#men who are metaphors for women in positions of power i love you

[saintofsacrilege]

was talking to my friend about one of her anime pookies and she described him as a metaphor for women in positions of power cuz he’s constantly looked down upon, considered comparatively unintelligent, abused, deemed too emotional/too much in general, etc and my first thought was “WAIT HANG ON A SEC THAT’S LITERALLY JASON TODD”

[smoothpowerforthestreets]

❤️‍🔥🗡️🍸🌹I TRIED POPULAR FEMME FATALE TIPS FOR A YEAR🌹🍸🗡️❤️‍🔥

Hello everyone! I always have been fascinated by the femme fatale energy and I was so obsessed as a kid with femme fatales like Ava Gardner, Marilyn Monroe, Gilda by Rita Hayworth and some characters by Angelina Jolie or Penelope Cruz.

I never tried to tap into the femme fatale energy because I always thought that I didn't fit the "aesthetic", then I read Ava Gardner's biography how she made womanizer Sinatra go suicidal for her and I noticed that femme fatale energy isn't about looks or aesthetic (partially) but your attitude, energy and self love. So I started to get all the information I could about femme fatales and these are the most popular tips I've tried:

💋 Let them pursue. Let them show you how much are they interested in you and how far would they go for your attention.

I think this one it's not exclusive about FemF it's something that every girl should do. It's really simple: if they really want you they'll move mountains for you, and girl, don't even think it's because you set your standards too high because it's the bare minimum. Stop being in situationships where it's very clear that he doesn't want you, I'm sorry but it's really pathetic.

My experience: I've been applying this boundary for a long time now and it's the most effective way to see who actually wants you. Why? Because it's too simple, if they want to they will. This saved me a lot of situationships and giving access and power to someone who doesn't want me. The results are a little annoying because let's be real, boys🤡, they always come back so when I say it's annoying it's because it's ridiculous to see them get confused and then pursue you when it's too late. AND LET ME TELL YOU, when I put a cross on your name there's no way to erase it (metaphorically). Ugh, really why do they do that? They make clear that they don't want you and when you cut them off they decide to come back in the way you seem to want. PLEASE PLEASE PLEASE, don't go back to them, if they really wanted you that badly they would never have put you in that position.

💋 Don't be impressed by the things they think can get you. I'm talking about superficial things like physical appearance, fame, money, properties, cars, luxury lifestyle, etc. Please I know everyone loves money but believe me when I say it doesn't get you anywhere mentally if you don't have your shit together, don't let desire for rich appearances guide you to shitty men just because they can provide money. You should be able to afford your things so you don't have to be waiting for a man like a poor dog.

My experience: Girl I'm going to spill some tea about this one. I had two famous men asking me on a date, one of them I no longer speak to him and the other one is currently pursuing me like crazy just because he saw I was not amused about the luxury things he was bragging. We're friends for now because I don't trust him lol but he tries every now and then to ask me on a date. Girl trust me it's not that rare to get that type of men, almost every friend of mine has been pursued by a man in power.

💋 Trust in the feminine power. Trust in the power that a smile or a gaze has, learn from the best: Angelina Jolie, Marilyn Monroe, Ava Gardner... A subtle way to let a man know that you like him and you can have him going all over you. How many times a man has approached you just because you looked at him? That's the power you have, women have that power.

My experience: Not so long ago I had a thing with a man and somehow we lost contact but we have a friend in common so we see each other often. The other day I tried this technique to see if a gaze was enough to let him know that I'm interested and it's true, I looked at him directly into his eyes and that was enough to have him the rest of the night right by my side.

💋Red nails theory. The color red is said to represent passion, love and sensuality. The red nail theory got viral on TikTok because a girl said that the reason she attracted more men with red nails was because they saw a lot of red nails while growing up.

My experience: I got my nails done red and I don't think much changed. I think red is a color that generally attracts men but I don't think it's something exclusive for nails. A red lipstick or dress will always be on point.

💋 Be cold af. Not every time but when he does something to annoy you don't react. Could be he's trying to make you jealous, to see how you react or how much you care about him. DON'T REACT, even if it's killing you inside. Act like you couldn't care less and move on. He still flirts to other girls? Then that means you're not in a committed relationship and you can flirt with whoever you want to too.

My experience: This one is sooooo fun to apply and I like to add a little spice and mirror their behaviour. Because when they do something I don't like I usually cut them off and that's it, but when I know they did it to hurt me I like to have my revenge. You've met your match bitch.

I was getting to know this guy who made very clear that he enjoyed single life so I did too and when he saw me on another date he went nuts and stopped seeing other girls. But one day he got angry because I said that I found attractive one of his friends and that night he started a little flirt in front of me with a girl so I just said I'm going to say hello to someone and I went to do the same with his friend. He immediately came so angry, asked for a word alone and told me to stop messing around. He asked me to be in a committed relationship the next day and that was the last time I saw him. I know it seems so toxic but I didn't want a relationship with him and he tried to hurt me so idc.🤷‍♀️

Sorry if you see some spelling mistakes, english is not my first language!

