#he’s such a stereotypically masculine character and to see him explore this side of him means the god damn world

[letswishuponastar]

something about a main character on a hugely popular cable tv show that has been -on the surface- shown as a womanizer for 7+ years coming out as bisexual on a hugely popular cable tv show is making me more emotional than I thought it would

[vincenteuniverse]

Ken's progression OUT of color

This is kinda a cornplate thought that I had nowhere else to put but I love how in the Barbie movie(SPOILERS), Ryan Gosling's Ken's outfits symbolically showcase his "descent" into full patriarchy mode over time.

At the beginning of the film Ken's beach outfit (his default) has an equal balance of pink and blue. Pink is obviously Barbie's color, and shows Ken as fitting well into the femininity and style of Barbieland, while blue could be argued to be Ken's color (a scene later when he's especially confident features him wearing all denim blue, and the stereotypical gender of these colors, especially when found in kid's toys, supports these basic binaries as associated with these colors).

When Ken decides to leave Barbieland with Barbie to delve into the outside world, his color scheme goes full pink, desperate enough to be with Barbie that his attire reflects how dependent his identity is on hers at this stage.

However, it isn't long before Ken's exploration of the real world leads him to exciting new discoveries about the patriarchy and what it can do for him. Here he is introduced to a newfound sense of self independent from barbie, and while he still carries a pink scarf around his neck, the rest of his outfit has devolved into black and white while hers has remained colorful. As he pursues this new-to-him idea further, his worldview is becoming less unique, pretty, and vibrant(in addition to becoming much more masculine).

It is only his scarf that ties him to Barbie now, and upon making the choice not to follow her to Mattel, he becomes fully independent, losing the scarf and any trace of pink in his attire the next time we see him in his mojo dojo casa house coat and beach off outfit underneath.

In his most masculine moment during "Just Ken", he and the other Kens all wear a uniform of the most traditionally male ben shapiro outfit ever: A T-Shirt, belt, and dress pants. All black(and no white either to contrast like the previous 2 outfits). It's fitting that the Kens, in their destructive warpath, imagine themselves as perfectly cleaned up yet violently masculine dancers in their heads, their outfits devoid of all of the flair and character of Barbieland.

(excuse the shitty picture) After Ken has his little self-growth moment, his new sweatshirt reflects the changed and much more balanced man he has become, much more accepting of himself and a life where he can co-exist with Barbie without being with her. This outfit is again an almost perfect balance of pink and blue, both sides of Ken now a bit more at peace, his colors not pushed out by the LITERALLY black hole of toxic masculinity.

The color scheme also matches the roller blading outfit, so perhaps it shows a somewhat intermediary stage of Ken's development wherein he is still attached to and at peace with Barbieland, but where he is starting to become more independent as well. anyway these are all fun and i genuinely have no fucking idea why Mattel didn't cash in on literally making dolls of all the characters and their outfits these would be so fun to own

[irisbleufic]

The shade you’re throwing @ intersexist assholes in the tags on the IWTV story you finished today have me crying with laughter and also applauding, but I also feel mad on your behalf that something probably brought that on. Was someone a dick to you? It’s been a bad year for what y’all in the intersex community have had to put up with what with the Olympics, I can imagine :|

Hey, much appreciated, anon 💙 It has been a bad year for that, yeah. I’m not so much bent out of shape as annoyed about something that’s potentially intersexist in tone (see under the cut, where I try to pick it apart a bit) that I saw a while ago when I looked through the notes people have left on series-level Caldera bookmarks.

I sometimes forget that people leave annotations for themselves and others, and one in particular sort of made me blink and wonder who the fuck else might be reading and making themselves miserable by sticking around and reading content they could have so easily avoided and, you know, not bothered to bookmark? IDK, man, why not just bookmark the single story or stories you liked early on rather than bookmark the whole series to bitch about something the writer is examining at the intersection of gender identity and biological sex variations (especially when that’s something the writer reckoned with over time themself, and which plenty of other intersex people reckon with, too). Anyway, the weird AF note in question:

Like, I mean…okay? Thanks? Glad you liked a bunch of it, whatever that means, but gender identity and biological sex variations are running themes for half or more of stories in the series at this point, and not just for Armand (there are three characters for whom this is relevant, one of whom is canonically intersex in the novels, but whose portrayal has never quite sat well with me given the similarities to how intersex athletes are treated in the media—Petronia from Blackwood Farm; any other treatment of her/his/their monstrosity would’ve been brilliant, because, you know, fucking vampires, but it definitely crosses a line that plays into an awful stereotype). Getting back to Armand, though, the last sentence of this note is hilarious to me. In my stories, he doesn’t even change the pronouns he’s using even if, armed with new knowledge about himself, he’s also acknowledging a level of gender fluidity that he might not have been comfortable explicitly articulating and fully exploring before. I have a soft spot for writing about genderfluid/nonbinary characters who use he/him pronouns alongside the other ones I write about who tend to use they/them pronouns. There’s a relative lack of he/him gender-nonconforming characters in fiction, in my experience, so I have a few of those running around in fic across my fandoms. Given the fact that Armand’s pronouns haven’t changed here, this reader could pretty easily have just ignored everything else. I don’t even think Armand as I’m writing him is terribly offended by anyone who still calls him a man on days where he’s more masculine-presenting in the way he dresses, and there are still plenty of those. The bookmark comment feels sillier and sillier the more I dig into it through the lens of close reading my own text, and the discomfort feels a lot more like it’s down to the intersex theme than the gender identity theme even though the two are connected in the narrative.

If you find the existence of intersex people trying to work out their gender identity in fiction triggering, I regret to inform you that this is something that happens all the time in real life. And that you might hear about it, because we do talk about it. So, pro tip: heed the fic tags and consider not bitching about it where the author is going to see that and then just double down on being a thorn in your side, and anyone else’s who thinks like you, by writing even more about it.

[paperstorm]

I really appreciate the direction the show has taken Carlos's character since Gabriel's death. I know some people were upset about how Carlos went after that informant in s4 but it made perfect sense to me. The whole point was that Carlos was acting out of character in his grief and need for justice. And it made perfect sense that it would be Owen who would talk him down because of the role he had played for Carlos. I get people who felt that it was wrong to have Carlos behave like that when no other character has with grief (like TK with Gwyn) but it's important to remember that the way Carlos lost his character isn't like how other characters lost loved ones. The way Carlos reacted in the immediate aftermath isn't because that's how the writers see him but rather because he is so wrapped up in his grief that he did something he would never do otherwise. Carlos's whole character has always been how gentle he is and how rational he is.

And then he got to have an entire arc that spanned the majority of this season where he finally gets justice and his grief is explored and he gets closure. I just really love how they have made Carlos a gentle person who does struggle with his masculinity because he's been made to feel like he's too soft but he never loses that softness. There is something to be said there for breaking stereotypes. And the fact that he got this big emotional arc that culminated in him getting justice and coming out the other side of his grief and choosing to move on with his life

Yes I agree with this I think the way that Carlos has been written from like mid-season 4 on has been truly great and truly special. His character has become so fleshed out and multi-dimensional, his grief has been handled with so much care and nuance and he's allowed to be imperfect in a way that feels realistic but also so understandable given what he's going through. I wasn't entirely expecting to get an actual canon acknowledgement of the whole "I was so obsessed with finding my dad's killer because I thought it would make the pain go away, but it didn't and now I don't know what to do" thing, like I made meta posts about it earlier this season because I thought that would be such good and realistic writing but I was so pleasantly surprised when we got it in the actual dialogue! Rashad is never beating the Carlos favoritism accusations and like most things there are positives and negatives to that, but I think the writing of his character has been truly superb.

[purplespacekitty]

Three generations of Sisko men gathered close for a jambalaya dinner in Ben's ancient Bajoran lightship, as illustrated by celebrated science fiction writer, Benny Russell. Russell keeps a souvenir baseball on his desk, signed by the legendary Willie Hawkins. In the corner, Russell stashes the sketch that gave him the inspiration for this family's story: space station Deep Space Nine.

Deep Space Nine is my favorite Trek. It has nuanced, 3-dimensional characters who become part of the show's world over the course of 7 seasons. There are some off plot lines here and there but for the most part, the story seems to write itself. I've written at length on here about how much I love Captain Benjamin Sisko and I'd like to share a project of mine I did for a class (I have so far managed to fit Star Trek into three separate final projects for three separate classes, one of which I already posted about here).

Through the lens of Sisko's character, I wanted to examine Deep Space Nine's portrayal of Black masculinity, fatherhood and Afrofuturism with three episodes (although one's a two-parter): "Homefront" (Part I), "Paradise Lost" (Part II), "Explorers" (which I made a post about here) and "Far Beyond the Stars". Initially, the idea was to focus on Ben's fatherhood to Jake, how from the viewer's side of the screen, the two of them break down numerous racial stereotypes around Black men, an important thing to remember with DS9's debut not being far removed from the end of the Reagan Administration, from which sprung stereotypes of "absent Black fathers" and "welfare queens." As I continued with this project, I found I also wanted to analyze how Sisko's relationship with his own father informs his parenting of Jake and what it means to have three generations of Siskos in one room, on one planet. That was how I got "Explorers" and "Homefront" and "Paradise Lost" in there, as I wanted to showcase episodes that focus on these exact dynamics.

"Far Beyond the Stars" offers a window into Earth's history as a commentary on racism within creative circles and the systemic racism that shapes the world we live in today and the world of Deep Space Nine. It not only invites viewers into the life of Benny Russell, a Black science fiction writer from the 1950s, but also invites us to consider the link between the future he envisioned of the life that Sisko leads in the 24th century as a Black spaceship/space station captain, father, son, husband and cook who carries the weight of his ancestors' legacy on his shoulders and the reality Russell himself lives in day by day. "You are the dreamer and the dream" has a whole lot more gravity to it when you recognize it as less of an obvious observation of what we've known and been shown throughout the episode (Avery Brooks plays both Sisko and Russell) and more of a nod to the Black future that Sisko inhabits and that Russell dreams of. As a creation of Benny Russell, Sisko and his family are Afrofuturism in a nutshell, carrying on the cultures, stories and knowledge of their ancestors as they live their lives in a future those ancestors imagined and built. Furthermore, Benny Russell's Deep Space Nine is not only important because it features a Black space station captain but also because it encapsulates a fragment of Russell's drive to write his own stories for himself and his Black readers, to breathe life into his creations, to share his art in the ways that he wants to. To cherish his experiences and ideas and imagination and reality through the creative process of putting pen to paper, stamping ink to page, painting scenes to canvas.

