#fuck james somerton

[caes-funnyarc]

something that i didn't think needed to be said but should be said in light of the hbomberguy video:

just because somerton didn't outright say "i hate women" DOES NOT MAKE HIM NOT A MISOGYNIST. it is the internal beliefs that make it that way !! it is still generalizing and saying not nice things about women !!!

this goes for other things too, not just somerton!! it doesn't have to be outright to be wrong.

[cottoncandysprite]

you cameo'd in the new todd in the shadows video

Oop

Yeah. I very recently became a fan of Somerton's "work" (been a super longtime fan of Todd tho so that's kinda wild), literally only subscribed to him last month after casually watching him for about a year. I just watched the YOI video right after rewatching the series a couple weeks ago bc it popped up on my feed bc of algorithms.

What Somerton did makes my blood boil because in recent weeks I actually was really inspired by what I thought was his writing in starting my own media analysis essay (iykyk), only to find out that he stole all of it and the more iffy parts of his essays that I ignored started to connect into a pattern of him just Being a Huge Dick. So yeah, as a writer, an academic, a fan of media analysis, a queer person, and a former fan of his, I'm super fucking pissed.

I don't want to go back to the video to find the full comment bc I don't want to give that jackass more views, but it was me genuinely talking about how much YOI meant to me as a queer teen and I'm kinda upset that I put it under a video that really did not deserve it.

I haven't watched Todd's full video yet (I still have like an hour to go on the hbomb one) but from what I gathered around that timestamp I'm glad Todd used me as an example to prove that shitbag wrong lol. Get his ass Todd

Anyway if you want some recommendations actually good queer video essayists, my favorites are Alexander Avila (formerly AreTheyGay, currently has a similar breadtube style and very cinematic direction while discussing aspects of queer and online culture), Matt Baume (talks a lot about gay film/Hollywood/sitcom history in particular which I find fascinating), Lily Simpson (reviews "trans episodes" of various tv shows) and Kaz Rowe (my current favorite, has a really cool aesthetic and talks about everything from general history and myth debunking with queer/feminist focuses to victorian bullshit to golden age Hollywood history)!

[lilfrogfella]

the hbomberguy reddit has a collection of not only other creators james might have/probably had stolen from, but a bunch of other queer creators who don't disguise their transmisogyny, biphobia, aphobia, racism and blatant sexism behind a thin veneer of activism

rowan ellis made a tiktok about being a potential victim. i'm sure there are so so many other creators who woke up to being notified their work was potentially stolen to prop up someone who made more in a month then some creators make in a year.

and what truly breaks my heart is that there are so many publications and creators who have either passed or not interact with the internet entirely who will never know their work was stolen, and i know this has been repeated over and over, but i honestly don't care if i'm the thousandth to say this. the horror and shock is overwhelming.

but seriously! go check out all these amazing creators highlighted - not just those at the end of the video but those on the reddit page as well!

[funkmasterfuma]

I worry a bit that James Somerton will turn into a leftist version of a lolcow. The dude is a massive misogynistic douchebag, and his egregious theft and falsehoods are heinous, but I do worry that a lot of the call-out culture and "hey look at the new James Somerton bad/stolen take" around him might be a bit unhealthy. Let's just laugh for a bit at the horrible things he already said and did, and move on with our lives.

[lastweeksshirttonight]

Lee is re-watching Sherlock for some fucking reason - Season One

I'm well aware that the crossover between "currently popular and loved British comedian in the US updates, thirst, and accoutrements" and "BBC show that went so off the rails that people now like to pretend Andrew Scott's breakout role was the Hot Priest in Fleabag" is limited, but weirdly, returning to Sherlock was one of the few things that was keeping my brain somewhat grounded and whirring during Work Hell.

We're in uncharted territory here. You're gonna learn a bit about the things I do when I'm not tracking John Oliver obsessively. I am nervous about this but hey, I'm guessing most of you knew I don't solely live and breathe John Oliver. (I know. I have multitudes. This is a shocking revelation. Please take time to process it.)

Firstly, a content note - there's going to be discussion about queerbaiting and queercoding villains, and the beginning of this goes into some of James Somerton's absolutely disgusting claims about the AIDS crisis. This post will only be focused on Season One, as that's all I've finished at this point.

Let's go.