[mxmaneater]

How do you see Gortash as queer coded?

Oh, it would be my genuine delight to explain.

Alright, so I have several lines of reasoning, so I’ll start with the low-hanging fruit first.  

Gortash’s obsession with his appearance

Okay, so we all know about Gortash’s eccentricities when it comes to the way he looks.  He wears an ostentatious villain coat, bedecked with golden bits and bobs, matching pants, and a matching shirt (that he wears provocatively low and can’t seem to ever lace properly).  He also clearly styles his hair, which given its length, takes a non-significant amount of time each morning. 

Now.  Am I saying these things on their own make him queer?  No, of course not.  The assumption that gay men take more care with their appearance is a stereotype, though I would argue that there is a subset of people for which this is true.  However, stereotypes also form the context for which we interpret characters and situations, and that social context is very real (even in cases when a stereotype is not), which is why I don’t discount these details either.  

Additionally, when it comes to the Netherstone, Gortash could have easily stuck it in the middle of a suit of armor like Ketheric and called it a day.  But as a politician (and someone who likely doesn’t see a lot of combat), I get that a suit of armor wouldn’t be his first choice.  Nonetheless, the option he goes with (and presumably takes the time and effort to craft and construct himself) is the pair of gauntlets, which are essentially ornate jewelry.  Jewelry that’s functional and dangerous, yes - but also needlessly beautiful.  And he really only needed one of them, but - again - his attention to detail with appearances drove him to build a matching set to become part of his Signature Look. 

Cool.  So let’s move on to:

Gortash’s political career

Alright, so I like to view Faerun as a fairly equitable place in terms of gender distribution in positions of power (at least compared to reality).  From what I can find on forgotten realms sources, it seems like the Council of Four was composed of 2 men and 2 women (at least until Stelmane is murdered); therefore, I think it’s not a stretch to assume that power is pretty evenly divided.  Great - love that for Baldur’s Gate.  Which it was true out here as well.

Even still, that means that 50% of the high-ranking government officials and patriars that Gortash is charming and manipulating as part of his rise to power are men.  As a devout follower of the God of Tyranny, I find it hard to believe that he would just pass up on the opportunity to use sex as a form of manipulation with men, when we have canon evidence that he uses this tactic to gain power with women (hello Lady Jannath).  Why would he - someone who views ascending in power as a holy mission - suddenly be squeamish when it comes to seducing (both literally and metaphorically) the other 50% of his targets?  

Also, like I mentioned earlier, although Faerun may be a veritable gender utopia, the social contexts that influence us in reality don’t suddenly go away when we boot up bg3.  The writers of the game as well as the consumers - us - are very much bound by the social contexts within which we operate, meaning that certain character traits can be queer-coded for us, even if they wouldn’t necessarily look that way to someone who lives in the world of the game (if they suddenly became sentient and engaged in discourse).  

What does that mean?  Okay, so we live in a society that is highly patriarchal and run by men (read: politicians as well as all other highly influential positions of power).  Within these circles, men are forced into “compulsory relationships” with other men (because remember, women don’t hold the clout they desire, and therefore don’t matter) in order to exert and obtain power; relationships such as “male friendship, mentorship, admiring identification, bureaucratic subordination, and heterosexual rivalry” (Sedgwick, Epistemology of the Closet) characterize these spaces.  Now, as Sedgwick - one of the mainstays of queer literary theory - explains, men enter into these “male homosocial” relationships because they must if they wish to gain power and ascend the ranks; however, the very necessity of these close, male relationships (to the exclusion of, or in superiority to relationships with women) also puts men in the dangerous social position of making it easy to become too close with other men and therefore jeopardizing their access to the very power they sought.  This is the foundation of her argument about forces that keep men in the proverbial “closet.” 

Okay.  So back to Gortash.  Gortash is not driven by fear of stepping over that line - he seems utterly unbothered by professing his connections to whoever he views as influential, regardless of gender (see: default Durge, which I’ll get to later).  He is not scared of stepping beyond this larger, societal “closet” that most men get defensive about in order to protect their relative power.  Sure Faerun is less homophobic than our reality, but again, the coding of these characters doesn’t change drastically based on the in-game setting, because it is ultimately people in our reality who are interpreting and interacting with the game and its characters.  

Also, I make a distinction between Gortash being “queer-coded” and not “gay-coded”; if anything, examples from the game would have me characterize Gortash as bisexual - if he even conceives of sex as an identity factor and not just a means of gaining power over someone, which is a big assumption.  I definitely view him as someone who thinks more along the lines of the latter - and wouldn’t it benefit him, in that case, to be an equal-opportunity manipulator?

This is getting long, so I’ll jump to my final point: 

Gortash’s devotion to the Dark Urge

Whether you read the past relationship between Gortash and the Dark Urge as sexual/romantic or purely a business dealing, the fact remains that Durge is the one character Gortash views as his equal.  And yes, you can customize Durge’s appearance and gender, etc, but the default origin character is male, so a certain amount of “canon”, I believe, can assume at least the possibility of a male Durge.  Gortash - the Chosen of Bane, who loves nothing more than domineering over others - wants to willingly share his Empire with Durge, once he’s conquered the city; that is not a level of devotion that you could expect Gortash to hold for anyone but his “nearest and dearest.”  

