#especially since i set myself up for a whole storyline and domain of characters

[cassielsunstone]

Zora practice sketches Particularly proud of my jellyfish one

[ah-maa-zing]

The Longbow Hunters (Arrow 7.02)

I’d like to start off this review by stating the freaking obvious: I love Felicity Smoak. 

I mean, I’ve always loved her, even when the writing has failed her, and even when I haven’t loved her choices or her actions. But when she’s written with the kind of agency she deserves, the determination, the drive and the steely-eyed focus as she has been in ‘The Longbow Hunters’, well, nothing could be better. 

Two episodes in, and I’m really enjoying Beth and her team’s style. The show is as dark as ever, but there’s an intensity - particularly in the prison scenes - that feels like the characters’ actions have real stakes that won’t randomly disappear into the ether because “reasons”. Many (most?) of the complaints about 6B were that characters were contorted, pretzel-like, into unrecognisable caricatures of themselves - previously decent characters turning into assholes overnight. And yes, while in some cases it may feel like a bit of a stretch to develop a speedy redemption, I can certainly appreciate the new writing team’s attempts to course correct as quickly as humanly possible. 

One of the things that appears to be gone for good is “Team Arrow”, in whatever iteration it has taken over the years. Which makes sense, given that the Arrow part of the equation is off the grid for now. Still, it’s somewhat unsettling as a viewer (especially seeing it from Felicity’s perspective) to come into a new status quo where there are new rules and restrictions, and where Felicity no longer has free rein over information and intelligence gathering, which has typically been her domain. Even if she weren’t already desperate for personal reasons, I’d expect her to be feeling pretty unempowered by the whole set-up. 

Curtis doesn’t seem to be having that same problem, and if I can just get on my soap box for a second (I really hope I don’t spend the entire season complaining about him) - what exactly is his role on the show anymore? There are already, in my view, far too many ‘regular’ characters at the moment and it does at times feel a little crowded. But of all of these characters, for me Curtis is the one that seems to have no unique utility at all. There are better vigilantes than him, and there are better hackers than him. So far all I see as his purpose is continuously whinging about how hard his life is (when he’s the one who’s suffered the least), and for other characters to crack “grab your balls” jokes (which, while funny, aren’t exactly essential). Like I say, I hope I don’t keep repeating myself on this point as the season goes on, so if Curtis could just take a job in a neighbouring city or disappear into a hole or whatever, that’d be grand (sadly I think the opposite is probably going to be the case). 

Anyway...I really enjoyed the conflict between Felicity and Diggle, which feels both warranted but also really sad. I said last week that all the characters barring Oliver, Felicity and William have found a way to move forward with their lives over the last five months, and none more so than John, who has a new sense of order and purpose within ARGUS. Setting aside that brief insanity of last season, this has always been his MO -- finding a place for himself within an established structure, be that the Army or Team Arrow or ARGUS, and do his job really, really well. 

All that to say that I do understand where he’s coming from on the Diaz front. He’s got the ARGUS Deputy Director on his back, which again is a realistic situation (a black ops organisation as regimented as ARGUS would never allow the Director’s husband to run amok with its resources), and he feels the need to maintain order and colour within the lines, if you will, so that he and his family don’t face the blowback. I get it. 

That said, I’m still incredibly disappointed in him, which I think is partly the point and is definitely a great source of angst. His explanation to Felicity about not wanting to sacrifice his family makes sense, but at the same time, Felicity and Oliver are (or were) also his family, and her point about the last six years actually meaning something to her is such a gut-wrenching moment. I think this is the point that Felicity realises she’s all alone in this. It’s not that John doesn’t love Oliver or that the others won’t help (though “whatever you need” seems to have its limitations), but the way she sees it - Oliver just doesn’t matter as much to them as to her. So he went to prison to sacrifice himself for them - so what? None of them are willing to go the extra mile to save him like he would them. As for John, when he was in prison, and Lyla went to Oliver for help in breaking him out, he didn’t even hesitate. Against all odds he went in and broke his brother out, and while that might not be possible in this case, Felicity must still feel the sting at the lack of reciprocity from John. 

Which is why I enjoyed her being at odds with John on this, even if they came to an understanding by the end of it, and which is also why I loved her move at the end of the episode. Going to Samanda Watson, not to break Oliver out but to fulfil the terms of his imprisonment, is such a baller move, and I am really looking forward to them working together. 

I’m excited about Felicity’s arc in the upcoming episodes, especially while Oliver’s in prison and she’s essentially on her own. If the trajectory continues the way it has been, I think we’re in for a ride. 

Speaking of prison, Oliver is finding his footing a little bit now, though how long that lasts remains to be seen. This storyline continues to excite me because it is so unlike anything we’ve seen before and the possibilities are endless. Oliver ‘found another way’ this time (I’m glad he didn’t kill Yorke. I know he’s an asshole but I kind of liked him), but will he be able to do so again? At a certain point, the net will tighten and there won’t be any more loopholes to find. And that’ll be an interesting place for Oliver to be. 

I still think Stan the Fan is a Diaz plant; he’s too shifty by half. But I am temporarily enjoying the dynamic between him and Oliver, esp. because it gives Oliver a chance to roll his eyes and be the straight man to someone else’s banter - a role that Oliver has always excelled at. I loved that he fashioned a makeshift slingshot from a broken pencil (of course he did), and it reminded me of him making a bow and arrows out of curtain rods in ‘Corto Maltese’. Oh Oliver, you are such a McGyver. 

Like Felicity, Oliver’s entire focus now is getting Diaz off the board in order to protect his family. The fact that they are on parallel paths towards the same goal frames their individual storylines incredibly well, and makes anything else in between almost superfluous. 

