#it's a (white) Queer Norm but it's still a norm!

[side-by-side-sideblog]

As a butch individual I will not like you, fuck you, talk to you, make friends with you, or entertain you if you hate men, neither will my partner and other butches I know. It is not progressive, man hating isn't queer culture, because men are queer culture. Men are why I am masc, they accepted my masculinity first, lesbians were butch and masculine phobic to me for 8 years till I figured my shit out. I know that isn't the norm, but it isn't rare either.

These people put me back in the closet over and over. They don't support gender or sex being a spectrum, if they do they're showing no signs of it. They think saying men dni will stop guys who harass people but they don't stop because they don't care about consent and a dni doesn't change that. There are plenty of girl bloggers who also don't respect consent and send people gore and threats over minor disagreements. We don't go after them hardly at all in comparison considering we have people who've been doing that since 2016 and earlier that people still reblog and uplift because they're women. Men doing that on here don't get that treatment, because it's rightfully wrong. Most other sites white non queer men do getaway with that more while women don't, the Tumblr user base reversing that isn't progressive, because cis white women here get more slack then anyone else because trans fems, trans mascs, intersex people, and non white people get the "evil" tag over small shit, let alone actual bad things.

We teach in current society that men are incapable of consent, as if it's in their nature. This isn't true, but it sure does create a lot of guys who lack boundaries. That doesn’t mean Man = Bad it means society saying Man = Wild Beast is bad. A man is just whoever identifies as one, and identifying as a man has nothing to do with lack of consent, or toxic masculinity. I sometimes wonder if I identify as butch in a man way, idk, and I don't care, I am who I am, and women are who I spend time with in a queer way. My closeness to masculinity isn't traitor behavior. Femininity isn't Divinity, I do not worship women. Masculinity isn't an Ignominity, I do not criminalize men. Masculinity is also not Divinity, and Femininity isn't an Ignominity. Both can be fallible at times when the conditions are right, but they are neutral markers.

To make man = good we do that by just changing ourselves and our ideas of masculinity being bad, then we teach it to everyone else, including kids, friends, partners, and parents. When people stop the "boys will be boys" then more men will be taught consent.

I have an actual irrational hatred for a character that makes me burst into anger and hour long rants (not joking) because I see him as the epitome of toxic masculinity. Seeing him in a profile picture can ruin my day, but I do not put him in a dni list because I am not going to blame fans of him for my distaste in how the media itself supports his bad actions as good. Just like if I get harassed by men who lack consent, I will not blame all men and put men dni.

Saying "I block ＿" is better anyway.

Plus, how can you know someone's a woman? Not everyone has pronouns listed, gender listed, or just a big neon sign saying "I'm a woman." you will have no idea if people are respecting your frankly outrageous ask of who can follow or reblog your posts.

Men on this site who respect women and reblog posts do exist, and there are a lot of them. Also trans eggs who are on this site are not going to figure themselves out through media like mlp, she-ra, and whatever you post by saying men dni. My trans sister cracked her egg six months ago, so for her blog she would have steered clear of men dni disclaimers and probably blocked them out of respect. Now how does she undo that, go through her entire block list? That would be crazy work for people who wouldn't have respected her pre transition (which they didn't, not even other trans girls or queer gurls in highschool did, only now would they support her. That's what man hating does to people.)

There is no simple solution to keeping people away, oh wait... It's called blocking.

tldr; Having a dni for an entire demographic of people just for the flaws of a few inside doesn't work. It never will. People who don't care about consent will breach it to hurt you.

if you have "cishet men dni" in your bio i, a trans man, will not touch you with a 10 foot pole. i should not be forced to out myself as a trans man just to interact with you. on top of that, cishet men are not inherently evil. stop trying to reinvent bioessentialism with your "girl good, boy bad!" mentality.

[moe-broey]

It is extremely difficult to design modern outfits for Alfonse though idk what it is. Sharena will look good in anything from flannel docs lesbian outfit to cute overalls to something sporty to high femme dresses (tbh I still wanna draw her in one of my fave old dresses ..) but Alfonse. There are def a few routes you can take keeping his character/personality in mind and I think they look good/are super cute and make sense but like... esp for me personally, thinking of the v specific way I draw/stylize him...

AH. MAYBE. MAYBE I FIGURED IT OUT BC I HAVE NO PROBLEM DESIGNING OUTFITS FOR HIM IN FEH CONTEXT...... it's cause that bitch is always wearing tights and long shirts that (esp depending on how you draw it) border on being dress-like to straight up robes/skirt-like garments WHICH makes sense for him in universe bc that's p standard wear for men in Askr, in the Order of Heroes specifically. Like

Seliph's resplendent stands out to me as a huge example of this, and you can kinda see it in Corrin's too! Though I do think resplendents often take a lot from the chara's base outfit (both standard and resplendent Seliph having tunics, both Corrins having leggings ect). But speaking of Corrin, espp the lengthening of that bit of fabric at Corrin's hip, looks a lot like Gustav's garments!

Who may be a better measure for men's dress in Askr (normal attire, for a king anyway, and a cultural festival outfit). But I do also think you can glean some details off of resplendent designs too!

Also actually.

This Day of the Life comic that acknowledged Sharena's absence from the DoD banner (BITE BITE KILL KILL SO MUCH HATRED IN THE WORLD‼️‼️‼️) implies that their outfits may have been identical, just in their respective signature colors (blue and pink). And even looking at Alfonse and Sharena's base art, they have a lot in common!

And looking at Seliph and Corrin again, the puffy sleeves seen on Sharena and Henriette aren't necessarily gendered traits. ACTUALLY.... GUSTAV HAS THEM TOO! Alfonse's outfit is an outlier sleeve design wise!

Which is to say, there aren't actually a lot of strict gender differences in attire here. A lot of the clothing looks/feels androgynous esp when viewed through a modern lense (like I'm sure there's a lot of real-world historical inspo that goes into the designs, I just know fuck all about that LMFAO 😅). And esppp the way I've come to draw Alfonse a lot, I do emphasize what reads as femme -- giving him longer shirts, simplifying the strappy armor on his thighs into. Over the knee socks. Over the leggings/tights. 🫣 And that's not even getting into the knee high boots and heels!!!!

WHICH IS. Actually SO FUCKING DIFFICULT. To translate into modern fashion esp typical standard men's fashion, in a way that still feels true to him as well... bc I do believe in femme/androgynous Alfonse supremacy 😤 But he is ALSO. SO IMPORTANTLY. He is VERY MUCH just some guy who is heavily defined by the role he's been put in. Which is also kind of difficult to sort out, what Would he wear, if the standards were completely different and also if he was choosing for himself?

SINCE. I'M CERTAIN idk if I wanna dig for it but -- I'm CERTAIN all his outfits have been picked For him to some degree. The Order of Heroes outfit is a uniform, the bunny outfit is implied/stated to be picked by Sharena. The yukatas in their duo are 1) Hoshidan and 2) I think Anna was the one who picked them? Might be wrong on that, but I do feel like there's a castle dialogue about it. And of course, the DoD outfits are implied to be cultural Askran wear, and going back to that comic -- it seems neither Alfonse OR Sharena have much of a say in what it looks like (her being uncomfortable "showing that much leg" -- that, if given a choice, she may have wanted something more modest).

So like. There is. So much going on here actually.

