#media sexism

[star-trek-fandom-confessions]

#1152

The complaints of TOS being sexist are valid (although I think a bit overblown), but I don't understand when people point to the fact that all female characters are one-dimensional. Star Trek isn't the "crew of the Enterprise" show, it's the "Kirk, Spock, and sometimes McCoy" show. Besides those 3, there aren't any multifaceted male characters either. Scotty? He likes his ship and his drinks. Sulu? Fencing. Chekov? Russia. Their personalities are more developed in fic than they are in canon. Another thing is the miniskirts. Yeah, it's weird by our standards to have a miniskirt as a uniform. But back then, it was evidence that women could simultaneously be feminine AND be respected in their job. It showed audiences that being a woman was not a bad thing that would prevent your employment - it was an asset. Anyway, I just think that people are expecting a 2024 treatment of gender when most 2024 shows aren't even perfect regarding this, let alone a show from the 60s

[rhfffas]

incels trolling the marvels and trying to be objective with “the plot is bad”, DUDE, you’re watching marvel movies where captain america tried to choke a robot and iron man tried to fix ai apocalypse with another ai and hulk can only turn green when hes man paining and thor caused war just because his own stupidity and old man hawkeye can’t deal with grief so turn into a killer for hire

BUT YOU ARE TELLING ME WOMEN SAVING THE UNIVERSE IS BAD?????????

your misogyny is fucking showing

[charmingradiobelle]

It’s the day after Christmas so I’ll say something controversial now

If Charlie were a male character the entire fandom would be obsessed with her, and if Blitzø were a female character the fandom would absolutely despise him

[sailing-ever-west]

I've broken this down in opla but I wanna talk about it in animanga context too: Zoro and Sanji's ongoing conflict is largely about sexism!! Which is a fascinating thing to do with male shounen protagonist power players, for one, but also just adds so much to the overall team dynamic and treatment of women in the writing.

Zoro and Sanji are both carrying on the legacies of oppressed women they lost in their childhoods, but in wildly different ways.

Kuina's oppression had to do with being seen as a lesser warrior for being female even though she was incredibly capable. Fighting with her was respecting her. To refuse to fight her would have made Zoro complicit in belittling her dream and status. So he treats women just like everyone else, only discriminating based on actual strength and skill, not gender. His concept of the systemic oppression against women is that they're being excluded from things they're capable of participating in.

Sora's oppression, on the other hand, had to do with her body being used as a tool of war against her will, to birth soldiers for Judge's army. It wasn't a case of being treated differently despite being just as capable, it was a case of being exploited directly using her biological differences and social position as a woman. To use more violence against her would be disrespectful and cruel. So Sanji focuses on protecting women from violence and refuses to be an agent of it, based on gender rather than strength and skill. His concept of the systemic oppression against women is that they're being taken advantage of for things inherent to them that they didn't choose and can't change.

Essentially Zoro only sees sexism as an issue of discrimination and Sanji only sees sexism as an issue of exploitation. And they're both too dumb and traumatized to articulate it, so they just hit each other.

[orenji-iro-no-sora]

We all know that haikyuu is packed with life lessons, especially about growth and competition but one of the things that brought me so much comfort in life is the story of Miya twins. Both Osamu and Atsumu were hard workers but what differentiated them when it comes to volleyball prowess was their priorities. Osamu being a naturally gifted athlete was a major push in Atsumu's life; they made each other better (and worse in some ways). But it was Atsumu's choice to become a professional player and a great setter that pulled him ahead. Atsumu was dedicated to it and if Osamu wanted he could've reached the same skill level (or maybe even more).

Basically as long as you love and want something enough, despite there being "better" people out there, you'll reach greatness in your own right. And I think it's beautiful that consistent effort, even if it takes longer than "natural talent" (which is a topic for another day), will get you where you want to be.

Also, you can be good at something and even have potential to be greater and yet not choose it. You don't HAVE TO pursue anything just because it's expected or even possibly the most natural course for you to take. What matters is what you love.

[aspiringwarriorlibrarian]

The most infuriating thing about outrage grifters saying "you can't criticize anything nowadays" is that they're the reason it's so tough to criticize anything diverse. Every review of something that's being targeted has to be written very carefully so racists won't think you're one of them and even then you know your words are gonna be taken and used against you to fuel some bigoted agenda. A man wrote a negative but good faith review of Glass Onion and Ben Shapiro stole his points to clumsily camouflage the rest of his review which is just far-right rage about Elon Musk is above criticism and how much he hates female protagonists of color. You make a criticism that you would have made if the protagonist had been a white man and it gets quote mined for some Youtuber's video about how the movie would have been perfect if only the protagonist had been a white man. You mix in criticism and praise and they only hear the criticism, because they decided they hated it just for having marginalized people and are looking for excuses.

