#didn’t queerbait and actually wrote it’s women characters well

[atomicradiogirl]

PLEASE BE SERIOUS PLEASEEEE BE SERIOUS PLEASE TELL ME THIS IS A JOKE

[i-did]

hi hello i couldn't sleep last night so i was scrolling thru all ur asks and stuff and ur opinions and analyses are so interesting!!! and then afterwards i was thinking about what u were saying about mlm smut and i'd also been thinking about such things a little bit recently bc like.....at a certain point it becomes quite clear that the vast majority of smut-writing is just imitation. like there's the sex noise verb list and all and the whole general mechanics of the sex and those things just .... replicate over and over. and the whole thing w people writing mlm vs wlw smut regardless of their own sexual orientation..... like i feel like a big part of that is just a self-perpetuating thing. like if u have not had sex and u r getting all ur (pleasure-related) sex ed from fandom (even if u do watch porn, that doesn't rlly tell u how to describe stuff? idk) regardless of What fandom , the majority is going to be mlm smut. which is itself majority imitation of other mlm smut, imitating and imitating back to whoever knows what the first smut fanfic was etc. there's just way More to mimic than there is on the women side of things. which then becomes a self-perpetuating thing, bc the mimicry continues and generates more and more. and---if there are fundamental misunderstandings of anatomy involved---those self-perpetuate as well. and maybe even exaggerate. and yeah. does this all make sense? idk i was just thinking about it. like all the stereotypes and stuff continue bc writers are getting their inspo from other writers rather than their own brains. or something. idk!!!!! it's just all... divorced from reality? bc words. or something!! i hope u get what i'm trying to say. just thoughts i've been thinking. anyway i think ur thoughts are cool. and ur writing. ok bye have a good day!!

Okay yeah this is kinda messy but hope u see this, uhh yeah I think you're right about the echo chamber effect fr about stuff. I think it's a mix of projecting too sometimes. talk more under the cut and also link to a video essay since I love video essays.

Here’s a video that sort of touches on this topic: 

“Gay fanfiction” by Sarah Z. (has CC)

https://www.youtube.com/watch?v=H8E_C00dKwI

This video begins to talk about fetishization at the end, but also… not really. The words “gay fanfiction” is used as a catchall, when really gay fanfiction is largely mlm written by non-mlm.

Fandom is a largely women's space dominated by the female gaze in a media industry world that is dominated by men and the male gaze. I'm really glad women have this space to explore creativity and queerness, and I don't expect the female gaze to go away, but I am still ultimately bummed out I can’t read most fanfic or interact with most fandom spaces without having fetishization in my face. 

So about 80% of fandom is women, and most of those women aren't straight, but 90% of those women prefer mlm ships. Why don’t they prefer wlw ships? Well definitely part of it is the fact that queerbaiting is centered around white straight men, and then there is also the fact that women tend not to be written as well charcter wise. But the fact still remains that you get jerjean getting priority over Layla and Alvarez who are in canon just as much and are a canon wlw couple who actually interact as well as Alvarez could likely be a woc because of her Hispanic last name. Korasami doesn’t get nearly as much hype as zuko and saka, despite the fact that they are 2 fully dimensional characters who canonly kiss and hold hands, something the creators fought for and ended up having to sacrifice another reboot for. 

I do believe the fandom echo-chamber is largely responsible for… a lot of things, like you're saying. But what's interesting is that the complaints I've heard about visual porn from non mlm in the fandom space is that they can’t get off to it because its for the male gaze and misogynistic usually. But they also don't seem to notice how the mlm smut circles has the female gaze and is also… almost always mlm. If it was a pure anatomical not knowing thing, I get that, but I also think that leads to the question of “then why the male body for porn, and not your own? The one you know and are familiar with?” 

I know some people want to get outside of their own body for porn and don’t want to think of their own anatomy at all, but overall I'm still uncomfortable. If an anglo said “well I watch porn of only Mexicans so I don't self insert” I'm gonna be like … hhhh in a similar way. I understand people “like what they like” but I wish they also noticed said patterns in the first place. I understand the t4t tumblr porn circle, and how it's different from cis people who only watch trans porn. 

I actually wished that instead of fandom focusing on mlm ships where some asshole guy hits on bottom troupe charcter for top troupe character to save, was instead… a wlw character experiencing said shitty getting hit on and other wlw swooping in. what's interesting is fandom writes a lot about misogynistic experiences without often realizing it. Ive read fanfic where guys get called sluts for sleeping with people or called bitch for speaking their mind, these arent things men usually experience, but rather women. Fandom has a lot of internalized misogyny and also queerphobia imo. Women characters often get pushed to the sidelines and men become the canvas for female fans to project onto. 

There is this natural inclination to mlm. When people are talking about “gay shipping” or “gay books” or “gay feels” or even just “gay” mlm is what’s largely in mind. I honestly am kinda saddened by this because if gay fanfiction was really solely about writing more to feel represented, then you would see a lot of bi and ace and lesbian rep, but this isn't the case. Queer women are seriously underrepresented, and I want to hear their stories and read them in fanfiction as well as published. 50% of lgbt literature is mlm, and of that its largely written by women. Becky Albertalli, Rainbow Rowell, Maggie Stiefvater, are the YA big names and are all women writing mlm. Red white and royal blue is written by Casey McQuiston and Captive prince (which is not YA) is written by C. S. Pacat, who is non-binary, but is also TME and not mlm. These are all the big names in mlm lit, behind them is some gay men, but honestly their stories aren't preferred, they're not the right “flavor” for the consumers usually, who are largely women. In general YA consumers and authors are women, but I wish that they… just wrote about women too. I think there is a certain… snowball effect to the overrepresentation of mlm representing the whole LGBT community that leads to fetishization, as well as misogyny playing a factor in: less women characters being written well to write fanfic on, when they are written well they're taken less seriously or the audience struggles to relate to them, they're less marketable then men. 

Idk I never feel “seen” or “represented” by any of the books above, which don't address boyhood and manhood and queerness intersecting really, and AFTG doesn’t either. I relate to AFTG as a trauma victim who has experienced a lot of what many of the characters go through and have gone through in the EC as well as them just overall being very well written characters, but I don't relate to it as a mlm really. I've never seen like.. gay voice or being straight passing or femphobia or how boyhood can be affected from a young age by those around you sensing you're ‘other’ or if you didn't experience this you feel outside the mlm community. Let alone sub cultures like bear and leather and pup, at most you see the word “he's such a twink” in fandom which... i fr hate non mlm using that word because it's usually used to replace the f-slur essentially, used derogatorily or to call him “such a bottom” and stuff like that. It’s like a joke or an insult.

Long story short, idk mang this was a ramble and I think I'm coning down with something. I wanna see more queer women rep and women authors writing about being a queer woman too. I think it's a complex web of fetishization and a bit of forbidden love yaoi culture (or it used to be in the BOYXBOY days) as well as misogyny on an industry level, creator level, as well as reader/consumer and fandom level. I don’t think it’s inherently wrong to explore other peoples stories and what we read has to be segregated, “only mlm are allowed to read and write mlm, only wlw are allowed to read and write wlw,” but I also think author’s intent and audience and background is telling, as well as overall statistics. Like about an hour ago I was looking for cookbooks in spanish or in english, and I was looking for some mexican food cook books, but I had to look for them using words in spanish because otherwise what came up was a bunch of “fiesta party, easy as uno dos tres authentic cooking!” and I was like… hm. Since I could tell they were marketing to anglos. (also the author’s last names were like michelle smith, james cooper, and this could be for a variety of reasons, but I trust Hispanic names more tbh and deadass would look at the authors pictures and if they had other books in Spanish or what their specialties were.)

anyways. not sure how to end this. uhm if anyone has any book recs (my to read list is like 500 books tho no joke) preferably not YA white mlm written by a white lady, hopefully queer women written by queer woman, LMK, I need more wlw and queer women stories on my list. I have a decent amount but always looking for more. I kinda wanna link my goodreads or my storygraph but I also don't want to get doxxed and it has my legal name on it so.

Also, I'm dyslexic and using spell check but if there's like some wild typos my b.

[orionsangel86]

Hey Everyone,

As you have probably noticed, I have neglected this blog for a long time now. I haven’t been on any fandom related social media at all actually. But I figured since I am currently in a good mindset, I want to write a post just outlining some things which basically boils down to a goodbye letter to Supernatural fandom.

Long rambling post below the cut...

This year (and the last) has just taken it out of me in terms of general negativity online both in fandom and in the real world. At first I got tired of fandom (mostly because Twitter is a cesspool of policing and bullying) and then I got tired of everything else (the world sucks right now, and my mental health basically stopped me from being able to participate in any form of online activism – just because I’m not blogging about something, doesn’t mean I don’t support the cause ya know?). Earlier this year, right around the time of the UK lockdowns, I had surgery and a recovery period in which I spent a lot of time with family, and just reacquainted myself with the real world. I think perhaps the coronavirus pandemic made me realise that long before lockdown began I had already been isolating myself from my real life and diving further and further into an online black hole.

It was years in the making. Supernatural fandom preoccupied my thoughts for such a long period of time it got to the point where every moment of my non working time seemed to be spent either online scrolling my tumblr dash or twitter feed, or reading fanfic or doing something fandom related. I invested so much of myself into this show and fandom that I think I forgot who I was before I was a Supernatural fan completely.

After my wake up call in late 2019, which lead me to break free from an extremely nasty clique, I have tried to re-enter fandom on my own terms, as well as attempt to enjoy the source material and the fandom creations to ignite some new spark of love and interest in the show. Yet as much as I have tried, I have failed to do so.

I was thinking recently about someone I used to follow years ago before I ever created a blog. When I was still just lurking in the tumblr shadows and followed the likes of Mittens, Lizbob, and other meta writers of the period, there was a blogger whose name I can’t remember but she was the funniest blogger I had come across. But when the show killed off Charlie Bradbury, she quit. I had never even interacted with her, as I was barely getting my blog started at the time, but I’ll never forget a post she wrote about her feelings on the show. She had recently started watching something else (I think it was Sense8 but can’t recall entirely), and that this new show had given her everything she had never thought she could have from her fave before. She wrote about how her relationship with Supernatural had become abusive. That for years the writers of Supernatural continued to throw punches at fans like her – women, LGBTQ+ people, people of colour, and yet she continued to give it all her time and attention, brushing off the punches because she was so damn devoted to the characters. Then this new show had come along, and it was like she had seen the light. The killing of Charlie Bradbury was the last straw, and she dumped Supernatural’s ass and fled into the arms of her new love.

I hope she is doing fantastically today.

What she wrote has resonated with me for years. I was a fairly new Supernatural fan at the time, and therefore didn’t really understand what she meant. A TV show can’t be abusive. Can it?

Of course, we are speaking in metaphor here, and in no way are these metaphors meant to reduce or limit the truly serious situation of actual abusive relationships, but every now and then, when a new episode of Supernatural has left me feeling upset, disappointed, frustrated and grossly let down, in some cases affecting my mood for days at a time, and therefore my mental health. I have thought back to those words she wrote and quietly agreed with them in my head. Yes. This is a metaphorically abusive relationship.

When I discovered earlier this year that Castiel was most likely going to be killed off in some sort of bullshit self sacrifice before the end of the show, I was extremely distressed. When I found out that my favourite person of all time Misha Collins, supported this ending for Castiel, and may have even been the one who pushed for it, I was more than distressed, I felt betrayed by the person I cared about most. I’ll admit to you all now that in my weakest moments I have fantasized about standing in front of Misha and screaming at him exactly just what kind of affect his “ideal ending” for Castiel will have on his fanbase, on their mental health, and potentially their own safety. This fantasy has me guilt tripping him and doing everything in my power to make him feel utterly shit about the decision. I know what you are thinking – don’t blame Misha, the guy has his own problems and we all know he projects his own self esteem issues onto Cas – and yes, I know this, like I said its only a fantasy to get me through my darkest moments. I don’t hate Misha at all. But perhaps I do love him a little less nowadays than I did back at the height of my fandom life. That’s at least still a little bit more than my feelings for Jensen and Jared which now I can only describe as complete indifference.

I am admitting all of this now knowing full well it will ignite shock and anger among the more die hard fans of J2M, to explain why I need to just leave this fandom completely, or more accurately, why I have already left fandom.

Over the past 10 months of 2020, I have watched a lot of TV (there isn’t much else to do during a lockdown when you are on crutches with your foot in a cast!) and the one thought that occurred to me over and over again was “this show is so much better than Supernatural”.

I kept comparing everything I watched, from the quality of the scripts, the actors, the special effects, to the inclusiveness of the shows. Just so many beautiful and interesting stories that seem to understand their audience, and understand how to entertain and impress without resorting to cringe humour, outdated jokes, and prejudice, not to mention misogyny and queerbaiting – yup, I said it.

The thing is, I think these thoughts have been creeping over me slowly for longer than just this year, but I have been desperately batting them away the way Dean Winchester bats away his own gay thoughts. Unlike Dean though, eventually I couldn’t ignore them anymore. I cannot continue to carve out space in my own soul for this show, which incessantly beats me down regardless of my devotion. The creators, the network, the writers, and sometimes even the cast, have all shown that they don’t care about me as a fan. I’m not some gun toting dudebro living in middle America, so why should they give a damn about me? I’m clearly not their target audience, nor have I ever been.

I know many of you will vehemently deny my personal opinion of Supernatural now. That is absolutely fine. I am sorry to be admitting it, but I had to. I feel like once I finally write out these words, I have got it off my chest and can close and lock the door on Supernatural for good.

Without Supernatural, I am able to focus on my real life, I am able to find pleasure in other things, new things, interesting things, that bring me joy and joy alone – not disappointment and frustration. I found a new job this year, which has been a huge accomplishment as I was stagnating in my old one, and several new hobbies under my belt. I moved to a new flat, I have a lovely flatmate who has been a godsend throughout lockdown, and I have rekindled friendships that I was neglecting due to my Supernatural obsession.

All in all, I am finding post-Supernatural life far more rewarding and content than my life in fandom. It has taken me a while, but I am over the show. And whilst I will always hold a special place in my heart for Castiel, it will be as I know him in my own mind; as the wonderful, strong, powerful and determined angel with a soul, who loves so strongly, and who is worth so much more than his own creators give him credit for. He is up there with Aziraphale and Crowley, with The Doctor, and Buffy, as one of the greatest characters of all time.  

So the Supernatural writers and creators can take whatever ending they have decided upon, and shove it up their asses. I am sorry to say that Sam and Dean Winchester are also lost to me. Any love I had for them was destroyed by their later season depictions. Castiel alone is the only character worthy of that space in my heart now. If in time he longs for a companion, I will find one for him, but it won’t be the Dean Winchester of the canon show. Canon Dean hasn’t been deserving of Cas for a long time now.

Perhaps I am still a little bitter about the ending. Perhaps the finale won’t be the disaster I expect it to be, perhaps Dabb will somehow turn it all around last minute following whatever travesty Bucklemming have given us in 15x19. Either way, I won’t be watching.

So this is me saying goodbye to this blog, at least until I have decided what else to do with it. It certainly won’t be a Supernatural fandom blog anymore. It wasn’t all wasted though. I did get a wonderful friendship group out of this fandom, and I have certainly expanded my knowledge of film and television analysis, as well as having enjoyed a great many memes.