[unproduciblesmackdown]

"normal" meaning "unquestionable" & the embrace of that cropping up anywhere such as an aim to be on the unquestionable side of a Normal / Weird binary, thus surely being a comfortable effortless indelible version of Good that stems from "just be normal"

ppl out here like freud 2.0 where well they had the sufficiently normal Nuclear Household family(tm) experience so they're sufficiently normal for it, versus the weirdos who had the Questionable family times so as to end up with Issues, surely unlike all those who are Family Issue free, i.e. normal, no question. like how also Going To School is Normal, so of course there's that idea that anyone who didn't go to school normal style or did but Did That Wrong are the people made Weirder with Issues. & when what's Normal is what's Good is what's Unquestionable it's like why would i need to question it when it's so normal? why wouldn't some rando asshole nepo man be Meritous & Good at business when he's so Successful at it. speaks for itself, same as Your role of being treated entirely differently does, this can't be questioned, blame it on your own failures; again how the supposedly "questionable" experiences (unlike other ones, which need no Legitimate questioning) are pathologized like. people talking about disabled ppl's lacking "social skills" being this meaningful Driver of ableism just like poor people's lacking "financial literacy" being that darn cause of classism & resource extraction, the already Questioned vulnerable [you're just doing it wrong / failing] people are the cause of their own mistreatment, Normal people who are so socially & financially successful are helpless, this victim blaming (can't question it. Normal) sure totally doesn't speak to abuse being "normal" as well

which, good thing abuse totally isn't Normal i.e. in the territory of unquestionable things (with, obviously, the idea that Abuse (Real abuse, if you like) must be Exceptional in addition to, if not to Really be, "obviously" questionable) since if something can't be questioned then surely it's also How Things Were In The Beginning, Are Now, & Ever Shall Be (catholic prayer paraphasing re: god, for referential context) & there's just nothing to do but invest in & play into it For Success & resent / punish / try to eliminate disruption, like people just existing but doing it Weird, c'mon, be a better person please, obviously....meanwhile people out here approaching queerness in a way that accepts & acts according to the unquestionable normal of abuse of queerness, such that oh the "abnormality" of being queer (that is, "normal" people's abuse in the face of awareness of queerness) is unquestionable, such that Oh No, investment in that abuse now & forever world without end amen, & now punching down on the people who are just Being Weird & Disrupting this embrace of the norm: radfems invested in "all bodies will be classed as men & women & the former abuse the latter" & hate women who already disrupt this premise; pointing out ace exclusionism as terf logic just applied in the different context where queer vs nonqueer binary is neatly detected just as the gender binary is & people who already prove that & the way it's defined is not the case are the real problems, infiltrating Unquestionable (Normal) Queerness & delegitimizing it i.e. being The Cause of e.g. homophobic abuse, which will also unquestionably exist, so if we're gonna blame someone as Needing To Change it'll have to be uhhh already also affected Weird people who are ruining things, they're the Real causes of this abuse, so they're basically men, basically cis, basically straight. boooo to trans ace bi pan aro nonbinary gnc people....hardest to be binary gender "same sex" "romantic" "visible" Truly Queer couple currently holding hands in public or in front of family, & it's You Mfs who make it harder, not, yknow, the people who were already always embracing & perpetuating the abuse bolstering Normal(tm) Cishet Just Being Normal. and of course don't forget going after poly people & others disrupting / not accepting premises about Unquestionable Relationship Structures/Requirements. so not just being normal

also the beloved concept broken out that, of course, Being Normal = Being Good, b/c hello, unquestionable?? where it's like meaningless ideas that abuse is Abnormal like ":( hurt people hurt people" (inherently a framing to counter any response to [person is hurting me] that's not silent secret sympathy forever i guess. nobody's using this catchphrase to argue for Hey Quick let's all intervene to stop someone being hurt, lest they go on to hurt anyone themselves) like & yet everyone is hurt, yet not everyone is doing shit where these arguments are broken out after they're already getting away with nonsense & we're telling others to just stop complaining, while also not everyone isn't getting shit on for being "disruptive" & perchance the real hurtful problems for trying to Stop being shitted on, or just have a little more breathing room to day to day live while it happens. everyone's hurt bitch let's get you some "what's the actual patterns & context of supported power imbalance made emergently evident by whose choices & life are constrained & undermined & made smaller" like. or the expanded idea as that well all abuse comes from Being abused, i.e. the Cycle, never mind that abuse is everywhere as per its being Normal, & nobody's intervening every time it manifests despite its supposed exceptionality thus rareness & supposed indication that someone's Being abused to cause it. just gotta roll with it, wow. & pathologize being victim to it, abuser in the making, Vulnerable People are dangerous, those insulated & given more access to systemically backed power in an oh so Normal way are surely oh so Safe as well. the very rich families are all lovely havens. the abused people are treated so well & embraced & supported by all the more Normal people they encounter, certainly not Also isolated, bullied, victim blamed by these Normal friends family coworkers new partners randos in public randos who are "professionals"

but yknow uh literally just be normal lol. aaand post. and like "lol being Anti Being Normal? just like a weirdo" like yeah of course. and what, i'm gonna try to win the heart & mind of someone like "of course you have blue hair & pronouns" & convert them, as would definitely happen if only all transgenderists were Normal about it? and the perspective of "what Unquestionable Good is ever actually coming from striving to get to point at Others as Weird" involves going like "nooo i wanna see myself & be seen as Just Being Normal" instead of like having ideas / arguments about how to be considerate towards people which can be articulated in any other way & involve effort & said consideration (ft. anything able to be questioned)

[deancrowleycas]

Favorite Shots Per Episode ✩ 1.06 Skin (3/3)

cinematography analysis and queer reading under the cut

It's of course very obvious that the shapeshifter is functioning as a mirror to Dean, but I still find it fascinating how this is depicted in the cinematography. Because the director isn't using physical mirrors, despite them being such a popular trope in horror for showing the true self or the mental state or metamorphosis of a character. The only time where you sort of see one is in a foreshadowing shortly after the establishing shot with the side-view mirror (which I absolutely love):

But for the rest? Not really. I always wonder if interpret waaaay too much into certain frames, but I am kind of obsessed with how Dean and Becky are divided by the crime scene tape in this shot. Becky is the victim. Dean, well Dean? He's the monster. Kind of. I think a lot of the reflection in this episode happens through what Dean is not also, and he's are not living the lives of 'normal' people. I love how the directing of the episode shows early on that Dean does not belong to that part of society, just like the shapeshifter.

I mean I obviously am doing a queer reading of that (being queer myself), with the monstrous and othered bodies in media being those that are not conforming to various aspects of white cishet society. But I am going to say - the implication that there is a sort of inherent tragedy to Dean's life, not just a sense of not belonging because of his 'lifestyle' but also the fear of being monstrous enough to destroy other people's bodies and livelihoods? Ugh. It hurts, and it's sadly coming back in anti-queer narratives to this day. But yeah, as I said, Dean is portrayed in a way that is disconnecting him from the rest - also from Sam who is the link to this 'normal' life by knowing Becky and who has kept Dean from 'being himself' by pursuing his own dreams and conforming to the exact society that Dean is not belonging to, letting Dean behind in a position where he's neither free to be himself nor enough to be someone else -, and that is giving him a sameness to the shapeshifter.

Dean has to hide the queer part of himself, in a desperate attempt to be accepted, mirrored by the monster of the week: "So maybe this thing was born human but was different, hideous and hated...until he learned to become someone else."

I think that's why I am also obsessed with these shots. Because both the shapeshifter and the shapeshifter as Dean are getting one, revealing their true self underneath the mask that is this body, a body that is subjected to other people's ideas and is projected on and isn't their own. But also the eyes are mirrors? The body part described as the 'mirror to the soul'. It's a little cliché and on the nose, but I find it way cooler than just working with physical mirrors, you know?

And yeah, when it comes to reflections, of course, we cannot forget this scene:

Which is Dean seeing himself, but more so is actually Dean seeing how he is perceived by others. It's not a depiction of his actual self, it's a depiction of the concept of him. We know this, we know Dean is not the 'bad guy' that is televised nor is it an accurate portrayal of him. But I think that it serves to show the audience how media is a place that can shape ideas and construct norms, and it also serves as a way to remind Dean that this is how he will be reacted to if he dares to 'become' monstrous. If he dared to be like the shapeshifter, the outcast, and put his own being over his responsibility to conform. Despite his brother Sam being allowed the same egoism - but Sam's egoism is striving to conform, he's lawboy@stanford.edu you know, and Dean's egoism is striving to be free, to regain control over his body.

