#characters now included as viewers

[rosefromtheashes]

Archie's Poem

"Tomorrow, we won't see each other in study hall, So, here's a few memories for us to recall. And no, I won't be mentioning the epic highs and lows of high school football.

I grew up next door to Betty Cooper, Who everyone thinks is super duper. Just don't mutter the word 'tangerine', 'Cause it sets off her serial-killer gene.

Veronica Lodge, always in pearls, There isn't a business you haven't given a whirl. Funny to think you were never prom queen. Then again, you were, once upon a time, a human dialysis machine.

Cheryl Blossom, you're as rich as a Rockefeller. You also kept your beloved Jason down in a cellar.

But I'm glad to see you and the serpent queen back together. Only thing, Toni, 'Southside' is one word. So, whoever designed your jacket is a terrible speller.

Jughead Jones needs no intro. He made his teacher jump out a window. Thinks himself a private eye, Chained himself to Southside High.

Kevin's voice is so beautiful he belongs in a chorus, But he spends most of his time cruising Fox Forest.

Fangs, look at you now, You're a rockstar greaser. A long way from a cult member who stole organs to put in a freezer.

Last but not least, Mantle the Magnificent. Pound for pound you're my closest equivalent. But there's that other Reggie so how do we know you're even legitimate? I'm gonna need to see some kind of birth certificate.

These are just some of our wild endeavors, But now we've come to the end of our time together. It's truly one of my life's greatest pleasures To call you all my best friends Forever and ever"

Riverfinale: 7x20, Chapter 127, "Goodbye, Riverdale"

[frameconfessions]

What if the devs or just someone who works for Digital Extremes finds this blog and sends in a confession?

[augustatheghost]

i don’t know what you guys are all complaining about i love that svu has vaporized olivia from woman on the verge to lady cragen

[spacedlexi]

i said in my seyka response that i wasnt going to be engaging with any weird fandom drama so know those asks arent seeing the light of day

[luxeberries]

me, knowing that carol has short hair again sometime in season 11 and learning that she cut it in the first place because she felt unsafe: oh no what angst is going to occur that makes her feel like she has to cut it all of again

season 11 episode 24, cutting her hair short in the last fifteen minutes for no reason and without giving an explanation or even addressing it:

me: PLEASE

[sleepynegress]

While I'm On Claudia...

THIS storyline she's in right now? ...is yet another example of the show gleaning more depth than the original incarnations of the characters because of race.

Her role as Lulu is popular for the most part because of its minstrelsy elements, which were big in that day. Her large eyes, her dance routine, the exaggerated smile, her laying an egg like a cartoon bird and not a human, her schadenfreude and "death" as comedy... She is playing a live-staged minstrel cartoon character, many of whom in that era were modeled on exploitative caricatures of Blackness.... Including the original Mickey Mouse. Which makes her plight that much more tragic, beyond being frozen in girlhood. It's not even a true girlhood, but one mocked and marked by her color. It's brilliant, but I think it went over the heads of a lot of viewers.

[piastappies]

𝜗𝜚 𝐋𝐎𝐕𝐄 𝐈𝐒 𝐄𝐌𝐁𝐀𝐑𝐑𝐀𝐒𝐒𝐈𝐍𝐆 𝜗𝜚

⋆ pairing. max verstappen x streamer!reader

⋆ summary. max wants to surprise you. little does he know, he just hard launched his relationship!

⋆ notes. a bit suggestive for a second lol, you’re responsible for the content u consume. not proofread 😝

YOU WERE BUNDLED UP IN A FLUFFY BLANKET that max got you on your first christmas together. it was a lazy evening, you weren’t even supposed to be streaming — you just wanted to play some games of valorant, though playing without talking to the people in your twitch chat, so… as you started the game, you also started a stream. your phone was charging in the other room, making discord the only way to communicate with you.

max didn’t know that — he was coming back from a few days up in milton keynes. you were still living separately, but you had keys to one another’s apartment as he rarely ever spent time without you during the breaks from racing. he didn’t think to text or call you, nor to check if you were streaming, it just kind of slipped his mind as you rarely streamed not in schedule. he was happy to be back, he missed you over the few days as you barely talked due to your merch launching soon and his workload at milton.

“thank you so much for the sub, oh my gosh!” you giggled, a smile creeping up on your face as you read the message from the viewer that just subscribed to your channel. you tried to read every donation, every sub so your viewers would feel included in the stream as much as possible.

it wasn’t always easy, especially when you streamed with a few of your friends that were a bit more famous, like max fewtrell, who you met through lando (who you met through your boyfriend). the donations, bits, and subscriptions would go crazy, but you loved the friends you made along the way, starting as a small streamer, casually playing valorant (or stardew valley on lazier days).

“guys, i can’t with this you die you drink a shot thing.” you laughed softly, running a hand down your face, your cheeks blushed due to the alcohol in your system. the chat was spammed with jokes and clips of your drunken self, but you didn’t really mind. drunk streams weren’t a common occurrence.

you started another game, as the last one was finished with — surprisingly — a win for your team. you squinted your eyes, pulling yourself on the chair closer to the screen, jokingly saying that it was a now-or-never game, after having fixed the position of your glasses on the bridge of your nose and locking in a character.

the soft tunes of a non-copyrighted song was playing in your headset as the game began, making you unable to hear the jiggling of keys as someone opened the front door to your house. it would’ve startled you if you heard it, especially in that state, but you didn’t, so when max came inside, no one could tell him that you were streaming and not just playing a game.

he’s grown accustomed to your silly antics, the screams, the rage, the laughter, and the stuff you were saying over the voice chat. he’s had your schedule memorised, he knew you weren’t supposed to stream tonight, so… he asumed you were either talking to yourself or just played a game.

dropping his carry-on bags in the living room, he moved to the kitchen to prepare something to eat, before surprising you with his presence. with all the information he’s had, the plan of a nice evening seemed flawless, he would make you something to eat, watch you play for a few minutes before giving you the best head of your life, it wasn’t really a point in his plan, but he wished it happen. his favorite place in the world was wherever, as long as his face was in between your legs.

he barged into your streaming room, thinking you were just playing a game. he went up to your setup, dropping his head to press a kiss to the crown of your head, freezing in one place as his eyes fell on one of the screen, seeing as your chat started going at an unholy speed.

fuck. “you’re streaming?” he asked, his voice quieter, so your mic wouldn’t pick up on him — it did, though. “you’re back?” you asked at the same time. the chat not quite understanding what has just happened, what was max verstappen doing in your room?

your thoughts, however, couldn’t be stopped from slipping from between your lips. “did you just hard launch us?” you said, slapping your hand over your mouth, causing max to chuckle a bit.

“i think you just did.” the dutch man grinned, pressing a kiss to the side of your head, his hand gently rubbing your arm as you pretended to not notice the shock on your second screen. you and max were supposed to publicise your relationship sooner or later, so you could easily support him during races.

you tipped your chin upwards to look at your boyfriend, your expression softening as soon as you noticed the hint of giddiness on his face. “ah, fuck it. mina, could you change the stream title to drinking with The Man, capital t and m? thank youu.” you grinned at the camera, standing up from your chair, signaling max to sit down before you comfortably sat down on his lap.

“is he staying?” verstappen read out loud, wrapping his arms around your middle. “well, i have no way to go anyway, so i might as well stay.” he answered the question with a silly smile, leaning against the back of the chair, his hand slinding beneath your shirt.

“of course he’s staying! none of y’all can keep him. he’s mine.” you spoke into the mic, a frown appeared on your face as max laughed at your reaction. “what? you are mine. i’m not letting you leave.” you said in the most matter-of-fact tone.

“don’t worry, i don’t even wanna leave.” he pushed your headset away from your ear, whispering. his nose gently nudging your temple. “good. i wouldn’t let you out, anyways.” you shrugged your shoulders, starting another game, while still sitting on max’s lap, your back pressed against his chest as he talked to the chat, pretending to be unaware of the chaos ensued on twitter.

max verstappen might be a multiple times champion, but right now, all he was — all he wanted to be was your boyfriend. that would be sufficient for him, he wouldn’t be upset if this was his life as long as it would include you. points in the championships didn’t matter, winning the title(s) felt nice, but it didn’t matter either, having a seat or being millionaires would never matter if you weren’t by his side.

the stream ended an hour later, when you got a bit too cozy on max’s lap, so he had to end the stream himself, before he ended, he thanked for a good time and said something along the lines of see you guys pretty soon.

“we should get you on sim.” the dutch man joked as you nestled your head in the crook of his neck.

“ah, fuck you.”

[madlori]

On Tommy and narrative threads

So some fans who are vehemently anti-Tommy frequently use the talking point that they need to have Buck confront Tommy about his past behavior while under Gerrard, or have him find out about it if he doesn't already know, and that he should break up with him about it. Or they need some kind of reckoning to happen with Hen and Chim in order to move forward.

I'm 95% sure neither of those things are going to happen, and here is why: the show considers that narrative thread to be closed.

