#in fact i wish people disparaged actors less

[atopvisenyashill]

Worst things GOT did casting wise:

- making Dany too beautiful (+ styling her in a way that she never has a hair out of place, always wears BLUE - which makes her look peaceful and soft and angelic, not making her burn her hair off etc). I just think of that one official art piece that's in the illustrated AGOT book where dany is bald, with the dragons and sparks and frames around her and its so striking instead of the "beautiful angelic blonde women stand empowered with her tits out" scene we got

- casting Iain Glen as Jorah and not like. a random Lannister (like. Come on. He is a burly and ugly man... why are you casting one of the most beautiful men to play him.... this is how we ended up with dany/jorah shippers)

-making Joffrey too unattractive (this is not meant to disparage JG who is a great actor and seems like a really cool dude and i'm not saying he's ugly but I think from his very first scene Joffrey looks very punchable and it would have been so much smarter to make the audience .. relate to Sansa's infatuation with his golden looks. In my head (and in all the official art) Joffrey looks like a male version of cersei/a younger version of Jaime.)

- making Dany, Jon, Robb, Marg, Brienne etc 10+ years older than Sansa and the younger starklings .... It's not "the main characters and arya (who is so cool and can kill people) + the little children" it's ONE AGE group of equally important characters

Like I know people are upset at Ned/Jon etc being too attractive, WHICH I GET, but I feel like those were very vibe based casting decisions and i'm ultimately fine with that (I also think it's easier for the audience to root for someone if they're attractive so like. I guess they had to do it) but these other things resulated in people's perception of the characters being so wildly different from what they're supposed to be. The real reason people get so angry whenever someone says they wish tamzin had stayed is because they don't like the idea of daenerys not being this ethereal beauty (TM is beautiful but not in a conventional way) that they can fully root for without issue.

1. NO YOU ARE SOOOOOO RIGHT ABOUT THEM REFUSING TO LET DANY LOOK UGLY. it’s not to say tamzin isn’t clearly beautiful, but i think she’s beautiful in the same way gwendoline christie is, which is that she’s very striking and she has a strong presence but she’s not exactly what people picture when they say “typical hot lady” (which is Crazy these are all able bodied white women, like the definition of “beauty” is soooooo fuckijg narrow that tamzin merchant is ~atypically beautiful) vs emilia definitely is, and YES like everything from not burning her hair off to emilia being,,,,,fuller in figure than dany as a fourteen year old would be is just very clear that they saw dany different than the way she is On The Page. i mean i know people whack george for saying that she’s like a sexy funny lady or whatever but george never lets go of the fact that she’s incredibly young whereas d&d completely miss that part of her character.

i will say i Get the criticism of tamzin perhaps not picking up on the conlangs easily because one thing you can say for emilia is that she had a decent head for the conlangs, she’s even still partially fluent in dothraki lmaooo. but all the other stuff they said about why they recast dany it’s like. hmmmmmmmmmm.

2. absolutely right about iain especially because he’s similar to idk paddy in that he’s got CHARISMA but unlike viserys, they didn’t intent to portray him as a deeply flawed, antagonistic character they went in portraying him as like an objectively Good Guy dedicated to dany. he’s just so much less creepy and pushy in the show and has several scenes where he shows some moral backbone - that “yet here you stand” “yet here i stand” scene is sooooooo good for example, the fact that he actually apologizes for spying on dany, giving him the greyscale story & not having him fuck a valyrian looking woman in a brothel 💀, etc etc - and you also just lose some of the creepiness here because emilia is clearly a grown if young woman and ian is handsome, so it’s like. welll of Course you want to root for them to be together! and never mind that this is a Massive departure from their book characterizations!! again, they have this idea of jorah in their head that doesn’t match up with what’s on the page even a little.

3. i do get your point re: joffrey and i think this is my problem with aidan as littlefucker too - they’re too obviously villains and it makes ned and sansa look stupid. like, in the books we have that moment where robb almost decks joffrey which does seem to signal something bad but the crown prince being full of himself doesn’t mean he’s going to threaten his betrothed’s sister with a sword then get his ass handed to him by a toddler. in the show we get QUITE a number of scenes where joffrey is shown to be a brat AND as you say, just like aidan, jack has a Certain Look, he looks like a shitty jock who has allegations against him ajsjdj like irl when jack smiles he’s so adorable!! but in the show they REALLY play up his ability to channel a greasy aura ya know aksjd. when the point of asoiaf is often that villains don’t LOOK like villains, but some of our Main Villains clearly resemble typical villains in the show.

4. “it’s ONE age group of characters” NO YOU ARE SO RIGHT. like, there’s several years difference from robert to ned to cat to the twins to tyrion but they’re all the same generation of characters. there’s that exact same age difference from brienne to robb, dany, jon to sansa, arya, bran, with theon kind of similar to characters like jorah, who are old enough to remember The Before Times but aren’t quite in either generation. but because they wanted dany, brienne, jon, robb, and margaery to be more of a Typical archetype rather than an exploration of that archetype, they aged everyone up and essentially invented another generation between the “adult” characters and the “kid” characters. not to be super nerdy here but one of my favorite worked shoots in wrestling is one cody rhodes did where he was ranting about the way young wrestlers get put through the grinder and he has this amazing line where he sums it up as “old men talking, young men dying” and it’s not to say there aren’t a lot of old dudes Also dying lmao but you really see this where young leaders are often unprepared for their responsibilities and used as puppets by older men and you just MISS THAT when that whole generation is so grown!

it’s like they looked at those themes of war being terrible and all consuming and brutal no matter how justified you feel you are and went “wow war is brutal 😍” LIKE PLEASE????

[valeriemperez]

Grant, Candice and Keiynan cuteness before filming (a very spoilery scene, proceed with caution)

[chasingshhadows]

RNM S01: A Progressive Review

I want to talk about diversity, representation, social issues, and the way Roswell New Mexico succeeds and fails in that particular department. It’s 2019 and we no longer live in a world where it’s acceptable to ignore the societal implications of the media we consume. That said, it’s also 2019, and Roswell is doing some things that place it far ahead of its peers in media in ways that make it an absolute pleasure to watch. Like honestly, I’m fucking thrilled with this show ok.

I’ve read and skimmed a lot of discussion about the ways in which RNM has failed to be this perfect paragon of progressive representation, and I’ve read/skimmed far less discussion – by both fans and TPTB – about the ways in which the show is trying to be better than its forebears.

However, there seems to be a wide divide between people recognizing the former and people recognizing the latter, and I very much believe it’s irresponsible to try to focus on either one without at least acknowledging the other. So I’m going to talk about those failures and successes, and I’m gonna zig-zag that line so that if you want to read about how I feel about one of those things, you’re gonna have to at least skim the other.

[read more]

I tried to be as concise as possible, but even so, this is rather long, mostly because I didn’t want to make several posts about this. I want to say what I have to say on the topic and then get back to the story because that’s really why I’m here.

Also to note: I understand – and I hope we all understand – that we are in the first season of this show. This means that they should have plenty of time to follow through on or fix many of the issues I will point out, but that also leaves room for them to torpedo many of the positives I’ll discuss. Just – please know that I know we’re only one season in, and anything could happen.

On lived race

This show does a fabulous job exploring how race intersects with these characters’ lives and how it plays an active role in shaping not only who they are, but how their story lines play out. With Liz & Arturo, their race – and immigration status – are openly discussed on screen and inform their decisions and how they present themselves to others, as well as how they are received by their town. This is, in fact, a major aspect of the first season arc/plot as a whole, not just as it pertains to Arturo & Liz (and Rosa), but as it pertains to all the characters, so it’s worth emphasizing.