And then we have this shot.

Followed by this shot.

Dean 'killing' this reflection of himself, this part of himself in favor of serving and saving. He's a freak, but he's not just a freak like Sam in that he's currently living the hunter lifestyle and didn't really fit into Stanford. Because - well, he's different than Sam. Queer. He's isolated, alone, born hated like the shapeshifter if he ever lived his true self, yearning to be loved. The shapeshifter literally says it: "All he wants is for someone to love him. He’s like me. You know, everybody needs a little human touch now and then. It’s so hard to be different." I think this episode hits so hard for me because you can see Dean's self-hatred, especially in that last shot, Dean's internal struggles that he hides so well under his hero-esque facade. But also how he is ultimately a loving and caring person, putting everyone's happiness above himself.

I think despite this episode reading like being queer is an inherent tragedy at first glance, it walks a fine line in actually trying to convey quite the opposite. Dean is other, but the other isn't bad. Yes, he does good by suppressing himself, so does that mean he has to act according to others to be happy? I don't think that is what the episode is saying. I think it is more an example of Dean's 'monstrosity' being not the same as the shapeshifter's monstrosity in the end, that despite all the sameness they aren't one. That despite what society depicts him to be, evil and harmful to others, he isn't this mirror image projected onto him. He isn't what was shown on those televisions, or in a wider sense, the media. He isn't what is hunted down by the SWAT team, or in a wider sense, institutions in power. Dean's self IS good. Dean's self IS caring and loving, despite his fear to pursue his own dreams and be free, and it's not coming through his actions of suppressing those desires, but because he ultimately is neither those 'normal' people nor the shapeshifter, but his own truth. So yeah, while I think this episode definitely walks a dangerous path by having Dean continue to live this old life in the end, the cinematography in this episode also functions to reveal how - while horror is a love letter to the monstrous, represents counter-narratives and helps to deconstruct normativity (like in this episode!) - the monstrous is often instrumentalized to suppress and oppress and depict victims as an inherent danger to the established systems of oppression. Dean's true self isn't bad. People are just made to believe that it is.

[gougarfem]

i've never had such fake, shallow friendships as i have with white, liberal, "queer" friends. people i've supposedly been close with for years consistently left me on read when i texted them at 4am in hospital scared and alone with critically low sats because they didn't have the energy for emotional labour. you have to ask to vent, respect triggers, never ever traumadump, so real conversations are difficult because nobody wants to complain - unless, of course, it's related to identity somehow - you can say you had a bad day because your teacher is transphobic, but not because you had an argument at home or threw up or just didn't feel well - none of it comes from genuine concern but instead the rules and norms within your online community. constant reassurance, validation, knowing there's no possibility of a nuanced discussion on anything other than your approved safe topics. attempts at open communication feel sanitized and are laced with therapy-speak, not reflecting real human emotions, but "i sincerely apologize for crossing your boundaries" because it's ideologically wrong, the undertone is 'please don't make a callout on me', not 'i'm sorry', abuse and manipulation are wrong because they get you ostracised and put on blast publicly by your friendship group so any little disagreement comes with a flurry of reassurance that you aren't an abuser, and they still call you they/them behind your back, they still ask your other friends what they think of your opinion on ace discourse, have you crossed the line yet, can we cut you out yet, it's so fucking tiring and there's no space for real connection or humanity in all of it

[ohnoitstbskyen]

I heard a raw line from Guilllermo Del Toro the other day about monsters being the perfect way to express human failure:

“…monsters, I believe, are patron saints of our blissful imperfection, and they allow and embody the possibility of failing.”

And i was wondering your take on this quote in relation to things like vampire and werewolf and other semi-monster subtexts. “Monstrous” humans that are ironically allowed to act more human more often than… humans. I just find the attempt to make an outlet for imperfection while still at large criticizing it fascinating.

I mean, yeah, there's a long history of interpreting monsters through queer, anti-colonial, feminist and other Outsider lenses for exactly those reasons. The monster is the Other who is vilified by the in-group, which represents all that the in-group hates. The monster must, by its nature, fail to live up to the standards and expectations of the in-group, which is why it must be destroyed. But that also means the monster is free from the standards and expectations of the in-group, including oppressive and bigoted ones.

So, as an example, if you're queer, and rhetorically treated as inhuman and monstrous and diseased anyway, or eugenically classified as a deviant mutation or sub-derivation of "real" people, there is real appeal and a real sense of resistance in claiming monsterhood, in embracing it and glorying in it.

In part, that's what the rallying cry "we're here, we're queer, get used to it!" meant and still means. It is a reclaiming of monsterhood as a source of strength and community and pride, rather than shame. Slurs are used to Other queer people, to set them apart from "real" people and mark them out as a monstrous deviation from the virtuous norm - slurs are used to call us monsters. And thus a lot of queer people find a lot of power and freedom in reclaiming them, in turning their Othering into a flag to rally around.

And I think that's still a big part of the appeal of the monster, honestly, that freedom from being what someone else thinks you ought to be.

If you're a monster, you don't have to have the perfect body, you don't have to suppress your lust or your love. You don't have to shave your body hair or dress correctly for your assigned gender, or have a white picket fence house with a spouse and 2.3 children. You don't have to sit primly at the dinner table, you don't have to repress your emotions, you don't have to hate the foreigner or despise the gays or fear the trans agenda. You don't have to have a small, straight nose or perfect cheekbones, you don't have to wait to fuck until you're married, or pretend you want to fuck at all. You don't have to want to get rich or be a CEO, you don't have to pull yourself up by your bootstraps or be on your grindset, or cheer when the cops clear out a homeless camp.

To be a monster is to be free from the inhumanity that is forced on us by white supremacy, by fatphobia, by heteronormativity, by imperialism, and by the interests of capital. To be a monster is to be human in all the ways that are inconvenient to oppression.

... but I went off on a tangent there a little bit - vampires and werewolves, right. I have no theoretical or academic basis for any of this, so this is entirely a personal hot take, but I think vampires are perhaps a bit more about "passing" as a fantasy. Not necessarily in a gender sense, but the ability to keep your true nature undetected by the "normal" folk, while the secret things that make you different also make you dangerous and powerful. Surviving by stealing sustenance from a world that hates you, on terms that are entirely yours to dictate. "I will survive even if it kills you," that kind of vibe.

Werewolves, on the other hand, feel more like a defiant, angry embrace of the monstrous. Transforming into something vast and powerful and furious, growing out of your skin, out of your form, out of your boundaries; howling your nature to the moon and mauling any motherfucker who has a problem with it. Giving in to all the beastly unnatural urges, and diving into the horrible monstrous wants and desires that boil inside you (which, remember, include things like Not Wanting To Fuck or Wanting To Hold A Girl's Hand In A Lesbian Sort Of Way). Less the "I outfoxed your social game and drank you dry" slick vampire power fantasy and more the "call me a slur one more time and I'm going to wear your entrails like a fucking scarf" power fantasy.

Again, that's just personal hot takes, everyone's understanding of the monstrous in relation to themselves is different. I've seen a number of genderfluid and nb people use monstrousness as a way to defy occupying a shape that can be gendered for example.

[anistarrose]

[ID identical to alt text: two screenshots from The Owl House finale. The first is the Titan telling Luz: "I am both king and queen, best of both things!"

The second screenshot is Luz reacting with a warm, slightly awestruck smile. End description.]

it could just be part of her generally awed demeanor in this scene (because, like, who wouldn't be awed about meeting the Titan?), but I'm really soft over the look in Luz's eyes when her little brother's dad eschews gender norms.

because this Luz, who's bi, who doesn't want to choose between literal worlds, and who doesn't want to choose between feminine and masculine gender presentation. who's textually gender non-conforming, and incredibly easy to interpret as genderqueer, multigender, nonbinary, or any combination of those and more.