And from the letters you can find, it’s apparent that Gortash specifically sought Durge out - tempting him with information about Bhaalist artifacts that had been “stolen” and displayed in a museum in order to form a connection.  This, combined with his desperation to regain Durge as a partner in Act 3 (to the point he’s weirdly forgiving of insult and refusal), offer queer subtext, if not text-text, confirming his particular interest in Durge as a person.  After all, he only “tolerates” Orin, who, despite her own eccentricities, is only trying to accomplish the will of Bhaal, just like Durge presumably was as well.  In fact, most of the characters dismiss Orin as just some “crazy bitch”, which I find hard to believe isn’t rooted, at least partially, in sexism - especially since people forgive Durge very easily for similar crimes.  (I could write my own dissertation about Orin, but I’ll save that for another time).  

In conclusion, there is enough queer-coding between Gortash’s appearance, habits, career, known manipulation tactics, and special relationship with the Dark Urge to at least make the case that he isn’t super straight.  Even without the letter in which he wrote his penpal Franc that he loved him for bringing “wet, slithering malice” into the world.

[carrotsnake]

dungeon meshi fandom rant

i usually stay away from fictional autism headcanons or indulging in them wholesale because i'm more on the 'characters are constructs' side of things. some may exhibit traits we relate to but placing real-world diagnostic labels on walking metaphors makes things too nebulous. however laios touden is an exception to me since autism allegories (despite no authorial intent) are pretty hard-wired into both his arc and dungeon meshi's core themes about being an outsider. so for once the fandom autism memes feel genuine to me lol. it doesn't feel as fanon-heavy or platitudinous, actually it's pretty uplifting. i appreciate the positivity.

that being said the most dogshit dunmesh take i've seen lately is the assertion that laios and falin show us autistic men are villified for things autistic women are accepted for. the fuck are you people smoking? some rebranded MRA-pilled bullshit? log off tumblr and go outside, then point and show me where this is the truth. i don't know if you guys are all living in a feminist utopia that i'm not privy too, but if so send me the address because things couldn't be less like that everywhere i've ever been.

countless times i've been told 'oh you're exactly like a female copy of [socially anxious male friend/co-worker/family member who shares my personality] and then i gotta watch them get special treatment as i get left behind and scolded for not being normal enough. him being blunt is rebellious & brutally honest, me being blunt is just being a b*tch with no filter. how many times do you see autistic women reaching high positions of power and being revered as a misunderstood genius.

how about everyone reminding us to 'be nice' to the supposedly harmless awkward guy who keeps making sexual comments & invading our boundaries because he can't help it apparently. but strangely enough, i have gone my whole life without creeping on others. only to be called creepy and off-putting by these same social equality preachers for not applying makeup or styling my hair right. autistic women are more likely to be sexually harrassed and/or abused than neurotypical women and no one gaf (let's b real they don't care when it happens to neurotypical women either if the man has a good enough sob story.) shit like walking strangely, having a speech impediment and talking too much about esoteric topics was enough to be outcasted for us. once more, with feeling: what are you people smoking?

and critically, falin is pretty. she's conventionally pure, self-sacrificial, beautiful with hollywood curves, soft-spoken, and never questions anyone nor asserts herself over others when her needs aren't being met. her dislikes in the adventurer's bible are 'nothing in particular', she never spoke out against her village's bullying even when she had it worse than laios, quickly forgives her parents for exiling her, and never shows any opinion on marcille's use of dark magic. she's a paragon of femininity. anything less than that, and she would probably invoke similar if not more disgust from her peers than laios through the audacity of not conforming to gender expectations. but she likes holding bugs or whatever so...whoa! she's so feral and subversive amiright guys. but crucially she looks cute while doing it so we're not too uncomfortable to stan.

i love laios so much, he's in my newest blorbo collection for sure but calling the female characters who don't like him judgemental is not a good look. we as the readers who have been inside the main chara's head know he's a good guy - but in the context of dungeon meshi's world, where sexism is as prevalent as stranger danger, it's fair for them to assume bad intent and keep their distance. they're looking out for their own safety and you're mad about that because, what, it makes your 2D nigel sad? cry about it.

so quit using anime characters as fodder for your thinly-veiled 'everyday men milk themselves' preaches. the touden siblings are not a good example of this. if you unironically agree with that take: it's time to go talk to some real women broski.

[ironunderstands]

Oh my god this is amazing and it honestly reminds me so much of that one post I made on Childe way back in the day, which is not to make it about me, but rather point out that hoyo has done this before, making a male character’s anchors and people he turns to rely on typically women

And thank you oh my god thank you for pointing out that Acheron is also the one who saved him, I love Aventio with all my heart but I genuinely start tweaking when people give all the credit to Ratio when she’s right there,

Moreover, I find it really interesting that like the 2 male characters we see interact positively with Aventurine (minus the trailblazer) are Argenti and Dr. Ratio, both of whom are purposefully feminine, I don’t think I have to explain Argenti but the developers have Ratio that outfit and made him wear makeup for a reason. Even the men Aventurine has trusted in his life share traits with the women he puts his faith in.

