sensing your desperation, she chuckled to herself.

''Not like this. I want to taste you.'' There was nothing she’d love more but to go down on you, feel your thighs quiver and press against her, have you pulse around her tongue until you’re a sobbing mess, begging him to stop and begin, a never ending cycle of pleasure.

With a swift movement of her hands, you found yourself against the soft cottoned sheets of her bed and Abby barely just below your waist, looking up at you with a gaze full of desire.

The hunger in her eyes as she easily removed your jeans from your legs was striking, mesmerising every nerve in your body to stay still under her touch.

Your panties were almost transparent when she reached down, and she wasted no time to zoom in on them. You were practically creaming her fingers once she moved them past the flimsy material, slipping it down to your ankles and then tossing it aside.

She turned her undivided attention to your drenched cunt, folds gleaming with your overflowing slick. Without hesitation, she pressed her lips against your slit, licking excruciatingly slow your arousal and groaning at the taste of you.

In that moment, she felt drunk, gliding her tongue through your wetness, soft sighs escaping her lips whilst taking your scent in. She licked a path up your slit to your throbbing clit before sucking it into her mouth, her pointed tongue tracing circles around it.

It was intoxicating and she was hooked from the first tantalizing taste. Her tongue dug deeper as she sought more, burying her face into the apex of your thighs. 

Only if she knew how many sleepless nights you spent dreaming of her with your hand in between your thighs, wishing it was her instead.

''Abby-'' You moan her name like a desperate prayer, voice feeble and croaky to her touch. Her tongue was painfully, awfully delicate and torturously slow as it circled your sweet spot. In need to feel more pressure, you tried to lift your hips into the pleasure with her grasp tightening on your thighs, promising blue-shaded marks to appear so to hold you into place.

You were too enthralled by her mouth to notice that one of her hands had left your thighs as soft lips rested against your clit, sucking it with need before two fingers slid inside of you with ease, curling upwards to hit your spot instantly.

Her fingers fucked into you slowly, agonizing, matching the pace of her tongue flickering every inch of you. You jolted as if you’d been electrocuted, tense and shirking as you gripped the sheets so tight, it felt as if you'd rip them to shreds.

''My girl.'' Her voice sounded so broken and wrecked, showing you exactly how bad she craved this, craved you. Your fingers tugged at her soft hair desperately for something to keep yourself grounded.

The sound that escaped her lips was so feral, almost like a growl matching her brutal pace, and your eyes blurred with stars as she hit the deepest parts inside of you with her long fingers over and over.

The orgasm building inside of you with each thrust was overwhelming, threatening to leave you shaking and breathless in a way no other person could ever quite manage, even if they were the most experienced on the planet. No one mattered but her, neither to your heart or trembling body.

''Mine. Aren't you?'' She whispered breathlessly before licking you again, slower and more deliberately than before.

The action drew a sharp cry from your lips which was quickly stifled as you bit down on them, squirming under the flickers of sensation. It felt as though you were connected, quickening her pace, working in broad strokes, sliding against the sides of your labia.

You felt your face flush to her question, whether it was from the raspy, assertive tone of her words, or the return of her searing gaze on you, perhaps a combination of both, you didn't know. Not trusting yourself to speak, you settled for a shaky nod and a barely audible 'yes' that came out mostly as a whimper. 

You arched your back, your hips jerking in his grasp as the pleasure made your body burn from the inside out. You moaned with complete abandon, your grip on your sheets almost tearing holes in the fabric.

The noises coming between your legs were obscene. The slurping and sucking that reached your ears drenched your body with a hot flush and you threw your head back with a long whine. Your body was aching for relief, a way to release the tension that had been building up from the past couple of days of sexual frustration. 

Pleasure twisted deep in your belly, and the release was nearly excruciating when you were finally pushed over the edge.

Without being able to control the moans and whimpers lodging in your throat any longer, you finally yelped in pleasure as she lapped at your cunt, white dots in your vision as the orgasm hit you hard, your whole body shaking with the sudden release of tension.

The pressure, the heat led you to scream, tears forming in the corners of your eyes from the intensity, but her mouth refused to leave your throbbing core. She slid her tongue inside your hole, grinning at the rush of your fluids on her chin.

It was not deep, not even close, yet the stretch was enough to curl your toes from being overstimulated. Enough for you to croak out her name as your back pressed against the bed, kittenish and feeble.

Nothing else mattered but the feel of her tongue, as she drew your folds aside and ruthlessly drank mouthfuls of your release, as eagerly as someone stuck in the desert for far too long coming across an oasis, glistening slick dripping down her face in the process.

You held your palms across your mouth attempting to stifle your cries while bucking your hips against her greedy mouth.

When she was satisfied enough, she pressed her head gently against your thigh, planting a soft kiss there before darting her gaze up to your face, taking in the mess that she made of you with a beaming smile.

''That was- fuck.'' There were no words to describe the euphoria you just experienced and so you just stared at the beautiful woman resting so comfortably against your skin, with half lidded eyes, stretched open, and ever so pleased.

Speechless, your hand reached down to her angel carved face, tracing the outline of it softly with your fingertips.

''Oh, we are not done yet.'' Yeah, you might have to thank Nora after all.

[bogunicorn]

I think it says a lot about the shitty way queer people are treated that my reaction to the extremely obvious Cressida/Eloise chemistry this season is paranoia and suspicion rather than just seeing something with my eyes and trusting that that is, in fact, what I am seeing.

Cressida is obviously being set up to marry Debling to avoid being forced into a marriage set by her father, and characters won't stop reminding the audience that Debling is going to immediately disappear for years after the season and leave his wife to run his estate and live whatever life she wants while he's away. Violet has consciously given up trying to encourage Eloise to find a husband, and instead their conversations are about how Eloise needs a friend other than Cressida. They use the same language that the hetero couples use (Cressida calling Eloise not wanting her friendship earlier as "rejecting my suit," Eloise calling on Cressida the way a male suitor would, seeking each other out anytime they're at a shared function), and Cressida's father warning her to stay away from Eloise is straight out of the coming-of-age queer romances I read as a teenager. It's shot like a romance. If they went full Tipping the Velvet in ep 5, I wouldn't be at all surprised. The showrunner is also a gay man whom I would hope isn't stupid enough to be writing them like this "by accident."

It's also really clear this season that the writers have been listening to the show's reception and answering critiques in-universe. It can be a little obvious, but I don't think any of it is mockery or pandering. Violet is genuinely more helpful instead of pushing her kids into situations, Danbury and Charlotte talked about how the "season diamond" thing is Whistledown's terminology rather than the actual title of the role, Kanthony gets ep 1 spotlight and an actual explanation for why they're not around unlike Daphne and Simon, Eloise has been allowed to grow instead of being pigeonholed as the humorless obnoxious SJW. It would make sense to me that they would have also paid attention to the conversation about Benedict possibly being bisexual and realized that viewers would be accepting of and even enjoy Eloise being bisexual in the main text.

I'm getting into pure speculation here, but I also don't think thos production team expects to get the full 8 seasons. Netflix just doesn't produce dramas that go that long. My speculation is that they more or less have the greenlight for season 4 and MAYBE season 5. 4 is obviously going to be Benedict and Sophie, and my suspicion is that they have 5 earmarked for Francesca, since IIRC in her book she's a widow and s3 has her meeting her husband. They've done basically nothing with Sir Phillip and seemed to have put a bow on Marina's storyline in a way that I think would make it jarring to have them circle back to her and be like "she's dead now and this nothingburger husband is going to hook up with Eloise." They had chances, limited as they were, to have Philip make a memorable impression or have some foreshadowing between him and Eloise for the future and didn't even bother with lip service. I don't think THEY think they'll even get to Eloise's season.

Again, that's entirely speculation based on my gut feeling. But my point is that the show has put itself into a position where I think only the most diehard book fans would complain if Eloise's big love interest is a woman, and the show obviously gave up on catering to book accuracy ages ago.

[am-i-the-asshole-official]

AITA/WIBTA for attempting to learn ASL for a girl I like?

I work at a bar right off campus of my university and regularly perform (sing) when there aren't enough performers or acts to get us through a night. I like singing and making a big show, so this is fun for me. Also, this bar isn't strictly a queer/sapphic bar, but a lot of us are WLW and it's pretty well known around town so performing definitely gets me a lot of attention from a pretty quiet part of the queer community, if that makes any sense.

Anyways, there's this girl who also works at the bar, I'll call her Bri, and she's deaf. She's pretty good at reading lips, so we've had conversations before, but really we just see each other around. She works in the back on like numbers and business stuff (I honestly have no idea what she does) but she'll come out and watch me perform sometimes. She has such a nice smile and the way she's able to focus and pay such apt attention to anything she needs to is so inspiring. Basically, I like her a lot.

I live in the Inland Empire, so getting ASL lessons was super easy. I've been going since the semester started a little over a month ago and I'm really proud of the progress I've made. I haven't attempted to talk to Bri yet, I want to get better, but I've talked to some of my friends/coworkers about how I'm learning ASL for her and am planning on doing a live ASL interpretation of Oh Darling by the Beatles when I get good enough (Bri commented that she liked my performance of the song, so I wanted to bring it back.)

Jesus Christ this is long anyways I was telling people about my plan thinking they'd compliment me for being cute and romantic and like try to help me surprise her but instead, everyone told me I was being insensitive to her disability and tokening her by making her deaf-ness so central to my attraction to her. I didn't think I was doing this, I thought this was more of a gesture to show how I like her despite our communication barrier? I don't know, I've started really overthinking it.

Another thing I've started wondering is if doing this performance (which I've already started working on) would be manipulative since I've never outright asked Bri if she likes me, even though I'm 1000% sure she does, she asks about me and we get along and yeah I'm really sure she does but I guess I don't know for absolute sure so on the chance that she doesn't like me, would this whole thing be a way of me pressuring her into liking me since I've put so much effort in without telling her?

I'm really lost. I really like this girl and I want to do something big and grand. I've also really fallen in love with American Sign Language and the process of learning it. The idea of making Bri uncomfortable because I don't know what it's like to be deaf/have a disability is really making me rethink all of this. Any advice please.

What are these acronyms?

[pearl-likes-pi]

i honestly dont know hoe to say this, but you really had a hand in shaping my brai chemistry while i was growing up, no kidding. i remember when i was 13 or so and whenever you posted a pearl rap career chapter it would unironicaly make my day (specially when you dropped the peridot chapter i had a stomach infection or smth, so that video and the last one out of beach city episode were on replay for me for a few days). its really weird seeing that rebecca managed to make a safe space for lgbt folks (it was really hard for me to accept myself as gay, it seems really simple nowadays but back then it was so discomforting to even thinm about it so su and its fandom, and by some extent, your vids, helped me externalize some feelings or queernes i guess, do you remeber when someone said your video editing was raw and masculine? lol). anyways, its wild to think i was in 5th grade when i first watched laser light canon and now im finishing my journalism course in college and seeing how this show raised me in some way and helped me to be aware of my own mental health i only have good memories, thankfully, and its really sad to see that it ended, but i honestly wouldnt have had it any other way. its kind of a long rant but id like to thank you, mackenzie, your videos made me laugh a lot when i was a teen and they still make me now. this show was truly a gift, it made us connect to something bigger and magical. this was kind of a long rant since ive kinda forgotten that su existed and remined that it existed because of some dreams lol. i remembered back then when i was super anxious about the cluster episode, i remeber checking your tumblr everyday and seeing fanon content. i really dont know how to express myself since english is not my first language and i tend to ramble on a lot on my native one, but id like to say youve made me smile a lot, it was so cool seeing you present the su podcast and being an intern at CN. i honestly wish you the best.

Dude it means so much to hear that my lil shitposts have had an impact on people!!!! I completely understand where youre coming from re: SU's impact on your life (and acceptance of queer identity) and feel the same way!!! im so grateful for this show and everything it represents. in a world without Steven Universe my current life would be completely unrecognizable. like genuinely I dont think any single aspect of my life would be the way it is without SU. which is nuts but it's true!!!