I don’t know quite what to make of the Dinah Double Act™, and I’m not sure I entirely buy both of their seemingly easy acceptance of each other. Why Dinah feels the need to protect Laurel from Diaz is beyond me - surely they would be using her as bait if anything? - especially since, from what I can tell, Diaz doesn’t seem to be in a hurry to hunt her down. Still, I can buy that Laurel feels something towards Quentin and his death at Diaz’s hands, and I can live with that fuelling her motivation to live the way Quentin would want her to. I also think that this episode allows all of the women who appear in it to maintain their own agency and motivations, however complex (or unearned), and that can only be a good thing. It’s no surprise, given this episode was written and directed by women, but it does feel a long time coming. 

I do think that the fight against Silencer was pretty effective - man, that is an interesting power. In fact, all of the Longbow Hunters seem to be pretty formidable in their own right. Kodiak, the guy with the shield, broke John’s assault rifle IN. HALF. Goddamn, it’s about time we had some menacing villains. The Longbow Hunters present a significant threat to no-longer-Team-Arrow, and it doesn’t pass me by that the only way Silencer was defeated was by Laurel and Dinah sonic-crying her together. Methinks no-longer-Team-Arrow may need to re-form again in some way soon enough. 

I’m sure I’ve only scratched the surface here on many of these plot points, but there is so much going on (in a way that it all seems to hold together) that it’s fascinating to see how it will all come together. Especially given the apparently bleak future our characters have in store for them. 

To which -- Future William. I find it hard to believe that Oliver and Felicity would just abandon William, unless “leave” is a euphemism for something more sinister, which it appears might be the case. Otherwise, why would Felicity install a tracker in the hozen (called it!) and set the coordinates to Lian Yu? Furthermore, did she set those coordinates in 2018 when she gave him the hozen the first time? Did she want him to go to Lian Yu in some interim time before the 20 years? What on earth did she expect him to find there? And why was Oliver’s bow buried in a box? Who buried it? What did that note say? Why did Roy burn it up? Why are they heading back to Star City? Why did Roy and Thea break up (or what happened that he ran to Lian Yu to forget about it?)? SO. MANY. QUESTIONS. Isn’t that exciting? So many things we have yet to learn, so many mysteries, big and small. I’ve missed this. 

I continue to enjoy Future William and Old Man Roy’s dynamic; William is such a passive-aggressive asshole and it’s hilarious. I find it interesting also that he states he doesn’t even know how to use a bow and arrow, but he is a tech genius. Guess we know which parent he takes after. One question I have is whether the future we are seeing is ‘fixed’ or immutable, or whether whatever has happened in the interim 20 years can be undone or redone in a way. I still wonder whether William is the “new Green Arrow”, back to correct whatever went wrong in the intervening years that caused Oliver and Felicity to disappear from his life. The framing shot of him holding the bow hints towards that, but given that he claims he doesn’t know how to use it suggests that either he’s trained by Roy in upcoming episodes, or the wielder of the bow is someone else. Intrigue. Also intriguing is the question of when in time William is abandoned by his parents; if we expect to see young William in the present-day timeline (as I hope we will), then when exactly is it that their paths diverge? Time will tell. 

“My wife taught me a thing or two” - HIS. WIFE. TAUGHT. HIM. A. THING. OR. TWO. Ask me when the day will come when I stop reacting like a crazy person to every mention of Felicity as his wife and Oliver as her husband. Answer: NEVER. THAT DAY WILL NEVER COME. Bless.

“What’s an Overwatch?” made me laugh. Especially since Oliver doesn’t bother answering. 

“My wife and son were attacked. I’d do anything to protect them.” - a) I love the intensity of the way he says that, and b) isn’t it great that he then uses Yorke’s love for his wife and son against him? 

Speaking of, Oliver stabbing himself and pinning it on Yorke is THE most Oliver thing he’s ever done. LMAO. I definitely laughed at him overplaying the “you stabbed me! HE STABBED ME!!!” dramatic writhing. Even Brick looked amused. 

“There’s only one Green Arrow, and he’s in prison” - you tell ‘em, Felicity. 

The dialogue feels a lot tighter this season, and as I’ve mentioned before, characters’ motivations make much more sense. Long may it all continue. 

Okay, but I really do enjoy snarky Laurel. I’d rather that than a fully redeemed member of Team Arrow. I think she plays better as a (semi-)villain.

I miss Felicity’s pink hair. Sob. 

Diaz’s flamethrower gun was cool, but John giving him a well-deserved beatdown was cooler. 

All this ARGUS focus makes me miss Lyla. Bring her back, show. 

Felicity needs some actual friends like, right now. GIVE HER SOME FRIENDS WHO ACTUALLY CARE ABOUT HER MORE THAN THEY CARE ABOUT THEIR STUPID JOBS. 

Nice thrown in mention about William being gay. 

Also, does Old Man Roy just wear his Arsenal suit all day and night? Doesn’t that get...itchy? And smelly? And uncomfortable? And unnecessary? Oh Roy! 

Felicity is waaaaaaaaaaaaaaay more forgiving than I would have been. I’d have told everyone to fuck off and firebombed the place as I walked out (not so much on that last part, but ya know). 

I’m glad the show knows that Quentin wasn’t really Laurel’s father, even if they can’t seem to make that distinction in interviews. 

Honestly, Beth is just about the best thing that could have happened to this show right now. Imagine this team two years ago?!

Felicity and Oliver are each other’s ride or die, and I cannot wait for their reunion. 

[orihime-maychan]

I gave the ATLA live action movie “The Last Airbender” one more shot...

Four hours ago, I happen to catch the Avatar: The Last Airbender live action movie on the telly, and before I cringed out even thinking about it, I said to myself:

“It’s been almost 10 years, what could possibly make me cringe anymore than what it was?”

So... I watched it. I was supposed to go to sleep because I had a bad case of food poisoning (again) but then my tummy got all better so.. Why not. And I was surprised for the next 1 hour 30 minutes.