I guess in the end, my internal war with my inner bitter Cas girl finished with her winning, and writing this post. Once it is posted however, I will put her to sleep with thoughts of a happy Castiel, who has swapped his wings for a beating human heart, and is living on a beach somewhere beautiful, refurbishing an old Victorian house, and greeting his kindly elderly neighbours. There’s a gay bar on the main strip, and the bartender is quite a dish. Green eyes and light brown hair with a killer smile. Castiel thinks he looks familiar, like a memory from a past life, but they’ve definitely never met, because this man is kind.

Now that she is asleep, there is nothing left for me here. Goodbye everyone. Whether you manage to enjoy the finale or not, I truly hope you too, find your peace.

[freyjawriter24]

So… it’s been a while. Hi! Welcome back.

I’ve thought a lot about what to write here. I wasn’t sure (and writing this, am still not sure) whether I would ever finish this fic, but I wanted to say something here regardless. I have far too many thoughts to fit in AO3′s little chapter note box, but I’ll try to keep it brief.

First of all: Trans rights are human rights. Trans women are women. Trans men are men. Nonbinary people are nonbinary. This is true, important, and needs to be said over and over until everyone everywhere knows it and acts on it.

Secondly: I initially set out to write this fic because I didn’t like what The Cursed Child was. I didn’t like the plot, the characterisation, the ignoring of HP canon, the queerbaiting, etc. etc. etc. I wanted to create an alternative vision for Albus Potter’s life; one still full of magic and conflict and adventure, but with more of the feel of the original seven books - a real ‘eighth story nineteen years later’. I wanted to create what I felt Cursed Child should have been - an exciting, interesting, and most importantly welcoming story that included everyone and made readers feel represented at Hogwarts and in the magical world as a whole.

I want to continue with that. I want everyone to feel safe and represented in the Hogwarts that my version of Albus attends. I want my cast of characters to be diverse, friendly, and non-judgemental. I want to do this both to give anyone who reads this the opportunity to find themselves here in ways that the ‘canon’ HP universe has seemingly closed off, and to essentially say ‘fuck you’ to JKR.

This story has had trans characters from the beginning. I wrote out a ‘character profiles’ document way back in 2016 with key details about each of the characters in it, each including their physical description, their family background (lots of references to minor HP characters…!), their gender, and their sexuality. Aruna, who you first met in Chapter 2, is nonbinary, and they were always planned to be a main character throughout the story. I want it to be known that death of the author (and their shitty beliefs) is well and truly believed in here, and no matter what JKR says, trans students are welcome and supported at Hogwarts.

As a result, I promise here and now that, going forward, there will be no transphobia, homophobia, racism, or other bigotry exhibited in this story. When characters ask questions about other people’s lives - family history, culture, religion, sexuality, gender, etc. - it will only ever be with good intent, seeking to understand those people (or themselves).

That said, I am white. I had a privileged upbringing. I was raised in a largely Christian/atheist society. There are many things I do not have direct experience of. I will do all the research I can to ensure people do not feel alienated or offended by my work (as I always do), but I cannot guarantee that nothing problematic will arise in the background, because there will be holes in my knowledge and awareness that I don’t know are holes. If that happens, please do feel free to let me know (ideally by messaging me on tumblr) and I promise to look into the issue and educate myself on it.

Thirdly: A note on this chapter, and my writing overall. Chapter 5 was mostly-written when I went on hiatus with this fic in 2017 (i.e. got busy, put it aside temporarily, and then never got back into it enough to actually update). I’ve also got a section of Chapter 6 written too, as well as some random snippets from later on. But it’s been several years, and I’ve written a lot of other stuff in the meantime (mostly Good Omens), which means I’ve probably changed a lot as a writer. If you notice any inconsistencies in style (or quality), that’s probably why.

I’m going to try and wrangle my mass of notes from 2016 into a coherent plot and pick up the pace a little (rather than describing every single day of Albus’s life in minute detail…). Things will change from my initial plan, but the core ideas will stay the same. It’s a big task, and so I will not set out any kind of update schedule (especially since this is more of a spite project than a passion project), but as long as I’m still writing, I’ll be working on this fic. I don’t know if it’ll ever be completely finished (there is no clear endpoint on my current outline…), but I want to keep writing on it as long as I have a story left to tell. I hope you can bear with me, and I hope it’s worth the wait.

And lastly: You are loved, you are valid, your existence is worthwhile. I hope you can find a home here, as Hogwarts always set out to be, but no hard feelings if you can’t. I wish you well in your life regardless. I hope you find happiness, keep learning, and always remember to be kind - to yourself and others. I hope you enjoy the fic.

[veridium]

fuck it, queer meta.

About a year ago I wrote one of my first and largest meta posts about why I consider Cassandra a prime example of queerbaiting despite her being a character who explicitly says she is heterosexual. This lead to quite the day of inbox hate mail from people throughout the fandom. Most were upset I used the “q slur” and left it untagged as such in the big DA meta tags. I can imagine for those folks, the substance of what I had to say mattered little as a result. 

I deleted most of those messages and my responses soon afterward. They upset me greatly even as I took it all in stride. However, given that it’s been about 365 days since that fiasco, and some interesting events have happened with regards to current and former DA writers, I thought it would be “fun” to write a recap and reflection on why, generally, I still feel the way I did when I wrote that post. With some changes and growth, of course. 

The gist of it is, as we have come to learn in past, recent, and ongoing discourses in fandom, that much to the chagrin of a lot of folks in this fandom: BioWare, and in this instance DA writers, are not your SJW Icons. Furthermore, they never should have been, or should be, considered as such. 

The gist (part two) for me, is: for as much as diverse characters, worlds, and societies are being uplifted by Games these days, the counterbalance of bullshit is still there. And I think it survives most sturdily in the kind of logic the BioWare writing culture throughout the years. This sense of egalitarian, “of course” logic, that appears to make socially deviant identities normalized but really just falsely positions those identities as meant to be in lock-step with the norm. Representation to gaming, and most of media writ large, all-too-easily falls into the trap of “we want what the privileged have,” which it to say, we want our existence to be a no-brainer, even if it means we lost the essence of why our stories are so profound, important, and necessary to do justice. 

I really can’t imagine accepting the way characters like Cassandra were written because I don’t accept the writer(s) who wrote her. Why?

Come with me, and we’ll be, in a world, of pure fuckery...but with citations...because I’m an Academic and that’s my roll.*

*Please see tags for pertinent content warnings before clicking.**

**if you reblog and tag this shit with “q slur,” I will take all the reserves of understanding I have as a DA fic writer for all of the enraged womxn in the series and express it accordingly. And, as a femslash-oriented author, I can promise you: that expression will be consumptive. 

Hm, I wonder, what with the predominant writer for her character inquires on Twitter for “lesbian fanfic porn” recommendations for writing “research,” but seems to be unable to hire appropriate creatives to write, consult, etc. for the project. 

Or that the writers room made, and continues to make, space for a writer who continually does Black and queer characters dirty with his mediocre-at-best work, in both game and novel form (because, plot twist, he’s a shit writer) (1) (2) (3). 

Or that the writer’s room, and specifically Ga*der, attesting that the development of the Qunari was based on Arab cultures around the time of “Medieval Europe,” which is somehow his way of getting out of the thematic botching of the Qunari language, social structure, etc. from Islamic tradition. 

Or, the writers who intentionally shaped the story so that Vivienne, one of the limited number of Black women characters in the entire series to have a role as an ally, to be a red herring of an distrustful and conceited antagonist, to the point where her treatment by fandom has been incredibly racist, heinous, and lazy for years.

These are a few of MANY reasons, with thorough exposition, why the veneer of “progressive inclusion” studios like BioWare claim to be authentic. Having “diverse” writers in the room -- and I’m using that word incredibly tenuously here -- didn’t change the result of any of these harmful scenarios. In fact, it created them. This, combined with the tale as old as time: toxic fandom culture with white, anglo-centric, cisheterosexual masculinist ideals at the fore, have gotten us here. 

So, do I hold all of the reasons why I am angry about Cassandra’s character writing the same way now, as I did then? No. Certainly not. In fact, there are parts where I would correct myself. On the other hand, the thesis for me remains largely preserved: I revile G*ider, I revile that he gets the accolades he does by fandom for his “diversity” of characters when he exploits, erases, and uses slippery morality to get out of admitting he has shortcomings in his work. I hate that the exaltation for representation still funnels itself onto the heads of white writers and predominantly white-staffed studios. 

And, underneath it all, I am mad that some of ya’ll see no problem with that. Because what does it matter, if you do not come from communities, cultures, and coalitions that get the brunt of this misrepresentation? What does it matter if it angers a lesbian fan that the writers who have a long history of misusing and conveniently copping themselves out when they write women and queer characters, seem to use that “expertise” as permission to do what they are supposedly combating?

G*ider, the hero himself, is on written record saying that it should not be second guessed as to why Cassandra is straight, just as he thinks it should not be second guessed that Dorian is gay. Yet, when he asked on Twitter if there was some moral significance to people modding character’s sexuality (in this specific instance, Dorian, actually), G*ider said that in the end, people’s mods “do not change” what he wrote, and that unless they claim their changes “supercede” canon, there’s no harm done. 

So, really, I’m just over here like -- is this ya’lls hero?

Why in the fuck would someone be modding a gay character to be bisexual or heterosexual, if they didn’t somehow believe that version “supercedes” the canon rendition? Secondly, where is the attention to the fact that, in an ensemble of multiple romanceable characters, Dorian has to be the one that has to be sexually and romantically accessible to those outside of his canonical realm of attraction?

I mean, for fuck’s sake, it’s the whole virtue grounding his companion side quest, the fact that he is estranged from his Father who tried to magically change his orientation! This is a crucial part of Dorian’s entire journey to serving the Inquisition, and serving Tevinter as a dissident.

But, you know, it doesn’t change what G*ider wrote. And he’s correct, it doesn’t change what he wrote, which he got credit, money, and esteem for. It doesn’t change that if you load up the base game, Dorian’s gay. In G*ider’s head, that is the protective force: the parts where he has ties, and not the culture of the fandom, the culture the fans who helped fill his pockets from that game have to dwell within. This isn’t revolutionary, this isn’t good-faith representation. This is getting a piece of the rotten-sweet pie and saying “let bygones be bygones, you toxic, funky heteronormative assholes!”

But, where are my manners. I’m getting heated, aren’t I?

Basically, if you condemn queer fans for calling out queer bating -- or any marginalized fan for throwing up the alarm for bullshit -- and your first reaction is to side with folks like G*ider who got theirs and said screw everything else, fuck off. Literally, fuck off. I call Cassandra’s circumstance queerbaiting because she’s one example of writers getting their cake and eating it, too. If they are so aware of just how much of their fanbase is marginalized folks, they don’t get to say they don’t have fingerprints on things like queerbaiting. You don’t get to be acclaimed and excused for the shit you say you are combating, which is the source of that acclaim. And if your claim is happy ignorance, then you definitely don’t get to blithely equivocate when fans do ask you why the story happened the way it did. 

I also just want to keep in mind here that there’s a deductive conclusion to be had about this, given how La*idlaw explicitly stated they endeavored to make Cassandra extremely hot, “really enticing.” That conclusion is: 

(1) Either they aren’t/weren’t nearly as attuned to their queer audiences as they generally claim to be, or 

(2) They were, and had no intention of developing compassion or empathy passed G*ider talking out of his ass about why Cassandra was developed as straight. Which, ultimately, does coincide with conclusion (1) more than not. 

No matter what, the contour to the conclusion is: wow, a taste of nauseating objectification, in the BioWare writer’s room. Who knew!

It’s no wild accusation to make to a writer like him and his colleagues, that they don’t know how to handle sapphic, wlw, and/or queer-related storylines, especially with women. Especially when the answer seems to be, “well, it was decided before I took the lead, and in any case, why question it! You wouldn’t question a gay character’s orientation!”

But that’s just it, you complete and utter turnip. People did question Dorian’s sexuality. People do question Dorian’s sexuality. That fantasy world of equal bearings is as insincere as it is out-of-touch. And why not, when, as you said, 

it doesn’t change what you got paid for.

The ethos seems to be crudely reflexive: people’s phobic interpretations and alterations of the canon do not matter, but then again, why would you even question why a character is straight? Why would you question my narrative vision, in all of its beautiful shittery?

It’s all a game of dodge, ya’ll. Dodge, dodge, dodge. With a strong and acidic dose of vanity. 

So. In summation, folks: I could care less for your false equivalences. I could care less about my contribution of queer content fucking up your good time in the meta tags. Obviously you aren’t there to actually engage in creative, exploratory thought, so why bother reasoning. There is more to the possibilities of queerbaiting than stringing along a could-be, would-be, should-be queer storyline directly. There’s knowing your audience enough to exploit your good graces with them. There’s benefitting from a charade of liberal progressive clout. There’s the ability to foresee that queer people will cathect to a given character, and not only denying an experience they could have, but denying it so harshly that the character says they can’t love yours because you’re female. 

And I am so, so, so sick of these people continually enriching themselves off of the “nobody’s perfect” grace. To me, that grace is the promise of good faith, and the intention to do right by people. When that isn’t there, the grace isn’t going somewhere where it’ll be appreciated, that it will be nourished by. I mean, fucking hell, people, this is rainbow capitalism: don’t you taste it?

That’s that, then. “Cassandra and Queerbaiting Rant,” one year on. An extra dose of salt, just for the haters. 

[tepkunset]

(@the-macra I didn’t want to hijack your post by complaining on it but thank you for sharing this originally)

This is really, really shitty of Fox.

First of all, I don’t trust it for an instant.

If the XMCU hasn’t acknowledged characters who are LGBT+ in the comics this far, (like FFS Mystique has been in almost every X-Men film and not once has her bisexuality even been referenced)...

If Fox was only willing to have Negasonic and Yukio in a relationship because Deadpool 2 was rated R and of course same-sex relationships are too dirty for family-friendly ratings...

If they wrote their “New Mutants” movie with all the original characters except Karma, Marvel’s only well known lesbian...

...There is zero reason to believe this. 

Now I want it to be perfectly clear that I can’t begin to tell you how much time I spend hoping for the day Dani comes out as lesbian or bisexual or two-spirit. I also think her and Rahne were definitely high school sweethearts in their teenage years, though as adults Dani is much better off with Xi’an, given some of the shit Rahne goes on to do and how much closer Dani and Xi’an become. But I won’t get into that now. Point is, the fact that I see Dani as gay, the fact that I want her to be Marvel’s first Native LGBTQ2S superhero is part of why I’m so furious with this, and I’m gonna call it in advance, queerbaiting. Because I am far from alone in seeing Dani and Rahne as gay. Like, Dani’s gay energy is so fucking strong it baffles me that Marvel hasn’t had her come out yet, and there are some writers who've seen her as such too, because it’s that fucking clear. For Fox to dangle this worm on their hook like this is cruel. 

Second, this is the shittiest attempt to distract from the rightful backlash the studio has been getting I have seen yet. No one is looking forward to Dark Phoenix because it just looks like an even worse version of Last Stand, (which is saying something,) so now is an attempt to stir up buzz for their other upcoming film that no actual fans want to see, by trying to pit gay people and POC against each other. And then here’s the folks like me who are both, in the middle.

