#gender explorers

[ech0ech0ech0]

IN A DREAM YOU SAW A WAY TO SURVIVE AND YOU WERE FULL OF JOY

Jenny Holzer, Truisms // Bears In Trees, Evergreen // I Hope You Heal, illustrated by @Redgoldsparks, text by @prettypositivity, @i-don’t-believe-in-perfect, & @lilbutch // Juno Roche, Gender Explorers // art by @inkipri // Clementine von Radics, In a Dream You Saw a Way to Survive (The Last Poem)

[isaacbookclub]

Gender Explorers: Our Stories of Growing Up Trans and Changing the World by Juno Roche

Season 1 Episode 8

[bookwatching]

Heartstopper - every book Isaac reads in season 1

Episode 03 - Kiss

Quantum Mechanics: The Theoretical Minimum, Leonard Susskind e Art Friedman

Episode 04 - Secret

A Good Girl's Guide to Murder, Holly Jackson

Proud: My Autobiography, Gareth Thomas

Episode 05 - Friend

Pride and Prejudice - Jane Austen

Radio Silence, Alice Oseman

(Fun fact: Alice Oseman is the author of Heartstopper on which the show is based)

Episode 08 - Boyfriend

Gender Explorers - Juno Roche

There is no planet B - Mike Berners-Lee

[theeretblr]

I feel like I am getting better at achieving ✨️ Gender ✨️

[unlimitedbutchworks]

it’s kind of crazy how common the transfem experience of being othered from a queer space due to features like facial hair or deeper voice or otherwise likening them to the evil specter of invasive cis men, meanwhile the transmascs gaining the same stubble and voices are chillin if they aren’t the ones “concerned about your maleness”. really tells you a lot about how acceptable transmisogyny is to many and how pervasive transandrocentricism is

[probablyday]

millennial nerd bertie wooster for some reason

[zan0tix]

My fav agents of the transsexual empire 🫶😁🏳️‍⚧️

I think personally we should draw them as adults getting to fully indulge in their teen fashion aspirations. (see second image) Callies outfit was inspired by paint splotches and embroidery as if she made her outfit herself :) A true artist!

Third is my updated readings. I say "readings" because i believe theres textual evidence for these and its how i interpreted them from my read throughs. (Only jake has the autism symbol because hes the most explicitly disabled coded in text but all of them to me are neurodivergent)

The gender labels are used loosely bc i think each of them has an incredibly unique journey/relationship with their gender that cant be encapsulated in a small set of words, and i do not think any of them would actually fully use labels either.

I am just using these to simplify down my thoughts into something easily digestible LOL MY THOUGHTS ON THEM AND THEIR PARALLELS + MIRRORS + INVERSIONS ARE SUPER COMPLEX i think about them Genuinely Literally Every Day of my Life. theyd have to be saved for a different time </3 but ya alpha kids trans 4EVER howd hussie cram THIS AMOUNT of queerness into these guys.. will never know

[casscainmainly]

A Deep Dive Into Why Cass Threw Dick Out A Window

If you've been here long enough you've probably seen or heard of this moment, which is super hilarious and iconic. It's mostly discussed in reference to Dick and Cass' relationship. However, in my opinion Cass throwing Dick out a window had very little to do with her opinion of him, or even of Barbara; it has more to do with her understanding of romance and love. I briefly touched on this in my gender/sexuality post, but I'm going to explain more in depth my interpretation of how Dick functions in Batgirl (2000) as a whole. (This moment is very open to interpretation though, this is just my opinion!). So let's try to answer Dick's question: what was that all about?

Love, Language, and DickBabs

While Puckett's run is notable for not having Cass date anyone, romantic love does play a role in Cass' early understanding of the world. It's the impetus that spurs her to write: in issue 2, she sees a wife read a letter from her deceased husband, and her reaction affects Cass so strongly she immediately starts trying to write. (She also kisses the husband on the cheek earlier, which may or may not be a crush). Romance, and the ability to communicate your love, is a fundamental part of Cass' desire to learn language.

So we have Cass, who has experienced neither love nor language, living with Babs, who's in a relationship with Dick. This telephone conversation in #4 (the issue where a metahuman changes Cass' brain into understanding language) again links romance to communication. Dick and Babs are talking on the phone, unable to see each other but understanding each other perfectly; Cass and Babs, on the other hand, live together and can't understand each other at all.

"She can't talk, so it's not all that different [to living alone]." Babs is telling an eavesdropping Cass that her inability to speak prevents her from love and connection - a love and connection symbolised by one of the first romantic relationships Cass is consistently around, Dick and Barbara.