OK, so to all ATLA-TLOK fans out there, before you bash me into little pieces for even mentioning this live action movie, PLEASE HEAR ME OUT FIRST!

I am not posting this to bash or to rave about anything, I am just posting this to bring out my thoughts on this movie about 10 years after it was made/after I watched it for the first time (under the assumption that my opinions are valid and welcomed in this site).

I wanted to put this “late” review and commentary so I could have a comparison point once the ATLA series goes live in Netflix next year, among other things.

I believe I may have been too attached to the animated series way back then to have made a somewhat partial and unbiased review to put it down completely as trash.

And lastly,

In relation to the previous point, I will take into account a possible viewpoint from non-ATLA fans who just wanted to while away their time by watching a movie which they knew nothing about.

I’m not gonna put any jumps/breaks/keep reading cuts on this post because it doesn’t show up on mobile anyway, and also because some people on desktop are too lazy to click it so.. I’ll just make this a long-ass post and hopefully my PC can survive the long-ass ness x_x So if you started reading this well.. It’s on you. =P

I will be doing the commentaries based on the following:

How the story flow compares to the original ATLA series

Character comparisons between the series (especially KEY characters)

Rendering of the effects

If I was a bystander who watched it for the sake of watching (i.e. if I wasn’t an ATLA fan), how would I feel about it?

If I remember to do so, I’ll probably make an overall comment on the whole thing based on what I said and add some stuff I may have forgotten to add. Also, since the Airbender movie is just for Book 1: Water, well it’s the only thing I’ll comment on. Again, be warned, this will be a long, long, long-ass post.

Live Movie vs Book 1 Series

Well, let’s be honest here, even the Ember Island Players took a very long time to showcase just Book 1 in their own version, so of course Nick and Paramount had to cut everything to fit into 1 1/2 hours of movie time, and that would cut out more exciting and pivotal scenes from even getting shown. I mean, it’s not like they had that much budget to turn the whole thing into something as long as one movie from LOTR or even Hogwarts movies. A lot of the magical bending stuff were sorta uhm.. not there? Also, there were so much leaps and stuff just to visit all of the Air Nomad Temples, that was basically what Aang, Katara and Sokka were doing most of the time, aside from learning how to bend, escaping Zuko and Co., as well as inciting rebellion within the Earth Kingdom under the Fire Nation domain. And also, I felt the whole thing wasn’t even meant to be a big production, unless I just don’t watch enough movies to recognize anybody. Seriously, the only actors I recognized in the live action were Jackson Rathbone and Dev Patel, I honestly don’t know everybody else (sorry Yue, I find you lovely but I don’t know who you are T_T). So... You see where I’m going here?

So... Because of many constraints, the entire Book 1 was reduced into this plot:

Two Southern water tribe siblings found a kid (and a huge fluffy beast) frozen in a ball of ice, which shot out a beam of light after breaking the ice ball. They brought the kid and the beast back home, in which they tried to get to know him better. But a foreign prince from beyond the wild seas took it upon to himself to bring back what he believed to be his target, The Avatar, by storming into the Southern water tribe village and taking the kid from the ice into custody. The two siblings’ grandmother later revealed that based on history and her own knowledge, the kid was the Avatar who was supposed to bring balance into the world, but disappeared in almost a century. So the two kids took it as their responsibility to rescue the ice ball kid under any circumstance, until he could turn the tides from the Fire Nation and bring balance and harmony into the world. Meanwhile, the kid from the ice was tested if he was indeed the Avatar, and unfortunately passed the test, now has an existential crisis and wanted to run away again, which he was able to do so with the help of the water tribe siblings. This leaves the captor, the former Prince of the Fire Nation even more pissed and determined to recapture his place and his position in his own country, as well as his father, the Fire Lord.

After visiting all of the Air Nomad Temples and realizing that he was the last bender of his kind, the Avatar underwent another existential crisis which he was only able to mitigate through meditation and reaching out to the spirit realm. This was further intensified by his need to master all of the remaining elements in order to serve his life purpose better because he ran away even before beginning his trainings, and he just couldn’t make stronger attacks or defenses just by bending air. So along with the two siblings, he traveled to the Northern Water tribes in order to learn water bending from the master. During the course of this travel, he met with the former Fire Prince and fought with him multiple times, he was kidnapped by another Fire Nation official after being lured by an Earth Kingdom citizen (and was actually set free by a ninja who later turned out to be the former Fire Prince), and he kept getting blocks from unlocking his full water bending potential. Only by entering the spirit realm and chatting with a dragon spirit was the Avatar able to keep himself calm despite the stuff happening around him.

After staying at the Northern water tribe’s place and learning water bending for quite sometime, the time for war against the Fire Nation came. However, despite preparations, the water benders were outnumbered and overpowered by the fire benders, which further worsened when one of the moon spirits got killed by the Fire Prince’s rival, thus removing the water bending abilites from those who could. However, ironic as it seems, another Fire nation member knows how to undo the damage that was done, and once the sacrifice was done, the water-benders were back in action. So much so, that even the Avatar was able to chase away the Fire Nation’s armada of ships away. After realizing that he was indeed, needed to restore the imbalance brought upon by his disappearance, the Avatar took his original responsibility to heart by bowing back to all of those who bowed down to him.

That was basically the entire content if focused only on Aang’s development. If you’d ask me, an hour and a half won’t be enough to bring to light all the wonders and charms of the original series, you might need like a three-hour trilogy series just to show each character’s full strengths and weaknesses. So even if a lot of the nice stuff in the series had to be cut out, I’d say that whatever was used in the movie was pretty much enough to show a proper plot to keep track of.

Basically, it all boils down to this:

The production team (or whatever governing body had to make the decisions regarding how the whole thing had to be made) had to take into consideration their target audiences, the production cost, and how long the whole movie must be in order to maximize whatever resources they had. If I was to base my opinion on such things, then I say that the movie’s storyline is overall OK.