(above image sourced from Writing Tips and Memes)

My sudden re-emergent hyperfixation started because of the hbomberguy takedown of James Somerton, weirdly. I don't follow many YouTubers - I like Bright Sun Films because he goes urban exploring, something I've always wanted to do but have never managed to make happen, and also Todd in the Shadows, whose Trainwreckords series is very well-done and expertly researched. Seeing that name, you might know where this is going. Todd dropped a video about James Somerton, who I had never fucking heard of and now wish I'd known about before, so I could scream bloody murder about what an absolute fuckwad he is.

(I don't want to get too in the weeds here, but the things James asserted about WWII, Nazis, and the AIDS crisis are so vehemently offensive that I'm still struggling with them. Claiming that only boring gays survived the AIDS crisis in particular is so vile that I have gotten anger flashes thinking about it almost daily since hearing it.)

Todd recommended watching all four hours of the hbomberguy plagiarism video, and I ran that in the background while working about two weeks ago. Eventually I had to stop doing that because the plagiarism revelations were so distracting and shocking. Todd's video was even more of a goddamn mindfuck, and even the smaller, less offensive things have taken up far too much space in my brain. Californians, does anyone at all deify Bob Iger??? Like... what the goddamn fuck??? Bob Iger????

After watching one hbomberguy video, the algorithm did its thing, and gave me a video called "Sherlock is Garbage and Here's Why". Posting it here for posterity:

Because my brain works in mysterious ways (-cough-ADHD-cough-), watching this... made me want to rewatch Sherlock.

I initially saw Sherlock for the first time thanks to someone I met in my last year of college, 2012. At the time, Michael (a nickname) was my neighbor in the dorms; over the past ten years, she's become one of my closest friends and a true rock in my life. One of the first things we bonded over that I introduced her to was the San Francisco Giants and the ghost I will always be chasing, Tim Lincecum; one of the first things we bonded over that she introduced me to was BBC Sherlock. The show was in the early months of its extended hiatus after Season Two, at the height of its fandom, and we were both completely obsessed. I read all the Doyle stories, took in a truly wild amount of fanfiction, wrote a not-very-popular AU fic, became part of a strange inter-dorm ARG based on Sherlock orchestrated by Michael... it consumed a huge part of our lives.

When Season 3 dropped, I almost stopped watching after "The Empty Hearse". I don't want to get into why it offended me so much before we get to a Season 3 post, but just know my enthusiasm severely dampened there. The rest of Season 3 I think of with blase emotions, especially the ending, which I found just dumb, save one part of it. I recall going to see The Abominable Bride in theatres with my mom (and maybe Michael?), and I think I liked it fine - aside, again, from the ending. But I had no interest in a Season Four, and when it dropped, Michael's long rambling phone calls describing the absolute shitstorm of a plot cemented that I was never going to watch it again.

Until now.

I definitely don't think the hbomberguy video is perfect. His insistence that Doyle canon never had Holmes pull answers to cases out of his ass is... something, lol, as is his opinion that changing the solution to certain puzzles in A Study in Pink disrespects the original canon. (Bro, these stories have been retold a bajillion times, they need to mix it up to keep it interesting.) But he put a finger on something that I'd wrestled with regarding Sherlock for a long time - that the show's writing often teased something big and new and conclusive in the horizon, but almost never delivered. That wasn't an issue in early days when there was less invested in an increasingly convoluted mythic story, or when they weren't fully blowing off the resolutions to cliffhangers, but the flaw in writing a story where you promise something huge on the horizon and never deliver should be obvious.

The first season doesn't trade much in that idea, and going back to it was something I found exceptionally enjoyable!

Before I watched:

I remembered bits and pieces of "A Study in Pink" and the whole plot in summary.

I truly didn't remember anything about "The Blind Banker" except that I found it fairly 'yellow peril'-y when I saw it in 2012.

I mixed up huge chunks of Season Two's "A Scandal in Belgravia" with "The Great Game" in my head and somehow forgot the main plot thrust was Moriarty kidnapping people and strapping bombs to them.

I genuinely forgot Sebastian Moran was a character basically hallucinated into existence by the fandom and didn't appear in the show at all until a brief appearance in Season Three.

In a way, it was like I was watching the show for the first time all over again. My partner also watched the first season with me, and it was interesting to get his thoughts on the show as we watched.

To start, his favorite character is Mycroft. Watching Season One, I had to agree that Mycroft has a depth of character that I'd forgotten about. Mark Gatiss plays him perfectly, aloof and smarter than you but unsure of how to deal with his natural feelings of concern and fear for his oft-spiraling, danger-seeking younger brother - and how those feelings magnify with the influence of extreme danger-seeker (at least in this season) John Watson. The show wants you to believe so badly that he's Moriarty in "A Study in Pink", which I don't think works even if you know he isn't Moriarty - there's a warmth to Gatiss' Mycroft that, even while he's doing incredibly ominous things like shutting off all cameras in a busy intersection, still comes through.