With Maria, we see her discuss her race as a factor in her isolation from her hometown, as well as seeing how she owns it in the face of racist customers. With Kyle, we see his compassion as a fellow child of immigrants in treating Arturo off the books, and with his mother, we see her perspective on that situation based on her own experiences as a Hispanic immigrant. And with Mimi, we see, tho tangentially, how the intersection of her race and gender and the stereotyping around those have had a negative impact on her healthcare. Even what little we saw of Arizona was washed in her experiences as a Native woman, and her (rightful) disdain for white people.

On the other side of that coin, we have white characters, namely the three alien siblings, whose White Privilege plays an active role in their actions and how they conduct themselves. I know some people have frustrations that these three main characters were all cast as white, but I’ll be honest, after having seen 1.06 (Smells Like Teen Spirit), I would not have bought that any of these characters were a POC. Can you imagine a Black or Hispanic teen being thoughtless enough to frame a WOC – who also happens to be the daughter of a known undocumented immigrant – for the drug-induced vehicular manslaughter of two white girls and not expect the entire town to then turn on that family? Even as a teen, no POC would be race-blind enough to not have had that forethought. It would not be believable, without an immense amount of heavy lifting in the backstory, for a POC to have framed Rosa instead of either of the white women, to have made the decision to put her in the driver’s seat over the other two.

And in this way, the show also does an amazing job in showcasing how good, liberal white people can still be thoughtless where it concerns race. Especially at 17. The White Privilege of the alien siblings, and their lack of awareness of it, serves as a major negative driver of the show’s plot and is the root cause of much of the conflict throughout the first season. That’s real, that’s believable, and that’s important to show.

This, all of this, is vital in portraying accurate, true-to-life representations of how marginalized racial communities interact with each other and white populations, and also gives those communities characters they can point to that not only look like them, but also share their experiences – experiences which are unique to POC and also give white viewers a clearer picture of what it’s truly like to live in this country as a person of color.

On meaningful racial representation

I feel rather let down that the show didn’t follow through on Alex’s heritage in any of the meaningful ways that they did with the other POC on the show (see previous section). All of those characters had clear and explicit aspects of their narrative which centered their race as an part of their story – again, rightfully, as that is how it’s lived IRL. We got to see them express and experience their race as more than just the color of their skin. We didn’t get that with Alex. (or with Noah, but he’s a whole other story)

It’s particularly disappointing considering that Alex is the only POC on the show who passes (that we know of, ofc). Many people will be upset at my bringing this up, but it’s true and we should be talking about it. His ability to pass – the ability for anyone to look at him and not know immediately that he is of Native descent – does not in any way negate his POC identity. Not even remotely. Not a little bit, not at all. All it means is that as a POC, Alex has the ability to be spared from certain microaggressions experienced by others in his community. Not all, not even most, but some. But it also means that he is subject to microaggressions that others in his community will never experience – such as someone making disparaging comments about Natives as tho there aren’t any in the room, or by people assuming he’s “basically white” bc he looks white and erasing his heritage entirely. Those are experiences unique to his race that other Natives who don’t “pass” would never experience.

Roswell didn’t follow through on that this season. We saw no indication, other than the casting of his brother as a Native actor (which I was very pleased about, mind you), that Alex Manes is not as white as he appears. Portraying and giving accurate representation to POCs who pass is just as important as giving it to POCs who don’t.

On consent

WOW this show does a marvelous job at portraying how people should approach getting active and explicit consent from those around them. Active consent is so deeply ingrained in the foundation of this show that its absence is used as an indicator to the audience that something is very very wrong - and on more than one occasion. In order to pull that off, the show has had to set an abundantly clear standard for the type of consent that these characters should expect from each other when things are not horribly wrong, and that standard is appropriately high.

Max and Liz are the obvious duo with which this is explored. From the first, when Liz wants to kiss Max outside of the cave, he stops her because he’s concerned that her judgement may be impaired or impacted by the effects of his powers. He refuses to take advantage of that state, making a direct call to the behavior women wish we could expect from men when our own judgement may be impaired. This continues later when she asks to be left alone and he just immediately backs down and away, not pushing or persuading. He treats her word as law, as he should. We see even in his past, as a teenage white boy in 2008, that he consistently asked for Liz’s consent to even be in her presence.

We see it between Michael and Alex in very different but still very present ways. A lot of Michael and Alex’s communication is silent and, as such, so are their consent check-ins. Before their first kiss, you see Michael checking in with Alex, watching Alex’s body language as he approaches and making sure Alex is receptive before he goes for the kiss – and Alex is, clearly. Michael asks what Alex wants and Alex says that doesn’t matter while stepping toward Michael. Michael stops and looks at Alex and Alex continues to move closer, looking back and forth from Michael’s eyes to his lips. This type of silent communication and consent checks continues throughout the rest of the season, from the scene at the drive-in to the teenage scenes and on.

We also see clear attempts at getting explicit consent between Liz & Kyle, between Cam & Max, and even when Michael was guarding Maria at the gala (I can go get Liz if you want me to leave) and later when he approaches her following the events of 1.13.

This has honestly been so fucking cool to see like this, on a CW show especially, to see how easy and essential it is to get that consent in all situations. It’s an important representation that we don’t see laid out clearly enough in media today and I’m so fucking proud of Roswell for doing it so effectively.

On disability & erasure

This show started to do something that was really incredible in portraying one of the main characters as an amputee. We see his crutch, we see the way he moves with it, we see how he struggles with it, and we see how he is determined to life his life as an amputee, and not just despite it.

There was certainly plenty of room to improve in even that regard - specifically where it concerns coaching on exactly how a recent amputee might move their body and center their weight and whatnot, even, or maybe especially, if that person were trying to hide their struggle. But it’s clear that the show was trying to represent a type of character we don’t get to see often.

But then Alex loses the crutch. Rather suddenly and very cold turkey. This is not an accurate representation of how someone with a recent loss of limb would experience their recovery, no matter how much that person may want to hide it. Recovery takes time, it takes practice, and it includes bad days. We didn’t see any of that.

It's particularly frustrating considering the show gave themselves the perfect opportunity to do this transition far better and didn't take advantage of it. There was a six-week time jump between episodes 8 & 9. Had we seen Alex try to go without his crutch when he confronted Liz in ep 7, and then have to return to using it after the long day out, and again in episode 8 with his father - wouldn't it have been so amazing to see him collapse in his chair after Jesse leaves and rub his leg because he's been ignoring the pain all day in an attempt to intimidate his father? And then we could see him moving more independently after that six-week jump.

The show dropped the ball there, in my opinion. In a big way. That beautiful representation was given and then promptly taken away. And then the show set itself up perfectly to explore how the invisibility of disability can be experienced, and has not followed through on that at all. Quite literally the last indication at all that we get of Alex's amputation is Michael commenting on his having lost the crutch in episode 9.

One of the harsh truths of disability is that no matter how much one might try to ignore and hide that aspect of who they are, it will always be there and it will make itself known. It might be invisible to others, but Alex will experience it anyway, will be affected by it anyway. He may be able to do anything that anyone else can do, but he’s gonna have to work ten times harder at it. We should have gotten to see that.

This same problem of erasing disability happens with Michael’s hand in the last episode. Michael’s scars, what they prevented him from doing, how they affected his work - all of that was so important to see, and then he gets the unconsensual healing power of magic and suddenly he gets his happy place back. And as happy as I was as a Michael!Stan to see him find that, this sends a bad message, that people with disabilities just need to be “fixed” to be happy. And as I mentioned above and in other posts, it is wildly apparent that Max healing Michael’s hand without his consent is meant to be an indicator that Max is Very Not Okay and is a prelude to him literally going so mad with power that he kills himself to resurrect Rosa. That noted, from a representation standpoint, I wish another mechanism had been used to show that.

On unapologetic politicism

Roswell makes it absolutely clear where it stands on the political spectrum and who this show is for. This show exists in the post-2016 election, post-#MeToo era and it embraces that culture and does not shy away from being political, on everything from race, sexuality and misogyny to immigration status, gun control, and even research science. It uses context and even hero dialogue to make the audience aware of what is right and what is wrong on these topics, and it does so without ambiguity or nuance.