[ID identical to alt: a screenshot of Luz in a t-shirt with purple and white stripes, along with green sweatpants. It evokes the genderqueer flag, which is displayed next to her. End description.]

in the narrative, queerness is taken so in stride that Luz never even seems surprised by how normalized it is in the Boiling Isles — and from the start, she isn't afraid to show her own bisexuality either, which I think speaks volumes to how Camila must've raised her in a very accepting environment. but still, there's something to be said about how special it must be for Luz to meet the Titan —

who is King's dad, who is the source of all her magic, who is the literal ground she's been walking upon —

and for Luz to realize: "oh, him? the closest thing to a deity of this world? she's actually a lot like me."

[gatheringbones]

[“When I asked Janelle, “Would you be hesitant to introduce a trans woman partner to your friends or coworkers,” she responded:

Janelle: Friends or coworkers, no. I mean when I like people, I have to show them off, so like, I mean, if I like her, Ima show her off, but [pause] you can still like show people off [pause] and be brave but still be scared. You know?

alithia: Would you be scared about being a woman with another woman or scared for how they’d react to her being a trans woman or?

Janelle: Her being a trans woman, because you know people [pause] like people are trained to discriminate people based [pause] I don’t, they��re like doing a lot of things in law that has to do with like if you like [pause] depending on your sexuality, you can be fired from a job or things like that, so like that’s very scary or and also the family like just so many factors. It’s just like anxiety-driven for me. So yeah, I, I, I feel like [pause] being scared or timid is [pause] justified in this sense. In this world that we live in.

Janelle was not afraid of how others would perceive her for being with a trans woman. Instead, she worried about them both living in a society that punishes individuals who deviate from cisgender, heterosexual norms of dating and relationships. Such fears of being harmed were perhaps more pronounced for her, with her and a hypothetical partner being two women vulnerable to the harms of cis-heteropatriarchy. These fears, though, were not simply about whether they would be accepted by others, but whether they would be able to survive and thrive, as LGBT people, particularly trans people, do not have workplace discrimination protections in many states across the United States.

Peaches connected such fears to race. I asked Peaches, “If you were with a woman and knew she was trans, and y’all had been together for awhile, would you be hesitant at all to introduce her to your family?” Peaches responded:

Peaches: No. That’s a lie yes. Like my family are, they, they can be ignorant and like my mom especially, love her to death, but she says like a lot of insensitive things. My mom’s White. She doesn’t think before she talks a lot. So, if anything, I would just be like a little bit hesitant to like take her around my family, because I wouldn’t want them to say anything in front of her um that could make her feel uncomfortable.

alithia: Okay would they do that whether it was a cis woman or a trans woman?

Peaches: Um I think it, they wouldn’t do it as much with a cis woman, yeah.

Peaches was raised by a White, Portuguese mother and a Black father, and she noted her mother’s whiteness as integral as to why she microaggressed others. Peaches was referring to gender and racial ignorance and highlighted a fear of how her mother would treat a trans woman partner. Her connection of this ignorance, cissexism, and racism is part of a larger epistemology of White ignorance that functions to protect “those who for “racial” [and gendered] reasons have needed not to know” how their understandings of the world deny the lived experiences of Black, Indigenous, and other cisgender/transgender people of color and other transgender people. This White ignorance produces a misunderstanding of reality as inherently binary vis-à-vis sex and gender and an inculcated “alexithymia,” or a socialized inability to feel empathy for racialized Others. Thus, Peaches’ mother’s repetitive “[saying of] a lot of insensitive things” is not so much about a hatred of trans people/of color but the result of an actively developed ignorance.”]

alithia zamantakis, from thinking cis: cisgender heterosexual men, and queer women’s roles in anti-trans violence, 2023

[thejakeformerlyknownasprince]

Inanemorphs thought:

Some decades after the war, there's a Stranger Things type show where instead of teens working at an ice cream shop like Stranger Things, they're at a knockoff Cinnabon or Dunkin Donuts and discover some kind of shapeshifter/changeling/replaced loved ones. It's very clearly nostalgia/tribute to an era but also occasionally dealing with the Horrors? How would the Animorphs react

The comparison to Stranger Things is key, because IMHO the most interesting thing about that show is its ambivalence toward the 1980s. Both in the way it's nostalgic and critical toward the '80s, but also in the way it struggles to balance recreating vs. critiquing the norms of the time.

Like, look at the treatment of Soviet characters. There's clearly an effort to acknowledge Not All Russians, with sympathetic characters in Dmitri and Oleg, and even likeable scoundrels in Yuri and Melnikov. BUT the show still has Evil Greedy Soviet Scientists as its main villains, and still portrays everything in Russia as rusty/dirty in contrast to the pristine advanced U.S. settings. It's no Atomic Blonde, but it's no Red Dawn either.

Same goes for the issue of race. The show at first replicates the "one token Black kid in a 99% white cast" dynamic of '80s fiction which fucking sucks. BUT it has its only Black boy date a white girl, which would be unlikely to happen in a real '80s show. BUT it confines its discussion of racism to 2 - 3 isolated moments perpetrated by Bad People. BUT it also tackles the reality of kids being confronted with teens' and adults' hate, again in a way a real 80s show might not.

Same goes for gender (every boy must have a crush on the One Girl in each generation, BUT the girls get fleshed out as much as the boys). Same goes for queerness (replicating the coy hints Eddie's queer with no confirmation, BUT having Robin be an out lesbian supported by her friends). So on.

I think Stranger Things does an excellent job of doing a simultaneous homage and deconstruction of fiction from that era — Stephen King, Ridley Scott, John Hughes, Stephen Spielberg — but fumbles when trying to find a middle ground on realities of that era.

Anyway, people who were American teens at the end of the Cold War probably have a different perspective on all this than I do, because I know those media but I have little/no nostalgia for them.

[mementomoriwithacherryontop]

Thoughts literally no one asked for but I want to share anyway: Why I'm still supporting Dead Boy Detectives

And some facts on his connection to a show I've fought for for the last several months

What is being made is as important to me as how something is made. And after I first watched Dead Boy Detectives and later learned what a positive experience it was for literally everyone involved, I knew I had to champion it.

Steve Yockey and Beth Schwartz, the showrunners, took extra care to make sure the set was a safe space for everyone who worked there. Crew members have mentioned on a Reddit thread that they mourned the cancellation not so much because of lost income, but because they wouldn't have the chance to return to a work environment that truly valued them, that respected them, and that made them love coming to work every day.

And Steve and Beth took care to make sure the writers were diverse.* This is important, because they pulled together a team of people from marginalized and diverse backgrounds to tell a story about characters who are also marginalized and from diverse backgrounds. Many of the creatives are members of the LGBTQIA community. They were strategic about casting, too. Only two characters of the main cast are white, and one of them is gay; everyone else is a POC. Niko's character was created from the ground up by Steve and her actress, Yuyu Kitamura.

Steve and Beth were intentional about their choices. I mentioned crew members above, but I want to clarify that writers and cast alike have commented, repeatedly, how safe and respected they felt on set.*

This is not the norm in Hollywood, and the choice to create in that way needs to be recognized.

And in this political climate? Queer media matters now more than ever.

As we sift through discourse regarding social responsibility and accountability when it comes to consuming media and art, the phrase, “don’t throw the baby out with the bathwater” comes to mind. Nuance matters. Details matter.

Of course he-who-shall-not-be-named needs to be held accountable. But the fact remains that he was only very loosely connected to Dead Boy Detectives. He wasn't associated with it at all until it moved to Netflix late in production and incorporated the two cameos from The Sandman. His writing credits total under 11 minutes of the 8 episode series (just those two scenes). He was never on set. He never met the cast in person. He had no creative input on the series, which he has stated multiple times. Additionally, the story isn't even based on his works; it's based on the comics by Toby Litt and Mark Buckingham. Lastly, it's worth noting he does not own the rights to the show. Steve Yockey owns the Dead Boy Detectives, and Warner Brothers has production rights.