I love engaging with this community and it gave me a lot of support when I was at a place in my life where I felt pretty isolated. I'm kind of rambling now too but this seriously has been sitting in my inbox for a bit now and I just knew i needed to respond and say thank you for sharing. <3

ALSO LMAO I FORGOT ABT THE RAW AND MASCULINE COMMENT THANK YOU FOR REMINDING ME HAHA

[a-faggot-with-opinions]

Responding To The "Aromantic Manifesto"

So I found this aromantic manifesto earlier today and I have many thoughts and opinions about it. Mainly that it's really bad, and it is homophobic. It uses a lot of big words and complicated language to sound smart, but it's not actually conveying good ideas. I'm going to respond to it piece by piece. By the way, I am aromantic, but I am also gay, so that's the perspective I'm looking at this through.

The main points of this manifesto, as outlined in the beginning, are:

"Romance is inherently queerphobic."

"The organisation of queerness around the celebration and pursuit of romantic desires and pleasures reinforces queer oppression."

"Queer liberation must abolish romance as its long-term goal."

Point 1 is bad because the activism for lesbian, gay, and bisexual rights has LITERALLY been all about being able to love whoever we want to. We didn't fight for centuries to legalize gay marriage to have someone say that us loving someone else is inherently queerphobic. Implying that gay love is somehow oppressing someone else makes you the queerphobic one.

Point 2 is wrong because we've been fighting for our rights for literal centuries, and we've already decided that trying to repress our sexualities for any reason, is actually bad and contributing to our own oppression. The only way to make real progress in solving queer oppression is by expressing ourselves loudly. It's okay to dislike amatonormativity. I dislike amatonormativity. But that doesn't give you an excuse to be homophobic.

Point 3 is even more incorrect. That's because a movement that is fighting for people historically marginalized based on who we love isn't going to have abolishing romantic love as a goal. It's okay to be aromantic and not want romance. The problem comes in when you try to force everyone else to repress their romantic desires because you simply don't like it. That's bad.

The next part is extremely insulting to me as a trans person. They compare gay men wanting to date other men and not wanting to date women to gay men wanting to date trans men. Newsflash, assholes: trans men are men!

If straight people can’t help who they love, then neither can gay people. Nor, one might suppose, racists and transphobes, and people who find disability and fatness unattractive.

This is an obvious homophobic argument. They're implying by this that gay men not wanting to date women is the same as gay men not wanting to date trans men, implying that men who don't love women are misogynistic. It's transphobic to compare the experience of being gay to transphobia. Tell me you've never spoken to a trans person in your life without telling me.

Queer oppression is not just the experience of prohibited desire. It is also the experience of hierarchical and violent desire. It is also the experience of undesirability.

What the fuck are they even saying right here? Queer oppression is literally about the experience of prohibited desire and the lack of experience of expected desire. I can maybe understand where undesirability comes into play, since especially as a trans person I get cis people trying to equate my sexual attractiveness with my worth as a human being, but experiencing hierarchical and violent desire?

This reads as someone saying that queer romance is inherently evil and we're oppressing ourselves and we're totally at fault for our own oppression. QUEER ROMANCE AND SEXUALITY ARE NOT INHERENTLY EVIL AND SAYING THAT THEY ARE IS HOMOPHOBIC, IT'S 2023. Why is this even a hot take?

The next section talks about the "privatisation of love," which is a model for why they think that queer activism has been missing the entire point. Let's see what this author has to say about that.

While the domestic sphere fashioned by heterosexual kinship relations has been historically designated as private life, queer intimacies have instead been regarded as a matter of public concern due to moral panics associating them with predation and perversion throughout history.

This is a very sloppy, incomplete reading of the way that homophobia works. I'm not going to get into my theory of how homophobia works in this post, but anyone who's actually experienced homophobia in their lives will tell you that this ain't it. For one example of how that's incomplete, in recent years queer people have been encouraged by society and especially the right to hide our queerness and abandon our culture in favor of mainstream society. This isn't trying to make us a matter of public concern, it's trying to make us disappear. This isn't how oppression works.

This next section focuses on how romantic love is allegedly used as a hierarchy.

People who regarded as romantically attractive are invariably upward-mobile, white-proximate, gender-appropriate, able-bodied, slender/muscular etc.

Maybe. Just maybe. That is just a reflection of how society views people who aren't white, aren't gender conforming, are disabled, and are fat. Racism, transphobia, ableism, and fatphobia weren't invented by romance. The way that romance in our society works simply reflects those things that already existed. "I just find them unattractive" has been an excuse to discriminate against people for ages. That isn't because romance is inherently THE hierarchy, but instead it's because it's used as an excuse.

Often, calling romantic partners “compatible” just means their placements on the romantic hierarchy are relatively equal in privilege. Calling romantically unattractive people “compatible” with each other, on the other hand, easily sounds condescending.

I don't have much to say about this. This is simply not how romance works. While compatibility is not a great concept and I have critiqued it before, this ain't it.

Queer romantic ideals remain incredibly heteronormative, only celebrating the most privileged and “compatible” of queers and condemning more marginalized queer people all the same.

This quote is really interesting because it's pointing out a very real issue with society (the fact that society encourages assimilated queers) and tries to blame queer activists for it. No, we do not want to assimilate. Society wants us to assimilate, and some of us try to do so. However talking to most queer activists will reveal that we don't want to assimilate. We want to be treated with basic respect.

Queer romance does not resist heteronormativity as much as it assimilates queer desire, making us hold on tightly to whichever relative privileges we have and hate ourselves for whichever we don’t.

Hello? This is projection. This is exactly what the person writing this manifesto has been doing the whole fucking time.

By peddling the illusion that romance can be made queer, heteronormative capitalism forces queer people to try solve their problems of undesirability and unhappiness privately by finding the “right” partner, rather than directing their anger towards public action.

Gay people in the past got into romantic relationships that often got us killed. Did we do that because of heteronormative capitalism trying to force us to find someone? No. What the actual fuck are these people even talking about.

We propose aromanticism as a counterpublic that responds to queerphobic violence by mobilising public resistance instead of escaping inwards. Aromanticism is a principled commitment to finding radically nonviolent ways of relating to others.

There's so much to unpack in this quote. Firstly, the author believes that aromanticism is a choice. It is not. I was born aromantic and even if I choose to get into a relationship that does not make me any less aro. This is also implying that (gay) romance is inherently violent, which is Homophobia 101.

If you already have a romantic partner, we are not asking you to “leave” them, but to aspire to love them in a different, queerer way.

There's no such thing as more or less queer. If you're queer, and you love someone, congratulations, that's queer love. It doesn't become more queer if you call it something other than romance.

I'm not going to go over the last part, but this last quote is some icing on the cake of homophobia we've just eaten.

Just be aware that similar hierarchies of desirability exist in sex as in romance.

It shouldn't be a hot take in the year 2023 that claiming that all sex is bad is a very culturally Christian thing to do, as well as being very traditionally homophobic. Sex negativity is weaponized against queer people far more often that it is against cishets.

To conclude, I'm just going to say that this manifesto takes real frustrations that even I have with amatonormativity, and turns them into denial that romance exists, and blatant homophobia. It's also very hard to understand, so if I misinterpreted something, please do let me know. While I do think that aphobia is bad, being homophobic isn't a solution and is just going to cause us to be hated even more, as well as alienating gay aros.

[llyfrenfys]

On Cadi as the Welsh equivalent of Queer

(image: screenshot of the entry for Cadi in Geiriadur Prifysgol Cymru)

Some of you may already know this, but for those who don't, Cadi is a Welsh word which is analogous to the word Queer in English. I say analogous, since their meanings aren't quite a 1:1 match. But for shorthand, Welsh equivalent of Queer sums 90% of it up.

It has been suggested tentatively by some to use Cadi as the Welsh translation of Queer. I'm going to explore arguments for and against, but ultimately the choice to use/not use Cadi as a 1:1 with Queer is entirely up to you. Warning that this post is quite long, but I do hope you'll stick with it- please let me know what you think in the notes!

Without further ado, let's get into it:

Definition of Cadi:

Cadi is a term which has existed in Welsh since the 17th Century (roughly) and generally refers to effeminacy in men (real or perceived). Over time, the meaning of the term has expanded to refer to other (Queer) things as well. But the term itself largely has been applied to Queer men and queer masculinities through time.

The term itself derives from the girl's name Catrin and you will come across women who call themselves Cadi as a shortening of their name (like Liz from Elizabeth and so on). In this way, there is a strong point of comparison to be had with the English queer pejorative Nancy, which also derives from a girl's name.

Can Cadi be considered the Welsh equivalent of Queer?

So now to the real meat of the post. Can Cadi be considered the Welsh equivalent of Queer? The answer to that is, unsurprisingly, complicated.

As described above, Cadi is a term which has had strong associations with male effeminacy (real or perceived) and has close parallels to the English term Nancy, which is also nearly exclusively applied to Queer men and masculinities. What this presents is a quandary and I'll explain what I mean by that. But first, we need to outline the history of LGBTQIA+ terminology in general (in the West).

LGBTQIA+ Terminology and the inclination towards cis gay language:

This is a huge huge topic which I cannot possibly do justice to here alone, so I'd highly recommend reading up on these topics when you have time, but for the sake of brevity, here is a tldr on the history of LGBTQIA+ terminology (slightly UK-centric but similar events also happened in the US and Canada, as well as other parts of Europe).

Campaign for Homosexual Equality (CHE) is a British Lesbian and Gay rights organisation founded in the 1960s, during a time of great social and political change. The organisation's membership grew and grew well into the 70s before declining in the 80s. It was during this time that some lesbian members of the organisation left citing erasure of lesbian issues and misogyny in the movement. CHE and similar gay and lesbian rights movements in this period had been inclined to centre gay men's issues in their activism, which understandably led to many lesbians feeling alienated. Some lesbians left in the late 70s and early 80s and began to form their own advocacy groups. This indirectly fed into a wider feminist upheaval at the time and led to the rise of lesbian feminism, which aimed to centre lesbian issues within feminism, but unfortunately (for complex historical reasons) did then contribute to the proliferation of rad\ical femi\nism within the Queer community, which then unfortunately contributed to the rise of tra\ns exclu\sionary rad\ical fem\inism. Regardless of the unfortunate rise of transphobia within the lesbian feminist movement, the original catalyst for the formation of these groups was a sense of alienation from the rest of the Queer community because gay men's issues had been prioritised over lesbian issues, when both could have been tackled together, with each other. This alienation was echoed in the names of organisations and events- many early homosexual rights groups only had homosexual or gay in their group names. It took many years before advocacy groups started adding 'and lesbian' to their names and events.

(For further reading, I would suggest watching this video by Verilybitchie about the history of lesbian erasure in homosexual advocacy and how that led to (some) lesbian groups excluding bi and trans people in the same way they were excluded by gay men)

What does that history mean for Cadi?:

Because of a history of lesbian (and by extension, women's) exclusion from homosexual advocacy groups, is Cadi the best term to use as a catch-all given its strong associations with men's expressions of Queerness? (namely, that as a pejorative it is largely aimed at femininity in men and subsequent assumed homosexuality). It is important to consider if using Cadi as an equivalent of Queer would centre a (typically cis) gay experience/expression of Queerness and if that would alienate other members of the LGBTQIA+ community.

However, a counterpoint to this would be that there are variations of the term Cadi which do include other experiences of Queerness:

Cadi ffan (similar to just 'Cadi')- typically used to describe femininity in men and boys [N. Wales]

Cadi genod/ Cadi merched (similar to above) - effeminate man/boy [N. Wales]

Cadi bechgyn - Romping girl, tomboy [N. Wales]

Cati fachgen - (similar to above)- Romping girl, tomboy [S. Wales]

Cadi Haf - Male maypole dancer dressed as a girl

They are, however, somewhat limited for use in reclamation and have to be qualified by another noun to indicate diversion from the original term's meaning.