It (appropriately) paints ICE as the enemy of good, hardworking people in literally the first scene of the show. Liz starts ranting about being stopped because she’s Latina and I just did a little dance inside because Yaassss, these are my people. And the show doesn’t let up there - the shadow of ICE hangs over Arturo’s - and by extension, Liz’s - head the entire season in a way that makes the audience uncomfortable and angry on his behalf.

The show consistently, from multiple characters both in law enforcement and not, refers to undocumented immigrants, the homeless, and prostitutes as “the most vulnerable members” of society, and not as a scourge or a menace to that society. These are good, worthy people deserving of protection and justice. The show paints anyone who views differently as firmly In The Wrong, from the disgusting Wyatt Long to the self-righteous Sheriff Valenti.

The dialogue calls out everything from subtle racism in police descriptions to building a wall to #AllLivesMatter to fake news to the terrifying ease of buying a gun to homophobia to the president himself  - it does not hold back and it does not leave room for excuses or sympathy on the part of the more conservative characters.

Most of the dialogue on the show that wasn’t explicitly Alien-centric feels very organic in the ways that it makes offhand quips about immigration and racism and sexism and everything in between - that’s the way I and my friends speak and converse. That stuff just filters into our conversations about really anything because it’s always at the forefront of our minds. We call those things out when we see them and talk about idiots like they’re not sitting right in front of us (“I think that’s Hank speak for ‘he wasn’t white.’”) There aren’t a lot of shows that nail that so perfectly and the only one that’s coming to mind at the moment is Dear White People, which was the first I saw to pull this off so well.

This is media that doesn’t try to paint a picture of “there are good people on both sides.” This media isn’t playing middle ground, or trying to please everyone. It’s making a statement in these choices and it doesn’t shy away from pissing off toxic people - this media isn’t for them. Most popular successful media (*cough* MCU *cough*) achieves that status by very carefully toeing the line between left and right, by using subtext to attract progressive viewers while keeping the explicit storyline clean and moderate. Roswell doesn’t do that - its progressivism is explicit and unmissable, as it should be. And that makes it, truly, an absolute joy to watch.

On Maria’s arc

Maria DeLuca did not start this season as an extension of Michael’s - or anyone’s - storyline, and I’m incredibly frustrated that, narratively, that’s how she ended it. That’s easily my biggest disappointment regarding the season as a whole, exaggerated by the fact that Maria is a black woman and because of that, her storyline carries more weight than many of the others. This post does a good job of discussing why POC rep matters more, and while it focuses on race-bending (which this show has also done with Maria, in a positive way), I think it still makes the point that Any POC Rep will just always hit harder, good or bad.

When that Rep is good, it’s fantastic. When it’s bad, it’s terrible.

And for most of this season, it was hitting very very good well. Maria throughout most of the season was this fierce, beautiful firecracker of personality and suppressed issues. She had a history and a deep well of issues both pre- and post- the loss of one of her closest friends, followed by the physical separation from her other two best friends. She’s got an amazing relationship with a mother who is slowly losing grip and slipping away from her. Those things, how they shaped her, and how they expressed themselves made her relatable, tangible, and easy to love.

That was actually one of my favorite parts about her hooking up with Michael, that these were main characters seeking comfort and distraction in one another, rather than just with throwaway characters. Maria is her own person with her own story that we had already seen explored as an independent arc from any of the other main characters

However, that arc never quite got the same attention as Kyle’s or Alex’s and certainly not as much as Liz or the Pod Squad. A lot of that likely has to do with her ignorance of the alien presence in the town (which appears to be coming to a close, but I won’t speculate on that) and that makes sense, narratively. As she couldn’t be actively involved in pushing the alien mystery plot forward, there was only so much the show could do with her, and I think they did take advantage of what little wiggle room they had there.

That said, given that she’s the only black woman on the main cast, it’s very disappointing that she rounds out the season by being drugged, possessed, and either talking about, pushing away, or engaging with Michael. My own perspective on this show may revolve around Michael, but that doesn’t mean I think our black woman should share that fate narratively.

And I’ll note that characterization-wise, I understood the ways Maria’s thoughts and actions could become consumed and fixated on a love interest. Oh, holy wow, have I Been There. But allowing that - and essentially, only that, narratively for Maria at the end of the season, as the only MC black woman on the show - is a disservice to her character and the community she represents. Which is not to say that I take issue with how Michael and Maria come together at the end, either from a narrative or a character development standpoint; what I take issue with is that that is all we get of her in the later episodes. Maria deserved more, and so did we.

On fighting for WOC

One of my favorite things about this show is how the characters on this show again and again come to bat for the two main WOC, despite that both of them are portrayed as absolutely capable of fighting for themselves. Both Liz Ortecho and Maria DeLuca are shown to be strong, multifaceted, beautiful (neither because of nor in spite of their race - just beautiful, end of story), desirable, and worth fighting for - and unapologetically and undeniably women of color.

Our “main hero” Max makes it absolutely clear that he will Throw Down for Liz Ortecho. He risks his own life and the lives of his siblings to save her, and nearly torpedos those relationships entirely on her behalf. He loves her absolutely, flaws and all. And he acknowledges those flaws - he doesn’t put her on a pedestal or pretend she’s perfect - she doesn’t need to be for him to love and respect her.

We see Alex and Michael and Liz all show up for Maria at different points in the story, fighting on her behalf, defending her, and making the statement that Maria is precious and should be protected. More than that, through Michael’s eyes, we stand in awe of Maria DeLuca - she is a standout, she is impressive, she is powerful, and she is her own savior, every time. And through all of that, she is beautiful and desirable and absolutely worthy of being the center of attention.

These storylines and characterizations are unfortunately still incredibly rare for women of color in modern media. Women of color rarely get to be these fully fleshed out characters with their own backstory and own motivations, and even more rarely do we get to see them be viewed by others as special and valued. Roswell isn’t sidelining its WOC or centering their storylines around white men (my comments above re Maria’s last couple episodes notwithstanding). And that’s amazing and should be celebrated.

On aesthetics

No matter how important something is to the plot or how in-character it would be, the sociological aesthetics of media are still relevant. Plot-wise, the roundabout Wyatt leading to Maria leading to Noah was an interesting mechanism, and it makes sense, character-wise for Cam and then Isobel to suspect Maria’s involvement. And it makes sense, character-wise, for Liz to then defend Maria against those suspicions.

But - aesthetics matter. And watching a scene in which two white blonde women accuse a WOC of horrible crimes at another WOC is immensely uncomfortable and very tone-deaf. That wasn’t fun or engaging to watch, I don’t feel drawn into the mystery of it all in that moment, I feel pretty grossed out, actually. Because this show has set a standard for itself of being better than that, and in that scene, it failed its own test.

On bisexual representation

This one I’ve already talked about at length and having finished out the season, my feelings haven’t changed. This show does a damn fine job showing us a bisexual character living out his life, his pain, and his unhealthy but entirely relatable coping mechanisms. They don’t try to portray him as perfect because he’s not and he shouldn’t have to be for us to respect and love him.

On bi-baiting

I’ll admit to being disappointed that Isobel’s feelings for Rosa turned out to be artificial and driven by the man living her in mind. It took the whole situation from amazing bi rep to aggressively heterosexual. Not only was our queer woman not actually queer, but all of those feelings and attraction toward another woman were actually driven by a really toxic man that was actively violating Isobel to pursue that attraction.

Once again, the show started to give us something really fucking amazing - two bisexual main characters - and then appeared to take that away. We’ve been given no indication that Isobel’s attraction to Rosa was anything more than Noah in her head or that she herself is anything other than Very Straight.

This doesn’t diminish the amazing bi representation they’ve given us with Michael, but that amazing representation does not excuse or erase our having been baited into falling for another bisexual character only to find out it was all very likely a sham. While there are certainly not enough bisexual men in media, there is also not enough queer women at all. So dangling that in front of the audience before yanking it away is frustrating.