My favorite character is Moriarty. I haven't mentioned this very much here, because why would I, but my favorite character type in media is "theatrical abject shithead". It's why I cosplay Bakugo from My Hero Academia and loved everything about Akechi in Persona 5. Hell when I was a kid, I told teachers that when I grew up, I wanted to join Team Rocket. I love the theatrical shitheads. And boy, is Moriarty some sort of theatrical shithead. I don't DISAGREE with hbomberguy pointing out that, as written, Moriarty is a complete mess of a character, a queer-coded literal terrorist with no motivations besides "I did that because I'M CRAAAAZY!"... but he's my queer-coded literal terrorist, ok? I could write a whole paper on all the harmful stereotypes inhabiting this version of Moriarty... but I can't deny that the flamboyance and violence pulsing just beneath the surface of Andrew Scott's performance was the beating heart of that show for me. Sure, Sherlock and John, at least early on, were a compelling duo, but the show was at its best with Moriarty pulling strings for inexplicable reasons in the background. I love him.

(An aside: watching Sherlock made me remember how hilarious it was to see basically every major actor from the show in one of my favorite movies of all time, 1917, to the point that I actually kinda laughed in the theatre thinking about it.)

The entirety of the first season also is more devoted to actual crime-solving and detective work than I remembered the show being. I think that works strongly in its favor, and as I recall things from later seasons, drifting from that element definitely hampers the show greatly. In particular, while the lazy and uncomfortable Orientalism of "The Blind Banker" is still incredibly glaring, the actual mystery at the core of it is very excitingly tracked and easily followed while watching. The fact that John is treated like an equal (mostly) throughout only enhances my thoughts on that. "The Great Game" is a little more slapdash (and hurt by the fact that the entire Vermeer section would be solvable with a smartphone nowadays), but you can still make connections mentally with most of the cases and deduction/investigation is being shown logically. (hbomberguy cites the Golem as a problematic logical leap akin to some of Season Two's dumbest, and I can't agree. It's a reasonable suspension of disbelief to assume Sherlock knows about assassins and is followed by some more sensible investigation and inspection of the Golem's victim. The sequence of Sherlock fighting the Golem, however, is very, very silly.)

Related to that... the autopsy doctors on this show are fucking AWFUL at their jobs. Like straight-up negligently awful. How in the actual fuck did they not investigate the puncture marks on Connie Price's body? How did they not notice a highly distinctive heel tattoo on three recently-murdered corpses? Is Molly the only vaguely competent person in the mortuary? My partner and I were extremely amused that, while Lestrade and his police force are thankfully shown with much more intelligence than in other Holmes adaptations and BBC!Watson wouldn't think jam is a clue, the writers seem to have shunted the stupidity straight to the invisible autopsy doctors.

The first season also does a good job of making Sherlock seem like an overly intelligent if socially stunted human being, instead of the condescending prickish intellectual Ubermensch he ends up becoming as the show progresses. "A Study in Pink"'s ending being Sherlock throwing aside his deduction of the cabbie's killer when he realizes it's Watson, unconvincingly lying to Lestrade and insisting he's in shock before rejoining the other man and genuinely bonding with him, is remarkably compelling as fulfillment of a promise we get from Lestrade earlier in the episode - "Sherlock Holmes is a great man. One day he may even be a good one." My memory is admittedly faulty, but part of why "The Empty Hearse" turned me off so viscerally was Sherlock's (and to an extent, Mycroft's) insufferable growing smugness, particularly where explaining plans or mysteries to John. We get told often that Watson humanizes Sherlock and that the two have a strong bond throughout the series, but Sherlock gets much more dickish in general as the series progresses. One thing I do remember with stark clarity is that after being utterly chastised at a Christmas party in "A Scandal in Belgravia", Sherlock does visibly treat Molly MUCH better throughout the remainder of the show. So, uh, why did we lose that energy with the show's central pairing?

Speaking of the show's central pairing, the queerbaiting starts SO EARLY on this show. I want to make it clear that obviously the benefit of hindsight and knowledge of how the show ends really colors a lot about the Johnlock relationship now, and as a society, we're more aware of what queerbaiting is and what it looks like, which will obviously alter how I perceive these interactions now. I also want to make it clear that I never really shipped Johnlock outside of just kind of assuming that it would be canon because everyone seemed really convinced of it. (I was an absolute degenerate that shipped John with Moriarty. On top of enjoying theatrical disasters, I enjoy ships with an abundance of chaos and impossibility.) There's some biases at play here.