Also, within his character stories, I find it very interesting that the stoneheart who seems to dislike him the most is Opal, who is a) a man, and b) seemingly far more masculine than Aventurine is, as he positions himself as more competent and more efficient (due to how violent he is) than Aventurine, which are traits typically associated with masculinity. Perhaps it’s even more rewarding then that Aventurine won not because of how Opal would do things (in a more masculine manner by likely brute forcing it and absolutely wrecking Penacony), but his own version, relying on his intelligence and the relationships he forms with the people; especially women around him, which can be interpreted as feminine due to peacefulness (even if his plan was batshit insane), the ability to negotiate, and well, fine prominence of women being associated with femininity, at least hoyo’s version of it, as female characters more often then not are made into people the audience desires to look up to.

This also calls into question the relationship with his father, which Aventurine unfortunately never got the privilege of knowing. He says he still has his father’s shirt, even today, which makes me think the tattered one we see him wearing IS that shirt. Metaphorically and literally, Aventurine is slotting himself into the role of his father, as the man who is destined to not only take care of his family (which he failed at), but save his clan (which he seemingly also failed at).

It’s no wonder that with that and everything else you’ve stated, Aventurine turns to women, because at least I think some part of him thinks he failed as a man. However, Aventurine is extremely resilient, and the Mother Goddess didn’t bless no bitch so he’s gonna pick himself back up again and fight for his future, aided by both women (literally everyone), and men (Dr. Ratio + Argenti) as he tears off the roles that have haunted him his entire life, both in terms of power dynamics AND gender, ultimately becoming the man, becoming the person he deserved to be by forgoing the ways in which he was forced to look and behave in the past.

He’ll still put on that helpless facade, and he will still put his faith in women time and time again because Aventurine knows he can, but he isn’t going to limit himself to that alone anymore. Aventurine has learned the merits of humanity, all of humanity, including his own and those who he has lost his faith in. And I find it to be such an uplifting message for Aventurine’s story to not conclude with him being disconnected from half the population, from a significant portion of humanity. His journey in Penacony wasn’t just one of self discovery and reflection, but of learning about the world as well, and witnessing the good and evil of others that he hadn’t prior.

And what really gets me is that Aventurine didn’t believe he would change, that he could change. Again I know this is a post centered on women but god you can’t just have Aventurine without mentioning his relationship with Ratio.

He EXPECTS Ratio to betray him, to use him, to complete his task and leave the other to rot like every other man he has met before has done. But Ratio doesn’t, he adamantly refuses to and even if Aventurine doubts that Ratio cares for him, time and time again will Ratio demonstrate that he does. Moreover it’s not because he has anything to prove to him, like all the women in his life, Ratio just, well, Cares, and that ability to possess a trait that Aventurine has so far only ever seen in women shakes him a lot.

He doesn’t believe it, he can’t believe it, how could one ever expect him to believe it?

Until his conversation with Acheron. Until she saves him, can he accept that a man would too. Because Aventurine cannot trust men easily, but he can trust the judgement of women. And if the emanator of Nihility, the woman who has spent her entire life guiding others and attempting to create meaning in their lives, tells you that That Man you have been on the fence about is Your FRIEND and will help provide you the answers as to why you should continue to live on in the first place, you fucking listen to her.

Now, Aventurine is truly no longer shackled to his past, because he has put his (incredibly reasonable) biases behind him, and will now be able to get his well deserved retribution.

Fitting how he will also do that with a man, because it was never men that were the problem, but the system itself which caused them to be that way, and Boothill and Aventurine are going to be the ones to dismantle it.

So yeah, I love this post. Do I think what I have to say is what the developers intended? No, probably not. Is it how I think the story should be read? Yes, and thank you OP for drawing this out of my brain as I never would have noticed in the first place

Female Guidance in Aventurine's Life

One thing I haven't seen discussed in much depth yet, but which I think is especially interesting, is the consistency of female guidance in Aventurine's life: Every single person who we have seen on screen offering Aventurine assistance or making a positive difference in his life is female (with one exception, yes, I'll get there).

Under the read more cause it's longggg:

Before even diving into his family, let's just get the obvious out of the way: Aventurine is, at least supposedly, blessed by a goddess. The very origin of his good fortune--be it actual blessing or curse--comes from the literal "mother goddess" who watches over him. This is one of the only instances in Star Rail where a god character is specifically given a gender, and Gaiathra is not ever ambiguous. She is the classic female fertility goddess with all the trappings of other famous triple goddess figures of the real world. Aventurine's personal belief in the goddess may be shaky, but he nevertheless continues to treasure his people's faith. Thus, at the core, we can say Aventurine is a character who is guarded by the most quintessential mother figure possible.

Now, with the most obvious out of the way:

We know that Aventurine's father died before Aventurine was even born, and therefore he would not have any memories of his father, leaving him to be raised by his mother and sister.