His loose connections cannot be allowed to overshadow all the GOOD that this show did, both in it's making and in the story it tells. How art is made matters. And art that is created with kindness and respect for our fellow humans, that gives voices to marginalized people, that allows viewers who are vastly underrepresented in the media to finally see themselves represented on screen?

That's huge. That resonates with people. It's life changing and sometimes even life saving. It's a lantern in the dark, and it gives people hope.

And that matters. Quite a bit, actually. And it deserves to be championed.

It deserves to be saved. ------------------------- *Info regarding writers and set culture is largely gleaned from creators social media accounts, posts/public fan interaction, director interviews, and gameos/gameodens. For more nitty gritty on exactly what his involvement looks like in Dead Boy Detectives, this link has a ton of solid info:

[austrianshitposting]

My top 10 favorite signs at Vienna Pride 2024

[ID: A woman holding a sign saying "Jesus' Playlist: Only Love songs. She is wearing a purple shirt saying "another Christian for LGBTQ* Equality ]

Cute! We love seeing supportive religious folks in this house!! 7/10 🌈

[ID: A blue flag saying "Fundis zur Hölle jagen", flying in front of the Austrian Opera]

Short, sweet, good punch, keeping Pride a demonstration. 7.5/10 🌈

[ID: A woman holding a cardboard sign saying "I got 99 Problems and white hetero normative Patriarchy is all of them"]

fun reference, gets points for being political 7,5/10 🌈

[ID: A yellow shipping container, on it is a sign saying "Intersex Solidarity", next to two ads for an photography exhibition. The Exhibition is called "Inside views", the ad is showing a human body dressed in a ripcage]

It is just so funny to me I can't even really tell why. But it just feels appropriate, next to the ad and also the color of the container is very fitting. 8/10 🌈

[ID: A group of russian-speaking people demonstrating at Vienna Pride. One sign says "Proud and Loud for the Opressed in Russia, another shows Vladimir Putin in front of rainbows and writing saying "Vladimir, it's Time"]

Honestly my heart goes out to all queer people living in countries where they are still treated horribly, much worse than Austria. Love ❤️ 8/10 🌈

[ID: Where usually the movie titles being show are displayed, the Burg Kino shows a message saying "Pride without Prejudice. Hello Viella Pride 2024.]

Just a fun and sweet way to show support in a way that does not reek too much of rainbow capitalism. nice! 8.5/10 🌈

[ID: A sign saying "A day w/o Lesbians is like a day w/o sunshine"]

Cute!!!! As a lesbian, I approve ☀️ 9/10 🌈

[ID: two men holding signs saying "Hurra! Die Hurn sind da!", "In Vielfalt vereint, in tratsch entzweit" and "support your local cum dump"]

charming. fun. would get your grandma to gasp, probably. 9/10 🌈

[ID: The Group "Volksoper Wien" holding signs saying "Mama, Papa, ich muss euch was sagen: Ich liebe Operette", "Volksoper Wien: Queer seit 1898" and "125 Jahre Volksoper: man ist nie zu alt, um sich zu outen!"]

Extremely funny. Love it. Love that such a old, prestigious institution is at pride. 10/10 🌈

[ID: A sign saying "Heten Wahnsinn stoppen"]

Short, sweet, extremely funny, great reference, i love it 1000/10 🌈

Bonus:

Ace Santa :)

[adogcalledbooster]

Aled Last is so autism coded!

ok, hear me out! I know he is a shy, white cis boy (the most represented demographic in autism research) but i still head cannon him as autistic. Because:

Special interest: Universe City and the worldbuilding of it, radios and such! It is not so “stereotypically autistic”, therefore it works. It feels genuine. In the novel, it is obvious that the world of Universe City is a special interest of Aled’s. He often references the story in other aspects of his life. (Something I can very much relate to!)

2. Social cues and interaction: Daniel even said, in Radio Silence, “He doesn’t even, like, register the social norms… he’s just caught up in his own little world.” He is shown as shy and slightly awkward, which is often how autistic people can be seen. He has people pleasing tendencies as well, also common in higher-masking autistics.

3. Gender identity and sexuality: Aled is demisexual. Autistic people are more likely to be queer, asexual especially. Alice has proposed the possibility of Aled maybe coming out as non-binary some time after the events of Radio Silence. Because of the not-registering-social-norms, autistic people are more likely to be bending the norms of gender. Like, Aled having long, pink hair (which looks rad as hell).

4. Some other, smaller signs: he is barely able to cook, perhaps due to executive disfunction? He did great in school, getting top marks , until the pressure of university came around ,which might be harder hitting for neurodivergent people, and he ended up depressed,. Of course it could have to do with him not enjoying the work, but still… Creating different “characters” for the different people in his life. Daniel, his mum, Frances, etc. Him having a bit of a safe space in his room, where he is surrounded by all the special interests of his.

[jalluzas-ferney]

Cole wasnt “changed” to be gay. He never was STRAIGHT in the first place.

and hell- whi says he’s strictly gay now? Cole could like girls as well for all we know 🤷‍♀️ uk like, be a Bi king or smth.

The thing is, just like people are used to seeing characters from books as white as a default until stated otherwise, just because they’re so used to it, this happens with straightness as well.

People are will BEG and SWEAR that a character is straight just because they were never outright stated to be otherwise. And emphasis on “outright stated” because even when there is coding, hinting or just blatant portrayal of it, people will still deny that that certain character is queer because it’s not like they canonically turned to the camera and told the audience that “I AM NOT STRAIGHT.”

But to them, even if the character rarely showed any interest in the opposite gender or ever really talked ab their attraction, the character is just automatically straight. It’s just inherent. Of course they’re straight.

And you know what? Even if the character does, who said Bi people don’t exist? I have a lot of Bi friends and a family member that either are bi or are dating a bi person, and their attraction towards the opposite gender has never invalidated their attraction towards the same if gender non-conforming.

And even then, a lot of gay men or lesbians have struggled with comp-het in the past, reuniting them in having tried to date or even marry people from the opposite gender only to then realize they never truly were straight, and were just compulsively trying to conform or believe that they are straight because again, straightness has always been seen as the status quo. As the normal thing to be. The default.

And this isn’t me saying that “the writers were writing Cole as a dude with comp-het this whole time” or smth because I don’t know that. And while I could theorize that I don’t think the writers really were thinking about implementing compulsive heterosexuality into this silly Lego show.

But just like I can’t assure that Cole canonically has suffered from comp-het or that he is gay and not Bi or hell he could be asexual or smth while being gay WHO KNOWS-but just like we can’t exactly assure that he is exactly one of those labels, people cannot come here and act like Cole was ever REALLY canonically straight. Hell. You could even say None of the characters of the show are STRAIGHT because who said they were? You can def interpret them as straight! But why do people insist on acting as if portraying Cole as having a male character a romantic interest as them CHANGING him as if he really ever WAS straight?

No one acts that when a character is straight that it was a huge betrayal or smth because the character was “OBVIOUSLY” gay by default. No. People just see it as normal and move on because that has always been the status quo.

Because this is a heteronormative society as much as people try to act as if making a character gay is “appealing to the world and the general public” as if straight people are suddenly oppressed. Hetero friends of mine or my family will always automatically assume I’m straight because that’s the norm to them. People will always assume someone it het or cis unless outright stated otherwise.