Even so, we are not far into the episode where John is protesting that obviously he needs a second bed in 221B to Mrs. Hudson, he's not gay! The scene in the restaurant has such an aggressively shippy energy to it (despite Watson's consistent denials) that I actively commented on it to my partner as it was happening, saying "the queerbaiting happens WAY SOONER than I thought!" It's distracting and has aged absolutely terribly. The worst by far is John quipping, after being removed from a bomb vest at a pool in "The Great Game", that people will talk because of Sherlock ripping his clothes off in a darkened swimming pool. Why is Watson's heterosexuality so fragile that he's thinking about gossip rags as he's actively recovering from a near-death experience?!

(Aside: I'm aware that last point is not as effective when you think about the fact that I shipped two characters whose sole canonical interaction was one man kidnapping and forcing the other into a bomb vest. In my defense, a) I love mess and b) John never quips about thinking people will talk because he got kidnapped.)

Moriarty's first appearance in "The Great Game" sees him as Molly's fake boyfriend slipping a phone number to Sherlock, which lead to my partner commenting about how distracting it also was, on top of the queerbaiting, that almost every single person on the show has some sort of deep metaphysical attraction to Sherlock. Those people aren't on the lighting and cinematography team for sure; Benedict Cumberbatch is lit ominously and sometimes demonically throughout the first season, highlighting his antihero and brusque nature effectively. But many, many characters in the show - just in season one, Molly, Moriarty, multiple characters of the day, the Cabbie, and John - are all drawn to Sherlock and his very special brain and his very sharp cheekbones. Signs of a big future problem come through in this way, where the show starts sidelining Watson as our central figure and puts Sherlock squarely at the center of everyone's universe and makes lesbians fall in love with him.

(My partner also laughed pretty hard at how obvious Moriarty's pratfalls were as Molly's boyfriend, noting that the show was pretty bad at hiding who Moriarty was every time it came up.)

Some of the seeds of Sherlock's destruction are sown in this first season, obviously. The big one I haven't touched on is the ending cliffhanger itself. Moriarty has John and Sherlock trapped in the pool, tens of sniper sights trained on them, and says that he can't let them escape. Amazing cliffhanger here! It is not fulfilled on at all, but because Andrew Scott can carry anything on his back (including Spectre, which I cannot start talking about because we'll be here all day), the scene doesn't feel like a total waste and makes you want to hang on to find out what happens later.

But there was so much here that was delightful. All the acting is uniformly excellent, and the overt physical tics that come to define Sherlock's mind palace and mental prowess being showcased are barely evident here. The actual detective work, like I said earlier, is really involving! I don't feel like I figured out the solutions for the mysteries I couldn't recall the answers for too easily and thought Sherlock's deductive reason largely followed and wasn't too obscure. I'm still such a sucker for the show's style - that opening credits sequence is so perfectly put together, the text messages that interact with the scene and at the time made this show feel so fresh and modern to me, filming the character's faces in taxis through panes of glass and obscuring material in "A Study in Pink" to give everything an obfuscating sheen... give me all of it.

The music, too, was something I'd forgotten about and truly ended up adoring. Taskmaster (and The Horne Section's score for it) really owes a debt to Michael Price and David Arnold. So much of Sherlock's score could probably be dropped straight into a Taskmaster episode and I would have to think pretty hard to notice a difference in the show's usual musical palette. I've been eyeballing the vinyl on eBay, to give you an idea of how much I love this score. "The Game is On" is a perfect piece of music, clockwork spinning noises emphasizing the jauntiness of Sherlock as he drags Watson on his latest case before sliding into the more subdued, vaguely ominous thrum of its second movement descending into the madness of the third part, violins shrieking as the action reaches its apex.

Normally, with such a degree of pleasant surprise, I'd be eager to move forward to Season Two. Unfortunately, I know the first episode of Season Two is... a doozy. To say the least. A doozy that may get its own essay because of how doozy-ish it is.