Both women clearly made an enormous and lasting impression on Aventurine; they haunt every single one of his memories of Sigonia and are the key elements of the family Aventurine longs to return to. While he flirts with the concept of death as a way to see his family members again, it was also his mother and sister who instilled in him any sense of self-worth and meaning to his existence, the only things keeping him from giving up on living. His mother believed him to be blessed; his sister insisted to his face that not even the only remaining remnant of their mother had any value in comparison to his life.

It is for his sister that Aventurine first begins expressing a self-sacrificial nature, and from his sister that this self-sacrifice is reinforced when she uses herself as a shield to help him escape massacre at the hands of the Katicans.

It is also from his sister that Aventurine learns many of the deeply meaningful actions he holds onto to the present day, despite having been so far removed from his own culture.

Conversely, every one of Aventurine's early negative experiences on screen appear to have been driven (at least primarily) by men.

Although the Katican tribe of course would have both men and women, the tribal societies on Sigonia appear to be on the fairly traditional side, with Aventurine's mother staying at the camp with her child while his father was the one to go out and hunt for offerings for Gaiathra. This is also supported by Aventurine asking Jade to take him to her "chief" later on. Therefore, it is likely (although of course not guaranteed) that a majority of the Katicans' army was male, and that Aventurine's early experiences with outsiders consisted almost entirely of indiscriminate pillaging and massacre at the hands of what the Avgin viewed as savage, invading warriors. In separate instances, Aventurine was traumatized by these warrior figures three times--first with the loss of his father, then his mother, and then finally his sister.

And even their hope, supposed to come in the form of the "men in black" from the IPC, completely abandoned them, leaving Aventurine once again betrayed by masculine figures that were supposed to be there to protect him. Led by Oswaldo Schneider, another cruel male authority figure, the Marketing Department of the IPC permitted the wholesale slaughter of Aventurine's people--something which we know Aventurine is now aware of.

Then, of course, the next piece of Aventurine's backstory we're given is his male slave master. I don't really need to say anything about this, do I? This man violated Aventurine's human dignity and bodily autonomy, and forced Aventurine's hand in a life or death battle for which Aventurine still punishes himself mentally, even years in the future.

In part to escape the difficulty of his situation and rise to a position where he would have enough resources to--he thought--help his people, Aventurine joins up with the IPC. But when he attempts to make contact with a powerful man in the organization, Diamond, he is instead met by a woman, Jade, who against Aventurine's own expectations determines that she will raise Aventurine up (or use him as a tool, depending on how you currently choose to interpret Jade's motivations), granting him wealth and status beyond his imagination.

(And this line in particular is interesting, because you can take it one of two ways: 1) Aventurine comes from a patriarchal planet that traditionally put men into positions of power [thereby making his own slavery an emasculating act, aligning him further with disenfranchised women]; thus, he is making the assumption that to get anywhere in this organization, he will need to work with a man; or 2) He actually was counting on Jade taking his bet and helping him right from the beginning, because Aventurine perceives women as inherently more likely to protect and aid him than men would be.)

In the end, Jade does exactly as she claims she will, launching Aventurine into a position of power while also closing golden handcuffs around his wrists. She positions herself not only as his supervisor, but as his advocate and ally. She entrusts him with her Cornerstone, a sign of significant faith in his abilities. She even seems to be keenly aware of his bias towards the mother figure, referring to him as "child" in their conversations.

Whether this is genuine or a manipulation tactic can certainly be debated (and I'm not inclined to think at this point that Jade is a genuinely good role model or selflessly supportive person in Aventurine's life), but whatever the case, women are the only people Aventurine even remotely considers to be "in his corner."

We see this even earlier, in Aventurine's call to Topaz. Like with the example of his mother and sister, Aventurine trusts in Topaz's ability implicitly, and considers her above anyone else when it comes to completing the mission in Penacony.

Although of course we don't know if Aventurine has any other friends or allies among the Strategic Investment Department, it seems very likely that Topaz, yet another woman, is the one he is closest with. At the very least, she is the only IPC character (so far) that Aventurine has a complimentary voice line for, one that shows his respect for her talent:

Over and over again, the story aligns Aventurine with female figures in positions of authority, and demonstrates that he is comfortable (although maybe not too comfortable, in the case of Jade) with relying on them and trusting their judgment, just as he did with his mother and sister.

And this pretty much goes off the charts in Penacony, where Aventurine has more involvement with the female cast than virtually any other non-female character (even the Trailblazer!). We set the pattern off right away, with Aventurine immediately being placed into a negotiation situation with Himeko, respecting her role as the Express's leader and working to get himself aligned with the Express by acquiescing to her request for support.

Then there's the fact that Aventurine is the one who finds Robin's body, an event which, although he didn't let it show too much, was almost certainly traumatic for him, given the violent death of his own sister.

Next, twice in Penacony's story, we see Aventurine seek out Sparkle for information. He may not personally like her and her comments may be both racist and dehumanizing, but Aventurine does rely on her--being the only character explicitly seeking her aid, which no one else in Penacony seems to want.