On respecting survivors

*Content Warning: sexual assault* 

So I’m going to talk as a survivor for a moment and explain how Holy Shit Muther Fucking Important it was to see another survivor being told that other people’s feelings and needs didn’t matter. What She needed mattered. I was sobbing through that scene because no one has ever told me that. No one ever told me that what I needed trumped other people’s comfort or anger or needs.

But Isobel got to hear that. She got to hear that her brothers’ needs Did Not Matter (and that, particularly, hits hard for me). The only thing that mattered was whatever She needed to get through this, to feel better, and to heal. She got to hear that taking care of herself was the most important thing, that she was allowed to be selfish and think of herself. She didn’t have to put others first, or make sure everyone got what they wanted. What they wanted is nothing compared to what she needs. I needed to hear that just as much as Isobel did.

The show did not shy away in facing just how violently violated Isobel was by her husband - body and mind. It doesn’t brush off what he did as just another evil act by an evil man - this was invasion of Isobel in every possible way by someone she loved and trusted.

And it doesn’t try to artificially portray her as too strong to care, or too weak to handle it. She’s strong, but she’s affected. She’s shattered inside, and she’s handling it. A lot of us know what that’s like in ways people that haven’t experienced it never could. And as someone who finds therapy in being understood, in seeing my experiences in media, this scene was everything I needed.

On villainizing POC

This one has sparked a lot of valid discourse. Media has a really ugly history of telling society who is good and who is bad based on casting choices and always always always making the villains the POC, particularly MOC. It’s unconscious bias leading to more unconscious bias, teaching viewers that we shouldn’t trust POC bc they’re always the bad guy.

It’s a problem and every additional casting choice like this contributes to that problem. No show or movie is immune to it simply because they had a good reason, or even because they wanted to give a POC a job. Studios can give POC jobs by writing roles for them from the beginning, rather than slotting them into damaging stereotypes.

While I do acknowledge that it is unfair and in many ways problematic to deny an actor a role simply because of their race, aesthetics matter. There has to be some forethought in the casting choices regarding the message that choice will send. If the desire is to have more POC characters, then write more POC characters.

And that’s another way in which Roswell doesn’t really succeed with Noah. While there’s at least mention of Noah’s race on the show, he falls into the same category as Alex in that we never see his race expressed or lived. They cast a South Asian actor to play a raceblind role, which means they cast a POC actor to play a white role. POC characters have different stories than white characters - Roswell dropped the ball on giving us that with Noah.

Roswell does a lot right where it concerns race on this show, and it is refreshing that our POC villain is far from the only POC on the show. That said, I was taught something in college that I will never forget:  oppression is a moving sidewalk. In order to work against it, you cannot stand still (i.e. casting POC on both sides). You must actively walk the other direction in order to affect change.

Like with the issue of Isobel’s baited bisexuality, giving us amazing representation in one hand doesn’t change that you’re using the other to flick our ear.

On centering queer stories

*hugs myself in delight* This is a big one and is probably the aspect that Roswell gets the most right. Both in impact, screen time, and even in literal scene-splitting, Roswell again and again makes it clear that Michael & Alex’s love story is just as vital and central to this story as Max & Liz’s. They intercut their scenes at numerous points, and characters even within the show compare how similarly their stories have played out. The two relationships experience major milestones on the same day on more than one occasion.

Michael and Alex’s relationship has depth. It has conflict, it has history, it has heartbreak. There is tension and pain and softness and love. It has laughter and safe spaces; it has big gestures and powerful words. These two men who crash together and fly apart but whose whole beings seem to orient toward the other and who, at the end of the day, are willing to let themselves be destroyed for their love.

This queer love story playing out on season 1 of Roswell has more foundation, development, chemistry, and payoff than some of the most romanticised straight couples in media history. It’s been a week since the finale and I’m still just utterly in awe at what we’ve been given here. Roswell is absolutely succeeding in giving us thorough, relatable, meaningful queer representation with Michael and Alex. They are not holding back or sidelining or tokenizing. And they are following through on narrative promises instead of just baiting or relying on subtext. And that’s…. so fucking insanely satisfying to finally get to see.

.

Ultimately, I’m far more happy with how the show treats its underrepresented identities and modern social issues than I am critical. Most of the content on this show is akin to looking in a mirror and seeing my own worldview reflected back. I am a queer progressive woman and a survivor, so many of these issues are personal for me.

But I’m also white, and my disabilities are not physical. As such, I am not and should not be the authority on some of these issues. I am more than open to feedback from those who feel I was either too harsh, or not harsh enough, where it concerns those issues.

But for now, this is essentially Chasing’s Progressive Review of Roswell New Mexico, Season 1. And now I’m gonna go roll around in meta and fanfic and gifsets for the next several months cuz I sure as hell ain’t done talking about this show.

[leilas-digital-scrapbook-blog]

Giving Love a Bad Name – Confessions of a Fanfiction Writer

I know we’re supposed to blog about our major projects this week and I promise I will get to that soon, but I’d like to go off book for a moment to address something that’s been bugging me since last Thursday’s class. As someone who’s always tried to engage with fandom in as creative a way as possible, I hoped a class on user generated content would offer a fresher perspective than the usual amount of prejudice and self-righteous superiority that sadly seem to accompany the subject of fanfiction even amongst people that make stories and their passion for it their bread and butter.

Guess I should have known better.

In the world of professional writers, fanfiction is still a filthy word. It sums up everything that’s wrong with the people you’re sharing your stories with: the obsessiveness, the entitlement, the disregard for boundaries, the penchant for making everything about sex. Worse, gay sex, as unspeakably dirty as it’s hilarious. Be warned, writers: if you make it big, your stories will inevitably become a free-for-all at the mercy of those people. A worse fate than even George R. R. Martin could wish on his own characters.

I’m used to seeing the world of fanfiction belittled and disparaged, of course, and I’m the first to admit that the community is often its own worst enemy. But for some reason it still hurt a little to sit in class and listen to people I’ve come to like and respect during these past few months buy into every bad stereotype associated with the form. Not because I felt called out (though yes, I do write fanfiction from time to time, and I happen to quite enjoy reading it too), but because of the underlying assumptions that 1. something that’s not 100% original cannot be art, it’s a violence in fact, especially if it twists someone else’s creation into something it was never meant to be (in this case, queer representation); and 2. there’s something wrong with creating exclusively out of love, without ever expecting to be paid for it. And I have Strong Opinions on that.

So let’s talk about fanfiction.

Actually, scratch that, let’s talk about my favorite subject – yours truly. As you may have gathered by now, I love fanfiction. A whole fangirly lot. My gateway drug into it was my obsession with Lost about 10 years ago and its pesky habit of offing every character I was foolish enough to get attached to. But lo! Someone was keeping them alive through their stories! I felt blessed. I got to spend more time in a world I loved, and I stopped flirting with the idea of giving up on the show every time another character I liked bit the dust. Everybody won.

Even more than as a fan, though, I appreciated the world of possibilities that fanfiction opened up to me as a non-native speaker. I come from a small town in the north of Italy; the access I had to foreign books in their original language was limited, and if I wanted to read something in English I’d have to spend quite a lot of money on one of the very few novels (usually chunky airport bookshop thrillers or housewife romances – not exactly my preferred genres) that shared a single shelf in the bookstore with German, French, Spanish titles. But fanfiction was free, accessible, and there was so much of it. If I didn’t like a story, all I needed to do was move on to the next. Suddenly there was an infinite library of engaging stories to help me make my English better. True, they didn’t all read like a published novel would – there’s a lot of unpolished, error-plagued, stream-of-consciousness-y material out there. But there are also so, so many beautifully written works, and believe me, even for a non-native speaker it’s very easy to spot the difference.