If you make your own opinions, you get swarmed by a mob of people who get told their opinions by outrage grifters. This happens regardless of whether your opinion is positive or negative. But there is something uniquely infuriating that genuine, good faith criticism that respects the creators is being drowned out by people who think bigotry is "criticism" and that if they slap the word "woke" on it that magically makes it not racist.

[trailofstardust]

I remember seeing a post claiming that the book "Trollhunters", written by Daniel Kraus and Guillermo del Toro which was the basis for the Trollhunters series, is "sexist" and objectifies women.

The OP said that reading it felt like "when the camera in a movie pans over a female character's ass" which left me completely baffled, because I've read the book and there are simply no descriptions of female characters that were sexualized at all.

There are in fact barely any displays of sexuality at all in the book, save for the description of a female troll whose body-modifications include replacing her nipples with buttons and the mention of a glowing sign for a strip-club among some debris.

The two major female characters in the book are Claire Fontaine and Arrrgh, since this version of the character is female. Claire is the love interest and never sexualized anywhere, though she is described with glowing praise by the protagonist whenever she is in the scene though. The closest thing to "sexualizing" is her being described as having an "amazing figure".

Arrrgh is a female troll and basically a 15-feet tall beast with black fur, horns, and the only difference between male and female trolls is the color of their pelt: ink-black vs coal-black.

I'm just really, really curious to know what exactly the OP found "objectifying" in the book.

[old-skyguy]

Every time I see people reduce Franziska von Karma to "haha bitchy immature lady with a whip" I get viscerally angry.

[rapeculturerealities]

‘I was unashamed’: Yumi Ishikawa on fighting sexism in Japan

It was meant to be just one of her regular, mundane musings about life as a woman in Japan. But Yumi Ishikawa’s life changed with a tweet she posted on January 24 this year: “Someday I want to get rid of the practice of women having to wear heels and pumps at work.”

The 32-year-old actor was working as an usher in a funeral parlour at the time, a job that involved eight-hour shifts in heels measuring 5cm-7cm. Her comment went viral; it has been retweeted 29,000 times, helping her become the face of the #KuToo movement — a play on the Japanese words for shoes (kutsu), pain (kutsuu) and #MeToo.

Encouraged by the response, Ishikawa, who is also a freelance writer, launched a petition for a ban on high-heel stipulations by employers in Japan. When she submitted her petition to the health ministry in June, it had been signed by nearly 19,000 people and has now collected more than 31,500 signatures.

[shiraishi--kanade]

"People would care more about An if she was a boy-" listen you're probably right but you do have to recognise it would be so much more boring. Like An Shiraishi is literally every male protagonist in the shounen anime ever wrt to her and Kohane's relationship. The fact that she's a girl in an obnoxiously and obviously shounen-coded storyline makes her unique we have to recognise that also

[alsmediadissection]

˗ˏˋ feminism in Wicked ´ˎ˗

!! i want to preface this by saying i'm not a professional critic, and this is not a 100% guide to anything either. do not take anything i type online to absolute heart, this is simply my personal interpretation of this piece of media !! (i also want to mention that i did not read the Wicked novel/series by Gregory Maguire)

! CONTAINS SPOILERS FOR ACT 2 IF YOU HAVE NOT WATCHED THE WHOLE MUSICAL !

Wicked is a deeply feminist narrative that centers on the lives, agency, and growth of its female characters in a world dominated by patriarchal systems and expectations. Through the journeys of Elphaba and Glinda, the musical critiques traditional gender roles, explores the power of female solidarity, and challenges the societal constraints placed on women. The feminist themes in Wicked resonate strongly, offering a nuanced exploration of women navigating oppressive structures while forging their own identities and paths.

Wicked is a piece of media which challenges traditional gender roles. Elphaba and Glinda are presented as multifaceted characters who defy conventional archetypes of women in media.

Elphaba:

Elphaba is an unconventional heroine. Her physical appearance—her green skin—sets her apart from society's standards of beauty, and her intelligence, ambition, and assertiveness mark her as an outsider. She resists the expectations placed upon her, refusing to conform to a world that demands compliance and superficiality.