But when talking about the term Cadi, we often speak in the abstract- without the context in which the term is used. So here are a few extracts from texts which use the term Cadi (or variants). Since this is a mostly spoken slang term, it doesn't turn up in print often, but there are a few examples to draw on.

Examples of Cadi in texts:

Page 164- Cwm Eithin by Hugh Evans (1931):

"DAWNSIO HAF Ceir darnodiad o'r ddefod hynafol dawnsio haf yn Y Gwyl- fedydd, 1823, tudal. 306, gan un a'i geilw ei hun “ Callestrwr,” fel yr arferid hi yn Callestr (Fflint, mae'n debyg). Ym mis Ebrill arferai o ddwsin i ugain o bobl ieuainc ymuno i baratoi ar gyfer y ddawns. Gwisgai'r dawnswyr eu crysau yn uchaf wedi eu haddurno ag ysnodennau a blodau. Cariai'r arweinydd fforch bren ar lun y llythyren Y. Gwnïid lliain o'r naill fraich i'r llall, ac addurnid y fforch ag amryw lestri arian, tebotiau, llwyau, cigweiniau, efc. Byddai gyda hwy grythor yn ei ddillad ei hun, “cadi” mewn gwisg merch, ac ynfytyn mewn gwisg ryfedd â phlu yn ei ben"

[emphasis mine]

This extract is the author's account of Dawnsio Haf- a Summer dance held on May Day and his investigations into it. At his time of writing (1931) the practice has died out, but later in this chapter he interviews an old woman from the Conwy Valley who participated in the dances as a child. Evans draws upon a source from 1823 for his description of Dawnsio Haf. In it, he mentions that 20 young dancers meet up for the dance wearing shirts decorated with ribbons and flowers. A leader carries a fork in the shape of the letter "Y"- between each point on the "Y" a cloth was strung with silverware dangling from it to make noise. With the 20 dancers would be a crwth-player (crythor), a Cadi in women's clothes and a fool with a feather on his cap and odd clothes.

This usage is quite archaic and refers to a folk dance- much like mumming or morris-dancing. There is however, a picture in the People's Collection Wales titled 'Cadi'r Big' taken by the prolific photographer John Tomas c. 1875, near Y Ro-wen:

Which is very interesting as Cadi'r Big has dried flowers and ribbons attached to their clothes, much like in the description in Cwm Eithin. This is very likely a picture of a "Cadi" from a Dawnsio Haf.

Page 4- Y Ddraig Binc Issue 4 (1994):

Y Ddraig Binc was a Welsh-language Queer magazine published by CYLCH, a gay and lesbian rights organisation based in Aberystwyth. The term Cadi-ffan is included in an article about the commercialisation of Queer identity in the magazine's fourth edition.

"...Nawr te, medd wrtho’i hun, be’ gymera’ i’r mis hwn, copi o GQ ynte Arena neu ydw i, efallai, yn teimlo’n ddigon ifanc a trendi am Sky? Ond aros funud, beth yw hyn? Dau gylchgrawn steil newydd a gwynt digamsyniol cadi-ffan arnyn nhw?

Ydy, mae’r hyn a oedd y tu hwnt i ddychymyg wedi digwydd. Mae grymoedd y farchnad rydd a chystadleuaeth wedi cyrraedd y byd cyhoeddi hoyw - rhaid bod Lêdi T wrth ei bodd. Nawr fe gaiff llanc hoyw ddewis o ddeunydd darllen sgleiniog, llawn erthyglau a hysbysebion yn arbennig ar ei gyfer ef a’i rywioldeb. Hwrê! Fedr hynny ddim bod yn beth drwg. Neu a fedr o?..."

[emphasis mine]

This humorous article (dealing with an important topic, mind) pokes fun at the arrival of Queer commercialisation. The article opens by explaining that there's a ruckus in the gay world (and not two old queens getting into fisticuffs)- but that this ruckus is taking place at WHSmith (UK stationery shop and newsagents)- apparent winner of this year's most vulgar uniform award. The author goes on to describe a hypothetical situation in which a gay man walks into a WHSmith to buy a magazine. He wonders whether to get a copy of GQ or Arena (men's style magazines- remember this was published in Section 28 Era so explicitly gay magazines were not common) or is he trendy enough to read Sky? (film and tv magazine). But wait- what's this? Two new style magazines with a whiff of Cadi-ffan about them? The author explains that yes, the unimaginable has happened. The forces of the free market and competition have reached the world of gay publishing.

Now a gay youth has the choice of glossy reading material, full of articles and advertisements especially for him and his sexuality. Hooray! That can't be a bad thing. Or can it? Writes the author. The article is very witty and I recommend a read (find a pdf copy here). But the usage of Cadi-ffan here is very much in a reclaimed sense. Though it must be noted that the story is told through a stereotypical cis gay lens.

Conclusions:

As I said at the start of this post, you are free to claim or not claim Cadi as you wish. However, as awareness of Welsh LGBTQIA+ terminology increases, I wanted to raise important questions and start a conversation about the words we have, what we want them to be and how they have been used against us. I hope in any case that this post has been interesting to you. If it has, please reblog this or add any comments/thoughts in the notes, tags or in my asks.

Beth yw eich barn chi? I'd love to hear other's thoughts on this and start a conversation about it! Diolch am ddarllen

[purpurussy]

I feel like the "dan is bi" anon is trolling but just in case they're genuinely confused: yes dan said in BIG that he loved and felt attracted to his high school gf (although he also made it pretty clear that they did not have sex so idk where anon is getting the idea that he has slept with "multiple women" 💀), and he alluded to his attraction not being confined to a specific gender in the part where he talked about labels, but you're completely taking all of that wildly out of context and missing the point of the whole video by calling him bi. I feel like this is probably the part that's frying their brain:

(shoutout to the legend @goldenpinof for this transcript!)

But firstly, imo it was very clear from BIG, as well as other stuff he's said over the years, that he just doesn't like labels. Which I find very valid, it took me a long time to figure out how to label myself. I still don't know what my gender is lmao but I started saying "bi" for my sexuality because it's a widely-used term that gets the point across. And I think that's the thing here: he came to the conclusion that the labels "gay" and "queer" are the best descriptors of his identity, which do the most accurate job of approximating something extremely psychologically complex and multilayered and nuanced in a simple everyday term that gets the point across to other people.

Obviously words mean things and it doesn't make sense to just pick a label at random (like for example it wouldn't make sense for me to identify as a lesbian, since I definitely feel attraction to men as well as women and everything outside the binary, and am interested in acting on that attraction at times, so I wouldn't be conveying accurate information to other people if I used the label lesbian for myself) but a label is just supposed to serve the task of conveying relevant information to other people (if a lesbian feels some kind of abstract attraction to dan and phil, that doesn't mean that the alphabet council needs to immediately revoke their lesbian card!! Since the word "lesbian" still does a perfectly good job of conveying relevant information to other people. Likewise if a straight dude has a fun little gay dalliance with his college roommate, but has absolutely 0 interest in men beyond that incident, it wouldn't be remotely necessary for him to start calling himself bi if he didn't want to, because what would be the point in that if he's only interested in women? Like if he told a gay dude who found him attractive that he's bi, only to backtrack... Do you see what I'm saying here?). It's perfectly valid for Dan to use "gay" and "queer" as umbrella terms that in his opinion do the best job of describing him, out of the language that's available. If he's like essentially a kinsey >5 and decided to just round it off to a 6 at this point, who are you to tell him he can't lmao

(shoutout to the legend @goldenpinof for this transcript!

Human sexuality is often way too complicated to boil it down to a single label in a way that doesn't erase any of its nuance, and I feel like this is something he's struggled with in the past, especially with him being a public figure. He's mentioned multiple times that feeling like he had to choose a label was a factor that prolonged his decision to come out.

And this is not even getting into the impact that his trauma from his childhood and also from spending a chunk of his formative years in the public eye probably had on the way he identifies or the way he chooses to label himself. It clearly took so much courage and strength for him to finally be able to call himself gay/queer please have some respect for our brave troops

Ultimately the point is that he uses the labels "gay" and "queer", not "bi", and it really shouldn't be difficult to respect that. It's also not biphobic for him to choose not use the label "bi" (again speaking as someone who uses that label). It's just that he feels "gay"/"queer" are better descriptors for him and nobody gets to determine that except him!! :) He wants people to know he's gay so he calls himself gay and that's that on that.

There are definitely people on here who are way smarter and more well-educated than me who would've done a much better job eloquently discussing this topic without rambling all over the place but that's my take (if anyone would like to add to this please do so, I'm always open to learn more about topics like this. And I'm also not saying that the way I see it is the only objectively correct opinion, but anon is definitely wrong so 💀). Thank you for coming to my ted talk

[mrs-snape5984]

“As long as I'm with you, I've got a smile on my face…”

“Save your tears, it'll be okay. All I know is you're here with me…” (“Here with me” by D4vd)

Suffering from ME/CFS makes me feel like my whole world is falling apart in front of my eyes. Since I’ve already lost so much joy and so many abilities due to this devastating disease, my continuing loss seems to increase even further.

As some of you might know, do I love to write my own stories about Severus and Julia just as much as I enjoy using my tumblr blog as some kind of journal, whenever I’ve commissioned another artwork. It’s my way of rolling out a red carpet for the artists of Snapedom…it’s my way of honouring them for their talent in their profession. Commissioning those amazing people and letting them make my ideas and fantasies come to life, is my very own manner of coping with my physical and emotional pain.

And now, this coping mechanism seems to crumble into pieces as well as everything else, that I’ve already lost! It hurts me to admit, that my brain fog takes advantage of my capability to create vivid images with my words. My thoughts are getting blurry and chaotic. I’m struggling to find the right words to express my emotions (it’s even worse in my native language German than in English!!)…and this scares me to hell!

My mind was the only place, where I could find some shelter from my infuriating and terrifying reality of losing myself to ME/CFS. What if I forfeit my only - just barely existing- talent now?? How should I flee this nightmare of existence if writing wouldn’t be an option anymore?! How should I express my gratitude towards all those marvellous artists of Snapedom, who are all weaving my emotional comfort blanket with each piece of their art?!?

I don’t want to give up on my writing…and I won’t…even though my pride would probably fade away with each badly written chapter of my fictions…and with each unworthy post on my blog. I must admit, that I’m already acknowledging the loss of quality. 🥺

I found an inspiring poem about the importance of staying resilient, no matter how difficult the hardships of life might become, and I want to share it with you:

"KEEP GOING" (Better known as "DON'T QUIT") by Edgar A. Guest

When things go wrong, as they sometimes will, When the road you're trudging seems all uphill, When the funds are low and debts are high, And you want to smile but have to sigh.

When care is pressing you down a bit, Rest, if you must, but DON'T YOU QUIT!

Life is queer with its twists and turns, As everyone of us sometimes learns, And many a failure turns about,

When he might have won if he'd stuck it out, Don't give up though the pace seems slow, You might succeed with another blow.

Often the struggler has given up, When he might captured the victor's cup.

And he learned too late, when the night slipped down, How close he was to the golden crown,

Success is failure turned inside out, The silver tint on clouds of doubt, And you never can tell how close you are, It may be near when it seems afar,

So stick to the fight when you're hardest hit, It's when things seem worst that you mustn't quit.

My dear @mmad-lover, I can’t stress enough how grateful I am for your dedication to this stunning piece of art and believe me, it was worth every single second of waiting! Paula, I was incredibly touched to hear, that my request seemed to be something special, something personal to you. I can assure you, that, indeed, all of my ideas have a profound meaning to me and I’m glad that you’re such an empathetic person, who sensed that particular importance of your art to me. Your devotion to this drawing is palpable in every single detail, every line of your brushes. You created exactly the mood, that I wished for Severus and Julia. It doesn’t matter that the world is burning to the ground around them, they will always have each other’s backs! Just like I’m relying on Severus for more than 21 years now. Thank you for everything, you precious soul! I’m glad that I met you and I hope, we’ll stay in touch. 🥹

🖤Severus & Julia🖤

🖤Sevy & Jules🖤

[curseonosphere]

i know i don't really use social media anymore, but there are some things that make me rise from the dead on occasion

it is SO insane to me that Lily Orchard still has a platform. if any known youtuber had done a fraction of the things she's being accused of (and here I'm talking about the things we can prove beyond the shadow of a doubt) they wouldn't be allowed to return, ever. And Orchard wasn't even forced to take a break.