Fanfiction also gave me the chance and motivation to practice my English writing in a way school never could have done. I’ve been writing my own stories since I could hold a pen, but I didn’t dare write in English until I was a fanfiction-loving teenager. It was a marketing decision, really – my first foray into writing fanfiction was for a fandom so small that I wouldn’t be surprised to find out I’m the only Italian representative, so if I wanted any kind of feedback on my work I’d have to suck it up and try my hand at writing in a language that didn’t come natural to me. I would never argue that the feedback I got on my works made me a better writer – contrary to popular opinion, the fanfiction community is made up of the nicest, most supportive people, and alas, you’ll never get a comment on everything you did wrong with your structure or even just pointing out common grammar mistakes from them (though I was lucky enough to have someone explain to me how dialogue punctuation works differently in English than in Italian, so I guess something can be learned even from the Internet). It did motivate me to keep writing, though, and that made me a better writer. If you think I’m being too dramatic, dishing out this monster of a post nobody asked for just to declare my eternal devotion to fanfiction, it’s because it’s personal to me. I can’t even count the number of times I’ve been told that I write in English as well as native speakers, and fanfiction is a big part of why that’s true. I doubt I would even be in this course if it wasn’t for it.

And then, of course, there’s the gay thing. I’m not going to argue about how heteronormativity sucks and representation matters because I’m sure everyone’s as sick of talking about it as I am, but please try to understand how it felt for a gay person like me, used to be depicted in media as a plot device or token secondary-character representation if at all, to be able to step into a world where queerness was the default for once. Where queer protagonists had meaningful queer love stories and queer friends and got to save the world from the Apocalypse too. Or to fight the Empire or go to Hogwarts or everything else fictional straight people have had a right to do since the dawn of storytelling in addition to romancing the hottie of their choice. I’m not asking you to feel as passionately about it, of course, but (especially if you’re straight) you might try and empathize the next time you think a fanart of two boys kissing is something deserving of your amused contempt.

I hope I’m not coming across as the person that screams “homophobe” at everyone who disagrees with her because I guarantee that’s not what I’m trying to do here, but I think the general distaste for slash says a lot about the way our society sees heterosexual relationships as love and homosexual relationships as sex. Yes, there’s a lot of gay porn in the world of fanfiction. But you know what you’re most likely to find? Romance. Not in the saucy literary sense of the word, but in its simpler, most literal acceptation. Fanfiction is just one more way for humans to express themselves, after all, and love has always been front and center in our art. Love, not sex – even if it’s gay. In fact, explicit material doesn’t even make up the majority of what you’ll find on a fanfiction website. Don’t worry, I don’t want anyone to taint their souls by visiting one of those dens of iniquity so I pulled some stats myself. Here’s the number of works for each rating in three of the most popular fandoms on Archive Of Our Own, the current go-to website for the fanfiction community (sorry Fanfiction.net) – Harry Potter, Supernatural and the Marvel Cinematic Universe as of 9/3/2019:

Even counting both Mature and Explicit works as straight-up porn (which I don’t think is quite fair, but that’s a discussion for another day), they only make up less than 1/3 of the material. Kinda disappointing, for a medium that’s supposed to be all about filthy graphic gay sex. Imagine if only one in three musicals actually featured singing and dancing, or superheroes weren’t in the majority of superhero movies. They’re lucky fanfiction is shared for free, or I’d be screaming for my money back.

Maybe I’ve just been brainwashed by SJWs, though, and this has nothing to do with my being an immigrant or a lesbian. Maybe my inability to see what’s so bad about appropriating someone else’s intellectual property for your own amusement is a cultural thing. I apologize – as mentioned, I’m Italian, and we all know Ancient Roman culture was basically just a ripoff of everything those inventive Greeks came up with. It’s in our blood. Hell, our 2€ coin, the biggest, has the face of Dante Alighieri on it, a writer most famous for having written 14.000+ verses of self-insert real-person-fic in which the girl he fancied as a teenager, his favorite author, and God himself all fall over themselves to tell him how awesome he is and he gets to prophesy an eternity in Hell for his political enemies. Talk about wish-fulfilling entitlement. Not to mention all those creatively arid Renaissance “artists” celebrated for stealing characters from the Bible and Greek mythology (seriously, the fact that Greece hasn’t unleashed an army of lawyers on us yet is nothing short of a miracle) and putting them in their cheesy paintings. Other countries can rely on a much stronger moral backbone and endless imagination – I’m sure Shakespeare, Milton, Goethe, those creative geniuses at Disney and countless others never had to resort to something as cheap and despicable as borrowing other people’s characters to tell the stories they wanted to tell.

Either way, I can’t help it – I see the prospect of creating something that will resonate with people so strongly that they’ll make it a part of themselves, that it’ll compel them to make more art, to reach out and connect with other fans, as something incredibly beautiful rather than scary. Maybe this is my usual naiveté speaking, and I will come to eat my words. It’s certainly disturbing that a bunch of entitled fans bullied the Mass Effect developers into changing the series’ ending, and sending actors explicit fanart of themselves is straight-up harassment, but is fanfiction really the problem here? Or is it social network culture, with its power to destroy all barriers and foster hive mind? To give resentment a platform to spread and be heard? I promise that the average fanfiction writer wouldn’t campaign to get an ending changed. They’d just roll up their sleeves and write a better one themselves.

[thinking-outline]

#thout #thinkingoutline

“I Take Responsibility” and the Limits of Celebrity Activism

The current cultural moment is one whose urgency feels particularly ill-suited to the sort of vapid pageantry on display in the video made to promote the “I Take Responsibility” initiative.Source: Confluential Films / YouTube

Hollywood is perhaps one of the last places to look for inspiration—practical, emotional, or otherwise—in times of crisis. Still, our gilded class’s response to the societal shitstorm that has dominated our minds and screens for the last four months has felt notably unfastened. In April, the comedian and talk-show host Ellen DeGeneres made headlines when she joked that life while quarantined in her ten-thousand-square-foot Beverly Hills mansion felt like “being in jail.” The same week, the Times reported on the four hundred inmates being held at Rikers Island for minor parole violations, despite a worsening pandemic. The inmates included Raymond Rivera, a fifty-five-year-old man who, after having his case delayed several months, contracted covid-19 in jail and died the day after state officials lifted the warrant against him. As public sentiment has turned from coronavirus-induced fear to sadness and anger following the tragic killing of George Floyd by a Minneapolis police officer, the celebrity response has ranged from milquetoast to head-scratching.

In a video shared to Instagram on June 2nd, the movie heartthrob turned Silicon Valley financier Ashton Kutcher choked back tears as he recounted a pre-bedtime conversation that he had with his two young children. He explained how his son wanted to be read to first, but Kutcher told him that his sister would go first because “for some boys, girls don’t get to go at all.” The story was meant to serve as a poignant and instructive allegory for the scores of Instagram users who had commented “All Lives Matter” under a recent post of his where he had opined “BLM.” Around the same time, Virgil Abloh, the artistic director of menswear for Louis Vuitton and the founder and C.E.O. of Off-White, was being memed into a fine dust after posting a screenshot of his paltry fifty-dollar donation to a bail fund started by the Miami art collective (F)empower. And, on Thursday, a two-minute video for an initiative bluntly titled “I Take Responsibility” joined the ever-growing canon of the unsought celebrity P.S.A. The video features a coalition of white actors and entertainers asserting their culpability in perpetuating anti-black racism. Filmed in a sombre black-and-white and scored with saccharine piano, the spot shows Sarah Paulson, Stanley Tucci, Kesha, and others vowing no longer to “turn a blind eye” or “allow racist, hurtful words . . . to be uttered in my presence” and “to stand against hate.” The Web site for the initiative allows visitors to decide which vice they feel most guilty of (“Saying racism doesn’t exist,” “not being inclusive,” etc.) and to “make it better today” by pledging to do things like “donate to families affected [by racism]” before directing them to various organizations and petitions. Elsewhere, many celebrities simply invoked proverbial, and often literal, “prayer hands” emoji (🙏)—a de-facto “get well soon” to society and all its ills.