It has run its course. It's done. It's been resolved. As fans and viewers - and as many of us are fic readers and writers - we always want to see things hashed out onscreen in exhaustive detail but that's not practically possible. The narrative sometimes has to signal that threads are resolved in other ways, in the way characters act towards each other and speak about each other.

Throughout the course of the three Begins episodes in which he appears, the writers clearly selected Tommy to represent the "firefighter who acted kinda jerky but got better through personal growth and friendship with new people" narrative. By the end of Bobby Begins Again, this narrative is more or less complete, as we've now seen Tommy act to support Hen and also be accepted into a friendly relationship with both her and Chim, not to mention Bobby. When he reappears in season 7, nobody acts like he's anything other than a friend, and Chim outright admires him.

This is the conclusion of this thread, as far as the show is concerned. Did he ever sit down with Hen and Chim and make some big speech or have some big discussion about how he's learned and changed? Probably not. Those kinds of direct conversations sometimes do happen in reality, but more often than not, you just spend years working with someone and your opinion of them shifts as all of you change. And remember, Hen and Chim worked with Tommy for years before Bobby even showed up.

And ask yourself this question: if Hen and Chim have both moved on, and have accepted whatever direct or implicit apology Tommy offered, how is it Buck's business to decide that no, that's not good enough, HE'S going to demand some kind of restitution on their behalf? That's patronizing as fuck. These are people with their own agency who don't need Buck to advocate for them and exact some kind of retroactive revenge for something they're not even mad about anymore. Would he be upset that Tommy ever made off-color remarks, or was less than welcoming to people who are now his friends? Maybe. Is he upset that Eddie nearly killed a man? Is he filled with moral outrage and disappointment that Hen cheated on her wife? Chim physically assaulted him, and so did Bobby. Is he still holding that against them? Is he upset NOW that nobody's speaking up on HIS behalf when Gerrard targets him? Buck's an adult. He knows that people frequently look back on their past behavior and cringe at what jerks they were, himself included.

Tommy has several times alluded to being ashamed of his past actions. He knows the score. The message we're meant to take from those comments is that he's taken steps to not be that guy anymore. Need he flagellate himself forever? Does this need to cost him and Buck a relationship they both value? It can't have been easy to come from a terrible father, go into the army, then into the LAFD with a terrible captain, and then to meet people who challenged your behavior and made you want to be a better person. The fact that he became a better person is something he should be admired for, not punished.

[scarlet--wiccan]

Agatha All Along, the highly anticipated follow-up to WandaVision, begins airing this week on Disney+. Now is the perfect to revisit some important information about both shows and the context in which some of Agatha's new characters are being introduced.

WandaVision primarily followed the character Wanda Maximoff and expanded on her family history by introducing her late parents as well her twin sons, who are born from magic and age rapidly over the course of the series.

In the Marvel comics source material, Wanda is part of a large, multigenerational family of Jewish and Romani characters whose stories frequently reflect the systemic violence and oppression that both communities face-- including Romani Holocaust victims, who are critically underrepresented in both education and media. In the MCU, these identities and histories are completely erased, and the characters are all played by white actors. Alternate versions of these characters also appear in the Fox X-Men films, and are similarly whitewashed.

The Romani people are a racialized minority that originated as a South Asian diaspora, and who face severe systemic oppression in Europe and North America. The modern Romani population is quite diverse, but they are not of white ethnic origin, and despite the fact that Wanda and her family have historically been drawn with white features, they are minority characters and ought to be considered as such.

Depictions of witches and witchcraft are often entwined with antisemitism and anti-Romani racism. In pop culture, witches and fortunetellers are typically portrayed as visual stereotypes of Romani women. In the real world, fortunetelling is a profession born from survival work, one which Romani families are often heavily policed and racially profiled for practicing. While Wanda usually subverts these tropes, they are often played straight elsewhere in the superhero genre, and any story about witches, especially one featuring Romani characters, needs to be critiqued in this context.

Agatha All Along introduces viewers to a new cast of characters, including Lilia Calderu, played by Patti LuPone, and the enigmatic "Teen", played by Joe Locke, who is heavily speculated to be an incarnation of Wanda's son, Billy.

In the comics, Lilia is a member of a prominent Romani family in Wanda's community. Often lauded as the "witch queen of the gypsies," Lilia embodies many racial stereotypes about Romani women. In Agatha All Along, Lilia is depicted as an older Sicilian woman, however, being portrayed as a batty fortuneteller with a tawdry psychic shop, she still embodies an offensive trope. Although Lilia is far from "good" representation, this is not an improvement-- if anything, it's even more exploitative.

Billy was raised in a Jewish American household and places a very strong emphasis on his Jewish identity, in addition to having Romani heritage. His identity as a young gay man is always presented in conjunction with this heritage, not in spite of it. Though there is a significance to Locke being a gay actor playing a gay character, his casting-- if he is indeed playing Billy-- is not authentic. White gay representation should not supersede racial inclusivity, and it is not an excuse for whitewashing or Jewish erasure.

Marvel Studios recently announced that the character Doctor Doom will be played by Robert Downey Jr., who is returning to the franchise after many years in the role of Iron Man. In the source material, Doom is also a Romani character with a very similar background to Wanda's. This identity is central to Doom's character-- although he is written to be both morally and politically challenging, the liberation of his people has always been a primary motive.

Clearly, this type of whitewashing is an ongoing pattern in the MCU franchise. Although "Teen's" identity is still unconfirmed and Lilia may, ultimately, be of little consequence, they are part of a larger problem, and Agatha All Along needs to critiqued in that context.

[goldenroutledge]

one in a million

pairing: lando norris x fem!reader

word count: 1.5k

summary: fluff. lando’s comfort show is revealed to the world and you only love him more for it.

warning(s): swearing, hannah montana (? lol), max f makes an appearance

a/n: i saw the interview of lando saying to oscar “you’ve never seen hannah montana?” and took that personally. hope you like it <3

lando norris masterlist

“Tell us your comfort show, Lando! What are you binge watching these days?” Max exclaims through the mic, voicing a comment from a fan in the livestream chat.

“Yeah and who has time for that?” Lando retorts, ever sarcastic in his banter with his best friend.

Max chuckles. “Man’s won two races and wants you to believe he’s working around the clock.”

“They keep us very busy, you know! In the simulator, doing media…”

“Mhm. He’s just deflecting from answering, guys. Because if he reveals the true answer Y/n’s probably gonna leave him.”

“Keep her out of this alright? I’m not deflecting from anything.”

“Sure you’re not.” Max muses. It’s apparent that Lando’s secret, a potentially embarrassing one at that, is on the tip of his tongue. He can only assume that the reactions in the chat would be good, but the way he’s toying with Lando right now is great. One of his favorite pastimes by far. “Don’t worry guys, you’re not missing much. His comfort show is not even that good anyway.”

“Stop spreading lies on stream, mate. We’re losing all credibility.”

“Did we ever have any?”

A moment of silence falls over the stream, before both men fall into a fit of suppressed laughter almost in unison, obviously failing at keeping their composure when the jokes are low-hanging fruit.

“But seriously, Max has no idea what he’s talking about. I’m not telling you guys the name of the show, all you need to know is that it has plot, humor, character development… and it’s not even a cartoon!”

“Yet you’re a little too old to be watching it, don’t you think?”

“You’re not being a very true friend, Max. Who said I’m too old to watch it?”

“Not a true friend? Is that what we’re doing?” Max catches on almost immediately to Lando’s quoting of certain song titles in his sentences, giving small hints to the viewers without completely giving it away. “I know you don’t mean that so I’ll forgive you. After all, nobody's perfect.”

“I hope you’re including yourself in that, mate.”

“Yeah, I know, I’m just like you.” Max sings his last three words, imitating the original songstress as best as he could.

“There we go, that’s more like it.” Lando smiles, amused with himself and with the way the chat is speculating who they’re referring to.

“I’m not changing my mind, it’s time for you to move on from that show. Just kiss it goodbye, Lando.”

“Are you the superfan here or am I? Because you’re quoting an awful lot of songs there.”

Max sighs, clearly taking more humor in this than he probably should. But would it be a Max Fewtrell x Lando Norris stream without a good inside joke? “Life’s what you make it, man.”

“It is what you make it. Some may say truer words have never been spoken.” Lando responds thoughtfully, clearly pondering his words. Or he’s at least pretending to.

“The fact that you get your life lessons from that show is concerning. Has anyone guessed it yet?” Max questions, carefully scanning the chat to see if there’s any mention of a certain blonde pop star.

“Well I don’t need them to guess it! If it’s my comfort show then how comforting would it be for everyone to know it?”

“They already know, mate! We’re not exactly subtle!”

“Fine, then we’ll say it on three. Ready?” Lando suggests, before counting down in unison with Max. “1…2…3…Go-fuck-yourself.”

“Hannah Montana!” Max shouts quickly, leaving an eerie silence over the stream as he bursts into laughter once again, nothing short of hysterical. “It’s Hannah Montana!”

Lando blushes slightly, his stoic expression slowly breaking before he begins laughing himself. If anyone watching didn’t know any better, they’d think he’s crying by the way he cups his face in his hands. It only provokes Max’s reaction further. Out of all of their stream moments, it goes without saying that they know there’s no way this isn’t getting clipped.