Since deplatforming can only be achieved by fans leaving en masse, she's effectively immune to it due to the sect-like environment she's created. As a former fan (think circa 2016-17 when rantsonas were big), I can speak of the incredibly insulated community around Orchard's channel. For a long duration she had had likes and dislikes disabled, the comment sections were routinely scrubbed clean of anything uncharitable to the point that I have to think she either spent a ridiculous amount of time doing that herself or had hired someone to do it. I don't know which is stranger. The only way I even found out about this was when the ContraPoints Buck Angel drama was going on and some of the people I was watching had opinions at odd with hers. The degree to which she misrepresents reality and discredits her critics is honestly impressive.

You can make fun of me for finding this a huge revelation at the time, but I was 12. And as much as she tries to convince everyone otherwise, her fans are mostly young, disenfranchised queer kids who flock to her because she speaks in an authoritative tone about cartoons they like while validating their trauma with soft, progressive-sounding language. I don't blame her fans for being drawn to this behavior - it almost feels like her content is actively preying on people with bad support systems looking for a "trustworthy adult".

If you watch Lily Orchard, I'm begging you to come and look at things from the other side. If she's as right as you believe her to be, you should have nothing to fear, right? You'll watch a video from the opposition and realize we're as stupid and cartoonishly evil as we've been presented to be.

You should have nothing to fear, right?

[getvalentined]

I posted about this on the twits, but I'm gonna do it here too because it's not like this is limited to that platform.

Since I've been seeing my least favorite shitty FF7 rumor around again, friendly reminder that there are no "legal issues" between Gackt and SE delaying anything. Sources claiming otherwise say "trust me bro" when Nomura has literally said it was just the workload.

People who claim that delays in production of anything in the Compilation are because of Gackt are parroting a rumor that's been around for over a decade, which was started by people who used it as an excuse to be racist and homophobic under the thin veneer of frustrated criticism. The majority of hatred toward the character of Genesis Rhapsodos in early fandom, and hatred toward Genesis in modern day fandom from OG Purists, stems from this same place.

Why do you think these people always assert that Genesis' very existence "ruins Sephiroth's character," but never complain about Angeal? Why do you think they have no problems with Aerith having a Jenova-infused Angeal Copy in her church for years—something that should totally change her understanding of the Crisis, but doesn't seem to in any way whatsoever—and yet anything and everything Genesis does is treated as an unforgivable retcon?

It's an excuse to say heinous, horrible things about an all-but-explicitly queer character who is modeled off a real Japanese man, and that's all it ever was, but it gets a pass because they dress it up as criticism of the franchise. Then, when they inevitably start throwing out slurs, nobody cares because "it's just Gackt—I mean Genesis, everyone knows he sucks."

Yeah, you "know" because you let a bunch of bigots tell you he should be judged more harshly than any other character in the entire series because he's not white or straight enough. Because he's based directly on a real flesh-and-blood Japanese man, and to these people that makes him deserving of hate, because people like that shouldn't exist. Because the character is all but explicitly queer (and it is even more explicit in the original language and when accounting for some key culturally-specific literary references portrayed throughout the narrative), and people like that shouldn't exist.

You "know" because you never questioned why this character specifically is the only one it's "objectively and morally correct" to hate and belittle, even though everything he's supposedly hated for applies to multiple other characters throughout the series.

The character is loathed, and the actor is blamed for everything, because some old guard fans said that's how it's supposed to be in this fandom, and if you don't engage with things that way then you don't deserve to be here.

Very cool and normal behavior!

There are very valid reasons to dislike this character, mind you, and plenty of reasons to be critical of the actor. I'm not saying otherwise. I'm saying the pervasive and frankly disgusting fandom-wide hatred stems from the same place as the continued, repeatedly disproven assertion that Gackt is to blame for everything "wrong" with the Compilation and its development: bigotry. I know this because I saw these assertions come into being in real time when Crisis Core first came out. I watched the people saying these things post the most homophobic rants on their personal accounts, I watched people I considered friends get banned from LJ communities for referring to Genesis as Gackt and referring to Gackt with racial slurs.

And I watched them come back later, promising they were better people now, armed with new claims and new arguments that allowed them to continue to be hateful trashfires without getting in trouble. As long as they weren't overt, it was okay. If they slipped up and used a slur in the comments that was mostly okay, since it wasn't in the main post. Mods might lock a thread here and there, but those people got to stay. Their "criticism" was "valid," and thus their bigotry was validated.

Those same claims and complaints are still regurgitated today, only now it's by people who aren't racist and aren't homophobic, but don't realize that their criticism is horribly unbalanced because it was all born from people who were just masking hatred.

Even worse is when these behaviors are mimicked by people claiming to like the character, because the fandom taught them that this was how you're supposed to engage with him, because it's just Gackt—Genesis (I said Genesis!) so he's a piece of shit no matter how you slice it and he deserves to be treated that way. Nobody else does, and nobody questions it, because this is just how it's done.

I'm sorry to be the one to tell people this, but if you slap a bunch of gay stereotypes onto Genesis and then have the characters around him treat him like shit because of them, while implying or outright insisting that IT'S OKAY BECAUSE IT'S GENESIS AND HE SUCKS SO IT'S FUNNY, you are following in the footsteps of bigots. If you constantly refer to the character as "Gackt" like the name itself is a pejorative, you are following in the footsteps of bigots.

No, there is no nuance here. I don't care if you allegedly came to all these conclusions on your own—you didn't and you know it—except for the fact that actually that's worse, because it means that you did some kind of deep dive in the source material and came out the other side agreeing with a bunch of racist homophobes who are still spitting bullshit after over 15 years.

Do fucking better.

[wordsandrobots]

IBO reference notes on . . . queerness

How has it taken me this long to write about this aspect of the show? (He asked rhetorically, staring at the enormous amount of fanfic that basically stands as a thesis statement on how very queer this part of the Gundam franchise is [as opposed to all the other terribly straight parts, he added, sarcastically].)

Anyway, let's do it. Full spoilers up to the end of the show will follow, together with discussion of child abuse and exploitation, since that is what IBO is all about.

Special thanks to @lilenui and @prezaki for their invaluable assistance in locating sources.

Statement of caveats: this work is an amateur analysis of the English-language localisations (subtitled and dubbed) of a piece of Japanese media. I do not speak or read Japanese. I am myself bi, which qualifies me to be attracted to more of the cast than the average viewer, and have a working knowledge of LGBTQ+ history in the UK and USA, which tells me nothing about the cultural and historical context in which this anime was made. As such, I will not be addressing the behind-the-scenes production or the corporate mandates surrounding it but will focus narrowly on what I perceive to be present in the text (hereafter meaning both the script and animation, and any additional fictional details provided elsewhere).

Queerness in Gundam

Some background before we dive in. To my knowledge, the first character in the Gundam franchise to be intentionally depicted as LGBTQ+ is Guin Sard Lineford from Turn A Gundam (1999). An ambitious young aristocrat who spends the series on the line between hero and villain, he is infatuated with protagonist Loran Cehack and the show makes little attempt to play this as anything other than one man falling in love with another.

This is entirely one-sided and not appreciated on Loran's part, although that seems to have less to do with it being homosexual attraction than with Guin's high-handed and entitled attitude to life, filtered through heavily gendered social norms. For plot reasons, Loran spends several episodes cross-dressing as 'Laura Rolla', corsets and all, and Guin continues referring to him as 'Laura' long after the deception is no longer required, saying it 'suits him better'. Guin is eventually called out on this by a third character, who accuses him of forcing an idea of feminity on the other man rather than stoop to place himself in the position of a 'wife'. Objectifying Loran is presented as of a piece with Guin's overall flaws as a person, to whit, putting his own views about how things should be above the material reality and desires of those around him.

Guin is also the only explicitly gay character in the show (I'm honestly not sure how to classify whatever Dianna Soreil and Kihel Heim have going on, but it's certainly not labelled in the text). Therefore no counterpoint is provided to demonstrate healthy queer relationships. I don't state this to dismiss his inclusion: he forms part of a smart, nuanced plot thread, and Gundam creator Yoshiyuki Tomino had to fight to get Guin's homosexuality clearly included. But even so, Guin is a palpable step forward rather than a watershed moment, and the end result veers close to some nasty stereotypes about queer people imposing their desires on others.

There are other examples of characters transgressing gender norms in Turn A, most especially Loran's aforementioned cross-dressing. He is comfortable playing the part of 'Laura', in ways that mitigate viewing this situation as the extended joke it might be in another production. Funny moments do come up – particularly in the lead-in to his 'debut' as he acclimatises to the female attire of the show's pseudo-Edwardian setting and takes posture lesson – but he and the concept of a man in ladies' clothes are never made a subject of mockery. The same cannot be said for the character of Sochie Heim, whose attempts as a young woman to fulfil a gung-ho masculine role often turn comedic. This is part and parcel of her assaying militaristic modes of action, which are soundly mocked across the board. It nevertheless stands out next to Loran/Laura.

Further, Loran's status as a literal moon-child carries implications for his attitudes. His dismissal of existing social standards on Earth is very much presented as correct, and in keeping with what I know of Tomino's other writing and stated beliefs, but it dovetails unfortunately with a treatment of queerness as otherworldly, not something that may be found among an average population. We get another example of cross-dressing in the next-but-one series, Gundam 00 (2007, not a work Tomino helmed), where the usually male-presenting artificial lifeform Tieria Erde switches to a female presentation (in a ball-gown, no less) during a covert mission. This sufficiently parallels Loran's case, I assume it was a deliberate call-back, being as it is a disguise enacted by someone even less typical than a boy from the moon.

What I am driving at is that while Guin, Loran and Tieria may be characters who are queer or perform queerness in some manner, they do not necessarily represent an outright embracing of queerness as a mundane facet of everyday life.

Fast-forward to 2024 and the latest mainline Gundam show is a lesbian romance.

If you have been following my blog for a while, you will know I do not hold The With From Mercury in especially high regard. I think it is annoyingly messy, frequently half-baked, and, broadly-speaking, exactly as frustrating as I'd expect from the guy who wrote Code:Geass. It's still an explicit love story that opens with a clangingly blunt statement about the acceptance same-sex relationships and ends with the two female leads happily married to one other. For all its flaws, I genuinely think the central relationship between Suletta Mercury and Miorine Rembran is a nice piece of story-telling, not to mention admirably open about what it is doing. Like it or lump it, Gundam is gay now, properly, with a protagonist and co-protagonist who can be definitively labelled queer and whose romance appears entirely unremarkable for the setting (in terms of being same-sex; clearly there is a lot to remark upon otherwise).

I would be remiss if I did not mention that the conclusion of the series was accompanied by a certain amount of corporate arse-showing, with hollow attempts to walk back the ending seemingly for the sake of appeasing homophobic elements within and without the companies that produce Gundam. The frankly laughable nature of these actions stands testament to how unequivocal G-Witch is. It is flatly impossible in my opinion to interpret as anything other than flagrantly homosexual, and that's great.

Between this interesting but limited start and the full-throated present lies Iron-Blooded Orphans (2015), my absolute favourite and the show that got me writing slash fic after years of… not doing that. So: what is the deal with queerness in IBO?