The DS9 finale was originally going to see Benny Russell wistfully wandering the promenade alone and implicate him as the creator of not just the story of Deep Space Nine, but of the Star Trek franchise as a whole. Obviously, this concept did not make the cut, but Strange New Worlds' "Elysium Kingdom" follows another story written by Russell, solidifying him as a real person who lived in the 20th century within the Star Trek universe and who presumably continued to write stories that got published after the events of "Shadows and Symbols".

Comprised of screenshots from "Explorers", "Homefront", "Paradise Lost", "Far Beyond the Stars", "Shadows and Symbols" and "Civil Defense" - in which Dukat flicks Sisko's baseball off his desk - (and also a picture of a random coffee table taken by me because we see surprisingly very little of Benny's desk), the collage above is my humble attempt to honor Benny Russell and his creative vision.

[baddygab-bi]

My theory is that Eddie is going to be written as an ever straighter man in 7x05. Based on the leaks (however true they are), it seems like I’m going to be right, but I was thinking all of this before the leaks came out. I won’t say what they are, only the things I’ve been thinking for weeks or things that can be easily assumed based on writing and plot. (Also please don’t send me more spoilers, I want to have some surprise)

In s7 so far, Eddie has been seen as a guy who married a woman. I thought the line “you mean slept with,” was weirdly included to show that Eddie likes to sleep with women. Also he enjoys cars, martial arts, going to the bar, and basketball. Can queer men like these things? Of course, Tommy does, Buck does (mostly), but the point is that they’re seen as stereotypically straight-man stuff, which is why it’s more shocking that Tommy and Buck are queer. They’re giving Eddie more traits to make him ever more masculine. They mention his girlfriend a lot and show them standing pressed-up against each other.

We all know that Buck is going to come out to Eddie in his loft. I can 100% see them having Eddie being the very supportive straight best friend to Buck, because I think the show wants that dynamic of “queer man and best friend face no awkwardness, just support and love.” To show the audience that two men, even one who’s bi can still have a close best friendship with another man without it going romantic.

Oliver and Tim both said things along the lines of the crush not being on Eddie, no plans for buddie right now. Ryan said (around the time of shooting this episode) they’re going to be closer than ever, which I assumed weeks ago was that Eddie is going to call Buck brother in that loft scene. Closer than ever? They haven’t recently defined their relationship at all, so being referred to as brothers would definitely fit that mark. This also would create deniability for the writers not making buddie canon, because “they’re brothers.” Oliver also said “if one character realizing his bisexuality” and I know he was talking specifically about people’s reactions to Buck, but the singularity of it made me instantly think that he’s the only one exploring his sexuality this season.

Next, we know Eddie and Marisol have a sexy time moment in this next episode because the actress posted a picture. Easiest way for the audience to see Eddie as a straight man? Have sex with a woman. “But Buck had lots of sex with women and he’s bi!” True. But you have to think of it as a general audience, mainly straight, viewer. Woman = not gay. Especially with what (according to leaks) seems like the plot will be more about Eddie wanting sex than the other way around. We know he and Shannon had a good sex-life and that it’s implied that he and Ana hooked up at least once if not more. He’s no Buck 1.0, but when it comes to Eddie’s sex-life, the writers aren’t shying away from him being seen as a manly man.

In the promo we see him and Marisol at the restaurant and the one thing I noticed first was the fact that Edy’s shirt is low cut and her push-up bra is truly doing the most. Like half of her boobs are just totally out. Wardrobe dressed her to look all sexy (they very likely provided the bra too), to show that Eddie is a typical dude-bro with a hot female girlfriend. In an episode that Ryan mentioned included something about intimacy, and from what I know of the leaks, it’s really digging into the fact that men have sex with women and it’s all the show that Eddie is here for that.

If buddie ever goes canon, the earliest I can imagine things even starting on Eddie’s side would be season 8. I think Marisol is here to stay until further notice, which makes me sick, but I’m theorizing that the “looks at their relationship closer” thing will be him asking her to move in, because that’s the only thing it can be. From what we’ve seen and heard, their relationship is going good, and even though these writers have lost the plot (literally and metaphorically), because it’s been less than 5 months of dating and they’re still getting to know each other, they think that seems like the next step in their relationship. It once again will highlight the way they want Eddie to be seen as a macho guy. I know so many people are thinking that the writers are just putting Eddie through this relationship to show that he’s a repressed queer man, but i don’t agree. I mean, yeah he could been repressed, but I don’t think that’s why the writers are doing what they’re doing. I think we’re trying to find something that they’re not giving us, because what they’re giving us just feels so wrong with everything else we know about Eddie so far and where his story was leading to in s6.

Plot wise, buddie still made the most sense. Past tense. The end of season 6 really fucked with things to the point where had they gotten rid of both girlfriends, it would’ve been fine, but it still feels like Buck and Eddie are too separate right now for it to go romantic as it is right now. But as for partners, yeah, Buck and Eddie will always make the most sense for each other in theory. In practice though, the show does have to worry about ratings and hopefully the reactions to Buck show them that they don’t have to worry about it negatively affecting the show, but I just really don’t think that they’ll have Eddie be anything other than straight because they’ll lose fans that way. Granted it’s homophobic fans, and they’ll gain more queer fans, but when you think about the business side, the numbers would jump too much. I love how much we all love watching 911, but people watching through pirated links, illegal streaming sites, tumblr gifs, TikTok’s, and uploaded google files, while they are obvi massive fans, aren’t considered in the viewership counts. The show may gain a huge influx of viewers if Buddie happens, but the numbers they’re looking at aren’t tumblr users, they’re people watching on Hulu and live TV. Which tends to be people in older demographics, people they risk losing if they have the other “hot straight firefighter” “go gay.”

This isn’t to be negative. I love buddie. I love BuckTommy right now too. I’ll be so sad when Tommy leaves. I’m just trying to be realistic because I can see so many people getting their hopes up, and not just in a fun shipping way, but in a real way where they’re confident buddie is going to happen this season. I’m so scared for the show and everyone’s heartbreak when it doesn’t happen.

[gegengestalt]

Some thoughts on how Dmitri Karamazov and Pavel Smerdyakov are perfect foils

*Keep in mind that this contains spoilers for the entire book and that in order for this comparison to work, one must assume that the rumour about Fyodor being Pavel Smerdyakov's biological father has to be true.

While there is a lot written on the theological debate of Ivan and Alyosha Karamazov, I have yet to see a comparison of Mitya Karamazov and Pavel Smerdyakov. Perhaps I haven't explored enough, but these are my two cents (dare I say 3000 rubles) on the matter. Both taken care of by Grigory, both suspects in the murder of Fyodor Pavlovich, yet two men couldn't be more different from each other. I will write down my thoughts in this order:

Different from their birth (social circumstances)

Contrasting the individuals (their descriptions and characterization, side by side)

Brotherhood (relationships to Ivan and Alyosha, preparation for the next point

Narrative (their place in the narrative)

1. Different from their birth

From even before they were born, their paths are opposed. Mitya is born out of the union of Fyodor Pavlovich and Adelaida Miusova, an aristocratic, beautiful and educated young woman who married Fyodor against her family's wishes and was no innocent victim of his. Even when he left her son, it was her choice, though a hard one (and probably the best one, considering her fate.)(BookI,chapter1). Stinking Lizaveta didn't have much of a choice. She was a poor and mentally disabled woman who suffered violence from Fyodor shortly after Adelaida left, and died in childbirth (BIIIch2). Mitya keeps a connection to his mother through his inheritance, but for Pavel, it's a curse. He is "the stinking son of Stinking Lizaveta", and ironically the child that remains in his father's home for the longest time.

From these circumstances, the children grow up to be a firstborn who feels entitled to what he feels is owed to him, and an illegitimate son whose work as a servant is taken for granted. Yet, even when Mitya is of a good social position and Pavel is of a lower one, Mitya is the one who seems to sink below what is considered to be how an aristocrat should act in public and is compared to a beast, and he has often surrounded himself with peasants in his parties. Pavel is the one who takes small steps to strive for more than what he's given, he likes to dress well, he learns and has aspirations beyond what he's expected to do. (For this whole paragraph, BVch2)

2. Contrasting the individuals

Their differences come down to individual characteristics as well, and it's evident even in how they present themselves. Mitya is described as muscular and sporting signs of masculinity like a moustache that is often seen in military men (BIIch6) He walks with long strides, he's loud, outwardly emotional and often gesticulates in exaggerated manners. Pavel's main physical feature is his weakness and sickliness. Compared to Mitya's masculinity, Pavel is portrayed as emasculate, as he is compared to an eunuch. He has a silent and discreet demeanour, and he's not very expressive. (BIIIch6, BIXch6)

Mitya is impulsive. This causes him to have a temper and not be very smart in the way that requires focus, patience and forethought (seeing him as completely stupid leaves out so much of his character). What Pavel lacks in the physical strength that Mitya has, he makes up for with a more calculated and patient approach. He's neat and meticulous even in the night of the murder, while Mitya runs around stained in blood. Speaking of meticulousness, it's interesing to me how Pavel's behaviour could be described as effeminate, while Mitya's masculinity is overdone through several masculine stereotypes at once (the knight of honour, the brute, the sensitive and tortured artist).

When it comes to women, God, their country and poetry, their opinions are comically different. Mitya enjoys the attention he gets from women and returns it, he expresses love for God and Russia in the text and he's very fond of poetry, quoting it often and even speaking with rhymes and wordplays at times. (BookIIIchIII&IV, Epilogue 2). Pavel happens to disdain all of these. While he holds contempt for both men and women, the suggestion of marriage digusted him. He rejects God, claims to hate all of Russia and declares that poetry is rubbish ("who ever talks in rhyme?" well, it seems like Mitya does)(BIIIch6, BVch2).