–

You’re lounging in bed when Lando returns to you from the ensuite bathroom, fresh out of the shower and ready to cuddle up to you after a long day. His heartbeat usually quickens at the sight of you anyway, but especially now as he sees you there in your shared bed. Visibly calm, cozy in one of his t-shirts, and ready to forget about the outside world with him for the night.

You can hardly peel your eyes away from the video playing on your phone, but it’s not hard once his eyes meet yours. You smile at him which is never out of the ordinary, only this time you know something he doesn’t. There’s mischief in your smirk and he immediately catches onto it.

“Congrats babe, you’re viral.” You face your phone towards him so he can see the video of himself from just hours earlier.

He throws his head back in exasperation and sighs dramatically, knowing that his suspicions have been proved correct. The little Hannah Montana moment between him & Max today was definitely clipped and had made its way into your algorithm. Lando throws the covers back and crawls in bed next to you, feeling at least a little bit soothed at the warmth of your body heat compared to the chill down his spine. He watches the video from over your shoulder, fitting in comfortably right beside you.

“I can’t believe he really went there!” You exclaim, with no urge to scroll past the video and see something else. You’d hate to make Lando feel bad, but it does get a little funnier every time.

“I can.” Lando states matter-of-factly. “He’s been holding it over my head ever since my sister let it slip that we watched it all the time growing up.” You giggle, which prompts Lando to defend himself further. “But it’s a good show! If I put on a wig and took on a new persona, my DJ career would’ve taken off by now. She’s a genius if you think about it. I mean I can’t be the only one who understands, right?”

“You’re not.” You murmur comfortingly, chastely kissing his jaw. “That show is a classic. Don’t let Max bully you into not liking it anymore. I love that you can appreciate good television when you see it, even if it’s Hannah Montana.”

“So you’re not leaving me?” Lando echoes Max’s words from earlier and beams with joy, putting an end to the pout he was putting on for dramatic effect.

“And let him win? Never.” You tease. “And you know why else I’m not?”

He breaks your gaze momentarily, feeling like his heart will turn to mush after you say what’s on your mind. If he’s honest with himself, it always does. “Why else are you not, Y/n?”

“Because you, Lando Norris, are one in a million. Hannah’s words.”

He sighs and smiles wide before giving you a proper kiss. It’s full of gratitude that you always play along, that you always flatter him until he’s blushing but most of all, for just being you. For never being embarrassed by him or hesitating to love him back the way he loves you, cheesy song lyrics be damned.

“Should we watch an episode?”

Lando rests his chin in the nape of your neck and caresses you gently. Moments like these are what makes the distance so agonizing, because you crave nothing more than to be with each other like this again. It’s what brings you back home to each other always, no matter what the coordinates say.

“Sure, baby.” He presses a kiss to your shoulder, trusting your judgment as you scroll through the episodes. Maybe you hadn’t seen them as often as Lando had, but they were fond childhood memories you held also. “Just not the Blue Jeans one!”

You give him a puzzled look, silently asking him to refresh your memory and explain himself.

“You know, Blue Jeans. Her horse? He gets bitten by a snake and almost dies. It’s too sad, we can’t watch that one unless I’m prepared for it, which I am not.”

“But he was okay in the end right?”

“Yeah, but he didn’t deserve what happened to him!” Lando emphasizes and you can hear the stress in his voice as he recalls the memory. “I didn’t think he was gonna recover, it’s a miracle that he did.”

You hum in agreement, amused by his passion. “Don’t worry my love, there are plenty of other episodes to choose from. I know that one is sensitive for you.”

“Promise you won’t make fun of me for it?” Lando teases, lightening the mood from his depressing story about an injured horse on TV.

You pause for a few moments, pretending to weigh your options. “Build me a closet like Hannah’s and you have a deal.” Lando smirks, picturing the image instantly. It was nothing short of a fashion lover’s dream, with shoes along the walls from top to bottom and clothes displayed in a colorful carousel.

He places a kiss on your temple, and then several behind your ears and down your neck to your shoulder, drawing your attention away from the television screen and back to him. He doesn’t really have to pause and think about it. Maybe he’s not always poetic with his words, but he knows in his heart that no gesture is too grand for you. “Consider it done.”

a/n 💌: reblogs, comments & feedback is greatly appreciated! thanks for reading <3

[quicksweetdreamer]

I really love how in Dan Da Dan, Okarun is sooooooooooo insecure that basically every single thing that happens makes him believe that Momo will stop being his friend.

(And isn’t that relatable af my dear socially awkward, low self-esteem friends?)

But Momo… Momo is always seeking out Okarun, always trying to include him, always wanting to talk to him and be with him.

And it’s so obvious to us, the viewers, that Momo loves Okarun soooo much, that she loves talking about aliens and ghosts with him! But it’s not to him! At all!!!

And not in a "oh it’s anime, of course the main guy won’t notice how the girl loves him" way, but in a "this guy really thinks that he’s unlikable and he’s wired to believe that everyone will leave him eventually" way.

Like… when Jiji shows up and Okarun sees how cool he looks and Grandma tells him that he’s Momo’s first love… he immediately thinks "That’s it. We’re done. She’ll never want to stay with me now that HE is here…". He’s jealous and he’s so scared that they’re "still in love". He thinks she’ll go out with Jiji, that she’ll stop liking the supernatural and only do things Jiji likes…

Meanwhile Momo is all like "why the FUCK is Jiji here? Okarun, help me get rid of him." And while they do bond over Jiji’s story, she very clearly doesn’t like him like that. She’s STILL seeking out Okarun, and she obviously won’t stop liking the supernatural because, yes, it’s something she likes to share with Okarun, but it’s also something that, by now, she likes period. It’s something they have in common and no pretty boy is gonna change that!

And it’s not just Jiji that’s threatening Okarun and Momo’s friendship in his mind, it’s everything. Everything he does, everything he says, every moment where he thinks he failed at something… because he’s just got no self-esteem at all.

Thankfully, Momo’s very vocal and straightforward about how he needs to stop pushing people away all the time, and even though sometimes she teases him a little too much, she’s got good intentions. She keeps doing and saying little things to reassure him. Like the whole "see you tomorrow" thing or how she goes out of her way to eat with him, how she always asks for his opinion or his help (like every time Aira says something batshit crazy, she always asks him "she’s still on with this shit?" It’s a detail, but I just love it so much). And Okarun didn’t change his whole mindset just because his new friend told him that he should "stop with the self-loathing already" two or three times. Something like that is obviously buried deep and it takes time and work to change and I love that they didn’t just make him suddenly all confident and shit.

Gosh I love this batshit insane anime and these crazy characters and their wonderful relationships!!!!

[maximumqueer]

Yamato, Transness, and "Passing"

Now that we're nearly a full arc removed from Wano and Yamato's introduction, I want to talk about the reaction that a subset of the one piece fandom had to his reveal as a trans man/transmasc person, the transphobia behind that reaction, and how the concept of passing plays into that reaction. I'm not going to be arguing that Yamato is a trans man, as I think it is very obvious that he is given how he is referred to in the canon text. This is instead going to be more of a fandom dissection of why (in my personal opinion) so many people refuse to acknowledge Yamato as a man.

When we are first introduced to Yamato, he is dressed in a way that gives him the appearance of a flat chest, and is wearing a mask to hide his face. He looks like a man in a cis-heteronormative way

When Yamato was depicted like this, he was (from what I can tell) mostly referred to with he/him pronouns by the fanbase. This is based on comments underneath his chapter debut and episode debut. There are comments under his episode debut that do use she/her pronouns and refer to him as a woman, but because these episodes have been out for a while, it would make sense that these kinds of comments would be left on his debut after his second design was revealed.

Then, when he removes his mask and outer layer of his outfit, he is depicted like this

After this reveal, more people began to refer to Yamato with she/her pronouns, and refer to him as Kaido's daughter, despite him referring to himself as Kaido's son, as well as the people around him using he/him pronouns exclusively for him. What changed? Well, Yamato went from having a design that looked traditionally masculine to having a more traditionally feminine one. As such people who associate only women with having breasts and more "feminine" features began to insist that Yamato was a tomboy, or a delusional woman, anything but accept that fact that he is a man.

There is a phenomena with trans "acceptance", where a character is accepted as trans only if they look like their gender according to the cis-heteronormative ideal, and questioned and denied if they don't. Kiku, a trans woman who "passes" as a woman did not receive nearly the same level of speculation and denial of her trans identity. (This is not to say that Kiku received no hate or transphobic comments, but that because she looks like a woman to the average cis-het viewer, she was treated as a "real" trans person, whereas Yamato was not).

Yamato has been repeatedly referred to as mentally ill for being a "non-passing" trans man. He has been called bad representation (despite large numbers trans men/transmasc people, myself included, saying that his IS good representation). People have made claims with no canon backing in an attempt to hand wave away his transness because he "looks like a woman", a popular one being that Kaido some how forced Yamato into being a man, despite his backstory telling us the exact opposite.