Natural for a human

By my count, including all present spin-offs, there are three characters stated in-text as being attracted to people of the same gender (Yamagi Gilmerton, Iznario Fareed, Deira Nadira), two who are at the least open to the idea (Norba Shino, Mina Zalmfort), two whose mutual attraction is stated within the context of polyamory with a third person of the opposite gender (Atra Mixta, Kudelia Aina Bernstein), one whose sexuality is briefly hinted at (Chad Chaden), and one male character who is possibly not attracted to women (Orga Itsuka).

Let's get Iznario out of the way first, because the less time we spend on the actual paedophile, the better.

Lord Iznario Fareed is a rich, powerful aristocrat who sexually abuses young blonde boys and inadvertently sets large parts of the plot in motion as part of quasi-villain McGillis' backstory. In a lesser show, Iznario would be the embodiment of the 'predatory queer' stereotype Guin skirts the edge of. Here, however, he is very much not the only 'gay' character present and his proclivities demonstrate one of the many ways the world exploits vulnerable children, a core theme of the series. Early on, we see fleeting glimpses of young girls being pimped out on the streets of Mars. Iznario shows this social failing extends to the much richer Earth and although he is portrayed as the worst among the Gjallarhorn elite, they all abuse their power for personal gain. Thus, as much as the reveal of what he has done carries a certain shock value, it is not present purely for cheap impact. (This isn't the essay to discuss it, but the flashbacks to McGillis being abused as a child are a masterclass in how to frame such things around the victim, clearly communicating what's happening while avoiding gross voyeurism.)

I don't know how deliberate it is the canonical gay character who is shown in an entirely positive light fits the profile of Iznario's victims to a T, but it does underscore we're looking at a case of power allowing people to get away with hideous things, not a stand-in for queerness in general. To an extent I resent having to spell this out, since it seems so obvious Iznario is not fulfilling the role of a homophobic cliché. Sadly, the cliché exists and the point is worth discussion.

Moving swiftly on: Yamagi and Shino.

Yamagi Gilmerton is a small, quiet teenage boy with a somewhat withdrawn and acerbic personality, who spends much of Iron-Blooded Orphans nursing a hopeless crush on mobile suit pilot Norba Shino. Like the majority of the cast, Yamagi is a child soldier, but a mechanic rather than a combatant. Additional backstory commentary reveals that he struggled on joining CGS mercenary group due to his physique. Indeed, while this detail is not directly referenced in the anime itself, he is indeed drawn noticeably thinner than the other boys.

Again, we veer towards stereotypes, where a queer character is portrayed as weaker and more effeminate. Yet in spite of leaning this way in looks, Yamagi is an eminently capable person, never treated as lesser for fulfilling a support role rather than being a fighter. If anything, IBO goes out of its way to highlight how vital good mechanics are to mechanised warfare, and we see multiple examples of Yamagi being both assertive and kind of badass. At one point, he scales, unaided, an 18 metre tall mobile suit that's collapsed to its knees. When he and Shino are revisited in spin-off game Urdr Hunt (soon to be some form of animated production), he pilots a spaceship within an active battle-zone, flying escort for a damaged freighter as it retreats. In Season 2, he's comfortable ordering Tekkadan's new recruits around and is the first person to properly chew Orga out for his failings as a leader. Far from being an outlier among the protagonists, Yamagi is equally brave and dedicated to the cause, irrespective of his sexuality.

To be fair, he does tend to clam up and grow more awkward around the object of his affections. To be equally fair, he has the misfortune of having fallen for the most oblivious himbo on God's red Mars.

Shino is a big, boisterous warrior, the polar opposite of Yamagi in personality and physicality. He embodies Tekkadan's machismo, eagerly anticipating the chance to prove their strength and generally being a standard bearer for becoming the biggest, baddest group around. Things are not as straightforward as they seem on the surface, however. He shows a good awareness of when the group is in over their heads – going so far as to suggest retreat in the face of bad odds several times – and he is not nearly as sure of himself as he might first appear. He displays a wide streak of insecurity about his abilities as a soldier, reacting badly to people questioning his dedication or competency. And he crumbles completely when some of his comrades are killed as the result of a split-second mistake on his part, stating a wish to have died in their place. Thereafter, he acts in ways that read as choosing to take all the risks on himself rather than go through more loss. It makes him an interesting mix, someone who acts as a cheerleader, boosting everyone else's morale, while swallowing his own doubts and personal fatalism.

He is also presented as one of the most sexually active members of Tekkadan, using his wages to visit brothels to sleep with women. Indeed, he is frequently found extolling the virtues of the opposite sex, referencing collections of pornography (at least in the English dub), and generally being a very typical teenage boy about such matters.

Given this, you might assume Yamagi is longing hopelessly for a straight man. That is indeed the idea the show teases us with for much of its run (can something be straight-baiting? I feel if anything ever earned that title, it's this). OK, Shino's fond of Yamagi as a friend and frequently relies on his assistance in improving his fighting ability, and per ancillary material, is the one who got Yamagi transferred to the mechanics corps in the first place, rescuing him from struggling in the infantry. And sure, Shino spends an awful lot of time in very close proximity to Yamagi, including literally pulling him into the cockpit to assist with a mission. And yes, Shino is absolutely a flamboyant creature, sporting gold ear studs and an attraction to the colour pink, ensuring his mobile suits are painted all over magenta in order to stand out on the battlefield. And certainly, Shino is extremely empathetic, adjusting his attitude depending on his impressions of other people, such that he dials his boisterousness down in Yamagi's presence, displaying a far more gentle affection than he does with his other friends.

But clearly he hasn't noticed Yamagi is head over heels for him.

Right?

Well, towards the end of Season 2, during another moment where Yamagi is literally sitting on Shino's knee, Shino proposes the two of them drink together all night long once the fighting is over. Not only is this an unambiguously romantic overture (he's asking while pushing aside the fringe that normally covers half of Yamagi's face, in order to look into his eyes properly), it comes after a joke several episodes earlier in which Shino has to explain to a less worldly comrade that a girl inviting you for a drink is not a request to go out with the whole gang but a far more intimate gesture (I say explain, it's more expressing incredulity Akihiro didn't realise Lafter was asking him on a date). Later, it is revealed Shino did indeed work out that Yamagi 'likes' him (to his friend Eugene's exasperation that it took him so long to notice), and he reacted with amazed delight to discover there was someone in Tekkadan who'd fall in love with 'a guy like me'.

He'd assumed because Tekkadan is a family (a description provided by their ally Naze, which everyone just kind of runs with), romantic love wasn't possible between them. Having worked through this mental block and finally realised the blindingly obvious, he renews his desire to protect Tekkadan as long as he lives, refuting his previous view of himself as an expendable human shield and heading out with every intention of surviving all the way to the end.

And because IBO is an exquisitely-written tragedy, he is promptly killed while attempting a futile one-man attack against their enemies, his advances on Yamagi forming part of a long build-up whereby the boy who loves him provides the tools he needs to charge into a suicide run.

Right then. *drags out the reading comprehension soap-box* I have seen some people refer to this as an example of the 'bury your gays' trope, and there is nothing more likely to get me manifesting behind you in the form of an irate shoebill than to do likewise. 'Bury your gays' refers to a tendency for queer characters in fiction to disproportionately suffer tragic fates. This is a writing choice usually rooted in the idea queer relationships are inherently tragic, either because they are viewed as a perversion of 'correct' forms of love, or because of some misguided idea the prevalence of homophobia means queer joy is impossible. I am going to be charitable and concede this is indeed a case where one half of a budding homosexual relationship dies horribly. But, as always, the context matters.

All but one of the romantic relationships established prior to the epilogue of Iron-Blooded Orphans end in death. Of the two that survive in some capacity, one is a heterosexual background romance between two older characters and the other is a pair of women I shall be covering later. IBO is a story about child soldiers that does not shy away from the fact these are teenagers being fed into a meat-grinder. That the director's original intention of killing every named character was toned down (to the series immeasurable benefit, in my opinion) dos not change a narrative arc towards doom.

Within this, Yamagi and Shino aren't singled out for being queer. The coyness around Shino's eventually-evident bisexuality serves to generate an instant of hope and relief right before the rug is pulled from under everyone's feet. Where Shino's death does differ from those of other characters is in presentation: he dies alone and does not get any form of farewell or the passing-on moment afforded to others. But that is only to be expected, since we're talking about the point where it becomes clear there is no saving the situation. It's a cruel, abrupt moment of bad luck, puncturing the heroic idea of scraping victory at the last second. Shino flew out intending to live and he died anyway. A queer relationship forming part of what he was fighting for is an almost incidental detail.

(As an aside, I am aware of two other examples in Gundam fiction where a pilot and a mechanic have a doomed love affair. One is in Char's Counterattack, where a male engineer's romance with a female pilot ends with them both being abruptly killed, and the other is from Gundam AGE, where a female mechanic sacrifices herself for the greater good, leaving a male pilot to mourn her loss for the rest of the series. Shino and Yamagi reiterate this same concept.)

Stepping back from the tragedy, Yamagi's love for Shino is as delightfully underplayed as the other relationships in the show, with little emotional melodrama being wrung from the romance itself. Yamagi can't bring himself to declare his feelings, frequently turning cold instead and perpetuating Shino's misunderstanding of where they stand. Yet Shino ultimately proves enthusiastic for the idea, rendering moot any concerns Yamagi had over getting turned down (going beyond the text, a Q&A with the series' director confirmed Shino was written as bi). Equally, in the aftermath of Shino's death, Eugene comforts Yamagi by relating the truth of Shino's earlier realisation and even going so far as to rebuff Yamagi for implying there's something wrong with him for grieving. This and other interactions in the same episode imply those nearest to the pair were well aware of Yamagi's desires and had absolutely no problem with them. The prevailing attitude within Tekkadan is one of complete acceptance for its members and this is no different.

Indeed, for me, the most important part of how queerness is represented in IBO is that it is treated as just another aspect of the diversity of the cast. I've seen it stated that viewing homosexuality as a natural part of human existence was Tomino's motivation in making Guin gay. IBO presents us with the same idea, far more seamlessly and far more positively.

Now, let's leave the anime proper and look at the same-sex pairing from spin-off manga Iron-Blooded Orphans: Moon Steel.

Deira Nadira and Mina Zalmfort are part of the Gjallarhorn nobility and their marriage was arranged to strengthen relations between their two families. We see an example of a similar political match in the main show, where the heir to the Fareed family, McGillis, is betrothed to the second child of the Bauduins, the much, much younger Almiria. That this can take place regardless of the gender of the participants has big implications for the functioning of a bloodline-focused aristocracy. Presumably it indicates they are happy to use medical technology to ensure the Nadira family continues into the next generation, and if same-sex marriages are thus permitted, that means fewer factors to worry about when it comes to perpetuation. Whether male-male weddings are allowed too remains an open question; given the existence of real-world double-standards, it is possible Deira and Mina represent the only acceptable form of homosexuality. Nevertheless, that it is accepted speaks volumes. Gjallarhorn is not an especially progressive organisation, built as it is on rigid class structures and notions of human purity. Yet here we are.

Perhaps we should have expected that the norms around gender in this system don't correspond to strictly patriarchal patterns from the real world. Carta Issue, a key player in Season 1 of the anime, is the only child of the Issue Family's current leader and positioned as his sole heir, irrespective of the fact she's a woman. The logical inference is that any children of hers would count as Issues, rather than belonging to a potential husband's family. Deira is similarly the heir to her father's position, although intriguingly, it's not outright confirmed if she is his only child or simply the oldest. The possibility exists that gender is a non-factor in determining inheritance.

With respect to sexuality, Deira seems pretty obviously intended to be a lesbian. Her relationship with Mina is presented as one they are both happy with, despite it being an arranged by their parents, and Deira is depicted in the manual for Gundam Gremory's model kit as favouring the clothes of 'a handsome man'. She doesn't present that way within the manga' story, first showing up wearing the standard unisex Gjallarhorn pilot-suit, then wearing a formal gown for a meeting while in an official capacity. But she is depicted wearing masculine clothes in silhouette when initially mentioned and in a post-story panel at the back of the final volume.