3. Brotherhood

Ivan and Alyosha, the children of Sofia Ivanovna, have contrasting relationships with their half- brothers. Mitya, who quickly grew fond of Alyosha, puts him in a moral high- ground and pours out his heart to him. Alyosha accepts it and reciprocates his brotherly love, even if he isn't as outwardly enthusiastic. Pavel, on the other hand, looked up to Ivan on the basis of thinking they could be alike and shows great interest in Ivan's displays of intellect. Ivan is increasingly scornful of Pavel as the story progresses. Ivan and Alyosha's contrasts extend to their half- brothers as well. Mitya and Alyosha are the life- affirming pair of half- brothers, while Ivan and Pavel are the pair with the ideas deemed destructive by the narrative.

Two fun contrasts I noticed, as a side note:

Mitya and Alyosha are two sides of not working for money, and Pavel and Ivan are two sides of work.

Book III ends with Alyosha and Mitya parting ways and Book V ends with Pavel and Ivan parting ways.

4. Narrative

While Ivan and Alyosha carry the theological and philosophical discussion in the heart of the book, Mitya and Pavel are the main players in the world that puts the theories and ideals to the test. Dostoyevsky's narrative attempts to make the reader sympathize and have faith in the greatly flawed human being that is Mitya. Those who believed in his capacity for spontaneous good will never believe that he murdered his father, while those who didn't would have a harder time believing in his open- ended redemption. Pavel's case is a little more complicated. His inner thoughts aren't as exposed as Mitya's, and his motivations aren't explicitly nor reliably stated, so it's harder to consider his importance unless one pays attention to how the narrator presents him as an outsider, a shallow presence. Not even his relationship with Marya is explored. I have my reasons to believe this may be a deliberate choice, since a theme in Fyodor Dostoyevsky's work is the suffering of the lower classes. Mitya is a great character, but Pavel isn't, not because he's badly written, but because perhaps his conflicts aren't Mitya's intense and paradoxical angst and passion. Perhaps there is a lot of boring and unromantic pain in the world.

Mitya and Pavel execute Alyosha's and Ivan's respective positions, even further. Mitya's religious fervor surpasses Alyosha's, his faith is a simple and unwavering affirmation even when he's drowning in the guilt of sin or Rakitin pesters him to dissuade him from his faith. His religiosity goes so far that he overdoes one of the core ideas of the book: while he embraces Zosima's idea of guilt for all, it doesn't just mean that he should be guilty for everyone, but that everyone is guilty for everyone else. Those are fundamentally different things. As for Pavel, he dared to do what Ivan doesn't, he put his ideas in practice (BXIch7-8). However, I don't believe that he was directly inspired by him. I think he adapted the ideas to his own interests. Sometimes people love to realize what they already knew, and wait until they find a justification. One of my favourite things about Dostoyevsky is that we see the philosophical content happen in the world of his stories.

From their birth to their fates, two men couldn't be more different. Mitya, who acted or expressed himself in a suicidal manner well over ten times, ultimately stays away from the pistols and declares a sense of responsibility for a crime he did not commit. Pavel, who was shown to feel attachment to his own life and save his own skin, destroys himself out of his own volition after tormenting Ivan.

Thank you so much for reading if you made it all the way to the end!

[castlebyersafterdark]

genderplay of the late 60s early 70s in music resonated because I really think that's accurate to Will, that's something that he could escape into and explore. Men, but outside of society's norm. There's definitely different ways to depict gnc elements and queerness and it's not always about wanting to change gender, but sometimes to exist off center, leave gender roles behind.

i also think its important and special to acknowledge that all this can be happening without will quite knowing whats going on, as is so often in teenagehood. girls can be drawn to traditionally masculine clothing for reasons other than queerness, maybe even practical reasons, and for boys the other side of the coin which is allowing some exploration of that which is not considered practical, or trad femme. when people discuss gnc will, they often use they way he is perceived by others (a tricky one, as the town is already working off of stereotypes about what a boy should be like), and sometimes his behaviour (being the show's damsel, crying). but does he even cryb that much? is it unwarranted seeing what he's been through?

he was also stereotypically masculine in some ways during his introduction - he was honest with mike about the roll (gentleness, loyalty, honour - traits more related to the fantasy roleplay game than gender) and then he was trad masc with the gun and his escape to the shed. the layer beneath is, ofc, lonnie's influence and the fact that will didnt fire the gun in the end, breaking that trad masc mould, but i still think those behaviours are just as related to fear responses + cleverness and smarts rather as gender or gnc-ness.

will loves bowie and glam rock, but he dresses pretty 'normal' and conforming for the era - until s4, where he's a little cuter, but it's still very straightforward 80s garb, and hints that his family have come into money (he knows how to groom himself and can buy nicer clothes now). 80s fashion, after all, was much more 'femme' and exposing compared to whats considered masc these days. the androgyny of musicians in the era was often related to theatricality or performance in the eyes of the public, while queer folk (and music stans) may have known more about what bowie or bolan's experiments with style also meant. but these are still all surface aesthetics! look at the hyper-masculinity of long-haired metal bands from the time. short shorts in the 70s and 80s weren't only seen as gay, queer or gnc. even will's tight and small clothing in s3 is more indicative of his family's class and wealth (hand-me-downs from jon, or thrifted) than of his self-expression.

i love an idea of future will that experiments with makeup. + what it would mean for will to be gnc means something different through our modern lens than it would have back then. will is both in so many ways - he's of the real world and also of the Upside Down. He's sweet but also fierce. He's a victim and a warrior. He can be viewed both as gnc and not, depending on your lens: a modern sensibility, the overall narrative, ST as a piece of art, versus music, idols and fashion of the era. Mostly i think will works best because he isn't categorical as either one, but rather is both at once (impossibly, but life is philosophical like that and so is the best art!). So i would say he is both gnc and not gnc!

Very good read of everything!! Thank you for the insight! Not much to add from me, rather just sit with this because there are a lot of good points covered here to ponder. That's really what I like about Will and his place in the show and his place in the fandom - there's a lot to build on from canon but he's also a little mysterious, and depending on how you analyze and interpret him - multiple ways to go that make a lot of sense for his journey (as long as he's not some badass out of character action hero masc guy or overly aggressive - who's that? Not my Will haha). The thing I like most is that certain traits and ideas can often change a character, but leaning into a gnc aspect with Will doesn't change him, only builds on what's already there. I don't think it fits for everyone.

[sasheneskywalker]

too shy to come off anon since eng is 5th lang but vvv interested in the omegaverse poll so wanted to just spill guts for a bit here.

I think Dick is particularly flexible to give a secondary gender to? So I'm really liking to see how people tilt to one side abt him LOL, it's interesting! Honestly, I dont mind any alpha/omega/beta signing for most characters as long as the portrayal hits. There's a lot you can do for Dick with any of the secondary genders, making him not to conform to some ideals as well as explore his struggles in diff ways.

Just throwing ideas out but maybe the beta assignment helps explore his peacemaker qualities with his family and can be used to balance the whole wayne family as a whole, the alpha one will bring more into light his issues with 'temper' (not really saying temper in terms of anger, but I love how at times he can be hardened and a little assholeish due to his pain, grief and upbringing and yet when confronted with it, is also someone who can evaluate himself well etc etc, it's wonderful) (more parallels with Bruce, more projection BY Bruce??) stuff like that! Beta and Alpha is what I tilt towards LMAO, but there's for sure so much to be explored by him being an Omega, it's just... not my cup of tea if I think about his position in the narrative as a whole (not just position in the batfam, but most incidents that've happened to him) and considering what social dynamics are usually in ABO verses.

But that depends from person to person! I just can't see him as an omega unless we're not including omega discrimination in society (which is fair!) but different strokes for different folks. It's just not a narrative vibe for me.

Somehow though, JASON is 100% an omega to me in any case so idk, (will explode if his 'agression' is ever inherent to him, pushing typical alpha traits on him just makes me offput + omega jason is fun to explore narratively to me in juxtaposition to alpha/beta dick too!)

Anyhow, it's so cool how people do have diff designations for every character, this was fun, tq! Would love to hear ur thoughts :)

thank you for sharing your thoughts! (don't worry, english also isn't my native language. and your english is great! also, you know five languages? mad respect.)

i didn't include the "beta" option on the poll because i wanted to see which "extreme" people would pick and now i regret it a bit. i was curious how other people hedcanon him, especially considering there's an entire fandom event dedicated to omega dick.

i've had the exact same thoughts as you. if we're going with traditional omegaverse traits and assuming personality is in some way influenced by the dynamic, i can see dick as every dynamic (alpha, beta, and omega). beta dick as a peacemaker, balancing the family. alpha dick as a leader, determined and persistent with a bit of a temper and a manipulative streak. omega dick as an empathetic and supportive person, the heart of the dcu. (also, a nature vs nurture debate in the context of omegaverse would be very interesting.)

i'm a big fan of making the omegaverse world mirror real-life, including discrimination and darker aspects, but i know it's not everyone's cup of tea. i can see omega dick fiercely fighting against the stereotypes that omegas are weak and shouldn't be heroes and struggling under other's people expectations (especially bruce's) compounded by his dynamic.

i think no matter which dynamic you pick for him, it recontextualizes a lot of his history and you can have a lot of fun theorizing which canon events or relationships would change depending on his dynamic (and your overall omegaverse worldbuilding).

i also headcanon jason as exclusively an omega. i like that jason at first glance seems very traditionally masculine: a muscular and tall antivillain/antihero with loose morals who uses guns and has a vendetta. but he also has traditionally feminine traits: as robin he deeply cares about abused women and victims of sexual violence, he reads romance novels, and he cries and shows his emotions openly. making him an omega contrasts his image as red hood even more. i imagine being an omega villain/crime lord would be particularly difficult and opens the door to metaphorically exploring his feelings about gender and people's perceptions of him. (that's also why i like fem!jason and trans!jason stories.)

thank you for sending the ask, i had a lot of fun answering it <3

[alovelyburn]

I was wondering who your top five favorite Berserk characters are and why you like them? My bad if you’ve gotten this ask before.

Not in a few years! 1-3 are easy for me, it just gets tough after that because at that point there are a lot of characters I like without any of them standing out as particularly more amazing than the others.

...this is very long.