And if you can’t tell what’s wrong with that…

…

And you know what? Get all pissed off about it. Complain. Make petition for “saving your boy Cole” (save him from what exactly? It’s not like Christianity exists in Ninjago so yall can scratch hell out of the list at least) the season was made. The character of Geo was made. The scenes where Geo fantasized about Cole being awesome and handsome were made. Scenes where Cole and geo talk about needing each other were made. Scenes where geo and Cole hold hands and look at each other all lovey dovey were made. None of that bigoted complaining is going to change that. Theyre not going back and deleting those scenes and they’re not suddenly gonna write Geo and Cole in completely different way from what they were written before. Womp. WOMP.

[olis-inkwell-symposium]

How to Write Multidimensional LGBTQ+ Characters with Authentic Emotional Journeys & Moral Complexities

As a fellow proud member of the alphabet gang, when building LGBTQ+ characters in fantasy, it’s essential to push beyond surface-level representation and craft characters that are fully realized—characters with rich emotional arcs, intricate moral dilemmas, and personal journeys that go beyond their sexuality or gender identity. To do this, the character's identity should be one part of who they are, not the only thing that defines them. Below are some strategies for creating multidimensional LGBTQ+ characters in your fantasy stories.

1. Give Them Full Emotional Arcs

LGBTQ+ characters should have complex emotional lives that don’t just revolve around their sexuality or gender identity. It’s important to explore their hopes, fears, ambitions, and personal struggles just as you would with any other character.

Ask yourself:

What do they desire most in life?

What internal conflicts are they grappling with?

How does their identity shape their view of the world, but also, how do their experiences in this fantasy world impact their identity?

A lesbian warrior who’s conflicted about war may wrestle with the toll it takes on her spirit, her duty to protect her community, and her desire for peace—not just her love for another woman. These internal tensions create depth, making her more than a “token” character.

2. Place Their Identity in Context with the Fantasy World

How does your fantasy world view LGBTQ+ identities? Are they accepted, ignored, or misunderstood? Is there a specific cultural, political, or even magical significance to being queer in your world?

For example, in a world where shape-shifting is common, could gender be seen as fluid, or would rigid gender norms still exist? These questions not only affect how your character navigates the world but also how their identity interacts with the story’s larger themes. A gender-fluid sorcerer might find their powers misunderstood or even feared because of their shifting identity, adding layers to both their personal and external conflicts.

3. Move Beyond Stereotypes

Avoid fully focusing on tired LGBTQ+ tropes like the “tragic queer,” “gay best friend,” or “sassy queer sidekick.” Instead, allow them to occupy spaces where their queerness informs, but doesn’t limit, their roles in the story.

This means allowing LGBTQ+ characters to be:

Heroes and not just mentors or sidekicks.

Villains with moral complexities rather than simply “evil” because they are queer.

Leaders with the same flaws and virtues as any other character.

Relatable without relying on typical stereotypes.

Focus on their unique personalities, decisions, and values, allowing their identity to be one aspect of a multifaceted whole.

4. Explore Moral Complexity

One of the most compelling elements of character-building is the moral struggle. Allow your LGBTQ+ characters to face tough moral choices that aren’t just black and white. This shows that they aren’t infallible paragons of virtue or simplistic villains—they are people with the capacity for light and darkness.

For example, a gay knight may find himself torn between loyalty to his kingdom and the corrupting influence of power. His struggles are not centered on his sexuality, but on how his personal identity interacts with the external pressures of war, duty, and justice. This complexity makes him someone readers can empathize with, even as they wrestle with his choices.

5. Authentic Emotional Journeys

Many LGBTQ+ characters experience moments of personal discovery, whether coming out, finding community, or struggling with self-acceptance. However, these stories shouldn’t be reduced to a single “coming out” narrative.

If your character undergoes a journey of self-discovery, ensure it’s nuanced. Think about:

What are their internal emotional struggles?

What external pressures do they face from society or other characters?

How do their personal discoveries impact their relationships, goals, or views of the world?

6. Build Relationships Beyond Romance

Romance is often one of the main focal points when writing LGBTQ+ characters, but building meaningful, non-romantic relationships is vital. Focus on their bonds with friends, mentors, family, and enemies. These connections give them more texture and depth, allowing readers to see different aspects of their identity.

Develop these bonds to show how they shape your character’s motivations and emotional growth throughout the story.

7. Subvert Expectations

Fantasy offers the perfect space to subvert real-world biases and expectations. Maybe in your world, queerness is the norm, and being straight is the thing that raises eyebrows. Or, perhaps gender identity is fluid, and strict binary definitions are seen as old-fashioned.

This allows you to play with audience assumptions and opens the door to explore LGBTQ+ identities in new and innovative ways. By breaking the mold, you give your characters space to be fully realized individuals within a fantastical, yet meaningful, framework.

Crafting Characters with Complexity

Ultimately, the key to writing multidimensional characters lies in treating them with the same care and attention you would give any other character. Give them goals, flaws, emotional depth, and moral struggles that transcend their identity while still allowing their queerness to enrich their journey. By doing so, you create characters that readers can relate to and root for, regardless of their background.

The goal is not just to create LGBTQ+ representation but to craft complex, authentic characters that will resonate with your audience, making them unforgettable figures in your fantasy world.

[mare-sanguis]

The queercoding in Sangcheol's and Jeongwoo's relationship

Let me preface this by saying: everyone is still allowed to see them as whatever they want (a work related relationship, best friends, close friends, soulmates, lovers, and and and) but I think most (if not all at least here on tumblr) can agree it would be ignorant if we completely overshadow just how much queerness there is.

This analysis is brough to you by this thread (why JW is snow white and why SC is the prince) and @thedevildeer latest post. Its not structured and really just a ramble so excuse me if it might sound a little confusing at some points.

Let's start by looking at it through a heteronormative kdrama lense below the cut 

How often do most kdrama fans watch a drama, see the lead man and the lead woman and think "woah, they would look so hot as a couple" even when the drama isn't a romance? Quite often, that's right. That's because most M/F leads are designed to be shipped even outside of the stereotypical romance genre. If it's a crime drama, thriller, mystery etc. Where the focus should solely lie on the plot they will still most likely try to create an M/F duo so most kdrama fans will have something to latch into. It has happened so many times that people dropped a non romance drama because it had no M/F couple, but people apparently want it so badly because how else can they enjoy a non romance drama, right? And kdrama directors/writers know this- they see and read the reviews and work with them; That's why in kdrama land M/F ships are still the norm, still seen as the most canon- even if there is a 2nd ML who has insane chemistry with the 1st ML (perhaps even more than the FL, cuz let's also face it in a lot of kdramas women are written flat)

When the ML is near the FL, everyone immediately interprets all kinds of thoughts into it, even worse when they go as far as to look at each other and hold eye contact, when they worry about each other, support each other, visit each other or are just having a work related conversation. They dont need to confess their love or kiss for the viewer to know they are in love*

Those are all valid points for shipping, that's obivously not the issue- The issue starts when they genuinely can't see the FL as her own character, when they can't seem to understand that men and women can be platonic friends, the issue continues when the 2nd ML appears whos got way more chemistry with the 1st ML or even takes the place of where the FL should be. Its then where the issue peaks- their relationship will automatically treated differently (2nd ML get potentially hated by the M/F shippers even) and it creates rift within the fandom, its shipping and arguments about queerness as a whole (discrediting that queerness is a large spectrum) by cishet fans

Suddenly, if it's M/M those actions I mentioned earlier dont seem romantic anymore, suddenly it's just a simple bromance (and while the term per se isnt homophobic, in these circumstances it sure sounds like it which is why I personally dont like it and rarely use it), best friends caring about each other because homies are homies. ("why can't men stay friends?" we all know that argument) *if they don't confess to each other outright, don't kiss each other, then they aren't i love (last part especially is targeted towards specific BL fans who only think a relationship is valed if they kiss and maje out)

So, this out the way let take a look at SC, JW, HS and BO approach (intentionally or not) on queercoding and the importance of a strong man-woman friendship.