Movie vs Series... Characterwise

Well, to make this long-ass commentary a bit shorter, I’ll just make a generalized comparison because for a short movie, there is obviously not enough time to build each character up so it makes for seemingly-flat characters. 

First of these is the fact that despite filling in some backstories for most of the characters, their traits seem to feel a bit wanting. Like there’s something missing. If you’d ask me, the thing that’s missing is whether or not they are capable of change. Some characters are like that, you see them move for the first 5-10 minutes and you’ll know whether or not the character has some potential for growth and change, not necessarily for the better but just some overall change from point A to B. We see this in the ATLA series because there is so much time spent on that, and I think that’s what makes everyone in there so endearing. Heck, even Azula has some fans because at least, at some point she had some sort of character change. However, based on my experience, that’s not easily done because in order for a character to enter change, a lot of events, introspections, expressions, and other internal and external influences must push the character to change. To make them strong or weak isn’t the point, but rather to make the character move out of their system and into another. This wasn’t  possible in the live action movie because again, time constraints. So whatever they were from the beginning just continued on until the end. NO dead-obvious growth observed, whatsoever. I felt like this was a disservice to ATLA fans because the characters portrayed on the screen were so different from the ones we got used to (hate) and even loved from the series:

Aang got reduced to a very confused and angry boy, who was originally written as a warm, friendly, and happy-go-lucky ball of charm. Also, if they wanted to do justice for however they shaped movie Aang, they should have made a whole lot more internal dialogue about his regrets and stuff, so angsty and angry Aang could have been justified better.

Katara got portrayed as a stiff girl, when in fact she was originally shown as hopeful, inquisitive and even smart, apart from her kindness and her nurturing and fun side. Also, as far as I recall, Katara in the series was already a very competent water bender, so why reduce her to a floppy one in the movie? It would have been better if she just was a wee better than what she was but still wanted to learn from Paku, to show children that there is always room for improvement (because again, this was originally intended for young viewers)

Sokka got reduced to a moody teen (Sorry Jackson), when in fact he was like Ronald Weasley: funny, resourceful, really tactical (friendly reminder that Ron won Wizard’s Chess, just saying) and is actually a comic relief. OK, so maybe there was a teeny, tiny part where Sokka was funny, but like 3% or lower. If you blink, you’ll miss it. I guess the part where he was brotherly to Katara was OK, just to redeem his movie self a bit.

Despite the vibe, movie Zuko wasn’t too angsty for my taste, he was just full of anger and revenge, so I don’t feel like it’s justifiable for him to be like that. Even if he actually got some screentime for some flashback, the character was just too angry and vengeful, not enough teen angst to give it depth. Sorry Dev, you did great but if you had an idea on who Zuko really was, you may probably gave him a better shape. Unless you already know how but just got cut off by the directors or something. I won’t know for sure. Also, we need more scars, like really deep, wrinkly, very horrifyingly discolored scars, not just the mild ones that I had to squint to see, because that’s surely a good source of Angst(c)

Uncle Iroh’s love for self-indulgence and his laid-back style wasn’t completely spot-on, I wanted a really chill yet wise vibe from him, but I guess the lack of dialogues between him and Zuko plus the fact that I only saw him drink tea TWICE, well, that’s just sad. I’m sure Uncle Iroh would’ve wanted more tea and cake times, and more feet-pampering. Plus more father-and-son scenes with Zuko because that’s what will eventually give way for angst and realizations but then again, I may be too opinionated on this one.

Ozai wasn’t as evil and as psychopathic as I expected him to be. He could have been more cruel, more harsh, more brash, more brutal, less passive, and less fluffy. General Zhao had more of that Ozai feel in him, maybe the two should have just exchanged places. Or better yet, it would have been better if they just made Ozai into a narcissistic manipulator, that might have worked. A charismatic manipulator, like Azula.

I think these are the only key characters worth mentioning in the movie since they’re pretty much pivotal in how that story arc moves, whether in the live action movie or in the series.

Movie Bending (Expectations vs Reality)

I had to say, the bending was actually OK, for me at least. The flamey-flamey shots and the water to ice bending were cool, the earth bending could have been better and faster but it’s pretty much decent, and the fact that air bending can be made more visible by putting air particulates like dust and mist around the whirlwinds so that the air movements can be seen is actually laudable. But then again, there wasn’t really that much bending to show since there were equally as much fight scenes as bending. It didn’t do that much justice though, since in the series bending elements were not limited to just fighting. Bending the elements could destroy or build structures, bending can heal or break people, and there is just so much complexity that elemental bending can show fans or non-fans or even beginning fans, which were not shown in the movie because of so many constraints. I’d dare say it was a disservice, but again, given the restrictions, I’d say that the bending shown in the movie was also, overall, given the circumstances, were pretty much OK.

If I wasn’t a Fan... (lol)

Well, if I wasn’t a fan, if I wasn’t aware (or even living) in the ATLA-TLOK universe, I would say that this movie had some entertainment value. Sure, maybe introducing the four nations could have needed some extra sentences at least, like the intro in the series, or maybe like show the map of the entire ATLA-TLOK world, talk about each part briefly, and maybe some bit on explaining what the elemental benders are. So I won’t be surprised at Katara making water balls or Aang making whirlwinds or Zuko kicking some fire out. I’d be confused as heck. Also, I feel that it would be even more amazing if they showed Appa flying a lot, and Aang’s interactions with Appa and Momo, because seriously, that would have at least made some of the kids think on the possibilities of having a flying bison or a flying lemur. Because showing a flying Appa but not seeing how that looks when you’re on the back of one kinda, I dunno, feels less magical. I only saw them fly once and swim once on water but that’s about it. At least show them parking Appa on one of the Air Nomad Temples or something. My point is:

Make the scenes a bit more engaging to the viewers. Strike their imagination or something. OR at the very least, make them awe at the possibilities of bending or whatever.