Guts Despite I guess being more of a vocal Griffith advocate, Guts is actually my favorite character not just in Berserk but in Manga as a whole, and arguably in..... fiction. I mean I can't think of anyone I like more offhand, anyway. As for why... I'm generally fond of the kind of character that he is: a complex personality with a lot of heavy issues, rage and emotional struggles. If you look at any media with a Guts-like character I probably like them - Auron, Senji Kiyomasa, Jason Todd, whatever, they're just my kind of thing but Guts is really the granddaddy of that type and he's more nuanced and interesting than any of the other ones I've personally run across. Jason kind of skirts close sometimes but it depends on the writer... and Western franchise comics are just less consistent by nature. There's also the Punisher but he's a homicidal maniac.

So, even though I like this type in general, it's sort of rare that they're the actual protagonist right, like usually the protagonist is some teenager and the broody complicated guy is like the mentor, or a scary guy they have to deal with or, in the case of a romance usually the love interest. That doesn't stop them from being fun characters that I like, but it does tend to limit how much exploration they get.

I appreciate that he's a protagonist who isn't always a nice or admirable person - that he makes mistakes and hates himself for it, that he sees his own monstrousness and struggles to control it and sometimes gives in to it (or even makes use of it). And the coexistence of his sometimes seemingly contradictory traits - his protectiveness vs the way he hurts people, his desire to belong vs his tendency to abandon, his insecurity and his cocky swag, his uncertainty vs his steel will - also makes for a multifaceted personality. Miura said he designed characters with a mind toward what they'd bring out in Guts and as a result, Guts has a lot brought out in him, I guess. Generally speaking the more complicated a character is the more interested I'll be in them anyway. This is something that's going to come up with Griffith as well, but I also have an attraction to moral ambiguity. I genuinely believe he's capable of being just as cruel, just as monstrous, as Griffith ever was (and vice versa) - and in a lot of ways we've already seen him do that - it's just that I guess a lot of people don't register it that way because his specific priorities better align with their sympathies and also he's the protagonist so people will tend to side with him anyway. But that... doesn't change that he's a person who will use a child as monster bait, or that he sexually assaulted a woman he's supposed to be protecting, or that he let the pilgrim camps around the tower of conviction get sucked into hell in order to get his ex back. It doesn't change that he's selfish and cruel sometimes.

Traditionally I also tend to be drawn to characters who kind of defy I guess stereotypical gender...norms? Guts in a lot of ways is a classic masculine type, but I appreciate that he isn't the no-emo badass that, I guess, he gets perceived as by some people. I love that he cries more than most of the characters in the series, or that his primary motivation is heartbreak over Griffith betraying him. That his rage is more cope than anything else.

I always say he'd reconcile with Griffith if he had a chance, as we know, but if you think about it that's kind of a dick move, I mean Griffith did feed the Hawks to demons and rape Casca in front of him. But that doesn't mean I dislike that I feel he'd do it, on the contrary, that just makes his emotional workings more interesting to me because it's a little desperate and sad, and a little selfish and monstrous, and I think he'd... know that it was a dick move and that he's a little pathetic for being willing to do it. And I think he'd struggle with it and hate himself for it. But I still think he'd do it. Which is interesting to me.

I also love that he's not motivated by romance. It's a rare gem of a thing, and I mean I do obviously believe he has romantic feelings for both Casca and Griffith, but even with that being the case I don't think his romantic feelings for either are his true motivators - he's not attached to Casca just because she's the woman he was planning to be with, he's attached to her because she represents the Hawks in his head. And while his feelings for Griffith have a romantic component I do think it's just one color in a massive storm of feelings. I always think Griffith is in love with Guts, whereas Guts loves Griffith which includes also having romantic feelings for him but it's not necessarily the primary driving force in those feelings.

Also, I really love a stone-cold badass. I've never been a person who automatically gloms onto the underdog, I guess; I know a lot of people are inherently turned off by overpowered characters or characters who rarely lose or whatever, but that just doesn't bother me, I love watching a character cut through an army solo, it's just fun for me.

Along the same lines, I love that he's relentless and can't and won't be stopped. This is kind of an interesting one because I feel like for a lot of people a big chunk of his appeal is that he is always kind of struggling against larger forces and he gets fucked up and he takes hits but keeps going. Whereas for me, the part that appeals to me is just... that he keeps going, whether that means fighting and fighting and never taking a hit or taking hits and getting back up is less important to me than the fact that he's always continuing to go.

And I like the way he mouths off to gods and demons.

Griffith Even though Guts is my favorite, I do actually think Griffith is Miura's master creation. The subtlety of his characterization, the ambiguity that sometimes ripples back just enough to reveal the edge of this vast and complicated personality and the way the reader is left to connect the dots is really fascinating to me - though I do wish people were better about connecting the dots instead of drawing over them.

I say this a lot, but Griffith is the one who actually embodies the reasons I love Berserk the work itself, the world, the philosophy behind it, etc. That someone like him can break is evidence that anyone can break. That someone as good as he is can be cruel is evidence that anyone can be cruel. That someone as terrible as he is can be kind is evidence that anyone can be kind. He encompasses the breadth and depth of humanity in Berserk's world, in all its beauty and all its hideousness.

I love every Griffith, though I do think all of them are distinct in their own ways.

During the Hawks Era, there is a certain innocence to him that persists despite the things he sees and does. He is... childish, I mean honestly, when I think about Griffith in the Golden Age this is maybe the main thing that comes to mind? Because he can be the adult in the room, he can be the genius strategist, the brilliant combatant, he can be serious when he needs to but these are all roles, and when his guards are down (mostly around Guts) his reserve melts and he's expressive and silly and playful and ultimately his self-image is literally that of a barefoot child.

That kind of informs a certain earnest purity that comes through in the way he sees the world and the feelings he has about things or people, and the specifics of the ambitions he holds. Even some of the things that people use against him - the piles of corpses you could say - are things that by the standard of the day really aren't anything he needs to feel bad about, but he's tormented by them to the point where guilt ultimately becomes arguably the driving force behind his actions more than the original ambition that created those corpses to begin with.

I think in the end, what drove Hawks Griffith was still a kind of kid looking at the castle kind of idealism - the dream of self-discovery intermingled with the yearning to build the kind of world that wouldn't make people go through the things he did. The issue is that in a more realistic world, as Berserk has tended to be (magic and stuff aside), that is hard to sustain.

You know what he reminds me of? For anyone familiar with Fate/ there's a thing about Artoria/Saber where she became a martyr to her own Kingdom because she ended up living for the country and sacrificing for the country which made her increasingly dehumanized and Gilgamesh, charmer that he is, realizes she's trying to carry the world on her shoulders he basically determines that she's inevitably going to be crushed under the weight of her own self-imposed burden, which he thinks is hot. Aside from the hotness of it, that always reminded me of Hawks Griffith - the way he tried to carry the Hawks on his back and never let them see that he was imperfect, the way he lived to maintain that image so they had something to believe in, and the way it strained the man underneath.

And that! Is! FASCINATING, look as much as I love Guts for being basically made of steel, I also love Griffith for not being as mentally resilient as Guts is - in fact so many of the reasons I glommed onto Griffith are the direct opposite of reasons I love Guts - so much of Griffith's character is driven by his feelings for Guts, especially during the Golden Age, and I find that to be just as fascinating as Guts' romantic ambivalence. In so many ways Griffith seems larger than life and inhumanly perfect - invincible like he can withstand anything, but all that strength can't hold him up when his heart breaks. In the end its his fragile human heart that is his downfall every time. And the breakable interior underneath his epic hero exterior makes for an interesting cocktail.

This is getting too long so I'm going to try to be brief with Neo - obviously he embodies the larger cosmic themes of Berserk even more than Hawks Griffith does - but I also find him fascinating as the fallout from everything that went on with Hawks Griffith. Because Griffith tried so hard to be a person who lived for his dreams and wasn't battered about by his emotions but he couldn't manage it and so when he's remade in the image he desires he becomes the thing he wanted to be, and its beautiful and epic and inspiring but also kind of hollow and sad. Griffith lives in the fallout from making the wish with the consequences he didn't expect, and it's interesting because it's not wholly clear how much he realizes what he's lost - how much he feels it - until the external imposition of factors that bring his emotions back full force for those shreds of time between transformations.

Farnese She's been my third favorite for... ages. That said, she's not Guts or Griffith so I don't have as much to say about her. I just think she's an interesting character - the changes that take place in her as she tries to reinvent herself are really cool to me.

If you line the events we know up chronologically you get a pretty cohesive story about this emotionally abandoned girl who cycles through various forms of trying to locate herself and her place in the world and forming kind of frantic dependencies on various copium flavors until she is ultimately forced to face the lie that her life had been, at which point she has to start over from nothing. I think that's a cool and very human story. Also, it's interesting to me to see this person who, when we first meet her, seems so powerful (in a political sense) and determined have all those masks torn down until you see the terrified lost person inside all the trappings... and then to see her build herself back up, but in the way she chooses and through the means she desires, having finally been untethered from the obligation and demands of her family or the church.

Farnese is kind of a normal person to me, you know? Like Guts and Griffith are Epic Heroes - they're Made Differently in that heroic form. And people like Serpico are kind of skirting the edges between normal and epic - I'd call him kind of a normal hero as opposed to an epic hero and then there's Farnese who is very cool yes, but ultimately also a basically normal person. And watching her grow and adjust in this world that is deeply hostile to normal people - not just the Berserk world as a whole but the specific path that she goes onto by following Guts - is A+ entertainment for me. It also makes her admirable, because she was born to such extreme wealth and could have had such an easy life if she decided to put her tail between her legs and run home, but she didn't.

So... yeah I mean I think it's a good arc.

From here the short list was Charlotte, Serpico, Zodd and Rickert.

Charlotte I talked a lot about why I like her so much pretty recently, but to quickly recap... I enjoy watching her develop from a sheltered shy shrinking violet into someone who is, while still very gentle and quiet, far stronger and more resilient than one would have expected. I love that she has these progressive views - I assume she got most of them from her father who was quite progressive as well before he lost his damn mind, but it means she and Griffith are aligned on a lot of political views.The risks she takes to save Griffith, the way she loves him even when he's lost everything and can't talk anymore, the way she's able to fight off the King without assistance and protect herself for the year that follows... it works for me. She's a different type of character than someone like Guts or even someone like Farnese, and of course she doesn't get a lot of screentime since she's a relatively small character, but I've seen a lot of growth in her. I also think she's adorable and her romantic fantasy version of the world is kind of... just. Interesting. It's interesting when one character is in a different genre of story than everyone else, I don't know.