First, let's look at tropes commonly (but not exclusively) found in queer media or media that tries to imply queerness and the similarities they share with SCJW:

Found family (the most common trope in queer media, especially the media that emphasises on realness, as found family serves as a safe space for queer characters when they arent accepted at home)

A strong opposite gender friendship or a friendship that defies traditional views

Color coding (mostly a warm and a cold colour, often times its blue and red)

Language coding (do the characters say they are queer, do they use specific terms, do they confess or declare their love for each other through something deeper; just what are they saying?)

The character design (this is not just about how they look but the desgin as a whole: background story, family, friendships, career, driving force, are they representing something (like a specific color, a flower); what was the creators thought process while creating them)

How do they express love around the person they ador (for example, men express love with touches while women often times use words and actions)

Broken friendships (because old friends dont accept)

Then of course we have common tropes found in all media highlighting love

Clothes sharing

Intense eye contact

Personal space

Lingering

Caring

Hurt/Comfort

Touches

And what do we have here? That's right. Black out s well as SC, JW and HS fit right into the common tropes and the queercoding tropes and yet we see some totally discrediting its validity to exist within the universe because god forbid both JW and SC are queer or viewed as such cuz they both were with women prior and they can't possibly be one of them queers... right?

HS is a really well written female character who's got nuances, a great backstory with a fair share of suffering and the additional nosiness which makes her so special. She is sweet and caring to everyone who seems nice in her eyes. She cares about JW's mother (prior to knowng he's JW's mother so thers no point in saying she does it cuz of JW), cares about Suoh and is genuinely interested in his hobbies. Her character takes care of everyone because she's a med student (you can take a med's job away, but you can never take the job out of a med). This is what her character is about- taking care, worrying. Her purpose in Mucheon was (as we know by ep.13) to find what shes looking for, to find her way back. She is by no means not connected to eithe JW and SC but her story is canonically detached from both JW's and SC's- it takes part in a different pace, in a different setting and through a different lense and most of it happens off screen or throug her observig the people. We rarely get any of her POV's, unless it's either around Suoh or Geonoh. The other times when we do get a POV of her is when SC and JW and in the same frame. Then she is postitioned as the onlooker, the one who observes. When she is alone with JW she gets almost no POV, even less that focuses on her feelings towards him. But the most important thing I said already: her story is detached from SCJW. She grows alone unlike SCJW who grow together. She is that friendship JW needed to show him a part of humanity that got lost with his fake friends. She is to represent and tell that you do not need a large group of friends to feel at home. 

Then there is JW. Beautifully written full of nuances, a tragic yet amazing written backstory- easily to read as a story of someone being queer. A big group of friends, a beautiful home with loving parents and then you got the catalysator which sets the whole plot moving. While for JW it's murder, abuse, gaslighting by friends and people he thought were family, prison and finding new hope in humanity through one person- how can one not look at this and think "yeah it's somewhat reminiscent of someone coming out in a conservative country with traditional family values"? Family and friends ditching before the person can even stand up for themselves, people spreading venomous lies, all the guilt trips, that person shutting themselfs off retreating into their own little world. JW was obviously never meant to be read as such and some even might find this part weird, but it's undeniable he has those classic queercoding tropes. He finds true meaning in humanity again through HS and SC at the same time, yes, but it is SC alone who stands by his side the whole time- every single day. JW feels the safest around SC, falls asleep in his home (therefore also in his presence) and gives in to being taken care of only when SC is around, he also laughs at his dumbs jokes and makes sure to catch his reactions when he is sassy (handing out flyers scene or the scene at the scrapyard). JW is meant to not grow alone but together with someone else- and that someone is SC. who he shares the exact same pain with. He sees the good in people- he sees the good in SC so he keeps on pursuing him even when he would reject him. Because he can see himself in him. Because he feels he's different- just like him. (And isnt it like: Queer people know someone is queer when they see one?). We cannot forget him being a metaphor for Snow White which imo solidifies the queercoding in him even more and how he steps in to save SC and then again to support him by beating up those debt collectors. (Also, just a random little side note: I think it's funny how he's either loved or hated, there was no inbetween. BM and MS hated him, they were eaten up by jealousy; BY, NG, DE and the twins loved him (also again, random side note to me any anyone who cares: it's so easy to read the feelings GO felt towards JW prior and post time skip as more than just friendship tbh which again, adds to the queerness layer))

And then there is SC, just as complex and full of nuances like JW. Having an almost identical tragic backstory to hm even- losing the love of his life. While hes story is way more difficult to decipher as queercoding, his character is most definitely not. He is portrayed as rude and rough towards any criminal and at the beginning of the story we genuienly dont know where we stand with him with this ever fluxuating personality. He is hurt, struggles, doesn't even seem to know himself very well, has seen a lot and he also doesnt trust anyone (as seen when he immediately clocks BM as suspicious when the review the CCTV footage) except JW. How come he trusts him more, even after he had accused him of the hit and run accident, but is side eying everyone the moment the incident with the mother happens? When he should have more trust in his own people then defending and caring for a guy whos accused him of causing the car accident. Even when he finds out JW apparently killed the girls, his actions towards him are differet than the actions we see him taking against the guy he chases after in the beginning. We see him falter and struggle even more in the manhole when he's threatening to shoot JW, we see it again when they are at the shed and JW is reinacting the murder scene- he is reluctant. Even when using violence against JW. Because, just like him, SC feels they are the same. And it doesn't even take much time for him to switch side- we can see him questioning everything onwards from from episode 4 during their first team dinner. And when he switches side he suddenly becomes so soft and caring- completely taking on the role of a possible love interest in both drama, romance and fairytale. Because he has seen the good in JW, saw the same suffering, this unfair treatment. He is a character not meant to grow alone but together and this togethes is only JW. JW still has HS by his side but in SC's world there was only JW who shows him all aspects of what it means to be a good human being. It's through him he grows. 

Their shared journey:

To quote Leo Buscaglia again "Too often we underestimate the power of a touch, a smile, a kind word, a listening ear, an honest compliment, or the smallest act of caring, all of which have the potential to turn a life around."

And isn't this what SC's and JW's shared bond is about? How they grow with and around each other- thanks to each other.

The little things SC does to make JW more comfortable, to show him love still exists? He takes him home without thinking twice because he's worried he might get sick when he could've taken him back to his house. He dresses him up in his clothes, let him sleep on his couch, in his blankets, gives him something warm to eat and drink (the glass of milk will never stop making me sob), showers him in touches and shows him warmth through them, always reaching after him because he's afraid something might happen to him, watches out for him, observes his reactions and waits for him. The little things JW does to SC- giving him a reality check that not everything is as it seems, graduately bringing back his old personality, stays by his side.

It's how SC brings JW's smile back and how JW brings SC's smile back. Its how SC not once but twice declares his worries, adoration and love towards JW: once when he's so worried sick JW might get hurt so he installs that app on his phone and the second time when they say their "goodbyes"- those words are so easy to read, so full of love. The "if you move" highlighting just how much he wants and hopes JW to stay in his life a little longer. It's longing and we can clearly hear it in his voice when he says "I'm sure you can" right after the monologue and then tilts his head. It's how JW doesn't know how to approach him after this, contemplating what to do and then goes on for the hug first. This is JW's way of showing his love. 

And yet, despite it all there are still people who only see it as a bromance. Those who think JW and HS will end up together because they are at the same uni, study the same. And are a man and a woman. If either SC or JW would be a woman, no one would even bat an eye to think they aren't in love- no one would even come up with the idea to even ship JW and HS. If one of them was a woman, every little gesture would be seen as romantic, betting on it the drama would perhaps even be a lot more popular as well as the ship. It's so disheartening to see how many deny an obvious queercoding between them just because they are men and for the sake of a straight, not well manouvred, ship because again apparenlty many kdrama fans don't dare to ship queer.