If the viewers came out of the cinemas feeling like they want a flying bison or they wanna bend fire or rocks or stuff, then at the very least you’ll be able to gauge if they got engaged with your movie or not. I don’t care what age group they would be, heck, I’m in my early 30′s and after more than a decade of being an ATLA fan, I still want my own dragon or flying bison. I won’t even mind if I get a letter from Hogwarts that I’m accepted as a witch, or if a parcel suddenly appears at my doorstep and something magical or mystical was there. Now if that isn’t engagement then I don’t know what is.

Unfortunately, I didn’t get that kind of feels from the movie, it just felt like something that would pass through me and won’t even consider remembering. I mean, the bending was all magical and stuff, but the characters weren’t able to pull me in. I wasn’t able to connect with them as much as I wanted to. They weren’t as much likeable or relatable as much as I expect them to be. They feel like a one-time deal, and I feel bad for them, actually. I mean, if you’re gonna write about a bunch of people, at least make them a bit relatable for the viewers. Give them a bit of depth, so that we won’t take them at face value. I mean, even the most boring person on earth has some depth, so at least, make the characters seem like they could actually feel things, because they aren’t stuck on something like a one-dimensional person. At the very least, make them DECENTLY human.

Overall Comments and some Final Stuff

I’m a bit sleepy but I’ll try to sum it all up and give my conclusions.

The Avatar the Last Airbender movie (seems to have) came short because of too many constraints:

Time constraints

Budget constraints

Character constraints

Creative constraints

However, despite such constraints the plot was actually enough to keep the movie going. There were also sufficient backstories for the main characters to use in order to push through with what they’re supposed to be doing. Sure, Aang only learned how to water bend but I think there was enough elemental bending in the movie to show the different styles of bending so that’s OK, I guess.

Overall, even if it sucked the first time around, after giving this movie another shot I guess it’s pretty much an OK movie to watch, to while away the time. I just hope that the Netflix version can be a WHOLE LOT BETTER at translating the animated series into live action. I know it’s a lot of expectations but at this rate, I could just hold on to properly-written and portrayed characters as well as smooth-flowing storylines, never minding whether or not the places or the bending are properly portrayed.

And with that, this review is done.

Will snooze and let this whole thing roll off my back.

[thedogsled]

Hi guys. I’m going to cautiously title this ‘About Zimbio, Destiel, my personal struggle with the idea of wlw vs. mlm, and why what we achieved in the vote today says a lot about our magnificent fandom’. 

This is a reminder in advance that I make generalizations but I don’t mean any harm by them. I’m happy to discuss this topic and capitulate on some things, because my experience of shows is extremely limited right now (unless I want to watch them in French). Just like Dean I say ‘we’ a lot but please assume sometimes I mean ‘I’, I by no means make any claim to speak for all of the following groups at any point: bisexuals, mlm shippers, wlw shippers, television executives, social media marketers, the mainstream audience, destiel shippers--etc, etc, you get the drift.) If any of the following upsets you, please let me know, it’s not my intent to cause any harm, only reassure my friends that they did a good job.

I promised I was going to write a post on this, because I’ve seen just a little mumbling and unhappiness that Destiel didn’t make it through in the semis. I get it, it’s only natural that it’s going to lead to some hurt feelings, but I wanted to really put across to you all why I say I was proud of us for our semi-final performance, rather than you just take it for granted.

We are an old fandom. Thirteen years is a long time; it makes Supernatural the longest single run fantasy/sci fi series on American TV (and I mean I think it’s unfair to compare it to non American shows like Doctor Who anyway just on pure numbers, especially since Who has gone through thirteen fourteen? fifteen? are we counting radio drama? actors in the lead role; it’s like a different show every time.) So. It’s had a superb run. Fantasy/sci fi shows are typically considered to be niche, not massive hits (comparatively speaking; SPN isn’t Grey’s Anatomy or NCIS I’ll grant). But what networks are finally waking up to is the power of the fandom of those ‘niche’ shows, dedicated viewing power which can grow a network’s brand, particularly online, and networks are eager to wrangle that.

This modern era of television is fandom’s era of television. Netflix are promoting gamification of television watching (even for kids) as well as choose your own adventure style TV. Binging and rewatching box sets is a whole thing now, not just the domain of the “geek”, and shows which can convince people to stick around and watch something instead of moving on when they run out of material--they’re the ones gaining success, while traditional shows slip further and further as they fail to capture new demographics. We’re making strong social media contracts with the creators and actors of our shows, and making it clear to them - in a way that is increasingly being recognized for the opportunity it represents - that there must be give and take with modern audiences, especially if you seek gratification through social media. (I read a great article I reblogged that called it the ‘Brandom’ effect.)

It’s wonderful, and it’s terrifying, because both fans and creators don’t know what to do with it. They can give fans too much power and the show goes off the rails, or deny it to them entirely, and earn only vitriol. Some shows rub their power right in the face of their fans and increasingly they pay for it. Some showrunners are outright incapable of talking to their fans at all without being respectful (I’m looking at you The 100), and some fans are ghastly, aggressive and outright disrespectful in pursuing what they want (it is a different thing showing joy over your ship as it is to dox actors and send their wives hate mail). Some showrunners, instead, are more embracing of their fans, like the Earpers, and if you want an idea of how actors should be engaging with fans, check out David Haydn Jones’ twitter. That man is a saint. It’s a delicate game of mutual respect, and occasional drama, and intent is the name of the game: do you have good intent, is it honest? People crave honesty on the internet where everything and everyone is fake--and that honestly is a tough thing to achieve when studios are too heavily concentrating on their bottom line.