I made a longer post about this when the teaser trailer for this “New Mutants” movie was released, but here’s the short version: This movie is chalked full of colourism/whitewashing. Roberto da Costa, a Black Brazilian boy was cast as a non-Black actor; this is the second time Fox has done this to him. Cecilia Reyes is a Black Puerto Rican woman cast as a non-Black actor. Dani Moonstar, a dark skinned Cheyenne girl was almost cast as a white woman because apparently that was actually an option they considered, but instead went with a whitepassing woman. (And I just also want to point out that the studio bragged about this, and bragged about their international search for actresses, yet turned down darker skinned actresses in favour of white and whitepassing women.) And like I said, Xi’an Coy Manh, a Vietnamese lesbian, isn’t even in the movie. And don’t give me that crap about “well it’s based on the Demon Bear arc and she wasn’t in there,” as if the XMCU has cared so much about accurately using characters for comic story-lines thus far, and as if the promotion for this movie even looks remotely like it’s about the Demon Bear arc. Or as I said before, maybe it’s based on the (newsflash: racist anyway) Demon Bear saga the same way X-Men Origins: Wolverine was based on Wolverine’s origin story. As in, you know, barely at all. Because it looks more to me like some generic horror film about a Native girl held against her will and tortured to the point where her fear-driven illusion powers turn the place into a haunted house (see: Josh Boone’s own description of the movie).

Let’s pretend that moonclair actually will be canon in this film for a second, and not just maybe a squint-and-you-might-see-something-romantic-if-you-think-about-it moment at the most. It is utter bullshit that this has to come at the exchange of proper representation for superheroes of colour. And I swear to the Beyonder if I see anyone trying to excuse their racism by pointing out that maybe there will be lesbians in this movie, and therefore we need to support it for that, you will be cursed with forever bad breath to match your bad take.

This is nothing but tainted, pitiful and hurtful queerbaiting and the studio needs to immediately escort themselves to the nearest flaming trash bin.

[bi-john-watson]

My Opinion On Sherlock

I’m ill today and because I didn’t have much to do I wrote I very long review on Sherlock on IMDb. I decided to share it with you!

Let's start with the first episode I watched. It was The Blind Banker, the second episode in the series. My mom watched the first without me so now she was watching the second. I was playing video games, but the more the episode continued the less I paid attention to my game and more to the show. I think about 15 minutes into the episode I put my game down and really started watching the show.

Before I move on I would like to say that I’ve always been really obsessed with movies, books and series. I always had at least one fictional story I would be so into that I would think about it all the time. When I watched Sherlock I could feel this was going to be one of those stories, but I never would have thought I would get more invested in it than any other story.

After watching The Blind Banker I was completely Sherlocked. Even though looking back at it, it is one of the lesser episodes to me. It still holds a special place in my heart because it was the first though.

The next day I immediately watched A Study In Pink and I loved it! I also would like to say this was the first episode I noticed that Sherlock and John didn’t really seem like... friends... Three people in the episode thought Sherlock and John were together! Three!! Those were people who know Sherlock better than anyone! And then John started asking Sherlock if he had a girlfriend or a boyfriend. And then Sherlock said girlfriends weren’t his area (really what is that supposed to mean) but I didn’t say the same about boyfriends. He just said he didn’t have one. Then John said he was single to and Sherlock thought he was flirting (I thought the same to be honest).

I’m bisexual myself and people can say representation doesn’t matter but it does. I’ve never seen myself in the media until I started searching. I would have known sooner if there would have been more. I always thought you couldn’t just like both. I always knew I liked guys so I thought I couldn’t possibly like girls to.

When I watched Sherlock it was about the time I started questioning my sexuality. And when I saw John definitely being into Sarah in The Blind Banker and later kind of flirting with Sherlock in A Study In Pink, I thought I could have found someone who is like me.

But let me talk about the show in general now. I watched The Great Game the same day I watched A Study In Pink. It was the best episode of Sherlock I had seen that far. In short: season 1 was absolutely amazing and the cases and characters were really interesting!

The next episode is A Scandal in Belgravia. It was absolutely amazing! The case was very interesting! I should say when I first watched it I didn’t understand everything since the show goes really fast, but I rewatched this show a lot and talked and read a lot about it on the internet so I understand everything now.

Although I really liked Irene Adler I had some things I wasn’t really okay with. If you have read the original books you would have seen Irene Adler was nowhere near a love interest of Sherlock Holmes. She literally outwitted Sherlock so she could marry the love of her life. Sherlock was impressed but it was stated in the books it had nothing to do with love. Still almost every adaptation has made her a love interest. I think everyone does that because there are almost no other women that could be a love interest because it’s always just Sherlock and John.

There’s also a conversation I need to mention after Irene fakes her death and she shows John that she is still alive:

John: “Tell him(Sherlock) you’re alive”

Irene: “I can’t.”

John: “Fine. I’ll tell him and I still won’t help you.”

Irene: “What do I say?”

John: *screaming* “I don’t know what do you normally say, you’ve texted him a lot!”

Irene: “Just usual stuff.”

John: “There is nothing usual about this case.”

Irene: *reads her texts to Sherlock*

John: “You flirted with Sherlock Holmes.”

Irene: “At him, he never replies.”

John: “Sherlock always replies to everything. He’s mister punchline. He will outlive god trying to have the last word.”

Irene: “Does that make me special.”

John: I don’t know, maybe.”

Irene: “You jealous?”

John: “We’re not a couple.”

Irene: “Yes you are.”

Irene: *ticks in something in her phone to send to Sherlock*

Irene: “There, ‘I’m not dead, let’s have dinner.”

John: “Who the hell knows about Sherlock Holmes, but for the record, if anyone out there still cares: I’m not actually gay.”

Irene: “Well I am. Look at us both.”

What Irene means by this is that although she and John are both primarily attracted to woman they still developed feelings for Sherlock Holmes. Irene is an expert on human sexuality so she would know. Here’s a link to this scene: https://youtu.be/EV8WXcfArxU

Then we have The Hounds Of The Baskerville. Although a great episode I liked it less than others.

Then The Reichenbach Fall. This episode is absolutely amazing! It is one of my favorites! It’s just so good I don’t know what to say about it!

Now to season 3. This is personally my favourite season. I still have seen negative reviews about it and the main reason why people didn’t like it is because it focused more on the characters rather than cases. I personally think BBC Sherlock never has been a show just about cases. In A Scandal In Belgravia they talk about sexuality and relationships all the time! If you compare Sherlock to crime shows you can easily see it’s really different.

This is the season where Mary is introduced and I have a lot of conflicting feelings about her. Mary marries John in the second episode of season 3. In The Empty Hearse I didn’t want anyone between Sherlock and John but I began liking her and I really liked her in The Sign Of Three. But then she shot Sherlock in His Last Vow!! I trusted you Mary! And I never even understood why?? His Last Vow was my favourite episode but I really didn’t know what to think of Mary.

Before I talk about season 4 I’m first going to say something about the Christmas Special: The Abominable Bride. I liked this episode but it was a weird episode. It didn’t make much sense and I don’t really understand what everything meant. It just kind of establishes that Sherlock’s Mind Palace is pretty gay. That’s all I have to say about it for now.

Now onto season 4. Which gave me way to much conflicting emotions. My main problem with series 4 is that they went to far. They wanted to make this more spectacular then all the seasons before but by doing that they made it unbelievable (I don’t mean unbelievable in a good way, I meant that it is hard to believe anything like this is a bit realistic). There are also so many plot holes and weird things happening here.

First The Six Thatchers. I found this episode pretty good, but they made it to much about Mary and I still hadn’t figured out if I should like her or not. I liked the case though. In the end of the episode Mary dies. And what I hated about this is that in His Last Vow this is said when Sherlock gets shot:

“It is not like in the movies, a big spurt of blood and you go flying backwards.”

And guess what, this is exactly what happened when Mary got shot.

Then is The Lying Detective. This was my favourite of season 4 although John hit Sherlock a lot, which is the thing I didn’t like here. But overall a good episode.

Now The Final Problem. Some elements of this were really cool and all but this was just to much. To unlikely. And so many plot holes I won’t even be listing them. I also found some characters out of character in this episode. I still quite like the ending. I didn’t agree with everything that Mary said in her video, but she said this which I liked about Sherlock and John:

“P.S.: I know you two. And if I’m gone I know what you could become.” (Seriously Mary what)

The ending shows Sherlock and John solving cases and raising... Rosie (I forgot to mention John and Mary had a daughter Rosie). Although I have problems with season 4 I’m quite alright with the ending. I can get over plot holes but my biggest problem with this is queerbaiting.

You probably never heard of this and some of you will think I’m just reading to much into this show but I just want to get this of my chest. Queerbaiting is when a piece of media (books/series/movies) hints at a same-sex relationship or a queer (queer=non-heterosexual) character, without ever actually depicting it. The queerness maybe ignored, explicitly rejected or made fun of (remember how it’s a running joke that everyone thinks Sherlock and John are together?).

I and the rest of the LGBT+ community wants to be represented. Being represented makes it more commonly known that people like this exist. I think a lot of people don’t know bisexuality exist because it’s almost never portrayed and when it is a lot of the time not in a good light. When you see a man and a woman kissing you will probably automatically assume they’re both straight. When you see two guys you will probably automatically assume they’re gay. Because of this bisexual people are mislabeled a lot. And everytime they have to come out again because of this. That is why representation is so important.

I think it’s pretty obvious that BBC Sherlock queerbaits. There are so many hints to them being more than friends. Everyone assumes they are, all the jealousy etc. Their sexuality are not left entirely ambiguous, like in other shows where it’s open for interpretation, but instead contradicted with the show almost outright saying it and the writers denying it and saying fans who saw a potential romance between Sherlock and John are delusional.

I would like Sherlock and John as just friends if it would have been presented that way. But it wasn’t and while I love this show I will always be bitter because they queerbaited.

I still give this show a 9/10 because I’m so passionate about it.

This is just my opinion so please don’t leave hate comments or anything. I would really like to hear your opinion though.

[theboyswithasparebitofparchment]

Fantastic Beasts 2: Review

So, I just watched Fantastic Beasts: The Crimes of Grindelwald.  

And oh boy do I have something(S) to say...

Warning spoilers

The movie started off well: the orchestrated Grindelwald escape included the classic switcheroo vis a vis with Polyjuice, mid-air thestral-pulled-carriage fiasco and the pointless extermination of a weird lizard-like creature. (which I don’t understand why it was included at all, as its specimen wasn’t explained, and it served no purpose to the story)

And it went downhill very fast from there.  

I can’t even begin to explain the plot, as this movie had a billion subplots, unnecessary twists and too many infant murders for it to be comprehensible.  

Unlike the first installation, this movie had barely anything to do with actual beasts or the OG squad (Newt, Tina, Queenie and Jacob).  

But, it does includes Jacob under the influence of a love potion, France (need I say more), a wizard freakshow, Credence sad, human Nagini tagging along with said sad boy, Grindelwald killing French people ( babies too) and a giant Chinese lion-like creature (Zouwu: freaky eyes, quite cute, can run really fast)

I didn’t necessarily hate the movie though.

Some scenes were rather enjoyable I.e. the introduction of the aforementioned, Zouwu and a giant seaweed thing that Newt rides underwater.  

And I must admit, I did freak out in my chair when they showed FREAKING HOGWARTS with James Newton Howards’ ‘Hedwigs Theme’ playing alongside (I must admit, I did have goosebumps)

And yes, it was visually beautiful: Daniel Yates did a phenomenal job at directing it and piecing it together.

Despite all this...

the plot was lost, unstructured and confusing which probably led it to be boring.  

And these are my reasons why:

the embodiment of good, kindness and acceptance, goes haywire, barely gets any attention, becomes insecure in her relationship that is more than great and goes towards the dark side after a few minutes of talking to Grindelwald. Queenie Goldstein did not deserve that.

Dumbledore served no purpose, was barely on screen and again gave full responsibility in taking down a powerful, evil wizard, to a student. C'mon bro.

Leta Lestrange served no purpose to the story other than to reveal right at the end that she killed her half-brother baby, that her other half-brother is trying to kill, whom he thinks is Credence. (Confused? Me too)

Unnecessary baby killings.

Queerbaiting. Regarding each other as ‘more than brothers’ and then capturing Dumbledore seeing Grindelwald in the Mirror of Erised, thinking there’s more to it than that but it’s just so Rowling could mention their blood pact, nothing more.

Too many obscure side characters that served zero purposes to the story and were mentioned once and never showed up for the rest of the film. I.e the American minister of magic, every one of Grindelwald’s right- hand men and women, Newts co-worker, the entire ministry workers, the half-elf woman and red-haired woman that got avada-kedavared.

Main characters got lost as their characters weren’t well explained due to very little screen time and poor execution by writers I.e Theseus Scamander, Nagini, Dumbledore, McGonagall, Grindelwald, Leta, Yusuf (and family) etc.

Grindelwald was an ‘okay’ villain but he wasn’t really a standout villain: he kind of had no real authoritative demeanour or stature to him. He was just... meh.

The DAMN Timelines:  McGonagall was born in 1935 and the movie was set in 1927 ( unless she was a relative)

Dumbledore was a Transfiguration teacher before he was headmaster, not a DADA professor.  

Credence, again, served no purpose and was super annoying in the film, if I'm being honest.  I do feel for his character, as people are constantly manipulating him for him to side with them and are toying with his mental and physical health. All he wants is to find out who he is. I want to give him a hug, but he got boring and whiny real fast. Possibly due to bad script writing, sorry buddy.

But him being a relative if Dumbledore?!!!? Unforgivable.There were only three siblings: Aberforth, Ariana and Albus: who the fuck is Aurelius? (Which leads me to believe that Grindelwald was lying to him so he conspires against Dumbledore and gets Credence to kill him).  

I think the movies real crime was getting Rowling to write the screenplay.  Because, as much as I love her, she set it out as a novel, which is not a bad thing, but in cinematic format, it doesn’t work as well.  

The reason why the OG Potter films were such a hit was that they managed to condense it into bitesize chunks. Sure, they cut stuff out, but they made references towards it and in turn, made it well suited for cinema, which is why so many people liked them (you didn’t have to be a die-hard Potter fan to like and follow the story) They’re a pale reflection of the books, not an exact copy. (which I find best, in my opinion, as it saves that little extra magic preserved in its original source: the books)  

I feel like Rowling forgot what she originally wrote about and so tried to piece it together from scratch but it just didn’t work (as it didn’t go by unnoticed) 

She can’t pick and choose different plots without first fully explaining the original; it leads to confusion and annoyance.

I feel like she’s trying to combine two completely different stories into one, which isn’t great, for me anyway.  

I would just have enjoyed a series (or one movie) solely based on the bumbling, lovable zoologist that showcased his vibrant and brilliant view of the weird and wonderful creatures around him and join the adventures he embarks with his friends (and maybe a few small nods to the OG Harry Potter realm) but remain separate from it and stand on its own.  

Or create just a prequel to the Harry Potter series and focus only on the origin story of Dumbledore and his battle and complicated relationship with Grindelwald and family. Trying to mix both? It’s a no from me, unfortunately.  

The one thing that bugged me, was when I left the cinema...

I didn’t have that FEELING.

You know, feeling infinite, as though you can take on the world (after watching a great movie).

However, I was just left feeling disappointed and confused.