(Another aside: the fan translations I use for this part of the manga refer to Deira using male pronouns when she's introduced. However, that could simply be down to the poor quality of said translation; she's consistently referred to using female pronouns in official materials and the game adaptation of this scene has her named as simply 'Lord Nadira', the standard appellation for Gjallarhorn family heads.)

Whether Deira's code-switching is the result of institutional expectations around her role or personal preference, it adds extra texture to her depiction. While civilian garb was designed for the adult version of Carta and closely matches conservative gender expectations for a woman, she's never shown wearing it, so we don't have a point of comparison to judge what's required of a character in Deira's position.

Regarding Mina, you'll notice I grouped her with Shino rather than the characters whose sexuality I consider to be stated outright. With Shino, the nature of his sexuality is not put absolutely beyond question in the text. This is splitting hairs due to the overt nature of what's on screen but the fact remains, the anime doesn't clarify if his being open to Yamagi's love means he already thinks of himself as bisexual, or if this is something he hadn't considered before. With Mina, it's more a case that I'm unwilling to label her one way or the other based on the available information. Deira carries sufficient signifiers, I find little room for doubt over the intention. We also have an outright statement that she holds great affection for Mina regardless of being obliged to consider her an eventual romantic partner. Indeed, she becomes so upset by believing her fiance dead, she runs off to Antarctica in a Gundam. But the exact depth of Mina's feelings in return is not discussed.

In addition, Mina is considerably younger than Deira. McGillis and Almiria's match takes place when he is (probably) somewhere in his late twenties and she is nine, with plans for the union made four years prior. This is not great, to put it mildly, albeit fairly typical of how such things have historically worked for nobility. Based on appearances and how they are treated by the rest of the cast, I would assume Mina to be in her mid-teens, and Deira to be in her early twenties (annoyingly, exact ages are provided for several characters in Moon Steel, just not these two). A less dramatic gap (and I don't believe Mina is meant to be quite as young as her appearance perhaps suggests), yet still significant when one of the people involved is below what we'd consider adulthood.

There is no indication of anything untoward going on, within the confines of the situation, similar to how we're given no indication McGillis is abusive towards Almiria. Any comparisons with Lord Iznario's activities lie purely along the axis of how children are exploited by adults even without suffering directly. All indications are that Deira and Mina have made the most of something they have little choice in. Regardless, I still feel more comfortable describing Mina as open to being in a relationship with another woman, rather than pinning her to a specific preference.

Continuing the theme of things where doubt or ambiguity exist, let's discuss some characters were there shouldn't be any: Atra and Kudelia.

I don't know about you, but I find it extraordinarily hard to read this as anything other than a three-way love-confession. Still, in the interests of fair play, let's review the wriggle room for declaring this something else.

Kudelia Aina Bernstein and Atra Mixta are love interests of nominal protagonist Mikazuki Augus, in an iteration of another tried-and-true trope, that of a male lead inexplicably being attractive to the female characters in his orbit. Or rather, it would be if the show didn't take such pains to demonstrate why these girls fall for him, setting up a long-established crush on Atra's part (rooted in him being the first person in the world to be nice to her) and a mutual respect on Kudelia's that gets spurred to more when Mikazuki randomly decides to kiss her because she 'looked cute' (Mikazuki has the manners of a feral stray raised on the streets, because that's precisely what he is).

Justification aside, this has the makings of a traditional triangle, that is, one without a connecting base, which we might expect to be resolved by either Kudelia or Atra 'losing out'. For a few episodes, this does indeed seem where we are headed. Then Atra discovers the concept of polyamory via the polygamous Turbines group and all bets are off.

Having realised it is perfectly possible for a family to consist of multiple romantic partners, Atra proceeds to work towards ensuring everyone gets everything they want. Strictly speaking, this doesn't mean she is attracted to Kudelia as well – even if she clearly recognises Kudelia as an attractive person from the start and…

You know what? Acknowledging that the information about their eventual marital status was only stated in interviews at live events with no official record and seems to have been framed around raising the son Atra has with Mika, I'm going to abandon the pretence of both-sided objectivity and go straight for the throat. Turns out my patience for soft-footing this lasts about as long as it takes to say 'bi-erasure'.

Over the course of Season 1, Atra not only decides the end-game is some form of three-person wedding, she also:

Shows no jealousy over Mikazuki and instead chides him for not providing the correct emotional support to the girl he kissed.

Spends a great deal of time with Kudelia and enthusiastically throws herself into furthering Kudelia's goals, without necessarily understanding the technicalities.

Covers for Kudelia by pretending to be her during a confrontation with Gjallarhorn soldiers, getting herself soundly beaten up in order to prevent them from chasing after the real deal.

Drives an armoured car through a battlefield for Kudelia's sake, safely delivering her to a vital rendezvous.

Leaps in front of a massive mobile suit to push Kudelia out of its path, physically shielding the other girl with her body.

As much as it pains me to resort to the 'if this were a man and a woman, would it read as romantic' crudity – yes! Yes it would! Especially since in Season 2, Atra presents Kudelia with a good-luck charm bracelet she has woven, something she previously did for Mikazuki explicitly out of having a crush on him. I'm all for embracing platonic love (which is why Takaki and Aston are not featuring in this rundown) and there's nothing in the above list necessarily entailing attraction beyond deep friendship. But when Atra consciously repeats her actions towards Mikazuki (someone she goes on to definitely have sex with) with Kudelia and it leads to the scene between them where they declare how they feel about each other and Mikauki, looking for non-romantic angles takes more effort.

After all, if we are to read Shino's openness to Yamagi's affection from the things he says and how he looks saying them, we can certainly do the same for Atra and Kudelia's use of the word 'like' in reference to one another and their reactions to hearing it said of them. (Obligatory note that if there is some nuance in the original Japanese the translation doesn't capture, I'd love to hear about it. The English scripts, however, leave little to the imagination.)

It is indisputable that Atra feels a strong affection towards Kudelia and while I have been focusing on her a lot (she is by far the most proactive member of the triad), Kudelia reciprocates at every opportunity she is presented with. Even if there truly wasn't an intention to portray this as exactly equivalent to Atra and Mikazuki, the end result manages to be on par with Yamagi and Shino. Consider Kudelia and Mikazuki, for example. In terms of portrayal and the two-girls-one-guy trope being explored here, they have the same level of chemistry and the same absence of overt consummation as Kudelia and Atra, and it would hardly be a serious position to claim the show does not place the two of them in romantic conjunction, now would it?

You may at this point be wondering why I am getting so defensive of reading Kudelia and Atra as romantic partners. Honestly, I am too. On reflection, I think it's because IBO is playing around with such a worn-out and insipid means of wringing drama from characters who should know better, I keep searching for the catch. And yet there isn't one. This show really did respond to a nascent love chevron by having the mousy, homely girl tell the governor's beautiful daughter to shut up and get in the polycule, and turned it into a true triangle.

That's wonderful. I cannot properly express the wave of joy and relief that came over me when I realised this was the direction they were taking. It ends in tragedy, of course, Mikazuki giving up any chance of a peaceful life to die in battle, far away from the women who love him. But their lives continue because of his sacrifice and by all appearances they remain together. In some ways, for the overarching message of hope persisting on the back of heartbreak, the precise details of that arrangement don't particularly matter. So why not take the gayest reading possible?

What an excellent segue into a blink-and-you'll-miss-it, probably-stretching-too-far, nonetheless-compelling potential bit of queerness: Chad in the series epilogue.

One of the many tertiary characters in Tekkadan, Chad Chaden has minor speaking parts throughout Season 1 and a larger role in Season 2. He initially appears during a particularly dire early moment when it looks like everyone is about to be killed by attacking mobile suits. His obvious resignation to this fate sets the tone for a rather dour personality, at least while on the clock. Chad starts out as human debris, a person enslaved after a space battle and sold to the CGS military group as free labour. This gives him a very matter-of-fact attitude towards fighting and the kill-or-be-killed nature of being forced into it – he voices the sentiment that even when facing other human debris, they can't afford to show mercy.

Off the clock, Chad displays a more sensitive personality. He seems studious, learning about interplanetary communications from Kudelia's maid Fumitan and later being promoted to leader of Tekkadan's Earth branch. He has some difficulty acclimatising to being treated as a free person, proving unsure about the concept of wearing a smart suit instead of his normal fatigues. And he grows anxious when he returns to Mars to discover nobody told him two of the few adults in the group (Yukinojo and Merribit) had started dating, worrying that he's no longer 'one of the guys'.

The most we learn about his relationship preferences prior to the series epilogue comes in a comedic sequence about a third of the way into Season 2, when Shino suggests a trip to a local brothel. Eugene responds by proclaiming that he's realised money will not buy him true love. This prompts Chad to ask Merribit if this is true and, on her saying she supposes so, opts out of the trip as well. Judging by his body-language in the next frame where he appears, this is possibly a decision he regrets – perhaps owing to his anxieties, since he just passed up the chance for some team-bonding.

None of this is directly relevant to the topic of this essay. If anything, the scene I just described suggests that, like Eugene, Chad has previously gone along with Shino in paying for sex with women, only to discover he wanted more than just physical intimacy. But then we get the exchange in Kudelia's office during the last episode, following a time-skip after Tekkadan's defeat and dissolution. Now working for Kudelia as an assistant of some kind, Chad notes that Merribit is shortly to give birth to her and Yukinojo's second child, saying he and Yamagi intend to meet up later to plan a celebration. Eugene reacts with amused disbelief, accusing them of just wanting an excuse to go out drinking, to which Chad retorts, 'what's wrong with that?'

And the thing is he's blushing when he does. Which may simply be because Eugene is accusing him of slacking off – IBO characters blush all the time and their embarrassment is frequently to do with being caught acting immature or otherwise against how they want people to see them. But given the weight that 'drinking the night away' carries in regards to Yamagi following Shino's actions shortly prior to his death, it is easy to speculate this represents something more specific.

As far as I can recall, Chad and Yamagi do not interact at all over the course of the show's two seasons, meaning these lines present a rather unexpected combination of characters. Eugene would have seemed a more likely candidate to associate with Yamagi. He's positioned as Shino's closest friend, he comforts Yamagi over his grief, and they are together for much of the climax to the series' plot. So what has happened in the years since, that Eugene's teasing should elicit a blush from Chad instead?

If we put on our shipping goggles, it's far from a nonsensical pairing. Chad goes through an arc not too dissimilar to Shino's. He is knocked into a coma while protecting an ally from a bomb blast and subsequently the Earth branch gets swept into a war orchestrated by one of the factions within Gjallarhorn. On recovering, he blames himself for the many deaths that result, echoing Shino's line about thinking it better if he'd died in place of his comrades. On returning to Mars, he jumps head-first into mobile suit training, determined to make up for his perceived failure as a leader and cheering himself up through rigorous activity. Different though their personalities appear on the surface, there are clear commonalities here. Further, Chad's responses to his traumatic experiences have a more measured quality to them than Shino's. He is not nearly as reckless and provides clear directions to his comrades even while acting as a decoy against a dangerous enemy, rather than abandon any attempt to be an effective leader. Taken together, and coupled to a more long-term view of romance, these qualities might make him a 'safer' version of things Yamagi loved about Shino, creating space for them to be drawn together.

Or perhaps they're simply the most logical points of contact between the ex-Tekkadan survivors at the Admoss Company and Kassapa Factory and intend to make that an excuse to get companionably plastered for no greater reason than it being a nice time. I am speculating over a couple of lines and an animation choice. Nevertheless, it does not feel like unreasonable speculation. When we already have a veritable gaggle of characters who are queer or may trivially be read as such, it's hardly a stretch to assume one more.