And the reasoning for all of this speculation is that trans people are held to such high standards in terms of appearance and presentation, even in fictional media. A trans man must have a flat chest, deep voice, facial hair etc. or he isn't actually trans. A trans woman must have breasts, a high voice, a lack of facial hair, etc. or she isn't actually trans. Non-binary people are dismissed entirely. This denies the many different and diverse ways that a person can be trans. Sure, some trans people wish to medically transition, get the "surgery" and go through life as if they were cis. But not all trans people want that. Gender is messy and complicated, its not nearly as black and white a we have been taught to believe. There are many trans people (both binary and non-binary) who will never medically transition. That does not make them less trans, it does not make them delusional. Yet because we have this black and white thinking ingrained in us from childhood, any deviation from the strict boxes of "man" and "woman" are immediately questioned, and that includes gender non-conforming people - both trans and cis.

This type of transphobia is not talked about enough, as the people doing it will so often hide behind the idea that they are protecting "real" trans people, and just want to make sure that they are respected and taken seriously. But, respect for a persons gender identity CANNOT be conditional. It does not matter if they "don't pass". It doesn't matter if they are a good person, a bad person. The second you start dictating who gets to have their gender respected is the second you stop being an ally. And that includes fictional characters like Yamato.

[wilcze-kudly]

Hey so can we like stop with the "Zutara is for the girls and Kataang is for the boys" thing. It's silly and it's breakdancing just on the edge of gender essentialism.

The assumption that there is something inherent to Zutara that appeals predominantly to women and Kataang that appeals predominantly to men is dishonest because every ship can have appeal to all genders.

The discussion of the "female gaze" in Zutara and the "male gaze" in Kataang is also redundant. I enjoy dissecting the concept of "the gaze", however it is important to note that the "female gaze" doesn't have a set definition or grouping of conventions it adheres to. Lisa French,  Dean of RMIT University’s School of Media and Communication says:

“The female gaze is not homogeneous, singular or monolithic, and it will necessarily take many forms... The aesthetic approaches, experiences and films of women directors are as diverse as their individual life situations and the cultures in which they live. The "female' gaze” is not intended here'to denote a singular concept. There' are many gazes."

Now excuse me as I put on my pretentious humanistics student hat.

Kataang's appeal to women and the female gaze

Before I start, I want to note that the female gaze is still a developing concept

There are very few female film directors and writers, and most of them are white. The wants and desires of women of colour, the demographic Katara falls into, are still wildly underepresented. Additionally, the concept of the female gaze had many facets, due to it being more focused on emotional connections rather than physical appearance as the male gaze usually is. Which means that multiple male archetypes fall into the category of "for the female gaze".

The "female gaze" can be best described as a response to the "male gaze", which was first introduced by Laura Mulvey in her paper: "Visual Pleasure and Narrative Cinema" , however the term "male gaze" itself was not used in the paper.

Mulvey brought up the concept of the female character and form as the passive, objectified subject to the active voyeuristic male gaze, which the audience is encouraged to identify, usually through the male character.

To quote her:

"In a world ordered by sexual imbalance', pleasure' in looking has been split between active'/male' and passive/female'. The determining male gaze' projects its fantasy onto the female' figure', which is styled accordingly."

Mulvey also brings up the concept of scopopfillia (the term being introduced by Freud), the concept of deriving sexual gratification from both looking and being looked at. This concept has strong overtones of voyeurism, exhibitionism and narcissism, placing forth the idea that these overtones are what keeps the male viewer invested. That he is able to project onto the male character, therefore being also able to possess the passive female love interest.

However, it's important to note that Mulvey's essay is very much a product of its times, focused on the white, heterosexual and cisgender cinema of her time. She also drew a lot of inspiration from Freud's questionable work, including ye ole penis envy. Mulvey's paper was groundbreaking at the time, but we can't ignore how it reinforces the gender binary and of course doesn't touch on the way POC, particularly women of colour are represented in film.

In her paper, Mulvey fails to consider anyone who isn't a white, cis, heterosexual man or woman. With how underrepresented voices of minorities already are both in media and everyday life, this is something that we need to remember and strive to correct.

Additionally Mulvey often falls into gender essentialism, which I previously mentioned at the beginning of this post. Funny how that keeps coming up

"Visual Pleasure and Narrative Cinema" started a very interesting and important conversation, and I will still be drawing from certain parts of it, however huge swathes of this text have already become near archaic, as our culture and relationship with media evolves at an incredible pace.

And as filmaking evolves, so does our definition of the male and female gaze. So let's see what contemporary filmakers say of it.

In 2016, in her speech during the Toronto International Film Festival , producer of the TV series Transparent, Jill Soloway says:

“Numero uno, I think the Female Gaze is a way of “feeling seeing”. It could be thought of as a subjective camera that attempts to get inside the protagonist, especially when the protagonist is not a Chismale. It uses the frame to share and evoke a feeling of being in feeling, rather than seeing – the characters. I take the camera and I say, hey, audience, I’m not just showing you this thing, I want you to really feel with me.

[Chismale is Soloway's nickname for cis males btw]

So the term "female gaze" is a bit of a misnomer, since it aims to focus on capturing the feelings of characters of all genders. It's becoming more of a new way of telling stories in film, rather than a way to cater to what white, cisgender, heterosexual women might find attractive in a man.

Now, Aang is the decided protagonist of the show, however, Atla having somewhat of an ensemble cast leads to the perspective shifting between different characters.

In the first episode of atla, we very much see Katara's perspective of Aang. She sees him trapped in the iceberg, and we immediately see her altruism and headstrong nature. After she frees Aang, we are very much first subjected to Katara's first impressions of him, as we are introduced to his character. We only see a sliver of Aang's perspective of her, Katara being the first thing he sees upon waking up.

We see that she is intrigued and curious of him, and very excited about his presence. She is endeared and amused by his antics. She is rediscovering her childish side with his help. She is confiding in him about her own trauma surrounding the Fire Nation's genocide of the Southern Waterbenders. She is willing to go against her family and tribe ans leave them behind to go to the Northern Water Tribe with Aang. We also see her determination to save him when he is captured.

As the show moves on and the plot kicks into gear, we do shift more into Aang's perspective. We see his physical attraction to her, and while we don't see Katara's attraction quite as blatantly, there are hints of her interest in his appearance.

This is where we get deeper into the concept of Aang and Katara's mutual interest and attraction for one another. While her perspective is more subtle than most would like, Katara is not purely an object of Aang's desire, no more than he is purely an object of her desire.

When analysing this aspect of Katara and Aang's relationship, I couldn't help but be reminded of how Célene Sciamma's Portrait of a lady on fire (in my personal opinion, one of the best studies of the female gaze ever created) builds up its romance, and how it places a strong emphasis on the mutuality of the female gaze.

Portrait of a lady on fire's cinematography is very important to the film. We see the world through the perspective of our protagonist, a painter named Marianne. We also see her love interest, Héloïse, the woman whom she is hired to paint a portrait of, through Marianne's lense.

We see Marianne analyse Héloïse's appearance, her beauty. We look purely through Marianne's eyes at Héloïse for a good part of the movie, but then, something unexpected happens. Héloïse looks back. At Marianne, therefore, in some way, also at the audience. While Marianne was studying Héloïse, Héloïse was studying Marianne.

We never shift into Héloïse's perspective, but we see and understand that she is looking back at us. Not only through her words, when she for example comments on Marianne's mannerisms or behaviours, but also hugely through cinematography and acting of the two amazing leads. (Noémie Merlant as Marianne and Adèle Haenel as Héloïse. They truly went above and beyond with their performances.)

This is a huge aspect of the female gaze's implementation in the film. The camera focuses on facial expressions, eyes and body language, seeking to convey the characters' emotions and feelings. There's a focus on intense, longing and reciprocated eye contact (I have dubbed this the Female Gays Gaze.). The characters stand, sit or lay facing each other, and the camera rarely frames one of them as taller than the other, which would cause a sense of power imbalance.

The best way to describe this method of flimaking is wanting the audience to see the characters, rather than to simply look at them. Sciamma wants us to empathise, wants us to feel what they are feeling, rather than view them from a distance. They are to be people, characters, rather than objects.

Avatar, of course, doesn't display the stunning and thoughtful cinematography of Portrait of a Lady on Fire, and Katara and Aang's relationship, while incredibly important, is only a part of the story rather than the focus of it.

However, the 'Kataang moments' we are privy to often follow a similar convention to the ones between Marianne and Héloïse that I mentioned prior.

Theres a lot of shots of Katara and Aang facing each other, close ups on their faces, particularly eyes, as they gaze at one another.

Katara and Aang are often posited as on equal grounds, the camera not framing either of them as much taller and therefore more powerful or important than the other. Aang is actually physically shorter than Katara, which flies in the face in usual conventions of the male fantasy. (I will get to Aang under the male gaze later in this essay)

And even in scenes when Aang is physically shown as above Katara, particularly when he's in the Avatar state, Katara is the one to pull him down, maintaining their relationships as equals.