Rickert He stole Zodd's spot. Mostly because I always like that "last of the old Guard" type of character, and I find his emotional struggle where Griffith is concerned really interesting. In a lot of ways it echoes Guts' struggle, albeit without the UST. The bit where he smacked Griffith - that whole scene and everything leading up to and after it, is one of my favorite parts of the series - I love that despite knowing what Griffith has done, he still wavered on the edge of whether to stand with him or not. I also love that he decided not to, and that at the same time he still holds his reverence and love for the Griffith who used to be, even though he can't accept the Griffith who is. Even then after that, he's still reluctant to believe Griffith would have him killed - which I think he's right to doubt, because I'm so sure it was Locus who did that. Anyway, he doesn't do much - rather he does a fair amount but he does it in spurts and then vanishes for years at a time - but I'm always glad to see him when he shows up.

Serpico is still on the edge for me right now, but I've been warming to him more during the current reread, I guess because I had to think about him more than I normally do. So I wouldn't be shocked if he eventually overtook Charlotte or Rickert - not sure which. I just need to see more of him/think more about him to get a sense of where he falls for me.

I also think that if we get the full backstory on Skull Knight and Void there is a high chance that they'll just knock the bottom two off entirely and give me a legitimately solid Top 5 instead of, honestly, a Top 3 + extras.

[aciddaffodil]

Last Gender: When We are Nameless Thoughts

This is one of the most meaningful stories I have ever read. It's centered around patrons of a sex bar called Bar California. A place where anyone is welcome regardless of their identity. The first chapter and the one-shot focus on newcomers to the bar on wives who were interested to see what kind of place their husbands went to cheat at. The welcoming environment of the bar allows them to open up to another patron to come to terms with their feelings and identities outside the crippling standards of society. They leave changed from the bar feeling empowered to face the world and their failed marriages.

However, the focus of the story is around the patrons who are in the "minority" when it comes to their gender and sexual identities. The author, Rei Taki, put a lot of care into researching these various queer identities and presenting them in a way that is atypical and breaks from stereotypes. For example, an aromantic person who enjoys having sex and trying new things (yes, that is valid). The dialogue can come off as very heavy handed and "educational," especially when talking with characters who aren't minorities, but it's handled very well and avoids being patronizing in its tone.

There are so many moments within this story that have touched me and that I adore even from characters who aren't within my identity and can't relate to, as I'm a nonbinary masc-leaning, arospec, and asexual. It's a testament to the writing for creating recurring characters that are sure of themselves and the way they identify because the focus of this story is how this community of bar patrons finds acceptance with each other and inspires one another to stay true to themselves. More stories are needed that celebrate queer joy.

The story following Marie, a bi-gender individual who comes to the bar femininely dressed and working up to her coming out to their wife is so important as it's the first non-sex motivated patron of the bar and sets the tone for the rest of the series. In conversation, Marie reveals that only recently did she start presenting this way after stumbling across Bar California as the feminine side of him was buried due to living as socially expected to. She talks about how happy it makes her to come to this place and to be accepted, but fears that continuing to lie to her wife about her identity may create suspicions of cheating. It's an incredibly brave thing to come out, but even more so, to a person who’s known you for decades and who has seen you in a masculine light. The fear he feels is valid, especially with the rigidity of Japanese culture and society. There's an ageism stigma around change especially for older queer people and more of a social impact as you’ve spent a good amount of your life living and presenting heteronormativity. 

A lot of stories tend to focus on younger queer individuals, which isn’t a bad thing, but they are often romantically focused and, in the minority, when it comes to talking and exploring genderqueer identities. This is why Marie feels so special to me because older queer characters are, dare I say, MORE important to see within media because anyone, no matter their age, can “come out of the closet.” This representation is needed as a way to 1) be there for older queer people and 2) learn to have more empathy for people around you if someone in your life happened to identify differently.I love that it's a happy ending and that his wife still loves him even if she doesn’t completely understand how Marie feels. 

Yukihiro believes its better to live “normally” because society is unfair making assumptions of others, as his partner was accidentally doxed and ended up committing suicide. He sneers at the bar's existence, saying it's a basement for people to hide and it's hypocritical for offering hope. This bitterness serves as a front for the survivor's guilt he has for being left alive while the love of his life is gone. He's living in this state of grief and anger at the world; for the hateful nature of society. It’s proven at the funeral of his partner where reporters flocked to the gay friends who attended to demand an opinion of them shows how cruelly insensitive mainstream media can be. These aren’t stories to be sensationalized or put on display. Why do queer people have to express their hurt and devastation to appear more human to society? It's sad that Asashi decided to kill himself even if he had someone who loved him so dearly.

It isn’t until he talks with Yo, the bartender, who tells him how Asashi spoke of the kindness Yuki holds and only wishes him happiness for his future. This conversation helps to motivate him to look forward in life and allows the weight of guilt off his shoulders.  Later on, his friends hold a marriage ceremony at the bar; he lingers outside and declines to attend saying, “ I’m going to celebrate under the sun.” I find that line so profound. He is happy for his friends for making this decision but wistful for Asahi and the what-if’s if life had worked out differently.My wishful thinking is that Yukihiro chooses to live more openly as a gay man and is able to have his own happy ending in the future. He no longer needs the bar—as it reminds him of the past and as a place to hide—he wants to live under the sun authentically himself.

The symbolism explored with Amiru, who is aromantic but enjoys sex and experimenting with various partners within her mind’s narration being that of a fairy tale, is so neat. As kids, we generally grow up with the expectation of having a romantic relationship and finding the “one” in life, often with someone of the opposite gender. Children's media like Disney movies perpetuate this ideal, especially in the Renaissance Era with stories where romance is an underlying plotline with an ending of "happily ever after" of finding love and getting married. Society and even the motto “love who you love” within the LGBT+ space factor into how alienating of an experience it can be for aromantic and arospec individuals because romance and relationship expectations are everywhere. That's why it's beautiful that Amiru embraces being “the protagonist of her own life” with the reassurance from one of her sex partners to take the center of the stage of her story and happiness. Even without a romantic attraction, she is still a person who doesn’t deserve to be shamed for having different priorities.

The final part of the story, as it's been built up through the interactions with various patrons and Taaka’s curiosity, is centered around the bartender Yo. We learn that they created this place out as a way to meet with all kinds of people to try and find a label or identity that feels like it would fit them. The combination of childhood trauma that hindered Yo’s, whose name is actually Sumi, perspective on life and robbed them of their youth and innocence is then coupled with the loss of their sister that devastated them. The bar became a coping mechanism for Sumi to avoid the confrontation of reality, especially as they have a standoffish vibe when it comes to personal conversations with patrons about themself. In the story, as it's been 6 or more years, this survivor's guilt keeps them isolated from others even when surrounded by all sorts of patrons at the bar; they wouldn’t open up to others around them until Taaka came along. All these interactions haven’t provided Sumi “an answer” of how to exist or to accept themselves. 

Sometimes the easiest answers are right in front of you, and too much introspection, no matter the topic, can give you tunnel vision. Taaka tells them that “Q” stands for questioning, referring to people who haven’t, can’t, or intentionally choose to not label themselves. It's an eye-opening experience of validation to have a meaning that finally fits, especially after searching for an answer for so long brings Sumi comfort. Words are  powerful because of the way it gives people self-determination and freedom to express themselves. The author deliberately chose to write Sumi this way and ends the manga with them because representation is needed like this: to show that gender, like sexual and romantic orientation, is a spectrum.

Final Thoughts

I think this is a very well-written episodic manga that tackles various lesser-known LGBIA+ identities in a natural progression for the patrons of Bar California. Its message about community and finding acceptance with others if you open yourself to it, is endearing to me. There is so much doubt and gloom for the future for a lot of people, especially those in the queer community. Even though there are references to discriminatory remarks and prejudices while characters talk about the frustration of living their identity that comes from family, peers, or strangers, it is an overly optimistic tone. The art is absolutely stunning and at 20 chapters it's a fairly quick read. There IS EXPLICIT SEX IN THIS with one nonconsensual moment of forcing a kiss. but other than that, it's great.

[irenedubrovna]

A post regarding Euphoria for the benefit of myself and basically no one else

So, it really bothers me when people say Euphoria is groundbreaking, progressive media. Here’s a dissection of why I don’t think it is, because this is what I feel like doing at work:

The character of Rue is objectively great. She by far receives the least overt sexualization, and is treated neutrally in terms of active sexuality. She’s treated like a normal teenage girl with mental issues and an addiction to drugs. She falls in love with a girl who she pines for and places on a pedestal. The reason I think she is written this way is because she is a Sam Levinson proxy. She written with gender ambiguity and with little regard to the experiences she’d go through as a black gay female, probably because Sam Levinson has no insight to that aspect of life. Her performance is heightened of course by Zendaya, who breathes unique life to the Sam Levinson’s artistic extension, and without her performance this show would not get even half the acclaim it gets. Attribute that to Zendaya of course, because the director has done little to deserve this acclaim.

The rest of the females, sans Lexi, are pornified to a disgusting extent, not only due to the fact that they are supposed to be underage, but also because their existence as people is treated as being absolutely secondary to their sexual appeal. They are foremost presented in terms of their relation to sex. Cassie, Maddy, Jules, and Kat cannot be removed from their sexuality without disrupting the plot or their journeys in relation to the plot. Why are the females so intrinsically linked to uber fetishized versions of female sexuality, or uber fetishized versions of blossoming female sexual identity?