Chad/Yamagi doesn't appear to be a thread the fandom at large has pulled on much, likely because the pairing of Shino and Yamagi is so prominent, it eclipses a mere throwaway possibility. But I'm glad it exists within easy reach. And even if we take off our goggles, these lines demonstrate life for the characters has not stopped. The ex-slave and the gay kid are not stuck, trapped by the tragedies of their past. They have instead grown in both confidence and happiness and now have peaceful, stable lives where they're on going-out-drinking terms. That above all is why I wanted to explore this exchange: it reinforces Iron-Blooded Orphans' rejection of the idea the suffering people like Chad and Yamagi go through is perpetual or inevitable.

OK, one more character to look at. Let's talk about Orga and asexuality.

Orga Itsuka, leader of Tekkadan and instigator of the series' events, is notable for his charisma, his drive to provide a safe home for his comrades, and his complete unsuitability for the grown-up activities he attempts. Trying to party all night leaves him puking up his dinner. He forces himself into a suit and tie to handle the administration of a break-out paramilitary company, despite finding it stultifying and bewildering. His goals spin like a weather-cock, as he's surrounded by older characters possessing strong convictions while unable to stick to his own. And he is ultimately undone by an unwillingness to ask for help, having assumed that, as leader, he must decide everything alone.

I suspect his expressed lack of interest in women is intended to help convey overall immaturity. Orga is a good soldier and tactician, but he plainly isn't prepared for adulthood, lacking the grasp on the complexities of life that implies. Making him uncomfortable about sex serves to heighten the impression of a teenager trying to navigate circumstances for which he's not yet ready.

Relatedly, it should be stressed Orga stating he 'doesn't care' about woman is a response to Eugene asking if he agrees love and kindness are what's important, as opposed to Shino's endorsement of boobs. On hearing this response, Eugene proceeds to mock his commander for inexperience. That he himself has only just had his first sexual experience with another person and previously said much the same about not caring about sex simply proves hypocrisy is a fundamental aspect of Eugene's characterisation. The whole scene is very teenage.

Matters have not improved much when Orga and Eugene's dynamic is revisited in one of the side-stories released via the Iron-Blooded Orphans G mobile game. A year and change later, Eugene continues to act superior about having 'experience' where Orga doesn't.

Orga takes this rather poorly.

(Subtitles by @trafalgarlog)

Eventually Merribit has to shout at them to stop being brats, shaming them for behaving like argumentative children. It's funny – and then you remember they basically still are children and this is headed towards more carnage that will not spare them for being young. Such it is to engage with Iron-Blooded Orphans.

What does any of this tell us about Orga's sexuality? In principle, taking it as a device to convey immaturity, nothing. Orga's persisting virginity could simply mean he's not worked out this aspect of himself yet. He is a busy young man who likely hasn't had the time to try.

Alternatively it could mean he is gay. Mikazuki/Orga is an extremely popular ship in the fandom and we might take Orga's professed lack of interest in women as 'evidence' of him swinging the other way.

Or we could take my view, that Orga is asexual and his embarrassment is rooted in just not getting what the big deal is.

To immediately clarify, I don't think he is ace because he 'hasn't worked out what he wants', I think he's ace because he blushes on admitting he doesn't care about women and does not try to prove otherwise once he's in a position where he could easily do so. In circling back to the same joke for the side-story, the writers portray Orga as continuing to be uninterested in sex and sensitive over being needled about it. Again, a feasible interpretation is that he's into guys. Yet this is an argument with Eugene, whose response to the idea of Yamagi being in love with Shino is basically 'you mean you didn't notice?' Eugene is a dork and jerk; he isn't bigoted. None of the Tekkadan guys are. It's unclear if homophobia is even a factor in the setting. Sexism is, but when someone as superficially macho as Shino is comfortable with male/male attraction, and there are same-sex weddings inside Gjallarhorn, we cannot assume stigma exists around being gay. So why should Orga be worried, unless it goes beyond a question of who you're attracted to and into the answer being 'nobody at all'?

When you're surrounded by people who happily wax lyrical about how the joys of sex make you a real man, the absence of a libido might easily become a sore point.

Again, I'm supposing. Again, there is room to do so. As I touched on with Chad, it is easy to read queerness into the text when the assumption of straightness has been taken away, which is something this show does wholeheartedly and deliberately.

Orga Itsuka is one of the first characters I looked at and realised, not only shouldn't I assume heterosexuality, I shouldn't assume sexual attraction at all. I cannot credit Iron-Blooded Orphans alone with this. I do credit it with being a piece of media that applies itself to inclusiveness in ways quite remarkable for a show about giant robot fights, produced to market toys.

The word we want here is 'normalisation'. IBO has a lot to say about what constitutes 'normal' and a lot of it accords well with my own views, particularly those that have me twitching whenever anybody demands we 'be normal' about something. Normality is horrible. It is cruel and it is callous. 'Normal' is a world run on exploitation, on slave labour and on police savagery. Normal is children forced to risk their lives to earn the money required to feed themselves, because it is normal for their parents be gone, or incapable of supporting them. War is normal. Corruption of political systems is normal. Death coming more rapidly for those deemed expendable by society is very, very normal.

But so is protest. The drive to do something, to change things. The capacity for caring about each other. Love. 'Normal' is just a statement about what surrounds us every day, for worse and for better. In too many pieces of fiction, normality is narrowed, rendered a neater, cleaner picture, often excluding the kinds of people we might run into on the street, or walk past, or see on the news, distant and dehumanised.

Queerness is normal, yet for a long time it has been one of the first things to be cut out of fictional worlds. And when it is present, it's a big deal. An object lesson or a cry of triumph over breaking free of unfair strictures. I love stories about queer joy and victory. Heck, I'm a sucker for a good, soppy gay romance. But these aren't the only kinds of stories we tell. Sometimes we need to reflect the worst aspects of the world and what it does to normal people.

In attempting this, Iron-Blooded Orphans commits to an idea of 'normal people' that includes those who are gay or bisexual, those of colour and those we'd call white, the polyamorous, the illiterate, the desperate, the powerful, those who throw themselves into the fight with everything they have, and those who are simply kind. Those who are accepting, understanding and compassionate. Those who need to be accepted, who struggle to be understood, who suffer for a lack of compassion.

There are all sorts of people in IBO and – as a certain cheery, violent dumbass once said – man do I love it. I don't believe it is reading against the spirit of the thing to imagine more diversity than gets outright stated, to interpret one of the leads as ace or suppose another side character is bi or pansexual. It would seem entirely natural if they were.

Everyone's welcome here, down among the debris and the bloodshed, where hope is precious and fleeting and still somehow endures. So why shouldn't we raise a few extra pride flags?

Queer as in 'fuck you'

This all said, taken as a whole, Iron-Blooded Orphans is not a story about queerness or queer romance. Nowhere is this clearer than in its ending.

I skipped over the framing of the final scenes of the anime when I discussed Kudelia and Atra. They form a striking contrast with the ending of The Witch from Mercury, where the conclusion is directly focused around Suletta and Miorine's love for one another, their bonds of wedlock, and the happiness they have found together. This follows from the show being primarily about their relationship. In Iron-Blooded Orphans, the ending focuses not on Kudelia's feelings toward Atra, but those she has for Akatsuki, Mikazuki's son, with Eugene even saying she's eager to go see 'the man she loves', setting up a brief moment of uncertainty over who the character with Mikazuki's outline actually is.

The nature of Kudelia and Atra's relationship post-time-skip is implied rather than stated: in the English versions of the script, they do not refer to each other using terms suggesting they are married, although Atra has dropped her habitual 'Miss' from the front of Kudelia's name. They do not have wedding rings (redundant as those would be alongside the charm bracelets) and Akatsuki does not call Kudelia 'mom'. That they are raising him together is suggested very strongly, in line with Mikazuki asking Kudelia to be guardian of his child if he died. There are non-romantic ways of taking this idea, though, and none of these are closed off as viable interpretations.

But why should we expect some definite statement about romantic status when the point being conveyed is how Tekkadan's legacy continues to shape the world? This is a story concerned with the exploitation underpinning the world and the effort required to make even the smallest wide-scale change. It is about how people trapped at the bottom of the pecking order are still people, still human, messy and complex. It is about their pointless deaths, they ways they struggle on until those deaths come for them, and why they matter, even if the world forgets them.

Mikazuki, the living weapon, the human sacrifice for Orga Itsuka's reckless ambitions, leaves behind a child who will grow up in a more peaceful time, in a society slightly better off than when he and Orga were starving on Chyrse's streets. He doesn't live to see it; Akatsuki does. For all the failures, the attempt wasn't a waste. Don't you dare disrespect the people who died by saying it was.

This is where the epilogue centres, on Akatsuki and on Kudelia's cherishing of the world Mikazuki and everyone else built. Atra and Kudelia's relationship is there, a part of the gentler life they now have (Atra's desires were always towards the version of her existence where Mikazuki retires to a farm; here she fulfils the dream with Kudelia alone). It just doesn't need to take up space for the ending to land.

Yet, as I pour over how queerness is incorporated into Iron-Blooded Orphans, I find myself considering the struggles queer people face in reality. The victims of the AIDS crisis, dehumanised by indifferent institutions. Section 28 and the attempted destruction of knowledge around non-heterosexual forms of love. Riots and campaigns, voices raised loud and proud. How we are equated with dirt and corruption, reduced down to facts others find disgusting. The name-calling. The petty, pathetic posturing that makes everyday existence pointlessly harder.

So it goes for space-rats and degenerates alike.

I am lucky. My life is about as far from that of a child soldier as it is possible to get. My sexuality has been largely invisible. My gender matches the one most favoured by my society. I still have more common cause with those born in poverty on the other side of the world than I will ever have with the aristocrats and billionaires who shape the direction of my country. Because we hold many causes of misery in common. Because we share the same capacities for joy and suffering. Because our humanity is so easily cast aside by those we will never be able to touch.

There is always a place for stories uncomplicatedly about queer love conquering all. Equally, it is important to recognise the places queerness overlaps with stories about the many other ways the world casts people out. It is vital to be able to explore loss, futility and heartbreak. It is essential to capture why we strive onwards despite how heavily tragedy might weight us down.

We may be doomed. Our lives still matter. To ourselves, to each other and, whether they remember or not, to those who come after us.

So, no: for all the queer characters it contains and the many more we might trivially imagine queerness into, Iron-Blooded Orphans is not gay in the vein of The Witch From Mercury. It is not a happy story.

But it is a tenaciously hopeful one and, from certain angles, that alone looks queer as hell.

---------

Happy UK/US Pride Month – in honour and memory of Marsha P Johnson and everyone else who refused to go quietly.

I shall leave you with one of the least straight things ever to be included in any Gundam show.

[Index for further writing]

[nerdygaymormon]

Happy Pride

I want to wish a happy Pride to:

Vests

The vest is an iconic lesbian wardrobe staple. For a long time, lesbian fashion has incorporated staples of working-class men's clothing because they are practical and unpolished, which is not typical of women's fashions, and therefore it challenges gender norms. Vests can be formal or casual, they are familiar yet subversive when worn by women, thus making them a lesbian standard.

Frog and Toad

These cottagecore gays are good role models of a loving queer relationship. The first Frog and Toad book was published in 1970. In 1974, the author Arnold Lobel came out as gay to his family. Arnold's daughter has said, “I think ‘Frog and Toad’ really was the beginning of him coming out” because they're “of the same sex and they love each other.” So yes, Frog & Toad are a gay couple.

Cake

In the 1990's and early 2000's, a popular dessert was the Better Than Sex Cake, which was a rich chocolate cake. Well, when you're asexual, the name of that cake hits a little different. In 2004, asexuality.org (AVEN) started using cake as a symbol of asexualness since they believe cake IS better than sex. Asexuals may not have much of an appetite for sex, but that does not mean they have no appetites, thus the popular phrase "I'd rather have cake."

Limp Wrists

Why do we associate a limp wrist with male homosexuality? The ancient Romans viewed limp wrists as effeminate, and the association was further strengthened in the 17th & 18th centuries as one hand with a limp wrist and the other hand placed on the hip in an "I'm a Little Teapot" pose was seen as something men in the royal courts would do, and that sort of leisurely life was considered unmanly. In the modern era queer men have been seen as effeminate, so the limp wrist became associated with them. This association was embraced and reclaimed by queer men, and the wider queer community as a whole.