Dick as an Ideal

There's a debate whether Cass likes Dick or not because half the time they're friendly, and half the time she's punching him or throwing him out windows. This disparity makes sense if you consider that Cass strongly associates DickBabs with communication, understanding, love - very idealised notions - but she does not associate Dick as a person with them. Her interactions with Dick (sans Babs) are cute and normal - Batgirl #29 and Nightwing #81 feature some very adorable Dick-Cass moments, with no real tension whatsoever.

It's only when Cass sees Dick in a romantic light (as in associated with Babs) that she makes him into a symbol.

Cass often tries to copy Babs, thinking it's the 'correct' thing to do - in DC First: Batgirl/Joker, she goes after Joker because that's what Barbara did; later in Horrocks' run she'll wear Barbara's outfit. In a way, Cass' affairs with Tai'Darshan and Kon - as much as I do think Tai'Darshan was genuine attraction - is another way to 'copy' Barbara. In #42, Cass stares at a picture of Dick and Babs while asking if Babs likes boys. Obviously Cass knows the answer is yes, but see what she asks next, and how Barbara responds:

She shifts from 'like' to 'love', and Babs responds that she 'care[s]' about him. For Cass, whose arc in Horrocks' run is about parsing out the nuances of attraction, understanding the difference between like, love, and care is incredibly difficult. She struggles to separate familial from romantic (Bruce in #50) or romantic from platonic (Kon, and in somewhat the reverse way Steph). In this conversation, Cass comes to associate Dick with like, love, and care - DickBabs becomes not just a symbol of romantic love, but of any connection whatsoever.

The Old Costume

I've discussed elsewhere that Cass wearing Babs' old costume in #45 is a representation of her desire to be 'girly', and how she associates girlhood with someone other than herself, discarding her own costume for Babs'. But putting on a costume is not the only prerequisite for being a 'girl'. In Babs' speech to Cass, she emphasises being sexually attractive to men, with her final comment being about this "particular look Dick used to give [her]". For Cass, visual language is incredibly important; putting on Babs' costume is not about being or feeling like a girl, but about being perceived as one. Dick is symbolic of the perceiver: the one who can essentially 'grant' women their femininity.

But Cass is disgusted when Tim calls her hot, which adds to her confusion - why should Dick being attracted to Babs make Babs happy, but Tim (who's not a sibling at this time) perceiving her like that grosses her out? Cass' inability to feel good - to feel 'feminine' - through the male gaze is another sign, to her, of her failure to be a woman.

Which finally brings us to issue 46...

That Ableist Kon Comment

Cass finds out Dick breaks Babs' heart and then starts hallucinating on a drug. One of the things she hallucinates is Kon saying "who wants to date a cripple? Ain't that right, Nightwing?" and Nightwing responding "not me--at least, not anymore."

For the first time, we get to the heart of why DickBabs mattered to Cass: it was an example of a disabled person in a loving, romantic relationship. It goes back to that phone call in #4, where Babs implies that Cass is hard to care about because she can't speak. The Kon comment suggests Cass has carried that with her all this time, trying to find proof that she can be loved, no matter her disability. DickBabs showed her it could be done - the break-up shows her now that it can't be done.

Dick's hallucination mocks her disability: "look at her--she can't even read!" Attributing this mockery to Dick (whose real-life counterpart, unlike the other hallucinations, has never said anything remotely like this) shows that this 'Dick-as-ideal' is intrinsically tied to Cass' self-worth.

Honestly this whole post stemmed from me thinking about this one panel. There is no real reason, from Cass' view of Dick as a person, for her to think he's brave and noble and kind (more so than anyone else). But it's in the DickBabs context - that Dick seemed to love, wholeheartedly, a disabled woman - that makes Cass think this way. And now that DickBabs is broken up, it shows that she, too, is rotten to the core; that someone like her cannot be loved.

And so when Dick shows up, she throws him out the window.

Conclusion

In this moment, Cass isn't just reacting to Dick breaking up with Barbara, she's reacting to what it means to her. If Dick can't stay with Barbara, then that means Cass, as another disabled woman, is also unable to be loved. This all leads up to #50, which features another Cass punch to Dick's face, but more importantly is when Bruce and Cass reconcile through Cass' first language. It's a confirmation that though her verbal skills may not be fully developed, she still can communicate, and she can love and be loved.