In 2.0...

And in 2.1.

Now, say it with me, guys: Aventurine built an entire portion of his grand plan around the idea that if he looked pathetic enough, a female character would absolutely come and help him. And sure enough, the women come through for him, always! Sparkle gives him the exact last clue he needs to confirm his belief that he could use "Death" to reach the true Penacony, sealing the deal for the rest of his plan.

His plan which also hinged significantly on Black Swan's involvement too, another woman that he views as, if not trustworthy, then at least intelligent and hyper-competent.

Contrast all this, of course, with the treatment Aventurine receives at the hands of Sunday, the lone opposing male character he faces in Penacony.

Sparkle implies that Sunday would humiliate Aventurine in an unmistakably sexual and degrading way, and Sunday himself professes this same desire to see Aventurine humiliated.

Then we're "treated" to the moment in which Sunday uses the Harmony's (or perhaps actually the Order's?) power against Aventurine, in a scene which is supposed to reflect an interrogation but is also, very clearly, another nonconsensual violation of Aventurine's bodily autonomy and dignity by a man. While ostensibly seeking confirmation of the Cornerstone ruse, Sunday instead subjects Aventurine to unnecessary questions about his past on Sigonia, which recall and force Aventurine to re-endure memories of his trauma.

Even if this is what Aventurine prepared himself for and planned to have happen, the pain he experiences is very real, and he suffers both the physical and emotional consequences of Sunday's assault all the way up to his "Death" and possibly even beyond.

(Also, Sunday fans please don't get too up in arms with me for this; I also like Sunday! It's okay for characters to be morally grey!)

I think there's one other interesting example I would bring up here too, and that's Aventurine's conscious decision to weaponize his own masculinity against the Trailblazer. Through the 2.0 and 2.1 Trailblaze missions, Aventurine deliberately acts in an off-putting manner to the Astral Express crew, particularly the Trailblazer, in order to build up to the 2.1 climax where the Trailblazer is supposed to view him as an unrepentant villain and attack him without hesitation.

In order to achieve this uncomfortable, villainous effect, what does Aventurine do? Exactly what other men have done to him.

This is especially apparent if you're playing Stelle because of the ingrained societal taboo of a man entering a woman's personal space without consent, but even as Caelus, it is very clear that Aventurine is leveraging behaviors typically used to show dominance: In a complete 180 to all Aventurine's other body language in the game (normally quite withdrawn, frequently in defensive postures with his arms crossed or hand behind his back, almost always standing several feet away from other people), Aventurine violates the Trailblazer's personal bubble, looming over them (Caelus was sitting in this cutscene, lol), forcing eye contact, and commanding the space while informing them that they will have no choice.

For someone who was hunted, enslaved, had his movements restricted with chains, and due to his own slight stature has very likely been towered over by others who were intentionally asserting their power over him all his life, it is clear that Aventurine associates dominant, typically more masculine-coded physically-imposing behaviors with discomfort and even villainy.

Any girl who has ever had a man loom over her like this will realize very quickly: Aventurine wanted to make himself scary so he made himself act more like a bad man.

(Yes of course I know "not all men." I'm not saying every man behaves in this domineering way or that women cannot be domineering too, obviously, just that Aventurine had a very specific image in mind when constructing a "villainous persona," and the physically controlling tactics most typically used by aggressive men toward women was his immediate go-to.)

But where does that leave Dr. Ratio, the one male character actually on Aventurine's side?

Frankly, I don't want to derail my post about how intensely Hoyo chose to hammer on the message of "Women will protect you" in Aventurine's story with a discussion about a mlm ship, but the take-away here is going to lead in that direction anyway--so yes, Dr. Ratio is the exception.

What is interesting is that he does not come across as an exception at first, and in fact initially appears as another male character being rude and dismissive to Aventurine. Like, there are still people out there calling Ratio an unrepentant racist for this one.

Of course, it's later clarified that this is an act--likely even these insults were scripted specifically to give Sunday's spying ears the "insight" he needed to exploit Aventurine during the interrogation.

But even though it is an act, Aventurine still has noticeable trouble putting his faith in Ratio. He does genuinely doubt him a few times, despite knowing that they are working together to fool the Family.

Even his voice line about Ratio confirms that he doesn't think Ratio particularly cares for him; rather, he thinks Ratio simply tolerates him because he's slightly less unintelligent than those around them.

Ultimately, the entire act with Ratio ends up being a mirror of the real scenarios Aventurine has been experiencing with men his whole life (at least as far as we are shown his life). Men abandon him to fend for himself (unwillingly, like his father, or willingly, like Diamond leaving Aventurine to deal with Penacony alone on the inside). Ratio keeps leaving Aventurine completely alone. Men attempt to humiliate him and violate his boundaries (like Sunday and his slave master). Ratio insults Aventurine's appearance and intelligence repeatedly. Men betray him (like Oswaldo Schneider and his men leaving the Avgin to die). Ratio "betrays" him.

I'm not saying when Aventurine devised the plan for their act, he consciously drew up a list of all the ways men had hurt him in the past and had Ratio re-enact them one by one, but like... that's what happened, whether or not Aventurine intended it.