We know Black Out/Snow white must die is a fairytale because it very much is just one of many iterations of a snow white and exactly because is one of many nothing is impossible and queerness is allowed to exist within it.

[atiny-for-life]

Creative Spotlight #1: Kim Hongjoong

Masterlist

Intro: With so many new Atinys coming in, I figured now would be a good time to shed some light on all the boys' creative solo projects over the years, big and small.

Photography

Hongjoong's love for photography goes way back to his predebut days. In one of the first videos ever uploaded to their channel, you can already see him holding a camera on the set of Pirate King.

2 years ago, in 2022, he got to announce his first photo exhibition, FROM NOVEMBER 7, 1998, as a birthday present to himself, which took place from November 1st to 7th at gallery99 and was used to collect money for charity.

There was no entrance fee but spots had to be reserved online to ensure there'd be no dangerous crowding. During the exhibition, there was a little event planned for all attendees in which fans could collect points which were then converted to money that was later donated under Hongjoong and Atiny's name. The total donated amount was 10 million won!

In Logbook Episode 101, we got to see Hongjoong visit the exhibition himself and take a stroll through memory lane.

Due to the success of the 2022 exhibition, Hongjoong held another one last year which took place between November 3rd and 9th, 2023, and was titled A Walker - the event was accompanied by the release of an original song and led to the donation of 50 million won under Hongjoong's and Atiny's name to the Korea Childhood Leukemia Foundation.

BY. HONGJOONG

Back in 2018, Hongjoong shared during their stay in LA as KQ Fellaz, that he barely went to school since he already started producing music during his high school days. And yes, this is during the same tear jerking monologue where he calls Ateez his family for the first time and says he needs to hurry so he can see their sleeping faces before he goes to bed.

The first time we get to see Hongjoong fully in action as a producer is during his first 1-Day-Vlog in 2020 in which he's working on his Prince cover (more on that in a second).

But now to the main event: Hongjoong has an entire series going where he covers some of his all time favorite songs. Whenever he does, he likes to make the songs his own by recording his own instrumental track and typically adding an additional Korean rap verse with self-written lyrics highlighting his interpretation of the song's message.

Kicking things off with Space Oddity by David Bowie, a classic.

Side Note: As a lover of unisex clothing/androgyny, Hongjoong is likely not just inspired musically by Bowie, but also fashion wise. You can learn more about Bowie's influence on the climate surrounding gender and sexuality here.

Dressed in white, matching both his hair and the background, Hongjoong turned himself into a clean canvas on which he projected first footage of Bowie and later some floating orbs - it's very aesthetic.

Between the original verses and chorus, he placed a Korean rap verse in which he writes from Major Tom's perspective and laments his mental state while stuck alone in outer space, asking ground control to tell his mom he loves her while stating he still appreciates the beauty of space but feels lost and lonely all by himself.

Next up, we've got Purple Rain by Prince, another classic.

Side Note: Like Bowie, Prince too was famous for being androgynous in how he presented himself and toying with what society deemed masculine and feminine. He's famous to this day among the queer community for how persistently he defied gender norms and labels. Learn more about him here.

Instead of filming himself, we get a lyric video this time, fully kept in pastel lavender. Once again, Hongjoong added a rap verse of his own in which he speaks to a lost friend, talking about how he hopes that, even though they're apart now, his friend will still recall him as being sincere and that they can still think of each other fondly and remember the good times.

In a far more elaborate production, we've got Black or White by Michael Jackson up next.

Using green screen and multiple outfits, we get a fun spectacle of a little passion project featuring multiple versions of Hongjoong, background collages, emojis, and more:

Despite being shorter than the other covers, we still get the signature rap verse preceded by his famous giggle and, this time, he's got quite a bit to say.

Diving into the lyrics, he talks about how we're all different colors. Colors which are meant to be mixed. Our roots don't define us. Throughout life, we'll all get mixed up with each other, as we should. He doesn't want to see us divided. To quote: "What's wrong with you, babe? Stop it. You've already experienced the 20th century. Blah blah by dividing groups."

The song ends with the rap verse before the video dives into the making of in which Hongjoong specifically addresses his intent to talk about social issues like Michael Jackson famously used to while he was alive (think: They Don't Really Care About Us).

So long time by Yoon Jong Shin comes next with a sepia-toned video featuring Hongjoong at a grand piano. It's a pretty ballad highlighting his vocals and the use of multiple camera angles allows us to watch him play.

Shortly before we hit the 2 minute mark, Hongjoong gets up and we transition from the shot of the piano to a cassette player while the audio shifts to the original for a moment before Hongjoong returns.

We've reached the rap verse where he mourns a lost love, speaking of memories he can't let go of, even as he pretends everything is okay. He's cold and lonely now, a little mad at himself for continuously getting lost in the memories, and calls himself a fool before we return to the cover-part of the song.

At 3:58, the song wraps up and we've reached the making of section of the video where he talks about how his cover stems from the idea of a time machine taking you through the song, with the first verse (playing the piano) being the past, the rap verse symbolizing the present, and the memories then taking back over as he gets lost in them, leading to the piano's return.

Next up, we've got Last Christmas by Wham! which opens to a short clip of Hongjoong's acting on a pretty Christmas film set before we transition to a simple white back drop.

This time, the signature rap verse comes in early at 50 seconds with a little giggle before he talks about leaving the past in the past and moving on, letting the snow settle over painful memories.

However, this time, we also get a second rap verse at 1:45, where it becomes clear he hasn't moved on at all, plus a Korean vocal section at 2:43 which carries through to the end. Here, he highlights even further that he hopes they'll reconnect next winter so they can leave the painful past behind and live out a shared future.

Hongjoong in his emo era. This is the first Ateez-related video I've ever seen because I was born in '96 and my emo phase never ended so of course this was recommended to me when it was first released.

Numb by Linkin Park got the full Hongjoong treatment and was even reported on by Rolling Stone, quote:

The cover began trending on social media and YouTube within hours of its release, but the true prize came a day later when it caught the attention of Linkin Park themselves. The rock band’s official Twitter account ‘liked’ the post on ATEEZ’s page, with co-founder and vocalist Mike Shinoda confirming on a livestream that he’d seen and enjoyed the cover. As of this writing, Hongjoong’s version of “Numb” has over half a million views on YouTube and has garnered tremendous praise from Linkin Park’s fans.

We get the black eye makeup and nail polish, the plaid half skirt, the dramatic music video with fake fog and red lighting. The rap verse comes in hard, talking about getting mentally weighed down by an abuser and finally breaking free, cutting the ties.

As a long time Linkin Park fan, I love how unique this cover is and Chester would've loved it too I'm sure. I wish he could've seen it.

Fools Garden's Lemon Tree is another classic and I come back to it on the regular because the video has such a unique vibe and the song is famous for getting stuck in your head.

The video features Hongjoong alone in a house surrounded by colorful toys and games, bored out of his mind and visibly seeking a distraction from life but failing to find something, no matter how out of pocket his thinking gets.

Shoutout to the license plate - it's the release date of the song, November 3rd, 1995.

At 1:33, Hongjoong sprints off to the basement which is doused in red and we get a warped version of his signature giggle before the rap verse kicks in. The camera work in this section reminds me a bit of his rap verse in Not Okay.

While down there, he gets more and more deranged, talking about being locked up day by day, imprisoned, losing track of time, but being unable to break out. Instead of trying to escape, he just attempts to distract himself, listening to sad songs on a loop until his pain disappears and his world switches back to yellow.

Busking Event

In 2021, Hongjoong decided to put together a busking event featuring live performances of some covers, plus acoustic versions of some of their songs. Accompanying him were both Ateez and Maddox. You can find the full playlist here:

Collaboration

3 months ago, Chungha made a return to the music scene after escaping her former label and chose Hongjoong as a collaboration partner for her new debut. Beyond his rap verse, she also incorporated a move from Crazy Form in the choreography (she's lovely):