Maddy is presented not only scantily clad 90 percent of the time, but also dressed in a precariously unattainable sexual fashion. At any given time she is styled to look straight out of, simultaneously, a high fashion editorial, and a “barely legal” porno. She is airheaded and profane, and promiscuous, her mannerisms dictated by the adult films she’s “studied” in order to project an image of perfect hyper sexual femininity. She’s complacent in becoming a prototypical housewife because it will earn her a comfortable place as a trophy wife. She has no aspirations beyond that. So, let’s unpack all of that. Maddy’s role in the show is mostly passive. The most active thing she does in the plot is revenge fuck a man in the pool of a party. Nearly everything else she does in the show that is plot relevant is of someone else’s volition. Even less of what she in the show is related to anything other than a man. She is abused and then pressured into framing another man for said abuse. She has no agency as a character. The only notable difference to this rule is when she takes drugs at a carnival, knocks a pot of chili over, and calls her ex’s mom a cunt. Removed from her active sexual life and carefully cultivated aesthetic, she’s a trite stereotype of an unambitious girlfriend who gets treated poorly. I see people call Maddy iconic, but if she wasn’t gorgeous and well dressed, I doubt anyone would even think twice about her, let alone create fancams and Instagram pages dedicated to her. She exists as a plot device, and as pretty set dressing to build up the shows aesthetic. Her emotions are not well explored, her motivations are sexist, and she is often there to be demeaned, objectified, or to say a bad word. The most damning part of her involvement in this show is her episode where it is stated that she, as a fourteen year old girl, lost her virginity to an adult man, and it is stated she was in control of the situation. This is a dangerous thing to say about a character, to any audience, but especially a young one. To imply that a precocious young girl was in control during her first sexual encounter with a much much older man implies things that frankly border on rape apologist ideology. This show states this unflinchingly and with no further elaboration. If there’s one thing that tells you that Euphoria is a bad show, let it be that. Also, if there’s one thing that tells you about Sam Levinson as a person, and the way he views girls and women, let it fucking be that.

Jules is a young trans girl. She also likes to have sex with men as a means to “conquer femininity”. Scratch that, she likes to have degrading sex with older men in order to “conquer femininity”. This mindset is shown to be toxic, of course, but I think the problem with this idea in general is that there’s no deeper exploration for what this mindset means. It implies that she believes women are the sum of their intrigue and degradations. This mindset I can only assume would be a cultivation of dysphoria and internalized misogyny, which this series is absolutely not prepared to address in a tactful manner. Jules is a teenager with mental illness, trauma, and is undergoing an identity crisis. There’s something powerful in her character, something worth saying, however we only get trimmings of those meaningful things, and are ultimately left with a hurtful depiction of a trans girl because all of her musings on womanhood and identity are incomplete, and they fail to reach beyond the surface of their thesis statement. She wears colorful clothing, is overtly feminine and artistic in her presentation. Everything about her screams insecurity over her own womanhood. That is the crux of her character. Now, I think we should ask ourselves, is trans person who is insecure about their identity peak representation? Is this what trans people deserve? Is it “groundbreaking “? If this show was run by someone else, I might be inclined to say that there’s nothing insidious about this, but this is the guy that made Assassination Nation, so I think we know what he thinks of young women, the way they should be portrayed (that is, for the capitulation of a man) and realize his inclusion of a trans woman in his cast is no more meaningful than the inclusion of any other woman. Women to him are made to be categorized and should, at the end of the day, be easily palatable for the capitulation of a man. The device of having Jules being interested in older men and rough sex for identity reasons is transparent. Trans women are exploited and objectified with a similar fervor to cis women, the caveat being that they are “a forbidden fruit” of sorts to straight men. Jules is sissified, her presentation fetishistic. Her role in the plot is more involved. Her relationship with Rue is sweet, though toxic on both sides. She is ultimately betrayed, blackmailed, and snowballs into something of a manic episode, all well portrayed by Hunter Schafer, but I don’t think her inclusion in the show absolves it of any of its many sins.

Let’s talk about Cassie. Cassie is the Eurocentric beauty standard exemplified. She is the blonde haired blue eyed girl next store, and her boobs are of course always on display. She is notably promiscuous, something I say right off the bat because that’s how she’s introduced, as a so called slut through the words of the devil (Nate Jacobs). She is a girl with daddy issues, which we are all familiar with at this point. Her sexual boundaries begin and end at the whim of her partner. The terms of her consent are much like the terms of consent of many young girls brainwashed by society and the rising tide of degradation porn: everything is alright as long as you provide them comfort and affirmation afterward. You can touch them roughly without asking, you can use them as a tool to affirm your masculinity. This is the way men prefer their women now: just broken enough to say yes to anything they want. It’s become a joke at this point. Men like girls with issues, but only the ones that will feed their own desires. Cassie Howard is meek. Her inclusion in the plot I suppose ties to themes of drug addiction and how it divides and destroys the people you love. It doesn’t show what it does to her beyond shaping her sexual encounters, which is no surprise. Overall I’d say Cassie is in this roster of females as the most traditional categorically, in relation to how men view women and further how they sexualize them. She has a relationship with someone who doesn’t really love her. That mostly what she does here. Gets used. Doesn’t drive the plot or conflict much. More pretty set dressing. More aesthetics. How this show consists of so many women but is driven so much by men is unsurprising, and, again, very enlightening in the grand scheme of things.

Lastly we touch on Kat. I’d like to begin with the fact that self actualization through sexual exploration, in a show run by a man, is just a cloak for a woman to gratify the audience with her sexuality. Regardless of whether or not she is plus sized, this is overt objectification. She is on this show to be sexy. Beyond that, the fact that a minor using sex work as a form of liberation is disgusting. Whether or not she is portrayed as “owning” her sexuality is negligible, and speaks to the same mindset discussed with Maddy. Minors cannot fucking consent to sex, sexual acts, or anything within the confines of such. It’s crazy that this occurs with two different characters in such a similar way. It has echoes of “Well, she looked older..” and “Well, she wanted it..” or “She’s advanced for her age”. Never, not once in the events of the series is there meaningful introspection on what doing this kind of thing does to a minor. Moreover, these acts are explicit, and made clearly for sexual gratification. None of these things are absolved by the fact that she’s plus sized. If anything, her body type is fetishized in this context. It’s also another case of a “good girl to bad girl” transformation, which are archaic and, of course, sexist. With the rise of adult websites targeting minors for explicit content, this is even more reprehensible. Once again, in terms of representation, is this really what speaks to you as progressive? Groundbreaking? A girl gains control of her own narrative by having sex with lots of men. She gains control by being sexy. She gains control by dehumanizing and objectifying herself. No she doesn’t. Media controlled by men will tell this story to you thousands of times, don’t listen because she’s bigger than a size four.

ALL OF THESE CHARACTERS ARE UNDERAGE. ALL OF THEM HAVE EXPLICIT SEX SCENES, EVEN THE SEXUAL ASSAULT IS MADE CINEMATICALLY PORNIFIED. THESE SHOTS ARE MADE TO BE OBJECTIVELY SEXY. THIS IS NOT A CASE OF SOMEONE CREATING SOMETHING FOR THE SAKE OF REALISM. IT IS ABOUT MAKING SCENES THAT SPEAK TO A MALE AUDIENCE. THAT CATER TO THE MALE GAZE. ARGUE WITH THE WALL.

I won’t go further into the plot, other characters, or the structure or the episodes for sake of brevity, but I felt compelled to air my thoughts on this to the void. I can only hope I was critical enough that Sam Levinson will one day see this and cry because another bad feminist thinks something that he made sucks

[purplespacekitty]

Magnifying Glass: "Explorers"

Episode: "Explorers"

Series: Star Trek: Deep Space Nine

Season 3, Episode 22

Original Air Date: May 8, 1995

Teleplay Writer: René Echevarria

Screenwriter: Hilary J. Bader

Director: Cliff Bole

“Explorers” provides a window into which we, the audience, peer and see dimensions of Sisko’s character and his relationship with Jake that he is not often allowed to nurture. He’s the captain of a space station; he’s busy at all times of the day with the demands of his crew, of the governments of Bajor and Cardassia and with the imminent threat of invasion from the elusive yet brutal Dominion. In this episode, Sisko gets the time to spend doing something he is purely passionate about, exercising his creativity and the side of him that’s a big history nerd (”Why [build an ancient Bajoran lightship by hand]? Because it’ll be fun!”). We also get to see him spend some quality time with his son, Jake.

For a project of mine exploring Afrofuturism and Black masculinity, I chose this episode as one of three to study and analyze under Sisko’s importance as a character not just within the Star Trek franchise but in the broader world of television.

Benjamin Sisko’s role as a Black father is particularly pertinent to the plot of “Explorers”. Star Trek: Deep Space Nine first aired in 1993, not far removed from the hell that was the Reagan Administration. Reagan contributed grossly during his presidency to the denigration and humiliation of popular notions of the Black family and the framing of Black Americans as criminals. Mainstream films and television during and before the era, if they include Black characters at all, portray Black men as aggressive, violent and insolent, an image very much in line with Reagan’s manipulative message. Avery Brooks’ casting in Deep Space Nine as it’s Starfleet commander was an historic first for the Star Trek franchise and a step against the popular stereotypes of “welfare queens” and “absent Black fathers.” Ben Sisko - whose most defining characteristic aside from being the commander and later, captain of a space station is being a father to his son Jake - completely demolishes the “absent Black father” stereotype and all the others, firstly, by just existing. Sisko is very present in Jake’s life. Even with his duties keeping him at the station’s beck and call, he makes the time he spends with his son an unconditional priority and is quick to assure Jake of that fact. The two of them share common interests in cooking and baseball, threads that bind them to each other and to Jake’s grandfather, Joseph, who owns and runs the family restaurant back on Earth. Sisko is diligent in his care of Jake as he is for all that he loves. He is an actively loving, caring, protective and supportive father every step of the way. Sisko’s strong sense of justice means that Jake can’t really get away with his and Nog’s various shenanigans, but he is lenient and fair and always there to comfort Jake when anything goes wrong. There are multiple moments throughout the series in which they both learn from each other (this episode being one of them): a quality of their relationship that Sisko warmly welcomes. It is Jake’s care for and faith in his Ferengi friend that helps Nog earn Sisko’s respect. Their closeness allows them to have difficult conversations, to resolve arguments in a place of understanding and compassion, to be vulnerable with one another unconditionally. While initially disappointed when Jake tells him he’d rather be a writer than follow in his father’s footsteps by enrolling in Starfleet Academy, Sisko is ultimately supportive of his son’s interests because all he wants is for Jake to be safe and happy. Which is where this episode picks up from the last time the two of them discussed Jake’s future.