I really enjoyed the first film but this movie missed the mark for me. I hope the final instalments are better and slightly less confusing but unlike Professor Trewlawney, I do not possess the noble art of divination, so I do not know for certain.

[rudeinterrupti0ns]

Amazon Prime Concert

ok here are all my thoughts about the gig. i've already posted a few thoughts such as how brilliant the audience were before taylor even came on, chanting her name and then screaming to high hell when appeared, and a few other things, but i've sort of decided to live post a bit in one post to be less annoying. so here is my terrible stream of consciousness, live from my bed and thanks to a total lack of sleep!

omg she's starting with me! yay!- i loved that she played this first. her first song released which is, at the end of the day, owned by her and it's so happy and cheery and it's such a positive start to this era. love it. also the video is unbeatable. suddenly thinking about benjamin. been distracted brb.

blank space - hell yeah after the last few weeks taylor's gonna play blank space! another great big fuck you to the media's opinion of her. god i love this song. she so smort. this song will never age because the media will always be this dumb. this is why taylor's timeless.

owh she's giving a speech about everyone already being the most supportive crowd. good work gang. that's what we were aiming for tonight.

ikywt - i felt it was really interesting she played ikywt, especially given that it's one of the few songs sc**ter changed on apple music. to me it felt like she was reminding everyone that it was HER song, no matter what he did with it. ooh a slightly funky ending! ooh taylor yeah mix it up!

'I wrote all of it'' YES TAYLOR! fucking tell em! we will never forget this. and i love that this is how she's dealing with it. cause she's right. tbh it's not like she needs the money from them and although i'm sure it fucking HURTS to a) be backstabbed by someone so close to her and b) have her musical children in the hands of someone else, she knows that in the world's eyes and in the fans' eyes and especially in her eyes the music is hers. and that's so important. we're not under any pretences that entire albums were ghostwritten like some singers do. we know that taylor's work is her own and so we accredit it to her. so i'm glad she's reminding everyone publicly again who wrote those somgs because she deserves to reiterate that no matter whose hands those songs are in...that she wrote them. good for you taylor.

love story yay!! - i cried during the intro lmao happens every time. and oh my god. there's a guy in the backwards cap during the first verse and he is so intensely singing the words and staring at taylor and it is amazing someone please find him. and oh my god PAUL SIDOTI YES BB show him the love he deserves.

"A little me and you time one on one on the guitar" YES PLEASE AND NEW YORK CITY HOOOOOLD UP WHAT YOU SAYING-

"I get inspired by lots of things in life, not just my own life but books and relationships between characters... but then there's being inspired by a place. That definitely happened to me when i spent a lot of time in new york city... this is the FIRST song that I wrote which was inspired by new york city" OK GUYS SHE HAD A MAJOR INFLECTION ON THE WORD "FIRST" I BET THERE'LL BE ANOTHER IN LOVER!!!!!!

ok side note i've just noticed yellow stars on the frets of taylor's guitar WHAT IS THE STAR THING?? so many easter eggs, so few brain cells.

AND YOU CAN WANT WHO YOU WANT BOYS AND BOYS GIRLS AND GIRLS yes taylor you show them that yntcd isnt queerbaiting you've been publicly supporting lgbtqa+ for yonks give them the receipts!! also this has got to be a shout out to the us womens soccer team. so cute. so deserving.

well that was bloody beautiful taylor. what a lovely version of that song. we have been blessed.

DELICATE 123 LGB!!! her face when everyone screamed it oh my god. she loves it. she fucking gets it. i love that amazon didn't censor it in time lmao, they weren't stan enough to know it was coming. i bet there was at least 1 swiftie working there keeping their mouth shut just so we could get an hq version of 123lgb lmao. brilliant.

also isn't delicate just so fucking good? ahhhhh the switch from acoustic to the backing track! love that. the kick into the 2nd verse is my favourite bit. great stuff.

STYLE. i s2g i hear the tiniest part of the beginning of the backing track and my whole body lights on fire. there really is no song like style. it is a pop masterpiece.

she's talking about lover!! - a love letter to love itself AHHHHHHHHHHHH!! love is complexity, struggle, pain, joy, hope... love is EQUALITY YEEEEEEEEET god she's such a good precious lil bean!!!! so much support for the queer community this era i am so here for it.

"would it be ok if for the first time ever we play yntcd live?" lmao taylor WHAT DO YOU THINK? hooooly shit. i love it.

ahh she's dancing! aha omg the little boxing motions taylor u geek. owh her lil choreography ugh, soft bean. MUST HAVE TAKEN ALL NIGHT lmaoooo her face. CAUSE SHADE NEVER MADE ANYBODY LESS GAY yes the crowd went IN! well done bbs. and omg why does amazon keep cutting to people standing there being miserable??? they've done it the whole show like what are these camera people doing?!?! maybe focus on people actually obviously having fun lmao. um also i see the beachballs in the background video... is that a wango tango reference? who knows maybe she's somehow made it another easter egg, incredible work.

last song?? noooo! but SHAKE IT OFF yes!! you literally feel the vibe in the room change. there's something about that song man. you literally cannot help but dance. god i wished i lived in nyc. for so many reasons. but also so i could have attended this. so much fun!!

LIARS AND DIRTY DIRTY CHEATS OF THE WORLD yes taylor fucking TELL THEM. these are your words!!! and you own them and you can apply them to whoever you want. because you are the rich man!! you are so strong and powerful and don't you forget it!

also whenever i see the shake it off rainbow confetti i just die. the love in that room.

oh she's going around holding everyone's hand!! TAYLOR!!!!!!

ok that was so much fun. now just 2 more days til july 13th 👀 and 4 days til my birthday, what a life we lead. hope you enjoyed my stream of connsciousness it probably reads terribly but i'm very excited and underslept. CONGRATS @taylorswift you KILLED it as usual!! @taylornation

[theinkstainsblog]

Do you mind if I ask how you feel about J. K. Rowlings? You mentioned you don't like her personally, I'm just curious why :)

no i don’t mind although the last time I talked about this it sparked off a lot of debate so we’ll have to see how this goes.

This is gonna be long sorry about that…

Like I said I admire her very much as a writer and the Harry Potter books were a huge part of my childhood that I’ll always treasure but she’s done an awful lot of things that mean I just don’t feel I can support her anymore. And it’s mostly not problematic stuff within the text (they’re all very straight and very white but so are a lot of books) it’s problematic stuff outside of it. And while everyone is problematic to a degree my issue with Rowling is that she doesn’t listen to marginalised fans when they try and tell her she’s been hurtful, she blocks them and goes “la, la la la, i can’t hear you, i’m too perfect.” Which… don’t become an author if you can’t take any criticism. 

So first off she’s homophobic and transphobic.

1). There’s the Dumbledore thing. She lists him as being gay in the books on twitter but its not canon cause its never even hinted in the text. However, she does act like that’s proper representation and LGBT fans should adore her for it (wants the adoration without doing the work).

2). This has then got worse recently because the next Fantastic Beasts film is supposed to build on Dumbledore and Grindelwald when Grindelwald is coming to power. We know that supposedly Dumbledore was in love with Grindelwald as a kid and that’s why it takes him so long to bring Grindelwald down. So its massively relevant to this film’s plot then right?? And she’s already said he’s gay so it will be made canon now right?? Wrong. She’s stated she’s not doing anything to do with it at all. Because she loves getting fake ally points but hates actually doing anything.

(This is the part where someone tries to tell me something about how Hollywood won’t allow gay characters and its nothing to do with Rowling.. and I’m sorry but no. a). she writes the damn scripts for these films but chose not to put it in there b). she’s rich and powerful and popular enough that if she threatened to pull it if they didn’t do it right they’d listen. No way they’re going to lose the moneymaker that is the next Fantastic Beasts)

3). Everytime queer fans tried to bring this up, even very politely, she blocks them and accuses them of bullying. Is that really anyway to treat lifelong fans just because they raise an issue they’re worried about? Especially when its her books that helped teach a lot of us to speak up when we see something wrong.

4). The queerbaiting in Cursed Child. Now she didn’t write this one so she’s not directly involved I guess. I haven’t read Cursed Child so I can’t talk on it much but if you just google queerbaiting in Cursed Child you should be able to find out more.

5). She recently stated that the werewolves are a metaphor for the AIDs crisis. Now a). personally, I think there are certain narratives that belong to the people they happened to and the AIDs crisis would be one of them so she needs to get her dirty straight fingers the hell off of that. b). besides Lupin one of the main werewolves is Fenrir, a guy who literally just goes around biting children to turn them. That sounds massively like the stereotype from that era that gay men were just predators and paedophiles and were out to infect your kids.

6). She liked a bunch of tweets where terfs were saying vile things about trans women. She claims this was an accident but you tell me how easy it is to like multiple tweets on the same topic by accident (especially when they shouldn’t even come up on your feed unless you followed people with those views or searched for them). So yeah make of that one what you will but I’m adding transphobia to the list.

Next up we have racism and cultural appropriation. Now I’m white so I can’t talk about this in as much detail as others can and I apologise if I miss something! 

1). Cho Chang.. So she’s one of very very few non-white characters in the books and it’s patently obvious that Rowling didn’t do even the slightest bit of research on how to represent her (you can tell because both Cho and Chang are actually surnames so… what the fuck). 

2). Her narrative is incredibly stereotypical and harmful. Here’s a poem by Rachel Rostad that explains that much better than I ever could.

3). The Pavartis… they’re small side characters but their biggest moment is probably going to the Ball with Harry and Ron. Where they’re promptly ignored and sidelined. Because who cares about brown girls right?

4). Rowling keeps taking concepts like the thunderbirds to use in her world-building that Native American people have asked not to be used in fantasy because it’s of cultural importance to them. Ignoring that request is… well, cultural appropriation no matter how you look at it. 

Then there’s the abuse apologism… 

1). She allows Depp to be in her films despite what he’s done (abused his partner) and how many fans of expressed discomfort with that. Even if it was the studio pushing for that, she could have spoken out against it (something that’s at the core of her book's message - speak out when bad stuff happens) but instead she wrote some bs about being in full support of him. 

So yeah… I still love and always will love the Harry Potter books despite their flaws. My issue with JK Rowling isn’t in her writing itself but in the fact that she is unable to let it die. Every time someone tries to criticise her she makes up something to make herself look like a great ally when in reality she has no intention of caring for marginalised fans e.g. rather than accepting that her books have no gay characters and she should do better, she randomly decides Dumbledore is gay. 

Because of this, I can no longer feel comfortable supporting her and I won’t be going to see the new film or giving her any more of my money. It’s fanfiction and headcanons only for me! 

[yenneferw]

Can you please rant about jk Rowling she’s fucking awful with her queerbaiting, racism, and transphobia. Like I need someone else to validate me for not liking her

absolutely i hate her!!!!! this is a REALLY long post but she’s written so much and she’s been in the spotlight since her books got famous so like… there’s a lot to talk about i guess. anyway @ jk rowling get ready to be called out 

racism

first of all on this valid bitch of an i hate jk rowling post, the ilvermorny houses. it’s like…. Big cultural appropriation of native american ideas and stories, twisting them to fit her narrative for harry potter and completely disrespecting their history and origins. the history she creates for north american wizards is shit too, saying that native americans would “primitively” practice magic until europeans civilized them with wands (even tho…. it’s like really impressive to do magic without wands in her universe??? like sounds like the native americans were way ahead of europeans, but ofc she twists her own narrative to make the natives primitive). her whole history or north american wizardry also apparently just follows white wizards immigrating to north america and shit…… 

this video is……. a really good poem on the stereotypes and fetishization of cho chang and there’s no way i can reword what the speaker says bc she says it too good so,,, watch it

jk rowling is also really good at speaking out about racism when she wants to on twitter and yet all of her canonical poc characters in the books are background characters. i know hermione is black in the cursed child play, but that feels a bit like the dumbledore thing to me, like they never actually talk abotu it in the books? and if she wanted hermione to be black why didn’t she have any protests about emma watson being cast? if she wanted harry to be brown why didn’t she have any protests about daniel radcliffe being cast? i don’t know if she had any say in that, but i guess she had a say in insisting that the actors had to be british, so if she cared about making a main character poc, why did she not have any qualms about the cast, even in retrospect, even respectful ones like “i love daniel and emma to death but in retrospect i wrote them as characters of color”?

like she didn’t have to push dean and cho and the very small characters of color to the side but she did. she didn’t have to stereotype cho but she did. there are no poc in fbawtft, or there aren’t in the movie at least – and if she’s so happy about johnny depp and can speak out about that relentlessly, but she wanted there to be characters of color in fantastic beasts, why can’t she speak out about that? 

like the cultural appropriation is enough to see that she’s clearly a racist asshole who doesn’t care about the cultures of people who aren’t white, but it’s also clear to see in the background of her writing that she doesn’t care about research for shit if it’ll help to respect people of color in her stories, and she certainly doesn’t care to ensure that there are important characters of color for people to look up to when they read her books or watch the movies about them 

transphobia 

i guess she liked a terf’s article on twitter? like i dont’ knwo how reputable my sources on that were or if she meant to, but if she did, yikes

and from what i saw of the article it was Deep Terf Rhetoric, and tbqh i wouldn’t put it past her to have meant to have done that

i’ve seen ppl saying harry potter has transphobic aspects to it as well but i couldn’t find anything under all the times she’s “defended” trans ppl on twitter like idk i can’t take anythign she says on twitter by heart bc everything she does feels performative and fake af, and i haven’t read the books in like four years so i can’t say for sure based on my own memory 

also she wrote a trans woman in a more recent novel and she’s apparently totally impulsively violent like wow great way to conform to nasty stereotypes about trans women lmfao

like esp bc of this i wouldn’t put it past her to be a terf

homophobia & queerbaiting

saying! dumbledore! is gay! after! the fucking! book series! is not! representation!!!!!

even if she HAD make him gay during the series, he’s not good rep??? he was a manipulative asshole who let a child stay in an abusive home becuase he was too big of a dumbass to think about a way around the issue so that a little boy could live in a home full of people who treated him fairly. so uhh?? the cishets can fucking have him, i don’t WANT him in the goddamn community. 

but she thinks that she’s not homophobic bc he’s the only gay character who never even got to talk about being gay, who we never see in a relationship with a man. like throwing gay ppl scraps isn’t?? rep??? it’s queerbaiting you dumb bitch @ jk rowling…. 

she specifically said herself that werewolves are meant to represent diseases like AIDS, and characters like fenrir greyback are predatory werewolves who want tos pread around the AIDS-like disease, conforming to 1980s homophobic stereotypes against gay people for “wanting” to spread around AIDS like how can you in one breath say you want to bring light to diseases like AIDS and in the next make a character who literally models homophobic stereotypes with the same disease?? 

also, remus was supposed to be gay apparently, but he “changed and fell in love with tonks” like ok first of all bi people exist, second of all why would you write a straight person who’s supposed to basically have AIDS when that sounds a hell of a lot like “predatory gay man infects poor straight kid” like there’s SO MUCH wrong with that, and yeah you kind of have to dig into it a little bit to get there, but when you’re writing about risky topics and you literally admit to it, you need to be WELL-VERSED on what you’re writing about!! and to say you’re writing about AIDS is deeply mixed with gay history! and to say that the main character who is a werewolf was SUPPOSED to be gay and then pretend you’re NOT associating it with gay people is just… such cognitive dissonance, or maybe really ridiculous ignorance

also, dumbledore is dead. so even if he was good rep, and it was within the books, he’s fucking dead. another buried gay, fuckos! pile em up! 