Unicorns

Unicorns have been used in art since the 4th century BCE and it was the Victorians who firmly linked unicorns with rainbows. In 1978, Gilbert Baker created the rainbow flag as a joyous symbol of the queer community. Given that rainbows and unicorns are so intrinsically linked, it’s unsurprising that the mythical creature started to also be used as a symbol for LGBTQ+ people.

Pansies

“Daisy,” “buttercup,” and especially “pansy,” are flowers which have been used to mean a “flamboyant gay man.” Sometimes the word "pansy" has been positive, sometimes definitely not. In the 1920's & 1930's, the underground clubs of the Prohibition era became a hotspot for queer nightlife with drag queens becoming hugely popular entertainment even among the straight clientelle, and this became known as the "Pansy Craze" in reference to the colorful clothing the performers wore. In 2013, because of the association the pansy has to queer people, a group of people in Atlanta used them to block out hatred by putting cardboard pansies on poles tall enough to block the protesters’ signs, and voila, the Pansy Patrol was born.

Queer Sitting

Improperly sitting is one of many seemingly arbitrary traits (like walking fast and being unable to drive) that the online queer community has claimed as part of queer culture, but it's deeper than it seems. Girls are often taught to sit like a lady, such as keeping their knees pressed together, therefore an act of rebellion can be a woman sitting incorrectly. By not sitting properly, it's a rejection of rules about what we can do with our bodies. In movies & television, for decades censorship codes worked to silence queer voices, and creators developed sophisticated ways of coding queerness through body language, such as the way a character sits. Queer sitting resists the process of assimilation and instead says: do what feels right, do with your body what you would like, not what you are told is proper.

RuPaul's Drag Race

Many of us in the queer community take RuPaul's Drag Race for granted with its 15+ seasons, multiple Emmy wins, spin-offs like All Stars & Secret Celebrity, 15 different international versions, a successful Las Vegas show, and the many memes and catchphrases that have come from the show. It’s easy to forget in the 2000's things were very different. There were gay characters on TV and reality shows like Survivor had openly gay contestants, but until RuPaul’s Drag Race premiered in 2009 there wasn’t a truly successful series made by queer creators, starring queer cast members, and made specifically for a queer audience.

RuPaul's Drag Race brought drag performance to a large audience and presents topics traditionally considered taboo on television, such as that it's okay to not conform to societal expectations around gender and sexuality. The show has spread awareness and acceptance as it provides positive representation of queer people and humanizes us as it showcases the struggles of gay, lesbian, gender-nonconforming and transgender people and as the contestants tell stories of coming out, being affected by HIV/AIDS, being rejected by their families and attacked in the streets.

Quiche

in Anglo-American culture, French cuisine is not viewed as "manly" food, which is the first mark against quiche. During the 1970s, quiche was served at brunch spots frequented by gay men which led to it being seen as a quintessentially queer dish, another mark against this food. Quiche became seen as so effeminate that a 1982 best-selling book satirizing masculine stereotypes was titled Real Men Don't Eat Quiche. Instead of the French name "quiche," if it had been called "scrambled egg pie" it likely wouldn't be considered a food for women and the gays, which just goes to show how lame it is to think of food as gendered in some way, but as long as they keep serving it for brunch, we'll keep eating it

Tumblr

Tumblr is known as "queerest place on the internet" and as a platform that "queer[ed] an entire generation." According to Tumblr, the people who use its site are 193% more likely to be LGBTQ compared to those on TikTok, Facebook, Instagram, Snapchat, Reddit, Twitter, and Pinterest. Tumblr estimates that 1 in 4 of its users identifies as LGBTQ. An important reason for this is that Tumblr does not require identity cues to be featured, such age, gender, location, relationship status or legal name, which allows users control over their self-presentation and makes it far less likely family and friends may discover their Tumblr account. This privacy allows queer people on Tumblr to feel more comfortable exploring and expressing their queerness.

Tumblr has been a place of important contributions to queer culture. One example is the large number of queer Pride flags which were first introduced and adopted on Tumblr:

In 2010 Jasper V. introduced his design for a Pansexual flag on Tumblr.

The Polysexual flag was created in 2012 by a Tumblr user named Tomlin. 

The Genderfluid flag was created by agender Tumblr user JJ Poole in 2014.

The Agender pride flag was designed by Salem X in 2014 on Tumblr.

The Aromantic flag was created and posted by Tumblr user cameronwhimsy in 2014.

The omnisexual flag was designed in 2015 by Tumbler user pastelmemer.

Tumblr user 2Sanon posted a 2 Spirit flag in 2016.

In 2018 a nonbinary lesbian Tumblr blogger named Emily Gwen introduced the Sunset Lesbian flag to be inclusive of butch, trans, and enby lesbians.

[lurkingshan]

Some Highly Recommended Kdrama

My pal @troubled-mind asked me if I had any recommendations for good kdramas to watch, and my answer to that is: literally always. I put together this short list for them and decided to share in case anyone else is interested.

Parameters for this list: modern setting, strong focus on friendship dynamics, mix of genres, avoid university settings, no one-sided romantic pursuits, and no terribly sad endings

Be Melodramatic/Melo Is My Nature (Viki)

Fantastic friendship focused drama about a group of close friends who all move in together in the wake of personal crises. A healing drama that includes a couple love lines. And an out gay side character (still extremely rare for mainstream kdrama, unfortunately). This one will make you laugh and cry.

Happiness (Viki)

Pandemic zombies attack! Now I am not really a zombie person, but I absolutely love this show. It’s about a pair of working class besties who decide to get married in order to win a housing lottery (one of them may or not be hoping this fake marriage turns real), then immediately get caught in a lockdown with all their new neighbors when there’s a zombie virus outbreak. Shenanigans ensue! This is more action thriller than horror, and the two main characters are some of my all time favs. The writing, plotting, and pacing are tight as hell and it’s a rare perfect 10 for me on that front.

Coffee Prince (Viki)

MY BELOVED. This is an absolute classic genderbend kdrama that I’ve watched several times. The show that made Gong Yoo famous. An honest to goodness queer narrative about a chaebol who meets a girl pretending to be a boy for poverty reasons, falls in love, and has a bisexual awakening. This show was way ahead of its time even if it doesn’t use our modern language (you will not hear the words trans, non-binary or bi/pansexual but trust me, they’re there). Also features a fun friend group who all work together at the coffee shop. I try to make everyone watch this one, and recently got @bengiyo and @kyr-kun-chan to watch and validate my read of the story, and they enjoyed it a lot despite the messy hets. Be warned though that this drama is old old, so you’ll need to adjust to the visuals.

Fight for My Way (Viki)

My all time favorite friends to lovers drama, this is a coming of age tale of two best friends and their long journey to getting on the same page about romance. Their dynamic is fantastic and the story is mostly set in their early adulthood as they try to establish themselves in careers and make sense of their bond as adults. Also features their close friends who form a fun little group with them. And Park Seo Joon, a god among drama actors.

Hospital Playlist (Netflix)

If you want excellent friendship dynamics, look no further. This show is all about a group of five friends who met in college and have stuck together for over two decades and all of life’s ups and downs. The story begins when they find themselves all working in the same hospital for the first time since med school and decide to restart their old band. Yes, there will be singing, and no, you don’t have to cover your ears - the cast is stacked with South Korea’s best musical theater talent. This drama is slice of life and takes us through a couple years with them as they reforge their bonds and each deal with their own family baggage and love lives.

Misaeng (Netflix)

My all time favorite workplace drama that has the unique distinction of being the only show to ever make me literally burst into happy tears. No romance in this one. Story centers on a former baduk prodigy (think if Reply 1988 Taek stalled out instead of becoming a master) who attempts to enter the workforce with no discernible skills. He bumbles and fumbles and alternately competes with and bonds with his fellow interns, and forms a deep and lasting relationship with his mentor. When I tell you this show is a master class in writing to create emotional stakes, phew! How else can you explain me getting deep in my feelings over the success or failure of an import/export company?

My Mister (Netflix or Viki)

This one is a bit darker, as it deals with themes of intergenerational trauma, abuse, poverty, depression, and general ennui. Not a romance, this drama focuses on the strange and unexpected bond that forms between a middle aged man and a younger woman working on his team. They meet at an important inflection point in both their lives and forge a friendship that changes them both. Really moving and utterly beautiful, with an ending that will make you feel happy to be alive.

Extraordinary You (Viki)

Time for a change up! This is a fantasy show in which the main character becomes self aware and realizes she is a side character in a manwha. Technically set in a school (inside the manwha) but not actually about that. She bonds with another side character who is self aware, and the two of them start working to change the story so that they can break free (and fall in love while doing it, naturally). The concept of this one is just so cool and they do a lot of interesting things with it, plus the visuals are stunning.

The Uncanny Counter (Netflix)

Because I know you liked Oh No! Here Comes Trouble, I’m adding this one about a kid who discovers he has superpowers and teams up with a little found family of grim reapers to fight evil. The family unit is great and there’s lots of good stuff in their various relationships with each other. This one is a lot of fun but also touches on the characters’ sad backstories and family lives.

Weightlifting Fairy Kim Bok Joo (Viki)

You said to avoid university settings but I’m adding this one in case you want to give a classic college romance a try. My fav in that category, it’s a sports romance between a weightlifter and a swimmer who used to be childhood friends and reconnect in college while they’re struggling with performance issues, body image, and romance. It’s a friends to lovers slow burn and they are utterly adorable.

If you like any of these, let me know and I can give you more recs!! Y’all can hit me up anytime, getting other people to watch my fav shows is one of my number one joys in life.

[spacelazarwolf]

Seeing how you're responding to a lot of insensitive asks from Christians, I was wondering if I could ask a good faith question as a change of pace?

I am religiously a liberal quaker, so one of the most important things to me spiritually is learning about how other people engage with god/their higher power. By listening to their experiences and making a strong effort to understand their perspective, I feel more connected with God and my community. Specifically, I want to learn how individuals engage in their faith and not just the "by the book, this is what x religion believes" you find online.

I've always had a deep respect for Judaism, and I want to approach the people in my circle and try to have those good faith learning experiences if they are willing, especially since the Jewish faith is so rare where I live.

Unfortunately, with a lot of my ethos and language being derived from Christ (even if I'm not a christian), it makes it feel like a minefield to even start the conversation. I'm queer, and the man who raised me was native American. I'm very aware of how being connected to Christianity, even only tangentially, will immediately raise red flags for people. And for good reason.

So, how do I disarm myself? I want to hear people's stories, I want to know the Light in them because I truly wish to love and understand them as they are. How do I approach and ask for consent for such a thing without it feeling like I'm waving a torch in their face?

i would start with gauging your level of awareness and education when it comes to general jewish stuff like history and practices and holidays. if you want to get more into the nitty gritty with hearing people's stories you'll need that foundation first if you really want to understand them. there's tons of books, websites like myjewishlearning, and you could even try contacting a rabbi and asking for an in person or phone appointment with them to ask some questions and get some suggestions for what resources to use. once you have that foundational level of understanding of judaism and the jewish people, it'll be much easier to talk to jews about more personal things.

in terms of actually approaching people, if they're your friends, then hopefully they already have a good idea of what kind of person you are and if they're comfortable sharing with you. if you don't know them as well, make sure you're not just going into the encounter with the goal of "learn jew stuff" and that's it. they're whole people, and you don't want to treat them like a jewish encyclopedia.

we can usually tell when someone is being genuine and when someone has weird or bad motives, so as long as you're respectful and honest about what you want from the conversation, and maybe share a bit of yourself as well, most of us are happy to talk about it.

also quakerism and quakers have always seemed very cool to me. i heard it's much more about a way of life instead of a set faith, which feels a lot like judaism to me. also y'all have the public universal friend so u r winning.