So, this is a changing landscape, like I said, and people are struggling with new marketing techniques, trying to find their place in the world, running into walls when they realize that in fact they don’t understand their queer audience members. When something works, shows are very quick to jump right into it, almost relieved to have evidence that if they do X thing, their fans won’t all jump ship in horror, but here’s the thing, networks are in a lot of ways far slower to respond than shows. If you want to do something, you have to prove to the person holding the purse strings that it’s a profitable endeavor. Producers are set in their ways, especially old school producers, not realizing how quickly the landscape is changing, and writers are fighting against that all the time, because they’re often a lot more in touch with the creative fandoms they’re trying to inspire. Many have come from fandoms themselves. Queer writers should mean more queer storylines, right? But it means fighting money men to make it happen. Oftentimes that leads to the whole ‘one queer ship is enough’ standpoint, and when it comes down to it, those money men are more likely to put stock in safe investments, in proven investments. Consequently, wlw is flourishing because it draws in audiences without losing them. It’s arguably less risky to make Alex Danvers gay than Castiel. It’s more PC, accepted by wider audiences, groundwork laid by Dark Angel and Buffy in my own recent memory. When good results come from featuring those kinds of ships, they appear increasingly on TV, and it’s AWESOME. There were 16 wlw ships in Zimbio March Madness, and 11 of them got through all the way to 8vs8. There were only 2 mlm ships in 8vs8, and 3 het ships. Internet fandom, passionate and social and dedicated? It speaks, and it says ‘More LGBT rep please’.

We’re in a transitional period. Changes are coming, but when you look at the big mlm ships of the last few years, you can see the uphill climb that’s still ahead of us. I spoke with our Hannigram and Johnlock friends last year about what their experience with this was like. (I haven’t spoken to Sterek folks, but I know there’s disappointment from that front too). Johnlock shippers are largely furious about how explicitly the finale no-homoed their ship when there was absolutely no reason to. Having watched the finale myself, I feel like they really went hard against shippers explicitly. Hannigram suffered too. I haven’t finished S3 even now, but what I recall of the conversation went like this: they’re together, but there was a kiss that didn’t make it to air, and then the show was cancelled. In any case, what I’m saying right here is that this is part of a pattern, a theme I’m struggling with, where mlm fans are dispirited and disappointed and feeling disrespected by the very mainstream shows they’re watching.

(Which isn’t, I’ll quickly note, that I’m saying the same isn’t true of wlw audiences. The last two ships in Zimbio this year are non canon ships, and the fans of both have been hurt by the shows they watch, but they still keep coming back and watching the show. Swanqueen is ending, but the pair have been consistently mirrored - dark and light - with the emotional journey of the show largely being made over the shared custody? I don’t know, they changed it every week while I was watching it of Emma’s son. Supercorp is clearly full of eye sex thanks to the actress’ chemistry (and McGrath is so gorgeous she’d have chemistry with a brick wall) and yet has been outright mocked by the show’s cast. If that sounds familiar to Destiel fans, I almost want to say that Supercorp have it worse; just as with Swanqueen, they’re often told simply to shut up because there's already wlw rep on the show.)

But where shows are willing to go there now, diminished risk is the key, especially as resale value of shows reflects multiple, competitive platforms constantly needing to purchase content to fill their airspace. Naked women, women kissing and women having sex - bisexual women who are explicitly still available to men - that sells, but as far as I can tell networks are struggling to sell the same narrative about mlm. Maybe that’s my perspective only, maybe that’s me watching the wrong shows (and not at all because I don’t enjoy looking at women’s bodies, I do, but variety is the spice of life) Look at the outright surprise last year when GOT gave us a beautiful, pus covered, full screen dick. GOT, of course, which is insulated because it is a Number One performer. I present to you, in terms of dicks on screen, American Gods, then. Neil Gaiman is my hero, selling the network on the premise that they could have his great stories if only they were willing to gleefully integrate peen on every episode. Or so I’m told. There’s a lot on my ‘to watch’ list that I haven’t got around to yet. I will tell you, of course, that mlm is out there, Evak were voted out against Supercorp in the quarter finals) but on a big show like Supernatural that risk is exceptional. That’s why when we talk about Destiel ‘going canon’, we make the shockingly ambitious request of them HOLDING HANDS, or mutually saying ‘I love you’, and sometimes feel like expecting anything more, like a kiss, or god forbid a sex scene, is too much to ask. Why? When lesbians and bisexual women are presented on TV, kisses and sex scenes are a matter of course. In Alex’ coming out, in Thirteen’s coming out in House, Angela’s coming out in Bones - huge ensemble shows where main characters, all women, have come out and kissed (and returned to male partners in the case of the later two). (I should point out I am talking about genre “mainstream” shows in general, not for example Queer as Folk, where the primary aim is to explore sexuality, not fight dragons or solve crimes)

Now in addition to this problem, an issue that I’ve seen for years is that from inside the fandom world we are made to feel as though we are somehow obscene or inferior for shipping mlm ships, a projection that comes from the way mainstream folks will react to you if they happen to discover you drawing dudes together. Sometimes we hide our online selves from the real world out of shame that has only built over the years, where it’s considered that supporting mlm ships instead of wlw ships makes you fetishistic, or objectifying of gay men. I’ve seen it in fanfiction spaces and in rp spaces on dw and lj that shipping wlw has been raised to a point of being considered ‘more pure’. If you ‘claim’, they say, to be a queer woman, you should wholly be supporting wlw ships. When I started hearing this dialogue I was THIRTEEN. This was before Willow/Tara. There were just less wlw ships on tv, and there were less female characters whose autonomy didn’t depend on men, or portray them as being fragile, the weakness of their gender or whatever. There were standout female characters in my youth, absolutely, but they were all independent (mostly) straight women: Kathyrn Janeway, Sam Carter, Clarice Starling, Dana Scully. They kicked out against the system, the world they lived in, intelligent and defiant ladies I still idolize. Nowadays, though those wlw ships are available, and populated by so many beautiful, powerful, progressive female characters - and yes miraculously even strong female characters who still embrace their own womanhood. In contrast  mlm ships are not keeping up because, in some way, I think that the ‘impurity’ of shipping mlm has stuck. I struggle to think of even straight non toxic male role models, nevermind male role models who are in engaging, romantic relationships with the same sex. This stagnation of masculinity (apart from the rise of the geek hero which often, as in the case of TBBT, doesn’t break away from inbuilt misogyny) troubles me immensely. (I’m not saying all male characters are awful, incidentally, but it’s not a positive message to outright expose the flaws of toxic masculinity without offering understanding, lessons, and growth. But that’s another essay.)