At this point in the series, Jake is ready to apply to college and has been hard at work writing pieces to submit to schools he’s interested in. Yet, even with his father’s enthusiastic blessing to pursue what brings him joy, Jake is hesitant to share his acceptance to Pennington back on Earth. Not because he thinks his father will be angry with him about going behind his back but because he doesn’t want his dad to be alone. By no means would they be losing each other to this new stage of Jake’s life. However, it would be the longest time they’ve spent truly apart from each other and they wouldn’t even be in the same region of space. They certainly won’t be able to go off on impromptu trips in ancient space ships on a whim or watch historical baseball games in the holosuites together as often as they do on DS9. And above all, what this episode most emphasizes is their father-son relationship, this relationship in which they are each other’s security in a turbulent, violent world that placed them at the threshold of a wormhole in the middle of a war-torn sector of the galaxy directly after losing Jake’s mother and Ben’s wife, Jennifer. Whether or not either of them are ready for it, Jake going off to Pennington means that that security in each other will change. Hence Jake’s ultimate decision to defer admission for a year to spend more time with his father and gather more experiences to write about.

This episode showcases our hero doing exactly what Starfleet is all about: exploring the cultures of other worlds and engaging with their ways of knowledge. At the same time, he is beginning an exploration of what life will be like with Jake off at school (and what life will be like with a beard) and he is also getting an insight into his son’s inner world. Both are journeys the two of them embark on together, even if one must be undertaken across many lightyears of space.

Sisko stands out as an intentionally Black character against the backdrop of the undeniably important if, comparatively, rather flat representation in Lt. Nyota Uhura and Lt. Geordi LaForge. Deep Space Nine’s writers and Avery Brooks made a conscious effort to ensure that Benjamin Sisko’s Blackness was not simply seasoning sprinkled sparsely on top of his character, but instead the essential binding factor that brought all the elements of the Captain’s personality together. Not only do we know he has his family’s Creole restaurant to thank for his cooking skills, but we get to see him be at home and with family more than once in this series. And aside from what is clearly directly tied to his Blackness, he has other interests and hobbies, like baseball, building, art and studying ancient technologies. He uses his experience as a Black man and father and his deep knowledge of Black Earth history to inform his actions multiple times throughout the series (i.e. “Far Beyond the Stars”, “Past Tense“, “Badda-Bing, Badda-Bang”, “The Abandoned”, “By Inferno’s Light”, “Waltz” and “The Maquis”, to name a few). In this episode, we even see him wearing a top inspired by West African dashiki patterns.

Commissioned on Deep Space Nine, his identity as a Black man, even in the supposedly utopian Federation, positions him as someone able to sympathize with the Bajorans in a way that none of his contemporaries Kirk, Picard, Archer, Pike, Lorca or Janeway ever could: both his people and theirs have histories of violent systemic oppression and persecution, as well as continuously developing histories of liberation. He understands their need to reclaim their land, knowledge and ways of life because that is what his ancestors began and saw through. And it is what he, Jake, Joseph and Kasidy, their descendants, carry on and embody in the 24th century. He builds the Bajoran lightship in order to prove that the ancient Bajorans were capable of such technological prowess as to get all the way to Cardassia without a warp drive despite dubiety from both his coworkers and the Cardassians themselves. So not only does he connect with the Bajorans’ struggles in a way that a white human captain cannot, but he actively participates in bolstering the repatriation of their culture and history. Little wonder why the Prophets chose him as their Emissary.

[ephemeronidwrites]

I mean, I have a lot of complicated thoughts about Anders's relationship to his rural upbringing and how that interacts with his other experiences in life, and I'm not even sure how many of them are fully supported by canon and how many of them I just cooked up in a fever-brain fugue in a headcanoning frenzy I had one random day. But I do think this one defining mental image of his life, of Anders’s father being glad to hand him over to the Circle as the templars led his twelve-year-old ass away in handcuffs, while his mother wept oh-so tragically yet so conveniently helpless in the background, probably explains more about his psyche and his gender issues than I ever could in a full-on meta essay that no one ever asked for.

But will that stop me from trying? Not really.

The weird thing about Anders and his personal relationship to gender, I feel, is that I feel like he isn't macho in the obvious, stereotypical way many men are… where they are very invested in the maleness of their identity, but also feel insecure to various degrees in whether other people acknowledge this about them.

Just going through the DA2 roster, I think you see this in various degrees wrt characters like Carver (whose gender complexes are pretty self-evident, I feel) or Fenris (whose lived experiences probably give him lots of valid reasons to be insecure about whether people will give him even the most basic respect about core parts of his identity, gender absolutely being included).

With Anders, I feel like the opposite is really the case, on both counts. A lot of people seem to headcanon him as being in touch with his feminine side, or feeling some kind of ambiguity when it comes to his gender identity, and that discourse does bring a lot to the fandom and I welcome it all but also I do have to admit that I just personally don't see Anders this way. The way I personally see him, I don't think he lives with an ounce of doubt in his mind about being male, being masculine, cisgendered, having a dick, whatever you want to call it.

And I feel like that's part of the thing about Circle politics, and especially Circle gender politics… that the utter lack of privacy and dignity afforded to anyone there does in a weird way foster a certain lack of prudery that can mimic a culture of open-mindedness. And I see how that can ping on the genderfluid / queer-friendly / feminist vibes for a lot of people, but I also do feel like those sorts of vibes really are just that and don’t hold up to the barest bit of logical scrutiny. You can’t have a real culture of sexual liberation and egalitarianism inside an environment that is repressive in every other way. And I feel like a lot of the relational behavior that Anders had modeled for him in the Circle was a certain kind of performative promiscuity that may in certain ways mimic sexual emancipation, but in reality is much closer to sexual entitlement, aggression or even outright predation… not just from templars towards mages, but probably from senior mages towards junior mages, taking advantage of the power dynamics that must exist there.

Along those lines, I also feel like the Circle is an environment that really forces the people in it to make early commitments to being whatever they can be—quickly, accessibly, immediately—rather than what they might ultimately blossom into if they'd been left to explore themselves in a more genuine way. On their own terms, without duress. So I feel like there’s probably also an extra performative aspect to gender identity in Circle life as well, something you pick as a badge of belonging quite early and consciously in the way you pick a fraternity to join—Aequitarian, Libertarian, Isolationist, etc.

That being said, I do also think it's very significant that Anders was twelve years old when he came to the Circle. Still a child, undoubtedly, but in the medieval-tech-stasis world of Thedas, it's not actually that young… the boy in Athenril's Act 1 quest whom Hawke / the player may choose to liberate from his obligation to the smuggler gang is living a fully adult life with adult dangers and responsibilities at a barely older age, and children like Alistair and Sebastian are also routinely forced into adult commitments they are barely ready for, at the same age.

Basically, Anders already had about as full a childhood as anyone in Thedas probably gets, before being shipped to the Tower. I say this not to downplay the tragedy of Anders being torn from his family and the only home he’d known up till then in the way that he was, but actually to highlight that that very home life and family background were likely formative influences for him in a way they aren't for other Circle mages. Which is why I do feel like a lot of his conditioning, his familiarity with misogynistic patterns of behavior, might indeed come from growing up in what was probably an impoverished rural community, and likely an immigrant rural community at that, which would probably make it even more isolated and therefore put the women in those communities at more risk for all the social factors that tend to reinforce and exacerbate misogyny.

But unlike with people like Fenris or Carver or Alistair, I also feel like Anders's specific life trajectory after leaving that very community probably gave him a basis of comparison by which to contextualize some of what he grew up with. And I think those experiences probably led him to decide that—even if he misses his home and misses his mother—when it comes to the heternormativity of assuming a certain role from women and another one for men, and putting people into certain boxes based on what the larger community needs from them… he doesn't really want any part of that, not anymore.

At the same time, I can't imagine that those lived experiences of his—Circle gender politics with its open relationships and free-for-alls, existing on the outskirts of society while being a runaway apostate, likely doing survival-level sex work—would have done much of fuck-all to teach him anything about what it means to actually do better than what he decided to reject. To give him a workable model to go off of, when it comes to reconstructing a healthier way of handling power dynamics when it comes to other people in his life and especially to women.

Sorry in advance for Anders romance/predator discourse.

I feel like if Anders were actually a predator, he would be targeting like his patients or the Circle mages he’s helping liberate, ie. the people who he interacts with that he actually has power over, instead of trying to mack on Hawke who has a mansion and a job with the Viscount and the power to toss him out on the street and cut him off from their shared social network at any time.

But I do think it’s interesting that he seems to, like, borrow the language of abuse when talking to hawke (and f!hawke in particular). I wonder where he learned it from? The possibilities are really vast between a childhood in rural poverty in an immigrant community, the Circle, and the Wardens.

It’s something I like to think about despite knowing that his writer was basically just writing her own abuse but within a power fantasy where she had unlimited power to curbstomp the perpetrator. Like, idk, writer sends mixed messages that undermine her overall point, but the results in the text itself are quite fascinating.

ETA: Just so we’re clear, the things I’m talking about are like- Anders issuing ultimatums, ie. ‘if you really loved me/were on my side, then you would do x no questions asked’, doing things to drive away the rest of Hawke’s friends, ie. antagonising and chasing Merrill out of the estate at the beginning of the act 3 friendmance, or weaponising his suicidality and that Hawke (presumably) cares about him to avoid the emotional discomfort of Hawke’s anger, ie. ‘hurt/kill me or don’t be upset with me at all’. And there’s no way I can find the meta posts now, but I know other people have catalogued the places in the f!hawke romance where Anders attempts to weaponise misogyny. These are the kinds of controlling behaviour I’m talking about. (And, again, I think Anders would pick another target if he was sincerely interested in finding a partner he *could* control, but clearly someone or someones have taught him that this is what love looks like.)

[baya-ni]

SHADOW’s Queer Coding

I first started exploring this idea of Sk8′s implicit queer rep (as in stuff other than explicit same sex intimacy) in this post.

I know we like to joke that Hiromi is the Token Straight of the protag gang, but I argue that he’s as much an example of queer rep as any of our main characters, albeit in a less conventional and fanservicey way.

So that’s what this post is gonna be, an analysis of Hiromi/SHADOW as a queer figure, how his character fits the Jekyll/Hyde archetype as a metaphor for queerness and The Closet, the similarities between SHADOW as a skatesona and early drag, and how his character represents a larger problem of exclusion within queer fandom spaces.

The 1886 Gothic novella The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson is the origin of the phrase “Jekyll and Hyde”. What I’m calling the Jekyll/Hyde archetype, refers to the same thing; it refers to duality, to a character who is “outwardly good but sometimes shockingly evil” (as described from the novella’s wiki page).