Her defiance of the Wizard and her commitment to justice make her a feminist icon, embodying the refusal to accept systemic oppression. Elphaba’s journey represents the struggle of women who challenge patriarchal structures and are subsequently vilified for their resistance.

Glinda:

At first glance, Glinda appears to embody the archetype of the "perfect woman" in a patriarchal society—beautiful, charming, and eager to please. However, her journey reveals a deeper complexity. Glinda learns to question the value of her societal approval and embraces personal growth over external validation.

Her evolution from a self-centered individual to a leader who prioritizes empathy and justice showcases her feminist awakening, as she moves beyond the constraints of traditional femininity to assert her agency.

Wicked is as well a beautifully written representation of female solidarity and rivalry. The relationship between Elphaba and Glinda is central to the narrative and serves as a feminist counterpoint to the trope of women as adversaries. While their initial dynamic includes elements of rivalry—largely rooted in societal expectations and misunderstandings—they ultimately form a bond based on mutual respect and love. Their relationship highlights the power of female solidarity. Elphaba inspires Glinda to think critically and challenge the status quo, while Glinda supports Elphaba in moments of vulnerability, such as during “Defying Gravity.” Their bond transcends their differences, emphasizing the importance of women lifting each other up in the face of shared struggles. The love triangle with Fiyero, while present, does not define their relationship. Instead of becoming bitter rivals, Glinda and Elphaba prioritize their friendship and growth over romantic competition, subverting a common narrative trope (finally escaping the trope where bffs fight over a guy).

Wicked as well challenges and critiques the patriarchal systems (patriarchy). The oppressive systems in Oz—embodied by the Wizard, Madame Morrible, and the societal discrimination against Animals—serve as allegories for patriarchal power structures. Elphaba and Glinda's struggles within these systems highlight feminist themes. The Wizard represents patriarchal authority, using charm and deceit to maintain control. He manipulates both women, attempting to co-opt Elphaba’s power and using Glinda as a figurehead to perpetuate his rule. Their eventual resistance to his influence underscores their feminist rejection of patriarchal control.Although a woman, Madame Morrible serves as a tool of the Wizard’s regime, perpetuating oppression rather than resisting it. Her character reflects how women can internalize and enforce patriarchal values, contrasting sharply with Elphaba and Glinda’s journeys toward liberation.

Equally importantly, Wicked has themes of female agency and voice. Both Elphaba and Glinda grapple with finding and asserting their voices in a world that seeks to silence or commodify them. Elphaba’s refusal to be controlled or silenced is a powerful assertion of agency. Her iconic song, “Defying Gravity,” is a feminist anthem of self-empowerment, as she embraces her identity and takes control of her destiny, regardless of the consequences. Glinda’s journey from superficiality to activism reflects her growing recognition of her own agency. By the end of the musical, she asserts herself as a leader, using her platform to work toward justice.

On a more complex note, Wicked also has the intersection of feminism and intersectionality. Elphaba’s green skin serves as a metaphor for discrimination, highlighting the intersection of feminism with broader struggles against racism and other forms of marginalization. Her experience of being ostracized for her appearance parallels the experiences of women of color and other marginalized groups, underscoring the need for an inclusive feminism that addresses intersecting systems of oppression.

OH AND NOT TO EVEN MENTION THE AWESOME RECLAIMING OF VILLIANY AND POWER?? A feminist reading of Wicked also involves reclaiming the concept of the “witch,” historically a term used to vilify and suppress powerful women. Elphaba’s transformation into the "Wicked Witch of the West" reflects how women who challenge societal norms are demonized, yet she reclaims this label as a badge of empowerment. Her story critiques the societal tendency to villainize ambitious, outspoken, and unconventional women.

Wicked is a profoundly feminist work, celebrating the complexity, agency, and resilience of its female characters. Through Elphaba and Glinda, the musical critiques patriarchal systems, challenges traditional gender roles, and highlights the transformative power of female solidarity. By centering women’s voices and experiences, Wicked offers a timeless message about the importance of resistance, empowerment, and redefining what it means to be a strong and “good” woman.

thank you Wicked for giving us well written women.

[mime-rodeo]

when i say i'm sick of the male saviour trope, i don't mean that i want every single female character to be a completely self-sufficient independent woman who needs no man.

i mean that i want to see more female solidarity in media.

give me a trope where the murdered woman is avenged by her mother or sister or female friend or girlfriend or wife.

give me a trope where the woman who is kidnapped or being assaulted is saved by another woman.

give me a trope where a female detective investigates SA cases and brings justice to women.

give me more tropes where a woman is helped or saved or supported by other women, instead of a man.

yes, everyone needs help and support once in a while but for a woman, a man shouldn't be her only outlet.