Trust me, I’m not saying everyone feels that TV is being stacked against mlm, but as a bisexual I really feel fractured by the whole thing. I feel like I’m supposed to loathe myself for shipping mlm, particularly when that mlm ship is ‘two white guys’. The fact that I as a woman enjoy male and female bodies is irrelevant, because one desire is pure, and one desire is fetishism. There is no balance. I’m allowed to be titilated by members of my own gender kissing each other and only that and heterosexuality. As a bisexual who is currently leaning toward wlw myself (sexuality existing on a sliding scale imo), it is the power imbalance in heterosexual couples which puts me off. It’s painfully true to life. I have a particular loathing for Booth and Brennan from Bones, for example, where his toxic masculinity is unilaterally forgiven because it’s true love, while Bones, once independent and stubborn herself, is increasingly nudged further out of character in order to forgive him his trespasses. But when I ship mlm, or write fanfic of my favorite couples, any power I give them is not based on their gender. The same I imagine is true of wlw. (An unfortunate consequence of this is people project it onto real life, where power inequality and abuse can exist regardless of make believe ‘purity’, and consequently people end up believing that something is wrong with them rather than their relationship, similar issues as people face when they imagine marriage is the goal, and everything else is happily ever after, because Disney told them so. In which case I advise you to rewatch Mary Poppins.)

During voting, I was reticent to address why voting for Destiel over the other ships was important to me. It was personal. (Of course anyone could have sent me an ask if they were curious). But why I was voting didn’t matter. It was enough that I was voting for the couple I love, whose relationship my blog is devoted to, and whose love story I hope is resolved. But there is more to it than that. What’s important, I guess, is how I feel about Dean. My reading of him is of a bisexual, still in the closet - perhaps even to himself - in his thirties. He made it out of high school, but that’s it, because he dropped out of higher education for family commitments. He likes rock music and classic cars. He loves pie, and dumb medical TV dramas, and cowboy hats, and riding rodeo bulls and chatting to strangers. He struggles with voicing his true self with people who know him, and might judge him in a way he will never come back from. Dean is basically me. I am all those things. And in this case, he’s in love with a genderfluid (has been both male and female) guardian angel whose love for Dean explicitly and singularly, has been described as a profound bond, and the greatest love story ever told. Castiel’s love for Dean, his willingness to do anything for him, is all I think any of us want from a romantic partner. And yes, we all find different things in our ships, and presumably other people connect with Destiel for reasons that aren’t the same as my own, but that’s okay. My reasons are my reasons.

And yet I am still thrown into that emotional disconnect: that because this couple is an mlm couple I’m wrong to ship it, that I would be better putting my energy into watching shows I don’t necessarily enjoy as much so I can find my representation in more respectable (or potentially less queerbaity) fandoms. That Supernatural isn’t good enough because I’ve been repeatedly told by people inside and outside the fandom that it isn’t good enough. I’ve got to tell you I agree that it struggles with being progressive. While season 3 of Grey’s Anatomy was showing the struggles of a pre-op mtf woman and her wife in an ep that made me actually cry for the dysphoria represented, on the other channel SPN had just got done killing a token ‘woman with an off screen girlfriend’ character. By season 11, we’ve had two gay male couples, both holding hands and leaning into each other to express their relationship. SPN is slow. Nobody in the world would deny that. 

But to be quite honest, also, finding representation doesn’t have to mean ‘a ship’, it can just be a well written bisexual woman with a badge, and you aren’t restrained to just one rep either! In fact, the more the better. I find myself particularly starved for that rep, especially since - having been fetishized for my bisexuality irl before - I see painful reflections of that on television. That’s obviously going to be related to bad writing and TV’s particular way of objectifying women in general, too, but when a woman (say Angela Montenegro from Bones) has a two episodes storyline where she makes out with another insanely attractive actress, the music rising, lit with soft shades, the camera focused in on their mouth--before the plot is forgotten entirely, it is incredibly difficult not to see that as objectification and not bisexual solidarity. I want more mlm on TV because I want more bisexuals of both genders on TV, and because of the harmful insinuation in mainstream thought that a guy who comes out as bi late has somehow been lying to himself and was gay all along, while women who are bi are just exploring their sexuality and somehow more up for it. Those views need to be constantly, constantly challenged, because, honestly, people believe them. (Probably not me or you, but it’s out there).

(As an aside: mainstream is also harsh toward female writers who write mlm stories. There have understandably, as a result, been female writers who chose male pseudonyms to pen their gay romance novels. I first experienced this to a lesser extent back in Gundam Wing fandom, because if you were a ‘male’ author it legitimized you and people would read your stories in preference to those penned by girls. Back then it was a numbers game. The prejudice does remain. Audiences are sometimes outright cold to female authors who pen mlm stories! You need only look at the conversation about boycotting Love, Simon because it was written by a straight woman to appreciate just how deeply we’ve built this disconnect, as though to write something the author must always write from personal experience. If that’s the case, I feel terrible for Thomas Harris and Jeff Lindsay, and JK Rowling (who speaks about choosing her moniker because it was genderless) must certainly have had an exciting childhood, what with all the magic and dragons. 