and i’ve heard there’s a shit ton of queerbaiting between harry’s son and draco’s son in cursed child? which like…. may just be subtext, but there’s a huge section of the fandom who’s all about harry x draco (i have not good feelings about that ship personally but to say it’s not popular is to never have seen anything in the fandom), and she must know that? like she’s not oblivious is she? so why would she like…. put subject between their sons? ?? it feels like it’s a bone to “hey i never gave you harry x draco, so here are their sons, who i’m also never going to give you” 

also? if grindelwald WAS dumbledore’s bf at some point, what does that say about what she thinks about queer men? he’s deeply predatory and preys on credence in a very creepy way that plays on stereotypes about older gay men preying on younger gay boys, and he’s also a disgusting villain played by johnny fucking depp, an abuser (who SHE SUPPORTS) of all people. what does that say about what her mind goes to when she thinks about gay men????? 

i don’t actually know her role in those films, but she has said she loves depp, what he’s done with the character, and where the darkness of grindelwald is going in the first movie and its sequels, so even if her role is very little, she supports what is being done. 

also…. um apparently newt scamander created a werewolf registry…. a little honest to god werewolf registry in the fucking 40s….. ??????????? what r we supposed to think here, about a registry of discriminated ppl in the FORTIES…….????? and that’s the protag of fantastic beasts… cool it’s fine it’s fine

ableism

when talking about irredeemable characters like voldemort, she literally said that “whether it’s a personality disorder or illness” they’re not redeemable…. !!!?? here is a post on that subject with links to the sources of the interviews she said this in. 

i don’t know where to put this bc this could be any number of things but i just thought about this so i’ll put it here: the thing that’s created in fantastic beasts, where it’s like basically a personification of anguish from suppressing magic – that’s quite blatantly a reference to any number of minorities, like gay people suppressing their sexuality, trans people suppressing their gender, the mentally ill and disabled pushing themselves too hard or trying to ignore/hide it… and credence was vilified and killed and the protags weren’t even… really sad about it?? and the ministry of magic never really THOUGHT About that they just killed him….. and that’s okay…. that’s fine… they’re just going around killing a bunch of KIDS who are inconvenient to them and who basically symbolize a whole number of oppressed groups. cool, it’s fine

you could also make a point that werewolves also represent the mentally ill, and all the same fucked up shit basically applies here

she also said that everything that muggles can get can be cured by magic, thereby effectively giving some bullshit reason for not actually having any disabled or mentally ill characters, also assuming that it’s not totally ableist to just…. “cure” all that? she didn’t say it specifically about mental illnesses and disabilities, but it’s clear to see that with her attitude on “irredeemable” mentally ill people, she would 

fatphobia

most fat characters in harry potter are shitty people. the dursleys, pettigrew, and umbridge – all characters we’re supposed to find deeply wrong, the ones we’re supposed to hate the most other than, like, voldemort. like…..? a lot of the other fat characters are all “matronly” like molly weasley or stubborn and “lazy” like cornelius fudge who allowed voldemort to rise to power. like what’s that supposed to say about what she thinks the extent of fat people is? stubborn, evil, or motherly? 

she actually has a character grow fatter and fatter based on how shitty she acts towards harry because of a magic mishap. she also usually describes the nice fat people as “plump” and “pleasant,” while she describes dudley as “so much like a pig” that he couldn’t even be turned furhter into a pig when it was attempted, or as a “killer whale,” or vernon dursley as “having no neck”

her fascination with abusers

exhibit a: she loves johnny depp, she loves him for the part of grindelwald, she praises what he’s done for the character, she praises his casting. he’s abused his wife..................

exhibit b: she loves dumbledore. he is constantly manipulating harry and not actually helping him get out of difficult situations at home or at school, putting him and the other kids in danger multiple times, not talking about important information to keep them safe, like?? 

exhibit c: snape. a fucking nasty ass creep to lily. neville’s GREATEST FEAR. like i dont’ even need to talk about this, we all know snape, dumbledore, and johnny depp are shitty lmfao

and yet she named harry’s kids after dumbledore and snape, like they didn’t fuck harry’s life up, especially snape, who terrorized him and his friends. 

in conclusion fuckos

she’s nasty!!!!! i was going to do a section on sexism but i can’t find anything – i think she’s too much of a White Feminist to be sexist, probably. likely she cares more about researching feminist issues than she does about researching native myths before she steals them for her own gain lmfao. there is the fact that she supports an abuser like johnny depp, tho! 

she is constantly like… going against all this on twitter too lmfao, like it’s hard to find good articles on her shittiness on the first page of google bc most of it is “jk rowling defends trans people against transphobic tweet, jk rowling defends muslims against islamophobic tweet, jk rowling defends [this group or that group]” and yet she includes so much bigotry hidden in the details of her books and what she says about her books. like i know some of this isn’t quite on the surface, but ultimately when you write a book with subjects you don’t really know about, your inherent biases are going to be apparent under the surface, and since she’s such a famous author with so many books and so much spotlight on her, if you dig in a little you can make easy conclusions/clearly see what she thinsk about minorities. so it’s really fucking annoying that she’s so “good and progressive” on twitter because it’s obviously performative so she can get the progressive points required for more people to buy her shit. like that’s the best word i can think of to describe her: performative. 

[elizabethrobertajones]

you ever think about how they hired twins to play the triplets that dean and crowley have sex with. I feel like that right there is proof that they're not queerbaiting, because no one could possibly be baited by that because 99 percent of everyone didn't even notice it. They just put it in there cause dean's bi and they write him as bi.

It’s funny, for whatever reason I was thinking last night about how my own personal definition of the way the show may or may not queerbait has changed over the seasons, and it’s not just to do with personal growth but the way the show is written and the way they are handling things. 

My impression of how it all felt in the start of season 10 was utter disbelief that they were so on the nose about Dean and Crowley, and I know not everyone wants to/does think that they hooked up, but there’s some stuff the show pushed there that in some ways it would have no other excuse to do and I went cold on Drowley several times after feeling like the handling was sweeping it under the rug, writing it off as villainous queerness or other ways to distance Dean from it like suggesting he wasn’t in control or roofied by being a demon, that thankfully at least was not how Crowley died on the show, with 12x15 giving us the last example of how that dynamic had matured, and it WAS matured, and at least in terms of respecting that Dean n Crowley had once eloped, was about as good as it could get. And I think owning that the dynamic wasn’t a sense of that time being abusive was important given how much Dean and Crowley interacted and behaved towards each other AFTER, as well as exactly how we were supposed to read whether Dean should feel violated or smug or nostalgic about it all (and he did flash between them depending on the season or episode in the time after). But at the start of season 10 this whole journey was really only just beginning. 

Obviously people had written about the queercoding and Crowley’s seduction before then, but in very careful metaphorical terms, and as much as it was suggestive in season 9, the fact is that without season 10 it could easily remain a metaphorical ~seduction to evil~ where this was written in terms of romantic seduction - except for where it was fatherly or brotherly - but 10x01 smashed that and made it really really clear that you could read that Dean and Crowley had been hooking up, even independent of the twins/triplets subtext. Specifically when Crowley is annoyed Dean and Ann-Marie hooked up in his bed, and Ann-Marie tells him and Dean to get a room, and he’s like, we had one. Of course you can pretend that not everything Crowley says is innuendo (and room = specifically the bed), but that exchange had a lot of jealousy and a lot about his and Dean’s *personal* relationship, as much as the other stuff was about the more wild stuff they shared with others while howling at the moon. Which was part of the longer term emotional game Crowley was playing about their business relationship and Dean being his scary consort and them sort of going exclusive >.> 

And in that context, Crowley mentions they’d done some memorable stuff to triplets together, and on rewatching you catch they’re hanging out with twins in the bar before that, but the wider context was this absolute explosion of queer subtext and borderline text and a dynamic that needed concentrated work to not come to the conclusion they’d been fucking all summer, with and without buddies of whatever gender with them. Focusing on the male twins in the background as a hint that Dean had had sex with men is ignoring where Crowley directly implies they’d been hooking up and now he wanted to go exclusive with Dean as the hugest neon sign that, yes, Dean has been having sex with at least one man, regardless of the gender of the triplets. Like, I know people were like hurr blurr the triplets could have been women, #no homo, sometimes men sleep with triplets together like bros. Which traps us into hyperfocusing on what the triplets were and using them as the definitive proof, when in fact the reason triplets were being banged in the first place was because Dean and Crowley were banging all the time everywhere up and down seedy bars in America, and Dean didn’t want the good times to end, while Crowley wanted the d all for himself now pls. 

And considering that’s the thing under the paper thin surface that you can remotely pretend that Dean only slept with women and he and Crowley were just hanging out the entire time, regardless of no matter how much more subtext the show piled on later, less close to the surface but with more confidence that everyone knew Dean had banged Crowley and the only way any of this worked any more was that that had happened, even just when we only had 10x01 to work with, the whole Dean n Crowley thing was so enormous that you can’t just speculate on what the twins were to approach to what degree was this queerbaiting or not. The twins are a detail that you can pick up on and speculate on if you look deeper, as they know we sometimes do. I’m not saying they’re NOT an aspect of this, but they’re a relatively buried easter egg of subtext compared to, say, Crowley sobbing over his flickr albums in the next episode :P

To what degree Drowley was queerbaiting is the real question, and since Crowley is now consigned to the show’s history books, we have the full story in a way. In the context of what we have now, I don’t think overall, all comments included, the show ever pretended, even when distancing Dean from it, even when painting it as abusive or Dean having diminished responsibility, that Dean and Crowley did *not* bang. I think there are multiple comments which as long as you are permissive that Dean would have could have probably did, that in seasons 11 and 12 pretty clearly indicate a memory of having slept together one point or another, especially 11x23 and 12x15 with overt references to sexual things from Crowley to Dean, or 11x07 and the implication that over a year later Dean still has Crowley’s answerphone messages from howling at the moon, and knows and remembers details of his personal life fondly. (I don’t think that’s the only time Bobo wrote them like that but that’s the one that springs to mind :P)

Buuut they never showed them on screen in such a way that could be seen from the moon as them together, like actually showing them IN a sexual relationship while Dean was a demon, or having Dean confirm Crowley’s innuendo with more than the usual reactions where he gets plausible deniability to any gay stuff going on. And SOME of that I think MAY be to do with the problems with the villainous queerness slant, and the way it was at times framed as abusive/Dean lacking control. Because they would not commit to exploring the aftermath of that relationship SERIOUSLY, i.e. making it clear they had slept together when Dean was a demon, and him on-screen dealing with how that made him feel and how he felt about Crowley, and even, god forbid, his own sexuality, the best they could do to resolve it was to establish eventually a sort of civil exes dynamic, both aware of their history, but not harping on it, even if Crowley remained somewhat to entirely besotted by Dean for the rest of his time on the show. The lack of handling it seriously means it stays as a somewhat jokey subtext later on, and they can play it off as no harm no foul by the end of season 11 and through season 12. 

I think in that vein it also eventually contributed to Crowley being sidelined and eventual downfall, because he was trapped in the subtext of being Dean’s ex and all the enormous complications that made between them and for his personal life, again without being able to explore it or leave a lasting, openly discussed impact on him. He no longer directly antagonised them, but he couldn’t cross any lines which made him human or part of the team for more than passing moments because the longer he was around Dean the more awkward it got and the more it would beg them to explore what, exactly, were Dean and Crowley now, and the obvious issues that would have/could have arisen if we discussed this like adults and we were allowed to just textually state in a frank and open way that Dean had been seduced by Crowley that one time. 

And I think in terms of where that puts us, it means that Drowley was very much a stifled relationship, officially over and no chance of getting it back, which in some ways is as large as or larger then Destiel in the weight it puts on the show when it comes to answering queerbaiting charges, because it could never be addressed openly while Crowley was alive, still ISN’T acknowledged, and Dean is as closeted as he was before, despite in his actual living human memory, knowing what it’s like to bang Crowley on the side for 3 months of his life with no direct personal growth (that is: now banging Cas, happily, or even banging other random guys, no angst, just for fun hook ups, equivalent to the textual times he picks up women) to show for this wild college experimentation metaphor phase of his life. 

At this point you really can only change the final judgement on it by making Dean canonically bi and then giving him the character growth, acknowledging the role Crowley had played in it, and allowing him to live what had just been subtext as a textual part of his character. In all other respects, I think the fact that Dean subtextually has hooked up with Crowley, and presumably other men probably other than the male implied triplets we saw on screen as well, but it’s relegated to this one particular part of his story and locked up in the subtext box, is going to look absolutely like one of the show’s worst sins of queerbaiting if we get to the end and that box is never opened again. And not to say it all looks rosy while we wait until the hypothetical what if of textualising Dean’s bisexuality and trying to live a positive life of hoping that will happen. As it stands, the handling in the text is depressing, and speaks of how far the show will currently allow any queer relationship for Dean to go. Meaning a worst case scenario is that his borderline subtextual marriage to Cas may never move beyond a similar point if this remains the high water mark of the show’s willingness to show Dean in a genuine, sexual relationship with a man. And that’s something you have to at least think about, in terms of how it looks now, and how it might look one day, no matter how positive you are about the endgame of the show, when it comes to being realistic about the show’s queerbaiting, or at least perceived queerbaiting if you don’t believe they are. That’s what other people are seeing, both with Drowley and Destiel. 

I mean, that deleted scene in 10x14 says it best: Cas and Crowley trapped together, frustrated and living in angry despair in their competition over Dean, where he is busy not picking either of them, while they vie for his attention and consider each other his boyfriend in all but name, and yet he will not commit to either of them in the way they desire. And this is the same frustrated wall that Cas is still stuck bouncing up against, even when his romantic rival is *utterly* vanquished and removed from the narrative, and hadn’t even really been competing for Dean for like 2 seasons before that.

[amwritingmeta]

My dear, you are the most interesting writer of the fandom. I truly believe without knowing you in person that you are a fine human being. This I'm asking you, because I recall a piece of Meta you wrote almost a year ago about how it will be difficult to make Destiel Canon, because of the nature of show business. Now, about your last post of the color purple. Let me ask you honestly, you don't think at some point that all this things are a proof of queerbating if Destiel doesn't go Canon? Thanks

Hello, lovely Nonny! And oh wow *blushes violently* that’s one helluva compliment. And I must stress that I’m the most average human being to ever average! But thank you for saying such sweet things! Jeez Louise what a way to spend a Sunday! :D

And omg what a callback to the early days! I do remember that post, actually. It was in response to a queerbaiting discussion, but I cannot find the original to save my life so I’ll just run with it:

I do need to clarify that I believe what I said wasn’t that it is/will be/would be difficult to make Destiel canon because of the nature of show business, but rather that our fucked up world, and what it means for a show to launch itself with a queer lead, has informed how Dean Winchester and his presentation has been handled in the media and by the cast and writers/show runners. 

And, naturally, how Dean Winchester is presented must inform how Destiel is handled as well. Because Dean is our protagonist. 