Despite most of the show being portrayed through Aang's eyes, Katara is not a passive object for his gaze, and therefore our gaze, to rest upon. Katara is expressive, and animated. As an audience, we are made aware that Katara has her own perspective. We are invited to take part in it and try to understand it.

Not unlike to Portrait of a Lady on Fire, there is a lot of focus placed on mannerisms and body language, an obvious example being Katara often playing with her hair around Aang, telegraphing a shy or flustered state. We also see her express jealousy over Aang, her face becoming sour, brows furrowed. On one occasion she even blew a raspberry, very clearly showing us, the audience, her displeasure with the idea of Aang getting attention from other girls.

Once again, this proves that Katara is not a passive participant in her own relationship, we are very clealry shown her perspective of Aang. Most of the scenes that hint at her and Aang's focus on their shared emotions, rather than, for example, Katara's beauty.

Even when a scene does highlight her physical appearance, it is not devoid of her own thoughts and emotions. The best example of this being the scene before the party in Ba Sing Se where we see Katara's looking snazzy in her outfit. Aang compliments her and Katara doesn't react passively, we see the unabashed joy light up her face, we can tell what she thinks of Aang's comment.

In fact, the first moment between Katara and Aang sets this tone of mutual gaze almost perfectly. Aang opens his eyes, and looks at Katara. Katara looks back.

There is, once again, huge focus on their eyes in this scene, the movement of Aang's eyelids right before they open draws out attention to that part of his face. When the camera shows us Katara, is zooms in onto her expression as it changes, her blinking also drawing attention to her wide and expressive eyes.

This will not be the first time emphasis is placed on Katara and Aang's mutual gaze during a pivotal moment in the show. Two examples off the top of my head would be the Ends of B2 and B3 respevtively. When Katara brings Aang back to life, paralleling the first time they laid eyes on one another. And at the end of the show, where their gaze has a different meaning behind it.

We see Katara's emotions and her intent telegraphed clearly in these instances.

In Book 1, we see her worry for this strange bald boy who fell out of an iceberg, which melts away to relief and a hint of curiosity once she ascertains that he isn't dead.

In B2 we once again see worry, but this time it's more frantic. Her relationship with Aang is much dearer to her heart now, and he is in much worse shape. When we see the relief on her face this time, it manifests in a broad smile, rather than a small grin. We can clearly grasp that her feelings for Aang have evolved.

In B3, we step away from the rule because Aang isn't on the verge of death or unconsciousness for the first time. It is also the first time in a situation like this that Aang isn't seeing Katara from below, but they are on equal footing. I attribute this to symbolising change of pace for their relationship.

The biggest obstacle in the development of Katara and Aang's romance was the war, which endangered both their lives. Due to this, there was a hesitance to start their relationship. In previous scenes that focused this much on Aang and Katara's mutual gaze, Aang was always in a near dead, or at least 'dead adjacent' position. This is is a very harsh reminder that he may very well die in the war, and the reason Katara, who has already endured great loss, is hesitant to allow her love for him to be made... corporeal.

However, now Aang is standing, portraying that the possibily of Katara losing him has been reduced greatly with the coming of peace, the greatest obstacle has been removed, and Katara is the one to initiate this kiss.

Concurrently, Katara's expression here does not portray worry or relief at all, because she has no need to be worried or relieved. No, Katara is blushing, looking directly at Aang with an expression that can be described as a knowing smile. I'd argue that this description is accurate, because Katara knows that she is about to finally kiss the boy she loves.

Ultimately, Katara is the one who initiates the kiss that actually begins her and Aang's romantic relationship.

Kataang's appeal to women is reflected in how Katara is almost always the one to initiate physical affection with Aang. With only 3 exceptions, one of which, the Ember Island kiss being immediately shown by the narrative as wrong, and another being a daydream due to Aang's sleep deptivation. The first moment of outwardly romantic affection between Aang and Katara is her kissing his cheek. And their last kiss in the show is also initiated by Katara.

I won't falsely state that Kataang is the perfect representation of the female gaze. Not only because the storyline has its imperfections, as every piece of media has. But also because I simply belive that the concept of the female gaze is too varied and nebulous to be fully expressed. With this essay, I simply wanted to prove that Kataang is most certainly not the embodiment of catering to the male gaze either. In fact it is quite far from that.

The aspects of Kataang that fall more towards embodying the female gaze don't just appeal to women. There's a reason a lot of vocal Kataang shippers you find are queer. The mutual emotional connection between Katara and Aang is something we don't have to identify with, but something we are still able to emphasise with. It's a profound mutual connection that we watch unfold from both perspectives that sort of tracends more physical, gendered aspects of many onscreen romances. You just need to see instead of simply look.

✨️Bonus round✨️

Aang under the gaze

This started off as a simple part of the previous essay, however I decided I wanted to give it it's own focus, due to the whole discourse around Aang being a wish-fullfilling self insert for Bryke or for men in genral. I always found this baffling considering how utterly... unappealing Aang is to the male gaze.

It may surprise some of you that men are also subjected to the male gaze. Now sadly, this has nothing to do with the male gaze of the male gays. No, when male characters, usually the male protagonist, are created to cater to the male gaze, they aren't portrayed as sexually desirable passive objects, but they embody the active/masculine aide of the binary Laura Mulvey spoke of in the quote I shared at the beginning of this essay.

The protagonist under the male gaze is not the object of desire but rather a character men and boys would desire to be.

They're usually the pinnacle of traditional, stereotypical masculinity.

Appearance wise: muscular but too broad, chiseled facial features, smouldering eyes, depending on the genre wearing something classy or some manner of armour.

Personalitywise they may vary from the cool, suave James Bond type, or a more hotblooded forceful "Alpha male" type. However these are minor differences in the grand scheme of things. The basis is that this protagonist embodies some manner of idealised man. He's strong, decisive, domineering, in control, intimidating... you get the gist. Watch nearly any action movie. There's also a strong focus placed on having sway or power over others. Often men for the male gaze are presented as wealthy, having power and status. Studies (that were proved to be flawed in the way the data was gathered, I believe) say that womem value resources in potential male partners, so it's not surprising that the ideal man has something many believe would attract "mates". [Ew I hated saying that].

Alright, now let's see how Aang holds up to these standards.

Well... um...

Aang does have power, he is the Avatar. However, he is often actually ignored, blown off and otherwise dismissed, either due to his age or his personality and ideals being seen as unrealistic and foolish. Additionally, Aang, as a member of a culture lost a century ago, is also often posited as an outsider, singled out as weak, his beliefs touted as the reason his people died out and.

Physically, Aang doesn't look like the male protagonist archetype, either. He isn't your average late teens to brushing up against middle aged. Aang is very much a child and this is reflected in his soft round features, large eyes and short, less built body. This is not a build most men would aspire to. Now, he still has incredible physical prowess, due to his bending. But I'm not sure how many men are desperate to achieve the "pacifist 12 year old" build to attract women.

Hailing from a nation that had quite an egalitarian system, Aang wouldn't have conventional ideas surrounding leadership, even if he does step up into it later. He also has little in the way of possessions, by choice.

As for Aang's personality, well...

I mean I wouldn't exactly call him your average James Bond or superhero. Aang is mainly characterised through his kindness, empathy, cheerful nature and occasional childishness (which slowly is drained as the trauma intesifies. yay.)

Aang is very unwilling to initiate violence, which sets him aside from many other male protagonists of his era, who were champing at the bit to kick some ass. He values nature, art, dance and fun. He's in tune with his emotions. He tries to desecalate situations before he starts a fight.

Some would say many of Aang's qualities could be classified as feminine. While the other main male characters, Zuko and Sokka try to embody their respective concepts of the ideal man (tied to their fathers), Aang seems content with how he presents and acts. He feels no need to perform masculinity as many men do, choosing to be true to his emotions and feelings.

These "feminine" qualities often attract ridicule from other within the show. He is emasculated or infantiliased as a form of mockery multiple times, the most notable examples being the Ember Island play and Ozai tauntingly referring to him as a "little boy". Hell, even certain Aang haters have participated in this, for example saying that he looks like a bald lesbian.

I'd even argue that, in his relationships with other characters, Aang often represents the passive/feminine. Especially towards Zuko, Aang takes on an almost objectified role of a trophy that can be used to purchase Ozai's love. [Zuko's dehumanisation of others needs to be discussed later, but it isn't surprising with how he was raised and a huge part of his arc is steerring away from that way of thinking.]

Aang and Zuko almost embody certain streotypes about relationships, the forceful, more masculine being a literal pursuer, and the gentler, more feminine being pusued.

We often see Aang framed from Zuko's perspective, creating something akin to the mutual gaze of Katara and Aang, hinting at the potential of Zuko and Aang becoming friends, a concept that is then voiced explicitly in The Blue Spirit.

However, unlike Katara, Zuko is unable to empathise with Aang at first, still seeing Aang as more of an object than a person. We have here an interesting imbalance of Aang seeing Zuko but Zuko meerly looking at Aang.

There is a certain aspect of queer metaphor to Zuko's pursuit of Aang, but I fear I've gotten off topic.