As a result I think we (or at least I) have internalized some harmful things about who has the right to interpret themselves in stories told about men, or male protagonists. And in lashing back at girls who for years have been doing just that, considering it to be lesser if I find a role model in Dean instead of Angela, we have harmed the integrity of mlm fans themselves, who increasingly struggle under a burden of self imposed guilt. It is reflecting back poorly on mlm performances, even as wlw stories flourish. In this raising the pedestal of wlw purity, the ‘ethical’ alternative, we dismiss what people can learn about themselves from male role models too, something that we instead encourage if it’s a teenage boy finding a role model in Elsa. My closeted bi self loving Dean Winchester harms nobody, but I am still made to feel lesser for doing so, even if sometimes that feeling is ridiculously self imposed. Hell, maybe I’m alone in this feeling and the rest of this is bullshit, but that’s why I said ‘I vs we’ was definitely a part of this commentary.

In any case, this is what I think this means to the Zimbio vote: As wlw rep has been increasing, mlm has been facing a disappointing deficit. Those once big fandom movers ‘Superwholock’, the Hannigrams, the Sterek shippers--have fractured and splintered off. Destiel has come in waves but it’s still somehow here, without its original opponents from back in the day. It’s here, even with setbacks after season 8 and 10 that had fans breaking away from Supernatural entirely. Optimism now reflects optimism felt before, but let’s face it Castiel was killed permanently at one point, and Bob Singer said outright, even just a few years ago, that Destiel and social media stuff just didn’t come up in the writing room (pr is not showrunning, etc). People are hugely entitled to struggle with optimism for non canon mlm ships because history repeats itself. Add into that feelings like I described above, and the struggle is real. It can sometimes feel like you’re fandom’s three legged, one eyed donkey.

Add to that how old Destiel is. Every fandom coming into existence now, every ship built around, comes into contact with Destiel at some point. If you type ‘queerbaiting’ into Wikipedia, our ship is cited. In Google, we come up first. Thanks to antis (and some genuinely bad behavior from bad apple shippers over the years) we’ve earned a reputation, and it moves before us into every ship interaction we have. Because of that, we can appear both intimidating and as something to be avoided, because ‘what if you meet a crazy one’? You’d think seniority would be a good thing, but few people see us as a ship that’s been there and done that, as they do Swanqueen. We aren’t the ship that can perhaps offer advice on things going on in whippersnapper fandoms based on our experiences, as it would be in an ideal world. We’re not a ship to be aligned with, and because of this odd perception of wlw vs. mlm, there was simply never any potential that support for Supercorp wasn’t going to skyrocket. It was a fight against ‘That monolithic mlm ship that just won’t stop’, as it were, because here we still are hanging onto threads hoping our ship will go canon, and based on past evidence, the fall of other mlm ships, and only looking in from the outside, that seems like wishful thinking.

So we were unlikely to gain allies from heartbroken mlm fandoms. We were unlikely to find allies in wlw fandoms. It’s sad, of course, because for all the talk of representation in media, the desire to express a balance and cheerlead for mlm, imo an obvious representation underdog, simply doesn’t ever come up. Our friends and relatives roll our eyes at us if we talk about Destiel because we get that ridiculous light in our eyes when we do. Ultimately, that meant that Destiel was on its own. It had to unify. It had to pour its passion into voting and be a family again. It’s been knocked out in previous years - honestly based on what I’ve heard it’s been a disaster - but THIS YEAR we pulled out all the stops. That was all us. Despite antivoting, Destiel shippers - and only Destiel shippers - fought and fought - thousands of votes after thousands of votes, as we made small leads only to slip three times further. We didn’t stop. We were there and fighting right up until the end. And it may just have been a silly online poll, but I think it really goes to show what we can do when we put our hearts into it. We more than doubled the amount of votes cast in the previous round, over the exact same time scale, even though Supercorp fought back with everything they had, all the vibrancy of being a fresh, shunned ship determined to prove themselves, using social media strategy and unity to bring in votes from wherever they could get them. They fought well. They were wiley and smart, and so passionate; passionate like I thought I’d forgotten how to be.

And we kept fighting. We were in the semis, with twice as many votes more than Swanqueen, and we fought tooth and nail and almost got there, slipping just in the last half hour.

I have to believe that that’s because some people in the Destiel family have hope. I know we’ve drawn in a lot of new and returning shippers recently, I’ve seen you following me and starting out in meta writing yourselves, joining Destiel exchanges for the first time, sharing your first codas. The DCBB and Pinefest have had ENORMOUS turnouts. We are, despite all odds, growing as a ship again. 

I really hope that we can overcome the shame that has somehow been drummed into us for shipping mlm. I hope that we can all, whether we ship wlw, mlm, het or poly or whatever peeps are doing these days, make sure not to raise one as an ideal over the others, because it’s not in the spirit of family, of fandom. It is never ‘us against them’, it’s never a case of moral or ethical superiority, definitely not even in everyday parlance and least of all in a shipping popularity contest.

And maybe despite the risk, we’ll get an ‘I love you’, some hand holding. Hell, maybe even a kiss (Supernatural never even gave us a kiss between Jesse and Cesar, though, so I have my doubts.) But God if that wouldn’t pave the way for better deconstruction of toxic masculinity on genre TV, more presence of bisexual men and gay men on genre TV, and more men kissing and open expression of sexuality on genre TV. 

So here’s my final word. Maybe the bunnies will kiss. Maybe they’ll even do what bunnies do, who knows? And maybe next year we’ll win it.

I hope I didn’t step on any toes with this post. I felt like these words needed to come out of me, though, so here they are. Thank God there’s no more Zimbio until next year, right? Please refer back to my first paragraph for disclaimers. Thanks, though, if you read this far.