I mean, this is my theory here and I cannot prove a single word of it, so take all of this with grains of salt - all I can give you is what makes sense to me when looking at the narrative and what I see as the intent of that narrative.

Whether Dean was always meant to be the protagonist, or meant to be the secondary character to Sam’s protagonist (roles which are established in the Pilot), is of little consequence here, what matters is that you can trace bi-Dean back to the Pilot. That side to his personality is present in the Pilot. Dean was always meant to be queer coded. Why not overtly so?

Well, the way I see: the show wanted a predominantly male audience for a reason. Because the show is about deconstructing the masculine ideal and teaching boys and men that denying who you are based on the terribly old-fashioned belief that “feelings make you weak” is not only wrong, but detrimental because the truth is this –>

–> you choose who to be, and you can be ANYONE YOU IDENTIFY YOURSELF AS

–> no one can ever tell you it’s wrong

–> there is no weird, everyone’s normal in their own way

–> and what makes a “man” is not fucking defined by the social norm bullshit of patriarchal gender oppression!!

*and breathe*

Granted, had the show actually ended in S5, this message wouldn’t have been as impactful as it is now, after thirteen years of character journey and evolution, after thirteen years of self denial and fear of happiness. But had the show ended in S5 I’m still convinced we could’ve gotten a reflection of what we’re driving towards now.

S5 could easily have climaxed with Sam and Dean ending the codependency, and Dean - instead of mistrusting Sam being able to defeat Lucifer - actually letting him go, letting him grow up, telling him “you got this”

It could easily have ended with a different angle on Cas’ arc, set up in S4 with Anna and echoed in 5x04 with Endverse human!Cas, where Cas actually chooses to give up his grace and ends up human for that final fight (not just rendered powerless and human-esque after carving that sigil into his chest)

And with Cas human, he would not have gone back to Heaven, we would have ended with Cas and Dean in the Impala, and I can see how the flirting that Dean tries to start up in 5x03 with the Thelma and Louise moment could’ve been built on throughout the season to TELL us that Dean is undeniable attracted to Cas and that it runs deeper than that and, once Cas chose humanity, they would’ve given us this love story in text for the end of the season because Cas would recognise his own feelings as well

And, you know, we could’ve gotten Sam back - the search for God and the hopelessness it rendered ending in God revealing himself and repaying Sam’s sacrifice with life and freedom… 

Because S5 is all about daddy issues in need of resolution and the codependency between the brothers highlighted (as it is in most seasons of course)

But, be aware, this is truly, truly just me seeing possibilities in the structure of the narrative and hell, I’m not going to pretend I actually know the mind of Eric Kripke, yeah? Yeah, no. 

But I honestly, truly believe the pattern of Dean’s bisexuality is there for a narrative reason, which means the reason I got into the queerbaiting discussion was to refute the claims and state my disagreement with them, because you can’t call it queerbaiting when the narrative function of this incredibly important character detail is hit on again and again and again on the show. 

It’s not there for the shits and giggles, you know? It’s not there as some sort of hook for the LGBTQ community. It is a key component of Dean Winchester’s character makeup and it’s at the heart of the reason why he ever needed to go through this journey in the first place, this journey of opening up to love and to being loved for who he is by letting go of his preconceived notions of who he has to be, notions that it’s established in canon have been informed by toxic masculinity.

And this is one of the most powerful why-hearts of any story: searching for one’s true identity and, in doing so, having to face one’s deepest fears and conquer them. 

The deconstruction of the masculine ideal is being done through Dean finding a reason to shed his toxic masculinity, and this reason is tied to his love for Cas. 

Could this have been done with Cas being a woman? YES! That’s the whole point for me. 

Cas’ gender is not important for Dean’s character progression or the role Cas plays in ensuring it - Cas the CHARACTER and his PERSONALITY are what’s important. The way these two men compliment each other emotionally are what’s important. The way they challenge and push and support each other’s growth is what’s important. This is why it has always been a love story - from first frame of footage. (to my mind) (I know not everyone agrees with this assessment)

And the POINT of Cas being a man instead of a woman is, for me, that it pushes the deconstruction of the masculine ideal to its very breaking point, because the ideal is idiotic and prescribes to societal norms that, honestly, are beginning to flake at the edges in modern society as is, thank goodness. 

The ideal is gender normative - men are men and women are women and everything is black and white and straightforward. So to build Dean Winchester into the epitome of the masculine ideal - the man’s man, the stud, the cowboy, the hero - and have him still retain all the qualities that make him that man’s man, that stud, that cowboy, that hero - while also softening him and opening him up and revealing that deep emotional life and all that longing for love and communication and equality and all the personality traits he’s always possessed (and we’ve always seen them) that, according to societal norm, are considered feminine, well, that’s a deconstruction of the masculine ideal worth writing home to grandma about, know what I’m saying?

Consider a woman being the one to open him up to love. Well, we kind of got that with Lisa, didn’t we? Only she wasn’t real. She was a representation of what Dean wants for himself: home love family - but she was, in the end, proven an illusion. Dean was not happy playing house: because he was playing house, still stuck in playing a part he never chose for himself because of course Dean Winchester was never meant to give up the life. The reason he’s broken and lost isn’t that he was raised a hunter (saving people gives his life great meaning and purpose), but that he’s stuck performing. 

So what if Cas was a woman? 

Yeah. He could’ve been a woman. But the fact that Cas is a man adds a layer to Dean’s search for his true identity that would otherwise be lost. Without the love story being Dean falling for a man, they have no real narrative way to highlight his bisexuality without baking it into the narrative simply to have him be a bisexual character. Make sense?

And they didn’t build Dean as overtly bisexual because if they had:

he would have been immediately put in a character niche and the audience they want to appeal to –>

the audience that believes in the masculine ideal as truth, or that are subconsciously influenced by it daily –>

that audience would’ve been lost to them –>

because they would’ve thought “gay” and switched channel –>

no matter how man’s man and heroic Dean Winchester still is with that pink/purple/blue label across his chest

Men enjoying following the story of a man who is attracted to other men will make the men following that story question why they enjoy it, and no man’s man wants to start wondering about their own sexuality. (yup that is a generalisation but one that is based in truth no?) 

“Liking bisexual Dean Winchester might mean I’m gay. So thanks but no thanks. Moving on.”

Like I said: societal norms = stupidity. Okay, actually, that’s not fair or true. The societal norms equal narrow mindedness and fear. And this is always forgivable, because it’s addressable and changeable. 

But this is also the reason why Dean is not canonically in our faces bisexual. (though he might as well be) (like sheesh doesn’t take a magnifying glass)

And this ^^^ is why Cas needs to be a man. Because it completes the deconstruction of the masculine ideal to such a degree, while retaining Dean Winchester’s already established characteristics, because Dean will still be all Dean once he’s actually with Cas, that the question of “What makes a man a man?” should be a resounding one. 

Is Dean Winchester not a badass, brave and tough as nails hero simply because he has softer sides and fancies dudes - one dude in particular? 

Of. course. he. fucking. is.

You are a man because you identify as a man; liking flowery wallpaper and crying your eyes out to Charlotte’s Web does not somehow transform you into something other or lesser than a man. Like… WHERE THE FUCK DID THIS IDEA EVEN COME FROM WHY DOES ANYONE ADHERE TO IT SOMETIMES I JUST

Now, about your last post of the color purple. Let me ask you honestly, you don’t think at some point that all this things are a proof of queerbating if Destiel doesn’t go Canon?

Yeah, so why am I going into great detail to clarify my stance on the structure of this narrative and the approach to Destiel through the presentation of Dean Winchester as the masculine ideal? To answer this ^^^^^ part of your ask!

Because all of the above statements and my view on how this narrative has been built, the way the characters have been built, the way all of it fits together, including my colour theory that you mention :), all of it is the reason why I argue so strongly against the queerbaiting allegations.

And it’s why I cannot, for even one second, fathom that where we’re headed is not towards positive endgame and the tying up of our love story.

Destiel, to me, is already canon. Subtext is such an important part to any text and absolutely no doubt hands down it’s extremely important to the SPN text. 

Dean’s character progression and evolution to where he’s at right now has been built through subtext, and through the deeper subtextual bond he shares with Cas. 

What’s telling is that this becomes even clearer when Cas has been missing from the narrative. Dean made leaps and bounds worth of character growth while thinking Cas dead in S7 (Sera knew what she was doing) and we got a sharpened and focused callback to the depiction of that loss in S13. (gorgeous stuff) Not to mention how Dean has acted as a catalyst for Cas’ character progression and evolution.

This is how you build a love story.

And this is why I’ve been saying since last summer that if we don’t get this love story pushed to the forefront in undeniable ways in S13 I will eat that over-priced and not-yet-purchased hat as self-punishment for being crap at interpreting this narrative, but the way S13 is going… 

All this stated, yes, of course, if they somehow fail to follow through then it will be the greatest case of queerbaiting in the history of fandom. 

But I believe, with every fibre of my being, that they’re following through. 

Okay, that got away from me a little, but it was very enjoyable to readdress the issue of SPN and queerbaiting and I’m amazed you remember that post!! Thanks so much for asking, lovely! And I hope I answered your question. :)

xx

[words-writ-in-starlight]

So your rant on Supernatural? Also I fell in love with the story you're talking about and basically want to know more. Sorry.

My buddy, you have made An Error, but let’s do this shit.  To any SPN fans who have wound up herethrough Ye Olde Search Function, I encourage you to stop reading now.

I watched up to about halfway through Season Five before Idecided that I could Do It Better (I think this is the novel you’re talkingabout, anon, unless it’s Earth is where the trouble comes from), and draggedmyself up to about halfway through Season Seven before I packed it in and gaveup, resigned that the parts of the show I loved were about four to five seasonsdead.  So like that’s the information I’mworking on here.

So, obviously, lots of people have lots of legitimatecomplaints about Supernatural,including treatment of queer characters, characters of color, and women, aswell as their fairly rampant history of queerbaiting.  And lots of people have covered this in morecompetent detail than I could ever manage, so like google “sexism in Supernatural” or something and you cando your own reading there.  Hell, if youwant to do it the lazy way, you can knock out two of the above with this onearticle in friendly, easy-to-read Buzzfeed format.  To the nominal credit of the people involved,I will add that the cast seems acutely aware of these problems and finds itdistasteful, HOWEVER the problems persist and therefore that credit is minimal.  Anyway. These things are covered much more thoroughly by many other people whoare far more cogent than I could hope to be, so I’m going to leave those alone.

Instead, my rant is mostly summed up as “YOU CALL THIS SHITSTORYTELLING.”

So there are four basic parts to this rant, or rather fourbasic flaws that form the fundamentally weak foundation of Supernatural as a narrative.

Failure to commit to a single cohesive narrativearc, also known as “SOME OF THAT AND SOME OF THAT AND SOME OF THAT AND SOME OFTHOSE” syndrome

The persistent and erroneous belief thatcharacter death = character development and narrative progression

Inability to commit to a major change ofparadigm, also known as out and out narrative cowardice, which I personallycall “flinching during Plot Roulette”

Total incapacity to put their characterizationwhere their script is regarding the Winchester brothers and the other major players

*cracks knuckles*

POINT THE FIRST

Right, so first it’s the story of Sam having strange powersand their dad being MIA, which segues pretty naturally into the story of Sampotentially being the Antichrist, and then there’s Dean’s sacrifice of his soul,which at very least holds up even ifit sort of acts like the previous plotline about their dad’s soul didn’t happen.  Upuntil this point, I was pretty comfy.  Ihad some complaints covered below, but I was copacetic.  Season Three is largely about getting rid ofthe contract on Dean’s soul.  Okay, seemslegit, you have a tangible problem with potentially serious consequences.  Now, having had not one but TWO seasons whichwere easily summed up with ‘so Sam is mebbe the Antichrist or at very leastAntichrist-adjacent,’ I made what I thought was a logical leap and went “well,gee, if I was mebbe at the very leastAntichrist-adjacent, I would leverage the fuck out of that to do somethingabout my apparently beloved brother’s soul.” Even when they didn’t go withthat (news flash: I wrote that novel mydamn self and amazingly it worked out 100x better, narratively speaking,because it’s fucking logical), I wasstill kind of like “gosh sure is a good thing they remembered that they spenttwo entire seasons building up to Sam mebbe being Antichrist-adjacent.”  And there’s the whole drama with Ruby which Ijust…am very uncomfortable with for a lot of reasons, not least of which isthat it’s a very thinly veiled endeavor to rehash the same ‘Sam being afraid oflosing touch with humanity’ plotline as Seasons One and Two but without havingto worry about really altering the paradigm, see Point The Third, and alsobecause it’s really intensely literal about the concept of having a femalecharacter exclusively as a prop for consumption.  And Castiel shows up and a thousand ships arelaunched, blah blah blah, and then after the end of Season Four…we never hearfrom Sam’s powers again for more than a couple lines.  

As of about Season Four, the focus of the show abandons Samand shifts tangibly onto Dean, who is now The Interesting Character because hehas Been Through Hell (literally). Furthermore, we are now given Dean’s POV on any quandry between him andSam, which is a personal complaint because I honestly just think it’ssloppy.  Season Four is mostly dealingwith angels being assholes, which is really not as original as SPN likes tothink (Good Omens did it first and Good Omens did it better, get out of myface), plus Dean being the Righteous Man and the question of the oncomingApocalypse (sure is interesting how we spent two seasons building up to Sambeing Antichrist-adjacent).  The Apocalypseis less oncoming and implied to be more ongoing by the end of Season Four.  So Lucifer escapes and Season Five is prettymuch About That, involving the fairly unhelpful description that Dean isMichael’s ‘sword’ and they’re the true vessels of Michael and Lucifer,culminating in Sam being locked in the Cage because presumably someone realizedthat, hey, we have two maincharacters and we must make them both Interesting Characters.  Season Six is 50% about finding Sam’s souland figuring out how he got out of the Cage (sure would be helpful if we’dspent two seasons building up to Sam having inhuman powers and beingAntichrist-adjacent) and 50% a wickedinexplicable plot about the Mother-of-All and some kind of fucking jigsawmonsters and…Alpha monsters?  But thatnever really gets explained in a pertinent way except that they needed to anteup because they beat the Devil at theend of Season Five.  Oh, and a bonus 50% of some bullshit withCastiel and Crowley and ~Scheming~.  Andthen Castiel gets possessed by Leviathans (?) from Purgatory, which he openedwith Crowley (??) who he then betrayed (???), and Castiel decides He’s God Nowand also dies (????), and somehow these metaphysical more-powerful-than-angelsbadder-than-Lucifer things are sensitive to fuckingBorax.  

And it was at this point that I stopped the show in themiddle of a fight scene like 1/3 through Season Seven and actually said outloud “Gosh it’s almost like you needsomeone who’s Antichrist-adjacent to help you out here” before turning off the TV. And then I stopped watching and got better taste in TV and blew throughwriting a 250K novel in 18 months of being a full-time student because I waspowered by pure bitter spite.