Wrapping this long essay up, I want to reiterate that I'm not saying that Zutara isn't popular with women. Most Zutara shippers I've encountered are women. And most Kataang shippers I've encountered are... also women. Because fandom spaces are occupied predominantly by women.

I'm not exactly making a moral judgement on any shippers either, or to point at Kataang and go: "oh, look girls can like this too. Stop shipping Zutara and come ship this instead."

I want to point out that the juxtaposition of Zutara and Kataang as respectively appealing to the feminine and masculine, is a flawed endeavour because neither ship does this fully.

The concept of Kataang being a purely male fantasy is also flawed due to the points I've outlied in this post.

Are there going to be male Kataang shippers who self insert onto Aang and use it for wish fulfilment? Probably. Are there going to be male Zutara shippers who do the same? Also probably.

In the end, our interpretation of media, particularly visual mediums like film are heavily influenced by our own biases, interests, beliefs andmost importantly our... well, our gaze. The creators can try to steer us with meaningful shots and voiced thought, directing actors or animating a scene to be a certain way, but ultimately we all inevitably draw our own conclusions.

A fan of Zutara can argue that Kataang is the epitome of catering to the male gaze, while Zutara is the answer to women everywhere's wishes.

While I can just as easily argue the exact opposite.

It really is just a matter of interpretation. What is really interesting, is what our gaze says about us. What we can see of ourselves when the subject gazes back at us.

I may want to analyse how Zutara caters to the male gaze in some instances, if those of you who manage to slog through this essay enjoy the subject matter.

[niceonet]

TRAİLERDB - DEVASA+ (3)

As we eagerly anticipate upcoming releases, the right trailer can set the tone and build our enthusiasm for what’s to come. In this blog post, we will explore the freshest trailers, giving you a sneak peek into the films and TV series that are about to hit screens near you. From highly anticipated films to captivating TV series trailers, we’ve got you covered with all the essentials. 

Latest Trailers

When it comes to keeping up with the ever-evolving world of entertainment, latest trailers play a significant role in generating buzz and excitement among fans. Every week, we are treated to a flurry of new previews that showcase the hottest upcoming films and series. Here’s a look at some of the most anticipated releases that you should keep an eye on.

One of the most talked-about latest trailers features the action-packed return of a beloved franchise. With stunning visuals and gripping storytelling, this trailer leaves us eager for the release date. The combination of stellar performances and a captivating soundtrack promises an exhilarating cinematic experience.

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Tv Series Trailer

In the world of entertainment, the TV series trailer serves as a pivotal tool for enticing audiences and generating excitement. With the rise of streaming platforms, the competition for viewers' attention has intensified, making trailers more crucial than ever.

One of the primary functions of a TV series trailer is to provide a glimpse into the show's storyline, characters, and overall tone. A well-crafted trailer can evoke emotions, build suspense, and leave viewers eager for more. For instance, trailers for popular series often highlight key moments, thrilling action sequences, and dramatic cliffhangers that captivate audiences.

Moreover, the editing style of a TV series trailer significantly influences its impact. Fast cuts, captivating visuals, and a powerful soundtrack can enhance the excitement and engagement level. As a result, viewers are more likely to share these trailers on social media, amplifying their reach and generating buzz.

In recent years, we've seen a shift in how trailers are released. Many production companies now opt for teaser trailers, followed by full-length versions. This strategy keeps fans engaged over a longer period, as each release builds anticipation for the show's premiere.

As viewers have become more discerning, trailers have evolved to include more diverse storytelling elements. Today’s trailers often reflect the complexity of characters and intertwine various plotlines. This trend allows audiences to connect more deeply with the series before they even watch an episode.

An important aspect to consider is the impact of TV series trailers on the show's marketing strategy. They often serve as a crucial element in the overall promotional mix, alongside posters, interviews, and social media campaigns. A strong trailer can significantly boost a series' visibility and attract a broader audience.

In conclusion, TV series trailers are not just promotional tools; they are artistic creations that encapsulate the essence of a show. As the landscape of television continues to evolve, the role of trailers in shaping viewers' perceptions will undoubtedly remain significant.

Trailer DB

Welcome to the your ultimate source for all things related to movie and TV trailers. In today’s digital age, where visual content reigns supreme, trailers play a crucial role in building excitement and anticipation for upcoming entertainment releases. This is where the Trailer DB comes into play, providing you with a comprehensive database of the latest trailers.

The Trailer DB is designed to cater to the needs of film enthusiasts and TV series fans alike. Here, you can discover latest trailers from various genres, ranging from action-packed blockbusters to heartwarming dramas. Whether you’re on the hunt for the upcoming superhero films or the hottest new TV series, the Trailer DB ensures you stay updated on the most recent releases.

One of the standout features of the Trailer DB is its user-friendly interface, which allows easy navigation to find trailers by categories, release dates, or popularity. With an extensive collection of trailers, you can quickly access both local and international titles, ensuring you never miss out on any cinematic gems or trending shows.

Moreover, the Trailer DB is continuously updated with the latest content, offering sneak peeks of highly anticipated films and series. From thrilling horror releases to delightful romantic comedies, there’s something for everyone. Each trailer is accompanied by essential information including release dates, cast details, and directorial credits, allowing viewers to dive deeper into the projects that catch their eye.

Join the community of film buffs and series aficionados today by exploring the Trailer DB. Embrace the excitement of new releases and share your thoughts on the latest trailers with fellow enthusiasts. With our extensive database at your fingertips, you’ll always be in the know about the best upcoming entertainment!

[thehollowwriter]

I'm ngl, I think the Spider Verse movies are the best depictions of Spider-man. They embody the very concept of Spider-man perfectly, and I believe this because of the explosive fandom reaction to them, especially the sequel.

So many people from so many backgrounds all over the world started making their own "spider sonas", their own ideas of a spider person. Sure you can just say it's a trend, but people are still doing it now. I've seen disabled Spideys, queer Spideys, Spideys from any country you can think of, Spideys with vastly different designs, aesthetics and personalities, Spideys who are deeply rooted in the creator's culture, yet who are all unquestionably Spidey.

Never before has the message of "anyone can wear the mask" been so true, and never before have so many people believed it.

People saw themselves represented on screen whether it be through the mc or side characters, they saw the limitless potential of so many different dimensions and universes, they saw Miles reject the "canon" and the idea of what Spider-man "has to" be (which is quite clearly at least partially inspired by egotistical and bigoted Spider-Man "fans" who believed there was only one Spider-man and only one way his character could be depicted and only one way his story should be told) and they understood that yes, they were included in the phrase "Anyone can wear the mask"

Spider-man was always such a successful character who everyone wanted to see for a reason. He isn't the same as many other heroes who were all adults and seemed to be in a place most viewers couldn't dream of seeing (rich, a god, a super soldier, etc).

Peter Parker starts out as just some guy, an everyday middle or lower class person who does everyday things like go to school or miss the bus or get fired. Peter was no smooth and classy ladies man, he wasn't a sports star or anything. He was an awkward and shy guy who liked "nerd" stuff.

He, in the words of MJ, "just happened to get bit." It was an accident, a spider bite. He wasn't in the military or creating a powerful suit or anything. He's some guy who got powers and decided to use them to protect people. Just your friendly neighbourhood Spider-man.

Most importantly, he was the first superhero of his kind. Before Spidey, there was no "teenage superhero." There were only adult superheroes, and teenagers only appeared as sidekicks. When Stan Lee suggested a teenage superhero, he was told it was a terrible idea, and nobody would want to see that.

Well, I'm sure all of us in 2024 where the Spider-man IP is worth over $27 billion with ten movies starring Spidey as the mc, and several more where he makes an appearance as a side character, and where Spider-Man: Across the Spider Verse set several box office records and was the sixth highest grossing film of 2023, can see how wrong that was.

Since his conception, Spider-man was a character who defied how things "should be" and took that leap of faith, and it led to greatness. Just like Miles' entire story of becoming Spider-man being completely different from what we've seen so many times before. Just like Miles defying Miguel and carving his own path, even with the threat of "breaking the canon" (which I personally think can be interpreted as a representation of the idea some people have that if you make Spidey "too different", you'll destroy him as a character)

Together, the two Spider Verse movies managed to prove that yes, anyone can wear the mask. You don't need the "right" skin colour or gender or backstory or plot points. Those are not what makes Spider-man who he is, and those are not why people fell in love with his character and concept.

What made Spider-man who he was, was his actions, his compassion, his relatatability, and how he inspired people. He's a hero whose entire appearance is covered by his suit, and yet is not doubted as a hero by those who were saved (plots where the writers want to make him suffer more exluded/hj).

So yeah. I really love the Spider Verse movies. Not just for their animation, music, story, and voice acting, but also for how they managed to embody and challenge the idea of Spider-man and potrayed just why Spidey was so loved.

(I mainly focused on Miles in this lil rant because he's the mc, but if ya'll want to discuss other characters like Gwen please comment or reblog with your thoughts, I'd love to hear them!)