In any case, I ended up really enjoying going back to Season One of Sherlock! Super down to talk further about the show, future write-ups, and my horrible taste in fictional ships and men - shoot me a message, reply to this post, wherever, I'll be here! <3

[thewickedkat]

if James Somerton gave the slightest sliver of shits about queer history (he doesn't); if he gave the measliest modicum of mierdas about queer representation in media (he doesn't), then he would be painstakingly annotating his videos with every single source he 'researched' for his content. he would be making it so painfully obvious where he found his information and to whom he is indebted, so that his viewers could deepen their understanding of our shared queer culture and community and how it is so very necessary to keep searching, to keep discovering for ourselves, so that the impact of our creativity and art and contributions to the world at large aren't eroded or forgotten. if James Somerton truly cared about queer erasure and how our history is still being diluted and watered down and just lost, he would be doing the youtube equivalent of passing out handmade chapbooks and zines. he would want his viewers to know the names of whom he is citing, their works, their art. if he cared, he would describe in great detail the shoulders of the giants upon whom he is standing.

but no. instead, he is taking advantage of the insular nature of online queer culture and using the gaps in their knowledge to present himself as the One True Twink Who Knows Things.

it is beyond insulting. it is offensive (and i do not use that word lightly). he spits on the memory of everyone we lost to the AIDS epidemic and all those who made it through the other side, battle-scarred and traumatised but still here and thriving with love and generosity in their hearts. he scorns those who are still questioning themselves, those who are still willing to learn, those who are willing to be good allies and want to do right by us. he mines our collective pain for clicks and views and ignores the joy and laughter and happiness we have also experienced through the many many generations.

how dare he. how dare he.

[natingtoncat]

NO FUCKING WAY

[greggslife]

james somerton is the gift that keeps on taking.

[lotus-sunn]

i cant with the internet anymore what the fuck. WHY ARE PEOPLE SO PETTY (im loving this dont let this text fool you)

You cant make this shit up

[caes-funnyarc]

hey guys saying "you were boring in highschool if you didn't have sex/do drugs/get in trouble" etc. is very akin to james somerton's "only boring gays survived aids" tangent

and in the spirit of "i hate plagiarism," credit to @/pieisnotreal for helping to clear up my post (i reversed the effect on accident, sorry!)

[lilfrogfella]

james somerton 🤝 cait corrain shitty apologies once their actions against marginalized communities come to light, exposing the fact that they know what they did was wrong but hiding behind mental states is the excuse of choice

[robinsversion]

How I sleep knowing I always cite my sources:

(First image from the film Drip Dippy Donald (1948); second image from season 4, episode 3 of the Simpsons, “Homer the Heretic” (1992).)

[kizunatallis]

For the love of God, please stop getting your information exclusively from video essays, tiktoks and podcasts.

I feel like those of us who are longtime Video Essay Enjoyers™ have been aware something was suss about James Summerton (I remember when Lawrence called out Summerton for stealing their Hannibal essay years ago) for a while. But I think it's cynical to reduce Hbomberguy's vid to just a "dunk" when it's more of an odyssey railing against how influencer and content culture devalues the work of culture critics, academics, and activists. As Harris said, it's not a problem exclusive to Summerton, but a corrosive attitude baked into late capitalist "content" culture. The video is a clear exploration of the consequences of all media and art being flattened into "content" creates a system where the labor of marginalised creatives and storytellers are exploited and stolen by people with more privileges and resources. As someone who has witnessed rich tiktokers quote articles and posts I've written verbatim without credit to make money from their 1000s of followers, this video hit super hard for me. From James Summerton claiming the works of dead gay activists, to Charli D'Amelio building a career from stealing dances created by Black tiktokers - plagiarism is often inseparable from discrimination and exploitation of labor rights. Harris' video is about how the nature of influencer content culture has further exacerbated the exploitative systems that already existed, wrapped up as YouTuber drama analysis. But I hope people don't miss the forest for the trees and remember you should always be citing your sources, fact checking, and be very wary of people who don't. And for the love of God, please stop getting your information exclusively from video essays, tiktoks and podcasts.

[dimonds456]

So I was re-watching Hbomb's plagiarism video, and I noticed something really funny.

Allow me to show you.

Lol whoops.

[triangulor]

Hbomberguy, approximately every 16 months:

[chihirolovebot]

on a real note that bit near the end of the video was genuinely haunting. hearing somerton talk about how gay writers are erased from history was one thing (with all the irony being that he stepped on the backs of numerous underpaid, underprivileged and uncredited queer writers to build his youtube channel) but when h revealed it wasn't even somerton's quote in the first place? the worst, most crushing sort of irony. how do you lament about the erasure of gay people and gay writers in history... whilst erasing a gay writer and taking his words as your own?