Now, here are the two major things that matter about thiswhole deal.  First of all, the firstplotline is the most reliably coherent, although some degree of cogence lastedup until about Season Five—we understand why Lucifer wants out of Hell, weunderstand to some extent why Dean and Sam matter on the cosmic scale, we getpretty bored of watching Castiel do heel-face and face-heel turns like he’s ona Lazy Susan but like logistically it all makes a reasonable degree of sense.  That being said, the whole plotline ofSeasons Four onward would make a lot moresense, would it not, if they remembered that they’d spent a good solid twoseasons and change (Season Three, intermittent, Season Four, major) designingan Antichrist-like character who is now the last survivor of that batch ofexperiments.  Then, instead of having Samand Dean just be Inexplicably Special, you have Dean (who can still be theRighteous Man!) acting as the foil for Sam being forced into increasingly darkchoices, and Sam who’s a viable candidate for Lucifer-puppet because he’s partdemon.  Or, alternatively, Sam whomaintains his stance as the gentler of the two despite his demon blood, which would add a lot more depth to Supernatural’s fanatical hardon for theAngelic Asshole trope.  Honestly Irewrote the entirety of this show one time, predicated on the assumption thatthey actually went with the idea of Sam as the Boy King, and I think it wouldbe much less haphazard.  (Basically: hey,what if Sam actually used his status to strong-arm Dean’s deal into beingdissolved, as it’s implied that he’s totally capable of doing that and totallywilling to sacrifice his own humanity for his brother, and then Heaven sentCastiel to kill Sam, which would add a fuckton of legitimacy to Castiel’s LazySusan and Dean’s antagonism.  But no. Instead there’s monsters whose only vulnerability is fucking Borax.)

Second, and far more critical, is the total failure tocommit to a single plotline.  Okay, Sam’sstatus as the possible Boy King is a major plot point for two seasons, not somuch for the third season (he literally…a demon straight up tells Sam that he could have an army if he took up hisposition and it never occurs to himthat he could use that to help Dean), more so in the fourth season, and then itnever comes up again.  Even when it is unarguably pertinent to thesituation—Lucifer!  Fucking Luciferpossesses Sam and drags him to Hell and he comes back soulless and yet none of the writers ever, not once, went “Gosh, maybe we should remember those seasonswe spent developing Sam into sort of the Antichrist?  Maybe including at least a minor nod to thator somehow wrapping up the plotline would help cohere our current trainwreck ofa plotline?”  Nope, it’s just left as aloose thread, flapping in the breeze with all the subtlety of a limp dick.  It’s like Supernaturalis actually a Frankenshow of two shows with the same characters but totallyunrelated plotlines—maybe when Lucifer escapes he shunts them all sideways intoan alternate universe and there’s another show somewhere with a Dean whosebrother has never been even a little bit demonic and died through normal huntershenanigans suddenly having to deal with Sam the possible Antichrist, andthat’s the show that an alternate me is still watching.

And this is an ongoing problem.  Sam’s powers are just the major point that Ialways latch onto, because, first, I always think the phenomenon of “well fuckme sideways I might be obligated to end the world and ain’t that a messy thing”is pretty great (I really, reallylike Hellboy), and second, IT’S FOURSEASONS OF WORK YOU CAN’T JUST ABANDON IT.  But seriously.  Just. Throw a dart, you’ll hit a loose end. Because Supernatural is theequivalent of that one fucker we all hate in sitcoms—you know, the guy who’sdating a great girl he totally doesn’t deserve, but he can’t ~commit~ sothere’s all this ongoing Drama™.  Exceptthat in Supernatural, not only canthey not commit, they accidentally defeated their biggest gun—the literal Devil—less than halfwaythrough their series!  Whoops!  Quick, someone call up Satan’s cousin twiceremoved who’s even worse and more evil than he is!  And sensitive to Borax!  

No, no, I’m kidding. We all know that Satan’s cousin twice removed, who’s even worse and moreevil than he is, is actually named Metatron.

Fuckin’ Supernatural.

POINT THE SECOND

I know this is going to come as a shock, but rampantcharacter death does not actuallyqualify as a legitimate way to progress your narrative or develop yourcharacters.  In order, the major players(nominally on the Winchesters’ side) who die or seem to die in the first fiveseasons are Sam’s girlfriend, John Winchester, Ash, Sam, Bela, Dean, (Deanseveral times in Mystery Spot), Ruby,Castiel, Jo, Ellen, Sam, Anna, Sam, Dean, Gabriel, Castiel, Bobby, and sort of Sam with the whole Cagething.  And those are just the peoplewith arcs that extend over more than a season (except for Sam’sgirlfriend).  It’s entirely possible,even probable, that I missed some.  Thatdoes not include the one- ortwo-episode characters whose deaths we’re supposed to observe as emotionallywringing, nor does it include the frankly vast numbers of civiliancasualties.  So, for the ease of reading,we’re going to divide ‘character death’ into ‘reversible character death,’which is largely the prerogative of the primary trio, and ‘permanent characterdeath,’ and we’re going to talk about why there are real problems with the way Supernatural treats both of them.

First of all, the problems with reversible character deathare obvious—there are no fucking stakes! Like, arguably the stakes are ‘the whole world,’ but obviously not (seePoint The Third), so practically speaking the stakes should be life or death, because the show tells you that the stakes are life or death.  Now, sometimes resurrection is an importantplot point, I get that, in my spite novel there is, in fact, aresurrection.  But here’s the thing.  Either you have to straight up establish arevolving door policy and change your stakes (example: the show Forever, where the point is that the MCis immortal and would very much like to not be immortal anymore), or you can only use that resurrection once.  You use it once, and you still get theemotional gut punch of “Oh God, they’re dead”and the flood of relief when it proves that they’re not dead after all.  You use it more than that, and the audiencebecomes complacent that, well, you won’t reallykill them.  By the time you’re on a levelwith Supernatural, it just…doesn’tmatter?  A major character dies, but youraudience has already hit compassion fatigue because of the death rate, whichI’m about to cover, so there’s not really any oomph to it.

The problems with permanent character death aresignificantly different.  Now, I myselfam a Happy Ending person (like…the world sucks …let me have my happy fiction),but even I recognize that a certain percentage of the characters in a story orshow like this one are basically just cannon fodder (it would be great if itwasn’t so consistently the women, POC, orLGBT folks, but whatever).  Theproblem is that it’s constant.  And not just “well that person’s a corpsebecause that’s what vampires do to people” or “some kid pissed off the localspirit and now they’re six feet under,” it would be totally fine and reasonableif that situation was an every episode thing (it…kind of is, that’s kind of thepoint).  But every few episodes, we’reexpected to get attached to a one-off character and then be deeply affectedwhen they die.  Take, say, Season Three:you have the hunters Isaac and Tamara in the first episode, Casey and FatherGil in the fourth episode (some flexibility as they’re demons, but we’resupposed to be shocked and horrified that Sam kills them both), Callie in thefifth episode, Gordon in the seventh episode (again, we’re supposed to behorrorstricken that Sam kills him, even though it’s clearly self-defense), all the civilians in the twelfthepisode, Corbett in the thirteenth episode, and finally Bela, who admittedlyhas had some nominal presence for a while. This does not include any Winchester trauma, which you’re always supposed to be deeply affectedby.  I’m sorry, but after a season or twoof being expected to work up that kind of emotional upset between five and tentimes over the course of thirteen to twenty episodes, your audience is going toburn out and start to lose emotional engagement.  

So, basic summary: the Anyone Can Die trope does not playwell with main characters who are on a Revolving Door of Death, because itmeans that minor characters don’t matter because Anyone Can Die, while majordamage or trauma to the main characters doesn’t matter either because they’reon a Revolving Door.  You can’t kill yourmain characters once (or more!) a season and expect people to still…worry aboutthem.

On a more strictly structural note, using character death asthe primary way to drive character development is just fucking lazy.  It’s just an indicator that the writers don’tactually know how to progress their character development in any other way,which is a major problem because, since they only develop the charactersthrough the deaths of others, they have to hit the Personality Reset buttonfairly regularly to make it look like things are actually happening to thepeople who are supposed to be developing. Which, in case you were curious, is why you feel that overwhelming senseof déjà vu when the Winchesters getinto a huge blowout fight about ‘don’t sacrifice yourself’ in about thethird-to-last episode, followed by one of them sneaking out to sacrificethemselves, followed by the other onebeing angry about it.  It’s the samegoddamn script, it’s just that Sam’s hair is probably longer and Dean isprobably scruffier.  Furthermore, thefixation on developing characters with the deaths of others means thatbasically every character is fair game but NO ONE’S DEATH HOLDS MEANING,because of the above, which means that SPN’s ‘character development’ turns intothis recursive self-congratulating circlejerk of killing someone, developingSam and Dean accordingly, and then somehow regressing them so that the writerscan do it over again and be proud of themselves for Such Dynamic Characters,Much Develop, So Change, Wow.

And I feel like the reasons that character death =/=narrative progression should be pretty clear from the rest of this rant, butbasically if you’re killing someone to progress your plot, it needs to be asolveable death (emotional payoff is what makes walking away from a booksatisfying, such as catching a murderer) or a terrible tragedy that drives thecharacters to great acts or both.  Supernatural is basically a horror/fantasymurder mystery, so it would be fine if they stuck with that model, but theykeep trying to sell the deaths of any number of major players and many many minor players as this greatand terrible tragedy that’s pushing the Winchesters forward.  And like, I’m sorry, but if you commit withinthe first episode to a dead mother anda dead girlfriend and a missingpotentially dead father, you’ve already pretty well maxed out your terribletragedies.  Find a different motivator,or else it looks like your characters just leave huge amounts of collateraldamage and refuse to take responsibility. Or, alternatively, it looks like the individual deaths don’t matter toyour main characters, which is NOT going to help with making your audience giveeven a single fractional fuck.

TL;DR: Character death is a powerful tool that rapidly losesits weight and import if you overuse it, and can make your audiencedisinterested and emotionally detached if they’re expected to care every time.  Slow your motherfucking roll, stick to aMAXIMUM of one resurrection per character unless their immortality is anexplicitly discussed plot point (at which point their deaths need to not mattermuch anymore), and remember that you can progress your plot in literally anyother way before you go for a shock-value death.

POINT THE THIRD

Don’t be a little bitch in your writing.  Honestly it’s that simple.  I’m gonna get into it some more, but that’sthe gist of it.  If you already know whatI mean, great, skip to the next point, because the TL;DR is “don’t be aninfant.”

This is something that plenty of shows are guilty of(Merlin, anyone?), but SPN is terrifiedof actually changing the paradigm.  Theshow must always include a certainlist of things:

The Winchesters in the Impala, which, sure, I’llgrant you that

A home base, also totally reasonable

Monsters to fight, fair enough

A masquerade (meaning ‘civilians do not knowabout magic’), which should honestly have broken down after, like, Season Twowhen they accidentally release massive numbers of demons into the world

A world to have the show happening in, which isa problem since they started theApocalypse in Season Four

Now…listen.

It’s fine, even necessary, to have some fixed points in anarrative.  It offers a way to anchoryour characters against the ongoing changes that the plot demands.  That, however, is very different from beingtoo much of a coward to alter the paradigm of your story when the major driving force is a change ofparadigm.

The first major change of paradigm they cop out on is Sam’spowers.  If Sam was the Boy King, thishypothetically Antichrist-esque position in the cosmic dichotomy, that would radically alter the dynamic.  Sam would automatically be the most powerfulbeing in any given room unless he was in a room with a respectably high-rankedangel or demon, and he would certainly be able to go toe-to-toe with most oftheir targets on their own terms. Telekinesis is an exceptionally goodpower, guys, like, as powers go—even disregarding his position in thehierarchy, Sam would be pretty strong in his own right.  Which, I’d like to point out, can be a reallythrilling change to a narrative, because it means that you have this additionallayer of ‘well, how do we deal with the fact that Sam doesn’t like being this strong, how do we dealwith the way demons and monsters have started to view him as more us than them’ and would give a much more legitimate basis for the questionof humanity that they shoehorn in later with the Ruby plotline.  Buffyhas its flaws, but at least it frequently brings up ‘hey, Buffy might be ostensiblyhuman, but she operates on the level of her enemies more than on the level ofher allies’ as an issue that she thinks about. But they don’t do that in Supernatural,they bail completely on the Sam plotline because they panic about theimplications of having such a powerful character.  And then they bring in fucking Castiel likethat’s not exactly the same problemcloaked in ‘well, noninterference.’  Like, please, that ship has fucking sailed,choke down your anxiety and figure out how the rules of your powerful characterwork, and then let them be powerful. It’s gonna be okay.  Deepbreaths.  If you make an OP character,that’s fine, you just have toactually deal with it rather than having their powers be an asspull every timethe main characters are in Real Trouble (*angry sigh* Merlin).

The second one they balk at is the unveiling of thesupernatural world and oh my God it is constant.  But let’s deal with the biggest and mostimprobable of these here: Season GoddamnTwo, where they bust open the doors of Hell and unleash some thousands ofdemons into the world.  Like, is that asmany demons as it could be, in comparison to your six to seven billionhumans?  No.  But it’s still a huge population and is implied to be accompanied by a huge uptickin various other supernatural happenings and is furthermore really visible.  The Devil’s Trap is suggested to pass throughat least a couple towns and it’s a big flashy event, so like…sure, maybe peoplewrite it off as swamp gas or what have you, but sooner or later people who havehad demons exorcised or seen some vampire/werewolf/etc shenanigans and lived totell about it are going to start running into each other.  They start hearing people say “it’s likeshe’s a totally different person” and they take that seriously rather thanwriting it off.  They were maybe saved bya hunter who confirmed that the supernatural exists and they maybe tell thatperson that, hey, something like that happened to them, maybe they could cometake a look around.  Maybe they couldcall the person who helped them out.  Andyou end up with this fucking Ponzi scheme of The Great Truth, where each personwho’s in the know finds one or two more people who’ve seen evidence and brings them into the loop, and then they find one or two more people who’veseen evidence.  And for every personwho’s determined to call it bullshit or think they’re insane, you’re going toget one who saw that person turn intoa hairy monster and murder someone, or who waspossessed by a demon, or who witnessedblack smoke merge with their spouse and turn them into a killer.  So you get this whole rickety network ofamateurs who’ve…kind of learned the thing. And like any Ponzi scheme, sooner or later it collapses.

Basically the point is: there is a limit to the parts permillion of The Great Truth that can be present before that shit becomes commonknowledge.  Look at any availablegovernment conspiracy for confirmation. The more people you tell, the looser the rules of ‘secret’ become, so ifyou have a big flashy visible disaster that involves drastically increasing the number of uninitiated civilians who areaware of The Great Truth…you’d better be ready to deal with that.  What I’m saying here is that by Season Seven,you’ve not only had this whole demon situation for a while, and increased those numbers several times with variousdisasters, but you’ve also had at least one big flashy disaster in a city.  So the Winchesters should pretty much be ableto walk into a given town and wander into the church or the bar or somethingand go “So, I heard there’ve been some weird murders” and have at least oneperson come up to them later and be like “Yeah it’s a ghost here’s all theinformation but I have no idea how to get rid of them.”  And when the Winchesters go *gasp* “How do you know The Thing” theperson should look at them like a fucking moron and go “It literally rainedblood last year, everyone in this time zone knows The Thing and also it’sevident that the end is pretty seriously nigh, so get on that.”  Commit to your big flashy disasters, youcowards, or at least have the decency to make it an ongoing Sunnydale joke.