And okay, the shrinking scene in Dewlight Pavilion was just for fun and probably only slightly fetishy, the devs promise; yes, it was supposed to be a joke! ...But it's also not a mistake that this is yet another instance of a male character in a glaringly metaphorical position of power over Aventurine. Aventurine's tiny in this scene! He's completely vulnerable! He's in a dangerous position and the male character could very much hurt him in this moment.

But Ratio doesn't. (In fact, his line here is supposed to be sarcastic, very ha ha--but also, what is Ratio really saying? "I won't do anything to you without your express consent." What a good guy.)

Virtually everything negative that we see in 2.1 is Ratio doing these things as an act at Aventurine's own request. He doesn't actually disdain Aventurine; his own voiceline about Aventurine reinforces that he sees Aventurine as talented and intelligent.

Whatever you think he was apologizing for in their early scene, he's the only person we're ever shown in-game apologizing to Aventurine at all.

He worked hard to "betray" Aventurine but only as he was instructed to do, and immediately checks in on Aventurine's well-being afterward, even urging him to give up the plan if it becomes too much to handle.

And then, of course, there's the note: "Do stay alive. I wish you the best of luck."

After this point, it cannot be denied that Ratio is unequivocally on Aventurine's side, wants to help him, and is not doing so out of any sense of self-gain but largely because he is a good person who simply cares about Aventurine's fate. By the end of 2.1, it can no longer be doubted that Ratio is the exception to the "gender rule" of Aventurine's life, which--the story shows us again and again--was that guidance, protection, and care for Aventurine come from women, while men repeatedly represent dismissal, betrayal, or pain.

Ratio is, at least as far as Aventurine's story shows us, the proof that men can be good, that things are not as black and white in Aventurine's life as they might appear, and that--if you do choose to ship him with or see Aventurine as attracted to men--his attraction could be validated (and potentially reciprocated) by a male figure who would not bring additional harm to Aventurine's life. Aventurine makes the final decision to live after seeing Ratio's note--the exception to the rule ultimately proves to be the last piece needed to keep him alive.

But I promised I wasn't going to derail my own post about w o m e n, so let me get to the final point, and the one I really wanted to talk about: Although Ratio gets virtually all the credit for "saving" Aventurine in the fandom, Aventurine was actually saved by, you guessed it, another woman.

Not going to lie, the reason I started this post was specifically because I wanted to talk about how Acheron and Aventurine's dynamic was completely unexpected but actually fits flawlessly with the theme of feminine guidance in Aventurine's story.

Despite the fact that Aventurine made Acheron's life much harder and actively used her as a chip in his grand gamble, she doesn't blame or chastise him for those actions. Although she expresses some incredulity that Aventurine is actually that lucky, she then turns around and congratulations him for his ingenuity, immediately supporting him despite the fact that they don't even truly know each other.

Then it gets even more interesting. Acheron, who frequently hits her companions with deep and sometimes very emotionally fraught questions, asks Aventurine: "Have you never wavered?"

We as players know for a fact that Aventurine is constantly wavering, constantly doubting himself, his luck, and whether he'll even live--or even wants to live--to see tomorrow. But we also know that Aventurine is not forthcoming about those truths, refusing to express them to anyone, even himself. The only way we hear those dark truths is through his "future" self (who by the way, is once again another male figure cutting Aventurine down--of course it's himself but it's also, from the player's perspective, once again reinforcing the message that he isn't going to find safety or kindness in an adult male presence). Aventurine almost constantly deflects and diverts when his emotions or struggles are brought to the fore (unless he's divulging them for the specific purpose of allowing someone else to weaponize them). "I'm fine," he says, like a lying liar who lies.

But he doesn't lie to Acheron.

He chooses to be completely candid with her, to lance open the deepest wound of his life--that he can win and win and win and still have lost everything. The glitz and the glamour has all been stripped away here, at the end of everything, and Aventurine finally feels safe enough to admit that he fears he has absolutely nothing in his life worth living for.

And then, we get this direct parallel: Aventurine looks to Acheron, the woman now before him, for guidance, for explanation, exactly as he looked to his sister in the past.

He needs help, he needs answers, and he is continually seeking that help from the female figures in his life, whose support and kindness echo the lost care of his mother and sister.

"Go where you should be," Acheron tells Aventurine, guiding him across the river of death just as his sister insisted that he flee through the rain toward life.

Look guys, Acheron's even the one who reminds Aventurine to look at Ratio's note in the first place because apparently being an emanator of Nihility gives you x-ray vision, but my girl just gets no credit at all for being Aventurine's real savior, come on now!! Yes, Ratio's note was the final reminder Aventurine needed that someone would be waiting for him on the other side, but Aventurine would never have even gotten to the point of being willing to read that note if Acheron hadn't stepped in and provided him an answer to his question.