[virtualtadpole]

A BL viewer's guide to Thai school uniforms

(This is an older one, originally posted at Reddit in 2022, but it should still be accurate. Hope you'll find it useful, as uniforms in Thai shows often provide context that international viewers might not recognize.)

To begin, here's a summary of the Thai school system. There are twelve years of basic education (after kindergarten): six years of primary school (prathom or P.1-6), and six years of secondary school (mathayom or M.1-6), the latter of which is divided into three lower and three upper years. The age range roughly corresponds to the US system, so the years P.1-6 will often be translated as grades 1-6 and M.1-6 as grades 7-12. Most stories set in school will take place during the upper secondary years, which is often translated as high school (though this is rather approximate as it spans three years rather than four). Students typically enter M.4 aged 15 going on 16, and graduate at the age of 18 (or nearing it).

School uniforms are almost universally compulsory, used by all but a few alternative schools (university will be discussed further below). They mostly follow a very distinctive form, which has barely changed since the end of World War II, as there's a default format that's mandated by law and followed by most schools (though schools may elect to specify their own style of uniform). There are official industrial standards that govern the material, thread count, etc. of student uniforms that can be sold, and an entire industry is built around them.

For boys, the (default style) uniform is mostly the same across all levels, and consists of a white short-sleeved button-up shirt, shorts (in either black, royal blue, navy, or khaki), a belt (brown or black), socks and shoes (brown with khaki shorts, white socks and black shoes otherwise). The shirt will have the letters of the school's abbreviated name embroidered at the right chest, in red for private schools, and navy for government schools. It's common for schools to also require student IDs or names be included likewise. In many schools, the upper-secondary uniform will also include the school insignia/logo as a metal badge pinned above the school's initials, or also embroidered.

The colours of the shorts typically reflect the school's status. Private schools will normally use blue or (less often) black, while government schools will use black or (less often) khaki, with very few exceptions. Navy is quite rare, mostly used by certain schools with historical royal connections. This colour-coding serves as a rather convenient tool for series creators to convey the social background of the characters. Blue shorts signify that they go to a private, presumably expensive school. Black is the default that tells the viewer that it's a regular, average school. Khaki shorts used to be the default long ago but have declined in use, and are now mostly seen as belonging to rural or temple schools (though there are also some famous schools that use them). You'll rarely see them in TV or film, unless the creators are purposely saying that the setting is rural, poor, or retro.

Let's look at some examples.

The school uniform in Bad Buddy is pretty much the bare minimum, with just the school's abbreviated name and no pin or ID. With black shorts and navy lettering, it's clearly meant to be a regular government school (though TBH the filming location doesn't really fit). The dot on the collar is a symbol used by some schools to indicate the year the student is in, based on the number of dots. One dot would mean they're in the first year of either lower or upper secondary, which might be differentiated based on colour, shape, or being on the left or right side. Here, Pran is clearly not 12/13 years old, so the year must be M.4.

In The Yearbook, the school uniform also includes the students' ID in Thai numerals below the school name, also quite a common thing. The navy lettering and the black shorts indicate that it's a government school, and the filming location and the teacher wearing the civil service uniform also hint that it's a rather provincial setting. The haircuts of the characters are also more realistic, as schools usually require a short tapered cut for boys.

The characters in 'Cause You're My Boy also attend a government school, in line with the working-class background. Mork is in upper-secondary, so his uniform as the school symbol embroidered above the lettering, while Gord and Morn's, who are in lower-secondary, don't.

Another example of a government school uniform with black shorts is found in Dew. This school also has the student's name embroidered over the shirt pocket. Dew's oversized shirt and long baggy shorts reflect the fashion trends of 1996, when this part of the story is set.

On the other hand, Hormones follows middle-/upper-middle- class kids at a private school. The uniform was directly copied from that of Assumption College Thonburi (ACT), where the series was filmed (so that its students could blend in as extras). As a private school, the lettering is in red, and the student IDs are in Hindu-Arabic numerals. As in the above example, the stars on the collar indicate the student's year (here, dots are used for lower-secondary and stars for upper). Also note the belt buckle with the school logo, which tends to be seen with fancier schools.

The uniforms in Love Sick are also copied from real life, though this was done not for production convenience, but to pay tribute to the source novel, which was inspired by student life at Assumption College (AC), one of the country's oldest boys' schools (AC and ACT both belong to a network of schools operated by the Catholic Church, hence their names). The novel's full title, Love Sick: The Chaotic Lives of Blue Shorts Guys, reflects its focus on the inside world of the school, of which it paints a semi-imaginary image that makes multiple references to actual teachers, locations and customs, stopping short only of referring to the school by name. This is toned down in the series, though the coat of arms and uniform are nearly direct copies of AC's, minus the belt buckle (which was a relatively recent addition and not part of the uniform when the novel was being written).

Notice how Noh's school badge is pinned on the corner of the shirt pocket just like baby Peak and Ohm's real-life AC uniform, which is unique to the school. (Beam is a junior of Peak and Ohm's by a year, and was probably in M.3 when the photo was taken, so didn't wear a badge.) The school also requires leather shoes, unlike most schools which allow either leather or canvas shoes (in which case almost everyone will wear canvas shoes).

As mentioned in my previous post, the current trend of students having their school uniform shorts modified to be very short probably originated with AC students, and spread more widely from the late 2000s. Naturally, the style is shown in Love Sick, though this is also generally well represented in BL media.

Make It Right, by the creators of Love Sick, used the same style for its student uniform, except the shoes (though pinning the badge at the shirt pocket didn't really make sense now that it wasn't meant to refer AC's real-life uniqueness). It's also a bit strange seeing student IDs running into the 60000s, as even the oldest real-life schools don't have numbers that high.

The use of blue-shorts school uniforms to signify wealthy characters/environments is a pretty common trope in BL (and also Thai series more generally). It's also seen in 7 Project, in a more typical appearance with the pin in the usual location, and the student's name over the shirt pocket.

In My Gear and Your Gown, the uniform (quite unusually for private schools) doesn't have any lettering other than the school's initials. It's most likely a cost-saving measure by the costume department, sacrificing a bit of realism to avoid the need to create individualized outfits for every character (though it does use leather shoes).

The uniform in My Dear Loser: Edge of 17 is rather confusing. It's clearly meant to be a private school, given the blue shorts, but this is contradicted by the navy lettering on the shirt. Looks like a mistake, unless it was a deliberate choice to introduce some sort of ambiguity (though this is unlikely, and even most Thai viewers probably won't notice anyway).

In Only Boo!, Moo originally goes to a private school with a blue-shorts uniform, but is sent away as punishment for neglecting his studies. His new uniform, with khaki shorts, emphasizes the provincial nature of the school.

Often, different-coloured uniforms will be used to contrast the characters' backgrounds. This goes back to The Love of Siam, where the blue shorts and leather shoes of Mew's school uniform reinforce its presentation as a Catholic school (and closely echoes AC, which also served as the school's filming location), while Tong's black-shorts uniform may have been a reference to Bangkok Christian College, a nearby school popularly seen as a rival of AC's. BCC is one of the better known private schools to use a uniform with black shorts, and The Love of Siam is one of the less common examples of this. (Note again the school badge, which isn't worn by some of the members of Mew's band, indicating that they're in lower-secondary.)

The colour contrast is also used in Love's Coming, though it doesn't really convey any significant background.

Somewhat amusingly, creators don't always try to be particularly creative with the school name abbreviations, and they will often be that of the production company's name. So here we have ม.ม. and ม.ม.ป. - MM and MMP for Mungmee Production. Above, there's จ.ท.ว. - GTV (GMMTV) in My Dear Loser, ค.ซ.ม. - CSM (Cosocomo) in Make It Right, and น.ด.บ. - NDB (Nadao Bangkok) for Hormones, the last of which is also the actual in-story name of the school.

I Told Sunset About You uses a very unusual colour pairing: Navy and Khaki. Oh-aew's school (and Teh's formerly) is private, while Teh's is the province's main government school. The colour choices are mainly aesthetic - while some main provincial schools do use khaki shorts (and private schools navy), they are quite uncommon. White shoes worn with the regular student uniform is also practically unheard of (they're usually for PE uniforms - more on these below).

Note also how the year-indicating dots above the school initials are differentiated by colour: navy for lower secondary, red for upper. So when Teh shows up at his old school wearing a uniform with three navy dots, that's him squeezing into his old uniform from M.3 to sneak into the school.

Sometimes actual existing schools serve as the setting of a work, and its uniform is used. For example, My Bromance (2014) is set at Wachirawit School in Chiang Mai and uses its uniform.

The Best Story likewise takes place at the Demonstration School of Suan Sunandha Rajabhat University. Demonstration or "Satit" schools are pretty much a class of their own. While they're technically government schools, they're operated by universities for their teacher training programmes, and have a higher degree of freedom in their operations. They also often have uniforms that don't follow the usual format, with no school name on the shirt. This is the case with Satit Suansunandha, which has its logo embroidered on the shirt pocket and pinned above the student's name instead.