The missed notes have been particularly grating in the pop-music world, where many stars have built careers and amassed huge profits working within black musical traditions and selling their work to black audiences. As black communities are being disproportionately decimated by the coronavirus and black people continue to die at the hands of law enforcement, there are some who feel that figures like Drake should use their gigantic platforms to do more than, say, offer a fan the chance to fly on his private jet. (On June 1st, Drake was challenged by his fellow Toronto artist Mustafah the Poet to match a four-hundred-dollar donation to a black bail-fund network. The rapper reportedly replied, “Say less, brother,” and posted a donation receipt for a hundred thousand dollars.)

A similar desire to push industry leaders toward more decisive action in combatting anti-black racism is likely how #TheShowMustBePaused was first conceived. Led by Jamila Thomas and Brianna Agyemang—two black women who have worked in executive roles at major record labels—the initiative was meant to be an industry-wide day of observance for “the long-standing racism and inequality that exists from the boardroom to the boulevard.” According to the stated mission on the project’s Web site, the women hoped that this day of reflection would be a positive first step in the effort to “hold accountable the industry at large . . . including major corporations and their partners who benefit from the efforts, struggles and successes of Black people.” On Tuesday, June 2nd, scores of artists posted black squares on their Instagram feeds, often alongside the hashtag #BlackoutTuesday. Nearly all the major music labels observed the blackout, and explained, with varying levels of specificity, what a continued commitment to this mission would look like at their respective companies. The trend was quickly picked up by many people outside the industry, too. And, somewhat ironically, the flood of black-square posts ended up saturating the #blacklivesmatter tag on Instagram, displacing resources and information that some organizers had been compiling for years. By Wednesday, it was back to business as usual on many artists’ feeds—after all, there were deluxe-edition albums to promote.

The current cultural moment is one whose urgency feels particularly ill-suited to the sort of vapid pageantry that typically constitutes the “socially conscious” arm of a celebrity’s public-relations repertoire. Given all the vested corporate interests that celebrities have, and the timeworn tradition of rewarding famous people for the appearance of political integrity more than its actual presence, it’s wishful to expect every musician with more than a million followers to be schooled in the perils of systemic racial inequality, much less to be equipped to speak publicly about it. In fact, it would probably be in our collective best interest that not all of them did. Still, one hopes that, among the faction of the highly followed and highly influential who were jumping to post black squares and vague sentence fragments, there are some who could use their visibility to do more. The increased pressure on artists to monetize their personal brands and the subsequent professionalization of social media have turned these solipsistic Internet spaces into de-facto storefronts for mini corporations. Sadly, it seems that many of the famous names behind these accounts have also adopted the sort of risk-averse, politically opaque rhetoric favored by Fortune 500 companies—opting for tepid platitudes and lazy hashtag activism in lieu of more resolute (and potentially alienating) public displays.

The tiptoeing of the entertainment industry’s biggest names has been made all the more conspicuous by the activity of their less popular peers. Throughout the coronavirus pandemic, and now in the wake of the George Floyd murder and other police-related violence, smaller and independent artists have used their reach to compile and disseminate resources like recommended viewing and reading lists (flawed as they may be), to amplify the work of organizers, and to publicize bail funds to donate to in support of the many protesters who have been arrested in cities across the country, and they have gone to protests themselves. Corpus Family Mutual Aid Fund, the initiative started by the New York creative collective affiliated with the Queens hardcore band Show Me the Body, has amassed more than twenty-two thousand dollars in just over a month, with the bulk of proceeds going to members of the New York City D.I.Y. music scene who have been financially affected by the coronavirus pandemic.

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Of course, not all of the ultra-famous have blown hot air. Various high-profile figures have disrupted their seemingly endless promotion cycles and retrofitted their social channels to speak pointedly about the current moment. One such figure is “Star Wars” ’s John Boyega. Despite apparent pushback from some of his fans, the British actor, who is of Nigerian descent, has been very outspoken in disparaging racism and brutal policing and has voiced support for protests around the world. On June 3rd, a video of an impassioned Boyega addressing the crowd at a large Black Lives Matter demonstration in London circulated widely online. Elsewhere, figures such as the Chicago rapper Noname, whose popular online book club has highlighted titles by Frantz Fanon, Paulo Freire, and Octavia Butler, have continued to use their platforms to galvanize their following and espouse their unequivocal beliefs. Some celebrities who in the past had been perhaps overzealous in exploiting their soapbox (ahem, Kanye) even seem to have stepped back and taken a more measured approach this time around.

What shouldn’t be overlooked is the work that plain old non-celebrity people have been doing. Within the past few weeks, funds for, among other causes, pretrial bail for trans people being held in New York City jails, George Floyd’s young daughter Gianna, and Ramsey Orta—the man who filmed the murder of his friend Eric Garner in 2014 and was released from prison this year—have been flooded with contributions. Bail-fund organizers in particular have seen an unprecedented spike in support in recent weeks. Many people have been posting receipts of their donations and challenging friends in their network to match them.

What these examples show is not that every single celebrity has to commit to leading the revolution but what can happen if these platforms were treated less like public-relations buildouts and more like the powerful communication channels and resource vectors that they are. Ideological fluffiness on the part of people with huge online followings can be at its best a wasted opportunity and at its worst deleterious to more substantive activism happening on social media. A #blacklivesmatter post on Jennifer Lopez’s Instagram page reaches an audience larger than those of most regional television stations. And although reposting an aerial video of a street mural is nice, it lacks the efficacy of a bail-fund link to free those arrested while marching across it.

[bigyack-com]

US Secretary of State Mike Pompeo Blames China, Russia And Iran For Spreading Disinformation On Coronavirus

Mike Pompeo identified these three countries for running a disinformation campaign (File)Washington: US Secretary of State Mike Pompeo has blamed Russia, China and Iran for spreading "disinformation" on COVID-19 and carrying out coordinated efforts to "disparage" American attempts towards containing the fast-spreading coronavirus pandemic.Speaking at the White House on Friday, Mike Pompeo described the disinformation campaigns as being "pretty diffused" and urged Americans to ensure that they are getting their information from a reliable source and not a "bad actor" trying to create and flow information that they know is wrong."I wanted to talk about the disinformation the people are seeing both on Twitter and around the world. Some of it coming from the government, some of it coming from other individuals," he told reporters.He identified three countries for these "disinformation campaigns"."It is pretty defused unfortunately but we have certainly seen it come from places like China and Russia and Iran where there are coordinated efforts to disparage what America is doing and our activity to do all of the things that President (Donald) Trump has set in motion here," Mike Pompeo said."I did just urge everyone as they are seeing information that at one time suggested somehow this virus emanated from the United States Army, this information about lockdowns that are taking place, every American, indeed people all around the world should ensure that where they turn to for information is reliable source and not a bad actor trying to create and flow information that they know is wrong," he added.The Secretary of State acknowledged that to combat the fast-spreading pandemic was a "tough fight".A total of 230 people had died in the US due to the fast-spreading coronavirus pandemic by Friday evening. The number of confirmed cases has jumped to over 18,000, an increase of over 10,000 in less than 50 hours. Coronavirus cases have been reported in all the 50 States in the US and District of Columbia as well as Puerto Rico.Globally, the death count from the virus has risen to 11,397 with more than 275,427 cases reported in over 160 countries and territories."The American people are tougher. Our diplomatic teams are working around the clock to help them keep safe both home and abroad and we're showing once again the global leadership that America has always delivered. It's been great to see countries around the world rallied behind what President Trump and his team is doing," Mike Pompeo said.His statement came after Dick Durbin and Jeff Merkley led a group of eight Democratic Senators in urging the State Department to take action against foreign actors "who are weaponising disinformation" to undermine efforts by the US and its global partners to inform the public about efforts to address the coronavirus pandemic.Recent EU reports of Russian efforts to sow disinformation about COVID-19 echo warnings made by Lea Gabrielle, the Special Envoy of the Department of State's Global Engagement Center (GEC), to the Senate Foreign Relations Committee that Russia is behind "swarms of online, false personas" seeking to spread misinformation about COVID-19 on social media sites, the Senators wrote.According to the Atlantic Council's Digital Forensic Research Lab, these "malign activities" demonstrate how false narratives about COVID-19 are "truly global and spread faster than the virus itself"."Moreover, now that the World Health Organization has declared COVID-19 as a global pandemic, cybercriminals are loading malicious software onto tracking maps, government reports, and health fact sheets in multiple languages," they wrote.A recent study by the Israel-based cybersecurity group Check Point revealed that Chinese hackers such as "Vicious Panda" posed an "advanced persistent threat" in this sphere and are likely being funded by the Chinese government, the Senators said."Furthermore, despite efforts by companies like WhatsApp to work with governments and other partners to mitigate the spread of false information on their social media platforms, disinformation continues to be shared unabated in countries such as Nigeria, Pakistan, and Brazil," they said.In their letter to Mike Pompeo, the senators also pressed US officials to refrain from using derogatory and inaccurate language that attributes COVID-19 to a specific region or country."This global challenge requires international leadership that the United States is uniquely positioned to provide and one that the GEC was specifically established to coordinate."Similarly, US officials should refrain from using derogatory and inaccurate language that attributes COVID-19 to a specific region or country, including "Wuhan virus" or "foreign virus."  Such terminology plays directly into the hands of malign actors who wish to undermine international efforts to combat the virus in a coordinated manner," the Senators wrote. Read the full article