Far more crucial is the fact that they bail on the end ofthe world…let’s see.  End of Season Fouris when the Apocalypse properly gets underway, so they balk at the end ofSeason Five (Lucifer and the Cage), end of Season Six (Mother of All andPurgatory), and like minimum once bythe middle of Season Seven (Godstiel) as well as at the end of Season Seven (Leviathans, I am now past where I kept watching),end of Season Eight (Metatron, angel tablets, falling angels), presumably endof Season Nine from what I understand of the summaries online (some…war onHeaven nonsense), and based on the trend I’m guessing that Seasons Ten throughThirteen keep to the model, do youunderstand my point here.  Thesearen’t even all the near-Apocalypses that they avert.  Off the cuff, I can think of the Croatoanvirus (…twice?  Three times?), as well asthree out of four Horsemen within episodes of each other.  They’re probably averting the Very Seriousand Catastrophic End of Days two or three times a season by Season Five, and that number only goes up.  This is very similar to the character deaththing: quite simply, if the audience is expected to get that worked up multipletimes a season, and brace for thatkind of disaster multiple times a season,you are inevitably going to bore them.  Yourplot has to be intensely recursive sothat you can ‘reset’ and avoid a new Apocalypse the next season, which getsboring, because it feels like you’ve been there before, similar to how usingcharacter death to advance character development demands that you hit thePersonality Reset button on the regular.

Furthermore, repeating the same level of disaster over and over and OVER again means that it starts to lack emotional weight, and yourcharacters start to seem really, really stupid if they don’t start to treatthings accordingly.  One of the things Ithought of constantly during thelast, say, season and a half that I watched of Supernatural was a quote from Buffy,specifically from Riley who I usually very much dislike but who NAILED thisparticular thing.  “When I saw you stopthe world from, you know, ending, I just assumed that was a big week for you.It turns out I suddenly find myself needing to know the plural ofapocalypse.”  And that’s the running jokein Buffy!  That they literallydeal with an Apocalypse every few episodes, and they lampshade it, and thecharacters respond accordingly—Buffy and the Scooby gang start to act cavalier,almost unimpressed, about each new disaster. Like “well, we saved the world, I say we party.”  That’s a direct quote from Buffy (IN SEASON ONE NO LESS), and Supernatural could stand to take a pageout of their book with that one.  BySeason Seven, the Winchesters seem like they have somehow missed out on thelast decade of their own lives because they always act so shocked and horrifiedthat somehow someone could try to endthe world.  Like!  Yes, yes they could and yes they would,welcome to the party boys!  Please try toget in touch with your own history on this subject!

So the highlights here are: don’t be a fucking baby aboutyour writing.  If you’re writing toward abig paradigm shift, you need to recognize that you’re playing Plot RussianRoulette, and you have to pull the trigger. Change the paradigm of your narrative and deal with the fallout like afucking adult, you tepid fools, you limp-necked cowards, you ink-stainedwalnuts.

POINT THE FOURTH

Listen very carefully. Do you hear that?  It’s the soundof the Winchesters promising eternal brotherly devotion and saying things like“you’re my brother, man” and vowing to always have each other’s backs.  

Now wait a moment longer, and listen very carefully.  Do you hear that?  It’s the inevitablesound of the Winchesters stabbing each other in the back and/or throwing eachother to the wolves because they’re feeling pissy, and then getting a whole(static! See Point The Second!) “character arc” about how distraught they are.

All right, y’all, I don’t have siblings so maybe I’m wrong, but I do write a lot and I think I’m right, and you should probably put yourcharacterization where your script is. If your primary relationship that you expect people to care about isfraternal devotion, you should maybe nothave those people cheerfully feed each other into metaphoricalwoodchippers.  Like.  Okay, maybe you get ONE chance to have adramatic falling out.  ONE.  And then when they repair the relationship,they need to actually sort their shit out and not keep having the exact same dramatic falling out because thatshit gets boring and is a sign of lazy writing and—shocker!—lack of character development.  Next time they fight, it has to be aboutsomething demonstrably different, notjust the same issue with a new set of tits (c’mon y’all, this is Supernatural, it’s always a set oftits).

Let’s do a real fast recap. There’s a one episode plot in Season One about the two of them fallingout over the question of whether they should follow their father’s orders.  Dean spends a good percentage of Season Twotaking his guilt over their dad’s death out on Sam, but we’ll give a passbecause they explicitly acknowledge it and take steps to resolve theproblem.  A major plotline develops inSeason Two that hunters have started trying to kill Sam, and Dean reliably,consistently has his back.  Props.  Season Three is kind of a mess (if you have a big visible semi-Apocalypseyou should probably deal with it, see Point The Third), but whatever.  Pertinently, Dean’s big ongoing concern isthat Sam isn’t acting like himself, because he’s being much more ruthless(something Dean has consistently told him to do), while Sam’s ongoing concernis that Dean is being reckless (justified, he has a death sentence onhim).  Season Four is when things startto break down.  Castiel shows up and Deanresponds with aggression, Sam gets his rehashed ‘humanity’ plotline with Ruby,there are a lot of really incredibly poor decisions made and a lot of lies toldwith minimal regard for the trouble that’s gotten them into before (@Sam).  There’s a fight that includes Dean callingSam a monster, which has been canonically identified as the thing Sam is mostafraid of, and acting like this whole demon blood thing is a terribletremendous shock, despite the fact that Dean…knew and totally failed to reactin any way except to penalize Sam (for trying to save him!  Much like Dean sold his soul for Sam!  And got pissy about Sam being pissed offabout!).  Cue Lucifer.  Apocalypse, possession, Horsemen, etc, etc,more Lazy Susan Castiel, infighting about who should say yes to what in orderto save whom, whatever.  

And then Sam apparently dies in the Cage and Dean…goes offto get a nice white picket fence? Um…this is not consistent with the characterization of a dude who soldhis soul to resurrect Sam literally just three years ago.  Their falling out has never been intenseenough nor consistent enough to justify this. Even if you say that Dean’s honoring his brother’s final wishes by nottrying to resurrect Sam or anything, Dean should be drinking himself to deathor something similarly dramatic, because allthe drama in this show comes from the relationship between the Winchesterbrothers.  

Basically, here’s the problem: the show spends a lot of time and effort on telling youthat the Winchesters would die for each other. And while they do use that trope a lot (John dies for Dean, who dies forSam, who sacrifices his humanity for Dean, who risks his life for Sam, whojumps into the Cage for Dean…), they seem to have forgotten that, generally,you’re only willing to die for people who you actually like.  Like, peopleto whom you are genuinely emotionally attached,not just people who are your family because Blood Is Thicker or whateverbullshit you’re trying to pull there. And by Season Five, I’m just…not convinced the Winchester brothersactually like each other anymore.  Andthat never gets dealt with, they just expect you to believe that the Winchsterslove each other because the show says so,and listen, I hate the saying of ‘show, don’t tell’ as much as the nextperson who’s suffered through a college writing class, but honestly.  Supernaturalneeds to stop telling its viewers that Sam and Dean care about each other andactually…demonstrate that shit on a regular basis.  

Example: there’s the incident at some point where someoneplants a phone call on (I think) Sam’s phone, apparently from Dean, telling himthat he’s a monster and he should go do an incredibly stupid and dangerousthing because the world and Dean would be better off if he was dead.  Which Sam then believes and listens to.  This seems totally justified based on therelationship they’ve had for the past season. Pro tip, kids.  If your majordynamic includes two people who readily and easily believe that the other isliterally calling them an inhuman abomination and telling them they should justdie, that…that is not a Loving Affectionate and Devoted Familial Relationship.  And if you’re pitching it as one, A, you needsome therapy, probably urgently, and, B, your audience is only going to stickit out for so long before they give it up as a lost cause.

The point of this whole thing is that you better be ready toput your money where your fucking mouth is, and keep your characterizationsconsistent with what you’re telling the audience.

ANYWAY.  

The ultimate TL;DR here is that Supernatural’s storytelling is approximately as competent as thenovel I wrote when I was eleven, which I have hidden in a deep dark hole neverto be seen or discussed ever again.  Less competent, even, because at least Icommitted to a single individual plotline and dealt with the fallout of majorchanges to the universe.  And it’sfucking tragic, because this was a show with some real potential buried underall the chaos.  If you ever want my fullrewrite, please do ask and I will tell you, but this is now over 6K words andon its tenth page, so I’m going to stop now.

Long story short?  Supernatural: What The Fuck.

[rwby-analysis]

RWBY & Queerbaiting

As a queer person I feel like I should adress this on this blog. 

Queerbaiting basically is when a show adds tension between two characters of the same gender or even hints a possible relationship so queer viewers will come and watch it, but in the end it’s just a joke and they never ever end up together. Hinting queer representation to get the views without delivering it. 

Now let’s look at RWBY.

There were hints for Bumblebee on the show, sure, but those were only hints. Not blatant queerbaiting like I’ve seen it in other shows. Outside of the show RT has been joking about Bumblebee for a while now. Now we have Bmblb on the Volume 4 soundtrack. Yeah, RT has definitely been bumblebeebaiting. 

Bumblebeebaiting is not queerbaiting. If they go for another couple like White Rose and it’s not just a cheap solution... well, it wasn’t queerbaiting then, because we actually got queer. Baiting a queer couple and giving the fans a different one might disappoint many fans, but it’s not queerbaiting. Bumblebeebaiting could be queerbaiting if we didn’t get any queer, but if we do, it’s not the same. 

But we can’t ignore that they have said several times that we will get queer characters. They did not just hint it, they confirmed it. So at this point not having any queer characters on the show wouldn’t be queerbaiting anymore, it would be blatantly lying to the fans, especially queer fans, which of course is even worse. Not having openly queer characters would be a shitty thing to do after telling the fans we would get them for years. 

I’m aware that we didn’t get any queer characters yet, but we also didn’t get any confirmation we wouldn’t get any ever. As long as we get the queer eventually (and not just a cheap solution like mentioning Tukson had a boyfriend) it’s still not queerbaiting. I know fans are pissed and I understand it, but if I get a good developed main character on screen couple (like Bumblebee, just saying) I won’t be mad about not casually dropping in some representation, because to be honest if I wrote the show, I wouldn’t have let any of the possible queer couples become canon yet.

Yeah, waiting is hard, but with RWBY we won’t get around waiting for many things. But it’s not the same as queerbaiting. Yet. 

Also I’m done with background queers, two women dancing in the background during the Vytal dance wouldn’t change a thing for me. It would probably mean a lot to other people and I’d appreciate RT doing that, but it’s not the representation I want. Not the one I need. It wouldn’t change anything for me. 

[ouathinktank-metacommentary]

nice to see you back with some serious analysis. i know there's been questions of you guys "losing your edge" due to personal affiliations (or whatnot) so glad to see it's not the case. cause between fractions like patronizing "industry insighters" (who call people gross and stupid if they disagree) and "wishful thinkers" (who are anything but dumb, a bit naive perhaps) reasonable and level-headed is what we sorely miss so - thank you for that essay. especially cause it included "classics". :)

We appreciate the sentiment, friend. But you see, what shouldn’t be forgottenis the fact that we’ve always been a collective here, and throughdialogue we’ve always been able to reach consensus. Successfully and happily.Because that’s what kept us groundedand level-headed, I’d love to believe–you know? So while we’re appreciative ofeveryone’s ‘personal affiliations’, we’re confident that they could neveraffect any bias. The collective one least of all. Because what brought ustogether was our love for the Mills-Swan family and the love for the idea of amore layered and dynamic approach to story-telling of two women together–but whatkept us together was the responsibilityto speak back from a politicized perspective. And it’s not a matter of beingoverly optimistic or pessimistic anymore, as both scenarios had equal chance ofplaying out (Swan Queen perhaps could have been ‘endgame’ or it may be thebiggest queerbait in the history of the idea) but not anymore. We lost the numbers game, unfortunately. And thedifference between SQ is that the het-ships are really very directly designedto attack (as in fire up minority homophobes to get really frothy in the mouthabout), pressure (as in take away space from) and manipulate (in so many ways Ican’t name) the marginalized same-sex ship that so many of us were/are excitedabout. So it hasn’t been a matter of saying ‘why can’t we all get along’ forquite a while now–because the context being created around this shipping stuffis really really toxic and really really oppressive for already oppressedpeople. So it was always about what could (and should) have been done instead, you know?

So what we here were interested in–wasthe idea that we were watching a love story, in fairytale redux and newmythology, about two women who are slowly falling in love after the Patriarchyshoved them apart. That we were not just watching that story but we werewatching the impossibility of tellingthat story and a narrative which points to its impossibility in a Patriarchalfairytale redo. Nothing new to add to that, considering what our fav metawriter (our ‘tumblrless friend’) has contributed already. But at thesame time, it meant that the show would always be stuck in this crunch betweenthe maintext layering of heavy-handed hetero-romance and the subtextual caringbetween two women, and therefore a story that was actually meant as commentaryon the factors that keep them apart and pressured by outside interests. Ofcourse this scenario would mean that A&E do not ever have to discuss thelayers, reveal the layers, or admit to any of the layers. But no. They’retelling ‘the story they want to tell’ and they’re doing it in their own waywhich indicates at least something more than just stubborn adherence to baddecisions. Especially when you consider how heaped on the irrelevance of RobinHood is, how heaped on the inappropriateness of Captain Hook has been, how veryoverwhelming their wrongness for Regina and Emma looks to intelligentviewers–no?

And what’s more important is, where we find ourselves, now–six years later.‘Cause after the twists and tweaks that seemed to have been SQ-centric on thesurface but ultimately also were highly manipulative in terms of evenconvincing the shippers of this incredible f/f pairing that hey, yeah, it’s allgood, we’ll retroactively alter the personalities of your favourite characters,we’ll impose new characters to take on some of Emma and Regina’s fashionchoices, sketchy undertones, and issues with authority (or whatever elseRobin/Emma and Hook/Regina bring to mind–people already discussed all thatextensively) the worst idea imaginable we keptwarning everyone about–is here: they spent entire seasons deepening thestorylines around Emma+Hook and Regina+Hood in terms of making the two womenfight together for those ‘endgame happy endings’. And we warned that it wouldbe the biggest slap in the face for same-sex shippers, short of an actual slap in the face from the Brothers Dim, having this generation’s Xena and Gabrielle fight to ensure that theother is happily married off to a man. And lo and behold, the yuckiest scenarioimaginable is here: Regina and Emma have been BFF-ized to pale blandness, tothe point of even their hug (thething we’ve only been waiting for, oh–six fucking years?) being absolutely…devoid of anything. Meaningless, straightwashed into oblivion. And didn’t that make you angry? Because it made megoddamn furious. Especially because we could kind of watch it play out in advance, you know?

So, yeah. All of this was completely besides your point. But it had to be said,you know. Because it’s true, some ‘chaplains’ have been expressing (repeatedly) concern for ‘well-being’ of our objectivity and integrity, dueto these… ‘personal affiliations’ or whatnots you mention. But of course, it’s ridiculous.Because showing respect and appreciation even for those we disagree with is acommon courtesy that not just one of us here stands for (the one whose ‘integrity’ has been compromised, and yet the one who wrote that‘serious’ essay–and it’s ‘critical’ enough?) but what ALL of us have been trying to encourage in general. If nothing, then in order to try and findthat middle ground between the fractions you mention, so…

We are grateful for your approval, friend–but you needn’t have worried. We’re stillhere, and still remain firm in our attitudes. For a little while, while we’re still here anyway.