Some Satit schools also use an unusual colour, charcoal grey, for their uniform shorts. This is seen with Praram's uniform in EN of Love: This Is Love Story, indicating that his school is attached to the university. Having just the student's name and no school initials isn't unusual in this case (though not having any logo at all kind of is).

On the other hand, the lack of any embroidered lettering at all, like in The Shipper, is very unusual. In real life this is unique to Triam Udom Suksa School, which is commonly regarded as the country's top school. GMMTV previously did this in The Gifted, which kind of made sense as it conveyed that the school was unique and special, but this isn't true for The Shipper, so the stylistic choice seems a bit lazy.

This is also the case with 55:15 Never Too Late. Even stranger is the uniform from Nanon's storyline, which has khaki shorts signifying a provincial setting but the top is just a plain shirt with no markings or pin at all. It looks rather like an error in the production process that they had to roll with due to some limitation.

Girls' uniforms are much more varied, as private schools follow a variety of different styles. The standard style is mostly only used by government schools. For the upper-secondary level, it's a white button-up shirt (or blouse? I'm not sure of the terminology) with short sleeves that are pleated at the cuff, a navy (or, uncommonly, black) skirt with three pairs of wide pleats at the front and back, a black belt, white socks and black strapped shoes. The shirt will have the same markings as the boys' uniform. We see Pa wearing this in Bad Buddy (and also Tarn in the ITSAY pic above). Note that they made a mistake with her collar dot, as she was in M.6 in this scene and should have had three dots instead of one. (The same mistake happens with the younger music club students in episode 10. I guess the costume department just created one style based on the main characters and forgot to factor in the others.)

I won't attempt to list examples of all girls' uniforms here, as they're harder to keep track of in BL, but if it's a high-school setting and you see a different style of uniform than the above, it should be quite safe to assume it's a private school (especially if it's long-sleeved, with a necktie, or a blue, red or other brightly coloured skirt, like in the 7 Project example above), or a Satit school.

International schools usually have a different style of uniform altogether. They may be variably coloured, use shorts or trousers, include neckties, and the shirts won't have the usual lettering but commonly feature the school logo. Girls' skirts will commonly have a plaid/tartan pattern. Bilingual schools - private schools featuring a bilingual curriculum, with mainly Thai students - will also often use this style of uniform to some extent. We see it in Brothers, where the setting is supposed to be an international school.

While schools may have a full uniform with blazers and all, they'd only be used on special occasions. If characters wear them on a regular basis, it probably signifies a fantasy setting, or one somewhat removed from real life. This is fully utilized in Great Men Academy, which is as fantasy as you can get with magical wish-granting unicorns.

A similar effect is achieved with sweater vests, as seen in Second Chance. However, this is to emulate the Japanese/Korean uniform style, giving the show something of a J-/K-drama aesthetic while moving it away from the grounded reality of Thailand.

Sometimes, as in Friend Forever, a novel style is created that doesn't really carry any inherent meaning but is presumably done mainly for aesthetic reasons.

In real life, the standard-style boys' uniform (with embroidered lettering) may also use trousers, but this is only done in Islamic schools and the vocational education system, which are pretty much outside the realm of BL stories, so you won't likely come across them. (Update: This is no longer true with the existence of Don't Touch My Gang, but it didn't feature regular uniform, only the workshop shirt, which is covered below.)

Apart from the standard school uniform, most schools will also have a PE uniform, used on days with PE (gym) class, typically once a week for upper-secondary students. These aren't legally regulated, so they come in a large variety of styles, though many government schools will follow the same basic style of a coloured polo shirt made with a woven fabric, usually with the school logo on the pocket. We see Teh wearing this (though with the school initials instead of a logo) in ITSAY, with his usual uniform shorts. Most schools will have students wear the PE top from home and change into the PE bottom (typically sweatpants) just for PE class. Don't expect to see school showers, though, as they're not done in Thailand. Different classes mostly have PE on different days, and in meticulously written shows like ITSAY, where everything fits into the calendar, you can tell the day of the week from the PE uniform (it's Monday if you see Teh in his blue PE top).

As mentioned above, white canvas shoes may be required for PE uniforms, as seen again in The Love of Siam. This is mostly a feature of girls' uniforms, though, as boys' uniforms will more often use the shoes that are already part of their regular uniform, but schools which normally use leather shoes are a natural exception. However, they will more typically have students wear white shoes from home together with the PE top rather than change shoes at school like Mew apparently does. The shirt style here, a custom-patterned polo shirt with a knitted fabric, is also common.

We see another example of the style in Dew. Except for shoe colour, PE uniforms are usually identical for boys and girls.

Since there aren't actual limitations to PE uniform designs even in real life, creators sometimes have a field day with them. In Make It Right, the PE uniform is quite obviously a piece of fan service. (There are real-life schools that do use shorts, though they're not quite that short.)

Another uniform you might encounter is the Territorial Defence Student uniform. In Thailand, men face military conscription at age 21, upon which they will have to draw a lottery to determine whether they must enlist for two years. But there's an alternative to that. By completing three years of military training as Territorial Defence Students (often referred to as ร.ด. - Ror Dor (R.D.)), which is offered to upper-secondary school students, one avoids the need to face the lottery completely. Naturally, most middle-class boys will take the training. It takes half a day a week for 20 weeks each year (which is half the school year), plus up to a week of field training around January-February. For the weekly training days, if the session is in the afternoon, school will typically have only morning classes.

The need to attend Ror Dor is probably the most universally hated aspect of high school life for Thai boys, not because of the training itself, which is hardly intensive at all, but because of the military haircut requirements. Naturally this is never portrayed realistically, and many works ignore the existence of Ror Dor altogether. What's kind of funny is that the above storyline concerns Tee needing a haircut to pass Ror Dor inspection, but none of the characters except Mork come anywhere close.

The Ror Dor uniform is a khaki green combat uniform, with the student's name on the right chest and the school patch on the right arm. The Thai numeral on the left collar indicates the student's year. Here, it's ๒ (2), indicating that they're in the second year of training, which means M.5. The green T-shirt worn underneath is often worn casually by some.

In stories that go down to the lower-secondary or primary years, you may also see the Boy Scout uniform. In most schools, participation is mandatory for students up to M.3, and takes place once a week. Here in The Love of Siam, we see young Tong in the Scout uniform, indicating that he's in primary school, while Eiw and Cake in My Only 12% are wearing the Senior Scout uniform (with the maroon shoulder boards) of lower-secondary students.

That's pretty much everything regarding school uniforms, I think. Onto university...

In Thailand, universities have uniforms for undergraduate students. Unlike school uniforms, which are very specific, university uniforms are more loosely defined. In most cases they will be a white dress shirt and black (or navy) slacks for males, with black dress shoes, and a necktie and a belt buckle bearing the university symbol. For females, it's usually a white shirt/blouse with the university symbol pin, a black (or navy) skirt, shoes, and also a belt buckle bearing the university symbol. Some universities will also have metal buttons with the university symbol that have to be attached to the shirt.

While most universities will have defined uniforms, in practice, the requirements vary across universities (and across faculties within the same university). Many require that uniforms be worn for attendance of all classes, but some don't, and expect them only on exam days or special occasions. Strictness and adherence also varies. Often, people won't bother with the belt buckle, sneakers may be allowed (or turned a blind eye to), and jeans may even be permissible. This gives creators more leeway in designing the costumes to a varied visual effect.

In the above scene from Bad Buddy, Pran's upright collar (GMMTV does seem to like these, though I don't quite recall seeing them in real life), Wai's short sleeves (some universities officially have them as a uniform option, some don't), Safe's jacket (which is totally normal, by the way - they do blast the aircon in some lecture halls) and Louis's workshop shirt (more on this below) combine to provide visual contrast. The costume design is also often used for characterization. In Love by Chance, the timid and deferential Pete always wears his necktie, while the brasher Ae is never seen with it, nor does his shirt ever seem to be tucked in. (Untucked shirts are also used for characterization with school uniforms, though it's pretty much the only option.)

Even where uniforms are more strictly enforced, the necktie is usually not worn outside of formal occasions. Some universities have a tradition of requiring them only for freshmen, and similarly female freshmen may be required to wear below-knee accordion-pleated skirts (and for some universities, white shoes) for the entire first year. All of this is shown in SOTUS, as the entire series revolves around these hazing traditions. As freshmen, M and May wear the full university uniform (May with pleated skirt), while the sophomores are seen wearing pencil/mini-skirts and jeans with no necktie. The necktie doesn't have a printed logo, though it's attached as a tie pin - some schools do this. (Quite a lot of series, however, don't bother with having any sort of logo on the tie or belt buckle at all, which is a bit unrealistic, but in some cases could be explained away by the above-mentioned variability in strictness.)

Also famously depicted in SOTUS is the workshop shirt/smock/overshirt, which isn't really an official uniform, but a protective garment meant for practical classes. In some schools, there's been considerable drama over their use, as students often use it as a cover for casual clothing instead of wearing the regular uniform, which the staff disapproves. As so many series show, it's indeed quite commonly seen as an engineering-school symbol.

And that's pretty much all I can think of. If you've made it this far, thanks and congratulations! :p Let me know if I've forgotten anything.