[rhfffas]

amazon prime video canceled a league of their own, paper girls, the wilds, but red white and royal blue can get a sequel… so i guess representation does matter just not wlw representation😇😇😇

canceling the wlw is happening on tv networks and other streaming platforms too so dont tell me “oh its just amazon”😇😇😇

[jackalpants]

Come back to me when you draw orc women with bigger tusks than orc men

Orc guys with big soft cow eyes, dainty little tusks, tall and strong and slim in the hips, and their absolute unit monstrous wife, apple of their eyes, capable of bench-pressing a city bus and deeply unpretty to human culture

Basically this

But orcs

[sapphic-bats]

Stu’s pretty sure there’s something wrong with Tatum.

He and Tate aren’t exactly the most celibate, and anyone with eyes or ears can detect that. They’re not exactly shy about their trysts.

It’s the same thing that’s amiss with him, that’s for sure.

Stu would never, not in a million years, admit that he likes guys. To anyone. Besides the obvious fact that Billy knows, they’ve been fucking around for a while now, and it’s really the only time fun felt serious. Permanent. It’s stupid, cliche, and fucking flowery, but he’s gotta at least be honest with himself, yeah?

He always liked it when girls got as zealous as guys did. When they peeked down shirts, ogled asses, and slept around. I mean, sure, Stu had slit a woman for being a slut, but he really couldn’t care less about why. It was for Billy, and that was the only reason he needed. He wasn’t paid to think, but he was compensated, needless to say. Just… not in the way most would pay a hitman, for example.

Stu knew about Bowie. He knew bisexuality was a thing. He knew all about San Fransisco, and who inhabited it as freely as they could. He really never gave a shit, until he started puberty, and boys looked about just as good as girls did, although Stu often explored the mystery of women and how they worked, rather than the familiar concepts of men.

But the weirdest thing was that, even if Billy seemed to shun the very prospect of girls, someone else didn’t. And it sort of made Stu feel idiotic that he didn’t realize it was possible.

For every perverted glance Stu shot down a girl’s shirt, Tatum had done the same. Tate, however, didn’t seem as blatantly disrespectful as most guys acted. She seemed to recognize that people had feelings, and as long as she was discreet and kept her words and hands to herself, she wouldn’t make a girl uncomfortable.

Tatum slapped Stu when he ogled a girl, but it wasn’t in the girlfriend way it should have been. She didn’t seem the jealous type, Tate was just… what’s the word? Right, a feminist.

But it should have been in the girlfriend way, feminist or not! Shouldn’t it have been?

So, when Stu keeps catching Tatum glancing Sidney Prescott up and down, and picks up on the weird, almost ex-like tension between her and Courtney Blanchett, he says nothing.

In turn, Tatum never mentions the fact that she knew what a stab-slash-knife wound looked like, being the sister of an officer, after all. She never mentions that she knows that Stu’s spent his free time with Billy on the days that he comes about those injuries. She never talks about that one time, on New Year’s Eve, when Stu and Billy changed their clothes on a whim before midnight.

So they don’t talk about it. They don’t, and the secrets die with them.

I’m finally reading Debaser by @sharpth1ng and I had this idea while reading Chapter 8.

[taldigi]

What would you say was the first sign that Miraculous was gonna became a bad show?

3D in the current style that it is. And no. I'm not talking about the anime. I'm talking about how it started to sacrifice style and substance for recognizability and cheap graphics. There are very strict guidelines on the style of the show and exaggerated expressions and genuinely good animation have been trashed or cut in order to not have to pay the most money. How do I know? I've seen it. I have seen things that I can never share but I know about. Shit that sits in a locked folder on a USB drive.

I've been very fortunate to speak to people behind the scenes and get some insight on development. I've poured over reports and surveys. I've read interviews. I've seen statistics.

There is a lot of company input that goes into miraculous. And you know how it is when CEOs and directors boards get involved with creative projects. You would be surprised at the amount of influence companies like Gloob have over the development of the show.

Miraculous wants to be a serious show. But it also wants to be a kiddie show- and miraculous wants to be a kids show because kids programming sells toys and toys are what have kept miraculous afloat for as long as it has.