[drrjsb]

On Scarlett Johansson’s Inside the Actors Studio Interview and Anti Bruce x Natasha Shippers

If you’re not a Brutasha/Brucenat/HulkWidow fan, please just keep scrolling. Polite has left the building.

Doesn’t this seem like deja vu? It took less than 24 hours before the usual suspects started up their sad propaganda machines again. This really is why we “can’t have nice things” or enjoy a rare moment of validation. I got testy late last night with a  person who seemed reasonable at first glance but dismissed almost every single thing that is canon in the films and twisted what was said in this week’s Inside the Actors Studio interview (s22.5) with Scarlett Johansson. It’s getting worse as the video is going around.

Let’s get something straight right off the bat. If Scarlett had meant FRIENDSHIP, she would have said “friendship”. What she said was "my character HAS this ONGOING RELATIONSHIP WITH MARK RUFFALO’S CHARACTER.” Scarlett brought this affirming description up while discussing the way her own emotions can intersect with her character’s during the acting process. As an example, she talked about the emotions she was feeling one day while filming during Infinity War and not knowing why she had a feeling of “devastation” come over her. She said, “It was something about this character that Mark plays [Bruce/Hulk], and this something that should feel so solid and then suddenly doesn’t.” She did not say that her feeling had anything to do with their romantic relationship. What she meant by “something” is ambiguous, but it’s pretty clear she was not talking about the romance itself. Notice Scarlett did not say they were “just friends” or “broken up” or refer to their romantic relationship in the PAST tense either.  In fact, she did not say anything negative about their romantic relationship at all.

I suspect the “something” has to do with the character arc for Bruce and Hulk that Mark has said will happen over the next three films--Ragnarok, Infinity War, and Avengers 4--and function like a Banner/Hulk solo storyline. Frankly, there are many “devastating” things in Bruce’s background to which Scarlett could feel a connection. The scene she is likely talking about filming is a Natasha and Bruce reunion, confirming they will meet face to face after being apart by as many as three years after Hulk/Bruce left presumably to protect everyone at the end of Age of Ultron. Bruce is going to be a changed man--something that was solid but is then not so solid perhaps. He and Hulk should be on an improved footing, but they will have possibly faced enslavement on Sakaar (and possibly stardom in the arena) and fighting the Fenris Wolf or the demon Surtur and we don’t know what else yet. Again, there is a lot of potential “devastation” for Scarlett to connect with. We’ve only had one still of Mark in character so far, and he’s looking pretty darn happy to see Thor. Come November 3rd, we’ll know more. Still, there is nothing here that would sink the romantic relationship; in fact, it’s likely to make the characters’ connections even stronger.

Scarlett then went on to talk about how her feeling of “devastation” mirrored what had been going on in her own life at the time. I took that to mean the breakup of her marriage, which considering her remarks disparaging monogamy, she may well have initiated. I’m only guessing. Scarlett is a private person. She doesn’t make clear how her life connected to anything specific in the film’s plot, so everything anyone says (me included) is speculative on this point.

Scarlett then repeats her point from earlier in the interview when she says that as an actor, it’s her privilege to be able to bring her own experiences and emotions to her work and be able to play with and examine them with the help of another actor, Mark in this case, who helped her work through and understand her feelings during this creative and cathartic process. Whatever happened in the film, it’s clear that working with Mark in their ongoing romantic screen relationship brought about a personal insight and understanding for her about her real life feelings. Again, there is nothing here to sink the ship.

Please don’t lose heart. The bottom line is these people who trash our CANON ROMANTIC RELATIONSHIP are jealous and grasping at wisps of smoke that are not there. They like to make us feel bad, so they can conjure up hope for their NON-canon pairings. The best they can do is make things up and ignore, belittle, abuse, and try to erase everything they can. These people are the bullies kicking sand in our faces because we are a small community. They want us to believe their “alternative facts,” but we are onto them. They want to see Bruce and Natasha pushed into a “friend zone,” so she’ll apparently have a lot of free time to frolic instead with their favorite character in the middle of Infinity War. The odds of that happening are in the million to one range. Instead of celebrating some great male-female, BFF friendships (or a couple of murderous encounters), some want to keep throwing shade and spleen at us, the ship, the characters, the writers, and you name it. I used to feel really sorry for some of these people. I still empathize with people who are responsible enough to use the anti tags and don’t post demeaning things or erase characters or try to shove Bruce to the friend zone. I respect fans who stay in their own lane if they don’t want to join and enjoy our party.

The hate shippers tried these same tactics with Scarlett’s Entertainment Weekly interview from December of 2015 before Civil War came out. They attempted to make us lose hope back then and twisted or omitted parts to fit their desires and wishful thinking. They thought the Russos would “save Natasha.” They want what we have, so they lash out at us and our ship. Nevertheless, we persisted and in the bleakness that was Civil War were rewarded with reassurances both obvious (”We could sure use a Hulk.”) and subtle (the looks from Rhodey and the smiles from Nat when Bruce is mentioned, the color of her clothing, and her Hulk-Gem necklace). It’s been a long voyage since Avengers and Age of Ultron, but we’ve stuck to our course. There is no reason to feel discouraged now. Ignore the anti shippers. Let them choke on their broken dreams.

Do not let them discourage your joy and enthusiasm for what we Bruce x Natasha fans have to celebrate: A Romantic Relationship between two wonderful characters played by the two actors with the best chemistry in the whole darn MCU. Even the rest of the cast members root for Bruce x Natasha despite how poorly some of their own fans behave. This ship has withstood a three-year hiatus, but we now know for certain we will see them together again in Infinity War. Babe, this ship sails on!

[theamityelf]

Listen, I’m gonna stop vaguing you and just engage you directly, since I’m beginning to feel increasingly immature not doing so. Hopefully this can be a moment of growth. For clarity, I might use the pronoun “we” a few times, but with it I am referring to my observation of the fandom, not a collaboration or established consensus; I am only qualified to speak for myself.