I don't think a lot of the ideas I touched on here are fully developed, or conclude cleanly. For example, how does Cass' 'failure' to be a woman relate to her inability to be loved? Is she able to have a stable romantic relationship? There are lots more questions, but the role Dick specifically plays in Cass' understanding of romance is probably not going to develop further. I just think it's interesting how Horrocks uses the Dick-Babs relationship to explore Cass' identity.

[bunnieswithknives]

Fop redesigns for funsies but also bcs I saw some star heel boots and had to put Dale in them immediately.

[queer-reader-07]

i think one of my spiciest takes is that i think cis people should be cis on purpose and not because it’s the “default”

ok hear me out before you go into the notes, i have reasons.

the main idea is that i think EVERYONE should explore and interrogate their gender identity and what their gender truly means to them. because 1) i don’t think any harm will ever come from wanting to understand yourself and your existence on a deeper level and 2) if everyone, including cis people, explored their gender it would be more generally accepted. thus, trans people or people questioning their transness wouldn’t be as othered when they start questioning and exploring their gender.

because here’s the deal. every trans person i know can tell you what their gender means. they can tell you what it means to be a man or a woman or neither or both or some other nebulous concept. they can describe it to you and explain it to you. they can tell you what their manhood or womanhood or neitherhood means to them, what it represents, how they knew that’s who they were.

every trans person i know (including myself) can articulate what their gender is in more words than “well i’m *insert gender* because i’m *insert gender*” (yes i know i’m always saying i can’t be bothered with gender but i do actually have a lot of feelings and words on my own)

i’ve talked to a lot of cis people about gender and they just simply can’t explain to me what womanhood or manhood is to them. so often it’s “well i’m a man cuz i’m a man. i look like a man i act like a man etc etc.” but what does a man look like? what does a man act like? and it’s usually people who consider themselves trans allies saying these things!

people should explore their gender. they should understand it more deeply. i don’t say “explore your gender” as a way to try and force anyone into a realization of transness, i say it because i want people to understand their gender. whether that be cis or trans or whatever.

to understand yourself more deeply is to understand your place in the world more accurately. learning more about who you are, and why you are, and how you are never hurts in the long run.

so yeah. be cis on purpose, be cis because you know deeply that you are cis, because you understand what that means to you.

and be trans on purpose. use the labels you like deliberately. dress in the way that brings you euphoria and mitigates dysphoria because you deserve that.

simply be on purpose. walk through life with deliberate steps, with solidified intent. because without doing so, how can we find our purpose on this earth and in this life?

[livinginadumpster]

The way Dead Boy Detectives handles queerness and labeling of sexuality is honestly so refreshing. The way it's handled makes is very obvious that it's not the kind of media in which characters are assumed straight until proven otherwise; the characters' sexualities are left undefined because the focus isn't on specific labels, it's on the relationships between characters.

As the show goes on, it becomes abundantly clear that the characters' sexualities are a non-factor. Sure, Jenny dates women, but a label is never put on that. Same with Edwin - he is clearly interested in men, but not once in the show is he labeled as gay. It's not necessary in either case; labeling these characters wouldn't add anything to their stories or character arcs. The show is completely relaxed about labels because they're almost never a part of or even relevant to the plot.

And so, in a show that is so utterly unconcerned with labels, it would also be exceeding strange to impose the label of "straight" on any character. Characters like Charles and Crystal, who clearly demonstrate attraction to the opposite gender, don't come across as strictly heterosexual, they come across as people experiencing human emotions. And a character like Niko, who never expresses romantic attraction to anyone, really can't be assumed heterosexual either, because it simply wouldn't be in line with what we know about her.

Heterosexuality never comes across as the default in this universe. It never seemed as if the writers automatically assumed any character, no matter how background, to be straight. Queerness is explored not as a defiance of the norm but as just another way of loving someone. In a world where being queer is always viewed as alternate or deviant, and where coming out is a lifelong process that begins again every time you meet someone new because you're always assumed cishet, this kind of complete abolishment of heteronormativity is a breath of fresh air. Seeing queerness handled in such a casual way onscreen honestly feels a little bit revolutionary.

[lulu-draws-stuff]

My sort of future au designs (traced/edited their psychonauts 2 renders for this) :] they are like 13 here

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[driftingballoons]

Female treecko hero thought process

Bonus:

[rosesoma]

transfem laios having the worst time of her life growing out her hair bc there's inevitably that period where she HAS to look like her dad bc she doesn't want to cut her hair short again but she also can't force it to grow out faster either

[dennisboobs]

:) i certainly have no issue dressing in drag :)

^guy who has no issue dressing in drag btw

glenn said that dennis' drag name is victoria von hemen btw

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