And the Jekyll/Hyde dynamic has also long been associated with Queerness. The antagonism between Jekyll and Hyde as two sides of the same person resonates with many people as similar to the experience being in the closet, and many many scholars have written about this queer reading of Jekyll and Hyde. Do a quick google search if you don’t believe me.

Hiromi experiences his own Jekyll/Hyde duality through his SHADOW persona, which seems to entirely contradict with Hiromi’s day to day personality.

Whilst Hiromi is sweet, romantic, and generally very cutesy, SHADOW is mean-spirited, sadistic, described as “the anti-hero of the S community.”  And though these two personalities seem entirely at odds, SHADOW doesn’t exist in a vacuum, he’s very much a part of Hiromi. In the show, this manifests as SHADOW’s sabotage moves being all flower themed, as Hiromi works in a flower shop, and how he’ll “step out” of character when playing babysitter to the kids.

Below is passage from an essay titled, “The Homoerotic Architectures of Strange Case of Dr. Jekyll and Mr. Hyde” which reminds me a lot of Hiromi’s character, such that I think his character arc can be read as an allegory for coming out and self acceptance.

The closet, here, is a space not only for secrecy and repression, but also for becoming; it is the space in which queer identities build themselves up from “disused pieces” and attempt to discover the strength needed for presentation to the world. The closet is both a space of profound fear and profound courage—of potentiality and actualization. (Prologue)

Unlike the kid/teen characters, the show’s adult characters all lead double lives. When they aren’t skating, they have day jobs. Kaoru is a calligrapher, Kojiro is a restaurant owner, Ainosuke is a politician/businessman (but tbh his job is just being some rich dude), and Hiromi works in a flower shop.

But of the adult protagonists (so not Ainosuke), Hiromi compartmentalizes the most.

Kojiro leaves his face totally exposed such that he can be recognized both on and off the skate scene. Kaoru at least covers his face, but his trademark pink hair and constant use of Carla doesn’t make it very hard to connect the dots between him and CHERRY. He’s also always with Kojiro in the evenings, so if you don’t recognize him as CHERRY when he’s on his own, you certainly will when you see him interacting with Kojiro/JOE.

Next to these two, Hiromi seems the more adamant at separating his Work from Play.

Even when he’s been clearly found it, he still tries to deny that he and SHADOW are the same person. Miya even uses this to coerce Hiromi into helping him and the boys:

I don’t think it’s a stretch to say that the separation between Hiromi and SHADOW can be interpreted as a metaphor for being in The Closet. As SHADOW, he leads a secret life, one characterized by an tight-knit underground community with a vibrant night scene, where he behaves in ways typically frowned upon by larger society. He worries about being found out and judged by the people close to him.

But in Ep 4, the walls of his Closet begins to come down, or in this case is literally imposed upon by other members of his community, by its younger members, who don’t feel the same need to hide their passion for skateboarding or lead the same kind of double life.

We then see the line between Hiromi and SHADOW begin to blur.

He becomes less of an antagonist, and instead the audience sees him become a mentor and “mother hen” figure for the younger skaters. Later on in Ep 4, we see him casually interacting with the other protags in full SHADOW mode, not as an “anti-hero” but as a friend.  In Ep 6, he acts as a babysitter for the kids, and we see him totally comfortable appearing both in an out of his SHADOW persona throughout their vacation.

And I think that this gradual convergence of Hiromi and SHADOW will culminate in this tournament arc.

There’s something more personal that’s driving SHADOW to do well in this tournament. It’s not just for bragging rights or his pride as a skater, but the results of this tournament is going to have some kind of greater impact on Hiromi’s personal life. Personally, my theory is that Hiromi is using this tournament to prove to himself that he’s worthy enough to ask his manager out on a date.

Hiromi is no longer compartmentalizing, his two lives are overlapping and influencing each other. Recall the essay quote I cited earlier:

The closet... is the space in which queer identities build themselves up from “disused pieces” and attempt to discover the strength needed for presentation to the world... of potentiality and actualization.

This is exactly the case for Hiromi. Through skating, he is piecing together the disparate parts of him such that he can present himself to the world as a more unified and confident being.

And the show presents the very skating community that Hiromi has been working so hard to keep separated from his personal life- Reki, Langa, Miya, Kaoru, and Kojiro- as the catalyst for that becoming.

That, my dear readers, is queer coding if I ever saw it.

But there’s probably gonna be people claiming something along the lines of “But SHADOW can’t be queer rep because he’s Straight!” And I assume that’s because he shows romantic interest in his female manager.

First of all, Bisexuality. Also Ace/aro-spec people. And second of all, SHADOW is Hiromi’s drag persona.

And before anyone can say anything about how Hiromi can’t do drag because he’s straight (assumption) and cis (also an assumption) uhhhh no, fuck you.

Drag didn’t start with RuPaul’s Drag Race, that’s just how it got mainstream. And it’s also how it got so gentrified and transphobic. You heard me. But anyway.

Drag is, and has always been, first and foremost about exaggerated, and oftentimes satirical, gender presentation and performance. It’s about playing with gender norms through artistic dress and theater, not so much to do with sexuality or gender identity.

Literally, what’s the difference here?

SHADOW is a persona of exaggerated masculinity with a punk aesthetic. Regardless of his sexuality or gender identity, Hiromi’s gender performance as SHADOW is drag- that makes him queer representation, change my fucking mind.

Queerness is more than same-sex romance, and by extension, good queer representation is not limited to canonized gay ships. The very word Queer, in it’s ambiguity, is meant to encompass the richly unique experiences of everyone within the LGBTQ+ community.

In my opinion, Queer =/= Gay. I mean, they’re colloquially the same yes and even I use them interchangeably. But for the purpose of this post, they’re not the same, and that’s to argue that Hiromi/SHADOW’s lack of acknowledgement as queer rep illustrates a larger issue of exclusion within fandom.

I mean, this is something we all kinda been knew, but in the case of Sk8 specifically, there are a two main reasons why I think Hiromi is rarely acknowledged as queer rep.

1. He’s not shippable with another male character

Fandom favors mlm ships when it comes to what’s considered good queer rep. And the ultimate mark of good queer rep is explicit acts of romance or intimacy between two male characters. Unlike with any of the other characters in the show, we can’t point to Hiromi and automatically clock him as gay, especially because he expresses romantic interest in a woman.

So by default, he’s less popular, because “Ew Straight People” amirite /s.

2. He’s not attractive

This is really interesting, because like JOE, Hiromi is a beefcake.

But fans don’t thirst over him the same way they do over JOE. Granted, the show really plays up JOE’s muscles in a very strip-teasey way that literally encourages viewers to find him attractive. By contrast, Hiromi is pretty much covered head to toe and he paints his face in theatrical makeup- the point is to look scary, not attractive.

In essence, even though Hiromi engages in “queer behavior” through his SHADOW persona, his queerness isn’t palatable.

But I also think there’s some pretty insidious undercurrents of fetishization going on here, of both Asian people AND gay men. Which is... a whole other thing I really don’t have the capacity to unpack completely.

But basically, Hiromi doesn’t fit into any of the popular BL archetypes so he’s less likely to recognized as Queer. Relatedly, he’s also less often subjected to a fetishistic gaze as other characters. I mean...

So again, fans just don’t find him as appealing. Attractive characters are always more popular than ugly ones.

And I’m sure there are a lot of people who just don’t care for Hiromi’s personality, that’s fine, he does act like an asshole sometimes. But this post is meant to illustrate that queer rep takes multiple forms, and unfortunately I think a lot of media just tends to fall back on stereotypical portrayals of queer people for the sake of broader appeal. And by consequence, the fandom’s idea of what constitutes queer rep narrows to same-sex romance, usually between two cis gay men.

With the release of Ep 9, I know a lot of people queer people are going to find representation in the Kojiro’s whole “unrequited love” thing. But personally, I feel more represented by Hiromi, his journey of self-acceptance and subversive relationship with gender- that’s what resonates with me as a trans person.

And I think it’s important to see that kind of less palatable type of queer representation more acknowledged in fandom, and in Sk8′s fandom especially, because I know the demographics of this fandom lean heavily queer.

But that’s all for now, lemme know what you guys think :)

[heavensenthearty]

Ship that needs more love: 💖

(atla)

Thanks for the ask, J! 🤗

Mmmmmm... I think it is Taang.

I know, I know, it's a popular ship on its own and there are many events for it, but I feel like it still doesn't get as much attention as it deserves and some people don't recognize the benefits it brings to the story as a whole.

Aang and Toph push each other forward in their character arcs. They inspire softness and stability in each other, respectively. I think that what really rubs me the wrong way is that many people misinterpret Toph's character or don't see how much significance she had for Aang, and how much more significance she could have had for him and for everyone. So many things in the story would have turned out differently had Aang been more assertive the way Toph taught him to be and, as the Avatar, he needed that assertiveness to make decisions that not only affected him but also the rest of the world.

Their very different backgrounds also formed them to have very similar definitions of freedom, which is something important for the two of them: Aang sees freedom as goofing around and, as selfish as it sounds, caring more about himself to a certain point because — according to what we were shown in canon — these attitudes were encouraged throughout his childhood as much as gentleness and cheerfulness. Toph sees freedom as being autonomous and also caring about herself because of her fear of being considered helpless born due to her controlling parents. They also balance each other in this aspect: Aang knows what it is like to live without limits and have no one holding you back the way Toph's parents did to her, and Toph taught herself independency whereas Aang usually needs people to watch his back for him.

Had this (👆🏽) side of their characters and their dynamic been explored, they could have become less selfish/closed-off after seeing so much of themselves in another person.

There is so much more they could have learned from each other and their dynamic could have been filled with mutual teachings.

And another thing that bugs me is the issue of portraying Toph as excessively harsh and insensitive to make her seem "masculine". And saying Aang would only find her attractive after the stereotypical 'extreme makeover' and her acting more "feminine".

No! Aang appreciated Toph as she was, he found her fun to be around with, he learned from her! But in case anyone wants to focus only on looks: in the Latin Spanish dub, Aang describes his vision of Toph as "a girl in a beautiful white dress". Boom! In the face of shallowness!

At the end of the day, to heck with canon, too! It didn't give Toph the appreciation she deserved either! 😑

Special mentions for the Ship That Needs More Love Award: Mailee, Jinko, and Jinkotara.

Controversial Shipping Asks!!