Liking one black character doesn’t make your treatment of another black character any less racist, and I have difficulty receiving any message of yours when you’re constantly reducing fans of Harry to people who are just thirsty for a hot actor and acting as though people are morally in the wrong for liking Audrey more than Mal because Audrey is rich and Mal is poor, which gives Audrey power over Mal in-universe, while never acknowledging that Audrey being black and Mal being white gives Mal power over Audrey in the real world (and the world of the movies, if I’m being pedantic; Princess and the Frog makes racism canon in Descendants). The writing of the films consistently favors Mal over Audrey, and the fact that Mal gives her an oblique apology once doesn’t change that. Again, it’s fine to not like Audrey, but posting content that constantly disparages a black character, portrays the other characters mistreating her, and openly wishing her ill is going to sour everything else you do in my eyes. There have been times where I found some of your posts funny or interesting but couldn’t let myself engage because I couldn’t trust your whole outlook.

Additionally, please stop pretending that fans of Uma are some kind of cult; we acknowledge her flaws, and we have been the whole time. We know. You aren’t the only one who figured out that she has flaws and that makes her interesting. We often reference her flaws. We don’t feel the need to put down black characters over shortcomings that often amount to racial stereotypes that snuck into the writing. And again, we are not a monolith; there are lots of different takes on Uma among her most fervent fans. I ask that you don’t insult our intelligence by suggesting that we are all missing out on the nuance of a character a lot of us have been literally studying. Every single black girl in the Descendants universe is framed as villainous, including Celia, who got the blatantly rude comment “She could use some Remedial Goodness” and then never did anything bad to earn it, and the fact that fans are willing (and eager) to salvage their characterization and view them with sympathy and human decency isn’t something you should want to push against. And not for nothing, I challenge you to name five black Mary Sue characters right now.

Again, I use “we” in an observational capacity; I formed this reply on my own with no consultation with anyone, and I can only speak definitively for myself. I would love to be able to enjoy and share in your fun contributions to this fandom, but I can’t ignore your treatment of certain characters, particularly not when you bombard the tags with it at every turn. I invite you to take this opportunity to either examine your biases in hating Audrey so vehemently when her actions in the first movie are no worse than Jane’s, or just maybe bring down your rhetoric so that you at least stop sounding like you want nothing more than to commit a hate crime on a seventeen-year-old fictional character.

TL:DR, I request that you kindly stop insulting us.

Uma

Contrary to what some people might think. I do actually like her. How can I not. She’s played by China Anne McClain, she undoubtedly has the strongest voice of the characters and is definitely the most well acted. However. She’s not my favourite female character. That spot belongs to Mal. Overall. Uma’s my eighth favourite. My top ten characters are Ben, Jay, Carlos, Doug, Gil, Mal, Evie, Uma, Lonnie and Jane. I could never hate Uma. I hate Disney channel for throwing her under the bus in d3 advertisements. I strongly dislike the main actress for her bullshitting which lead to the horror I call the fugly. But I do t hate Uma.

But just because I like her doesn’t mean I won’t acknowledge her flaws and call her out on her actions that I think are stupid. I understand why she took those actions but I still think they border on the ridiculous. I do that with all the characters I like. Hell. The only ones I don’t think did anything wrong is Lonnie Dizzy Celia and the twins. Uma is an amazing character. But like all the characters. She’s also incredibly flawed. And just because I point these flaws out doesn’t mean I’m a hatful bastard. It just means I don’t treat her as the infallible Mary Sue the fandom have elevated her to. Because she is not perfect. None of them are. They’re all severely messed up teenagers in a situation none of them should realistically be expected to deal with.

In short. I love Uma. Always have. Always will. But I’m not going to pretend she’s perfect when I know she’s not. It would be a huge disservice to pretend she’s perfect. Her flaws are what makes her interesting

[vsplusonline]

US blames China, Russia and Iran for spreading 'disinformation' on coronavirus

New Post has been published on https://apzweb.com/us-blames-china-russia-and-iran-for-spreading-disinformation-on-coronavirus/

US blames China, Russia and Iran for spreading 'disinformation' on coronavirus

US Secretary of State Mike Pompeo has blamed Russia, China and Iran for spreading “disinformation” on COVID-19 and carrying out coordinated efforts to “disparage” American attempts towards containing the fast-spreading coronavirus pandemic.

Speaking at the White House on Friday, Pompeo described the disinformation campaigns as being “pretty diffused” and urged Americans to ensure that they are getting their information from a reliable source and not a “bad actor” trying to create and flow information that they know is wrong.

“I wanted to talk about the disinformation the people are seeing both on Twitter and around the world. Some of it coming from government, some of it coming from other individuals,” Pompeo told reporters.

He identified three countries for these “disinformation campaigns”.

“It is pretty defused unfortunately but we have certainly seen it come from places like China and Russia and Iran where there are coordinated efforts to disparage what America is doing and our activity to do all of the things that President (Donald) Trump has set in motion here,” Pompeo said.

“I did just urge everyone as they are seeing information that at one time suggested somehow this virus emanated from the United States Army, this information about lockdowns that are taking place, every American, indeed people all around the world should ensure that where they turn to for information is reliable source and not a bad actor trying to create and flow information that they know is wrong,” he added.

The Secretary of State acknowledged that to combat the fast-spreading pandemic was a “tough fight”.

A total of 230 people had died in the US due to the fast-spreading coronavirus pandemic by Friday evening. The number of confirmed cases has jumped to over 18,000, an increase of over 10,000 in less than 50 hours. Coronavirus cases have been reported in all the 50 States in the US and District of Columbia as well as Puerto Rico.

Globally, the death toll from the virus has risen to 11,397 with more than 275,427 cases reported in over 160 countries and territories.

“The American people are tougher. Our diplomatic teams are working around the clock to help them keep safe both home and abroad and we’re showing once again the global leadership that America has always delivered. It’s been great to see countries around the world rallied behind what President Trump and his team is doing,” Pompeo said.

Pompeo’s statement came after Dick Durbin and Jeff Merkley led a group of eight Democratic Senators in urging the State Department to take action against foreign actors “who are weaponising disinformation” to undermine efforts by the US and its global partners to inform the public about efforts to address the coronavirus pandemic.

Recent EU reports of Russian efforts to sow disinformation about COVID-19 echo warnings made by Lea Gabrielle, the Special Envoy of the Department of State’s Global Engagement Center (GEC), to the Senate Foreign Relations Committee that Russia is behind “swarms of online, false personas” seeking to spread misinformation about COVID-19 on social media sites, the Senators wrote.

According to the Atlantic Council’s Digital Forensic Research Lab, these “malign activities” demonstrate how false narratives about COVID-19 are “truly global and spread faster than the virus itself”.

“Moreover, now that the World Health Organization has declared COVID-19 as a global pandemic, cybercriminals are loading malicious software onto tracking maps, government reports, and health fact sheets in multiple languages,” they wrote.

A recent study by the Israel-based cybersecurity group Check Point revealed that Chinese hackers such as “Vicious Panda” posed an “advanced persistent threat” in this sphere and are likely being funded by the Chinese government, the Senators said.

“Furthermore, despite efforts by companies like WhatsApp to work with governments and other partners to mitigate the spread of false information on their social media platforms, disinformation continues to be shared unabated in countries such as Nigeria, Pakistan, and Brazil,” they said.

In their letter to Pompeo, the Senators also pressed US officials to refrain from using derogatory and inaccurate language that attributes COVID-19 to a specific region or country.

“This global challenge requires international leadership that the United States is uniquely positioned to provide and one that the GEC was specifically established to coordinate.

“Similarly, US officials should refrain from using derogatory and inaccurate language that attributes COVID-19 to a specific region or country, including ‘Wuhan virus’ or ‘foreign virus.’ Such terminology plays directly into the hands of malign actors who wish to undermine international efforts to combat the virus in a coordinated manner,” the Senators wrote.

IndiaToday.in has plenty of useful resources that can help you better understand the coronavirus pandemic and protect yourself. Read our comprehensive guide (with information on how the virus spreads, precautions and symptoms), watch an expert debunk myths, learn about the first human trial of a vaccine, get live updates and access our dedicated coronavirus outbreak page. Stay safe. Take care.

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