She feeds him back his own answer: "Why does life slumber? To rehearse the death for which we are not currently prepared." It is Acheron who reminds Aventurine that giving into the Nihility is pointless, and that rather than simply embracing a meaningless death, it is up to humanity itself to find and make meaning by living. It's this, not Ratio's note, that Aventurine gives as his reason for choosing to go on when asked by his own younger self. It's Acheron's words that finally give Aventurine an answer--why do we live just to die? Because there are people we can still make proud. Because when we go into death, we should do so with our heads held high, having achieved our own sense of purpose in this life.

Ratio gave Aventurine a promise: Someone is waiting for you to come back.

But Acheron gave Aventurine a reason: If life is inherently meaningless, doesn't that just mean you are free to give it meaning yourself?

She saved him, as women have been saving him all his life.

Anyway, this has already been horrendously long, but really what I wanted to say is that I think it is absolutely fascinating how consistent Aventurine's writing is when it comes to portraying where his support comes from and who he seeks guidance from. (Psst, just in case you still haven't figured it out, it's women!) In virtually every instance we are shown, we see the message reinforced that women are Aventurine's greatest allies and role models, while male figures are continually positioned to intentionally or unintentionally let him down and cause him distress.

"But women playing the supporting role to a male character is nothing new, Star, why are you so excited by this?"

Because the role women are playing in Aventurine's life is not the subservient supporter and emotional crutch role that female characters all too often play to male counterparts. None of the women in Penacony or Aventurine's past were there to do the emotional labor for him, to be a trophy or prize, or to cater to his needs. They don't exist solely to help him fulfill his character motivations; they aren't following him around waiting for his next request as their only role in the plot.

Instead, with Aventurine's story, we almost have an inversion of gender roles, where the male character eschews the stereotypical "men are leaders, fighters, and stoic heroes" archetype. Instead, no matter how hard he tries to hide it and keep a stiff upper lip, it is clear from 2.0-2.1's story that Aventurine is a deeply insecure, lonely, and explicitly traumatized survivor of genocide, slavery, and exploitation. Unlike most male characters, who are very rarely portrayed as genuine victims--because come on, shouldn't men be strong enough to fight back? Shouldn't men be able to shrug it off when they are hurt, emotionally or physically? (Of course I'm rolling my eyes here!)--Aventurine is belittled, humiliated, emasculated, and victimized on-screen, roles almost exclusively reserved for women, for whom surviving victimization in fiction is seen as noble.

Meanwhile, the women in Aventurine's life take on the roles traditionally given to male characters. They're both emotionally and physically his protectors. Aventurine's sister gave her life to guard his safety; Acheron ensured he could safely pass beyond the river of Nihility into the Primordial Dreamscape. They give him the tools necessary to succeed where he could not succeed on his own. His plan could never have gotten off the ground without Topaz and Jade entrusting their Cornerstones to him. The knowledge and capabilities of the women around him--not their "feminine charms"--are what allow them to help keep Aventurine on the right path even though he does waver. Even women who disrespect him, like Sparkle, still play a positive role in his life, able to provide him insight gained with their own intellect and talents.

When he has no one to rely on and doesn't know what to do, Aventurine is able to continually turn to the women around him, asking for and receiving not servitude or fawning, but their genuine wisdom and guidance.

tl;dr: If nobody else has him, Aventurine knows this random woman he met two minutes ago on the street will have him, because the women in his life literally never let him down.

(It's just so, so good, and ultimately, it should be very clear why Aventurine's story is as popular with women as it is! A+, Hoyo!)

[askgothamshitty]

Why do you think there are so many antifeminist women? Also how would you define feminist e.g. can anybody be a feminist by just self identifying as one?

Anonymous

15 Jan

Not to go all Dworkin on you but she’s written a lot about this. A relevant quote:

“Many women, I think, resist feminism because it is an agony to be fully conscious of the brutal misogyny which permeates culture, society, and all personal relationships.”

I think a lot of people (not just women) resist critical theory (not just feminism) because the idea that racism/sexism/class is omnipresent is a tough pill to swallow. It’s called “becoming woke” for a reason (at least before conservatives co-opted the term and bastardized it). You are metaphorically “waking up” to the reality that society, including the most intimate parts of our lives, is structured through oppressive institutions that we must struggle against. It’s like the Matrix.

As Dworkin says in Right Wing Women, there is a particular incentive for anti feminist women to not only resist feminism but stand against it politically and do the work of the patriarchy, even at their own expense. That incentive is a relatively “better off” position in the hierarchy of womanhood, relative to racialized and impoverished women. Men will allow antifeminist women some power over these women (and men of those classes) in exchange for their submission.

Think of the MAGA Trump-loving women. They’ll accept the “grab em by the pussy” misogyny from Trump and men like him if it means they get to assert themselves as white Americans, superior to immigrants and people of color.

As for who can identify as a feminist - that’s an interesting question. Liberal identity politics have made it so labels can just mean anything we want, and the “feminist” label has therefore been watered down so that even people like Hillary Clinton can call themselves one and be taken seriously.

Personally, I think the “real feminists” are the people who have educated themselves on the history of feminism and read basic theory about patriarchy, misogyny, and oppression. These people are also personally dedicated to feminism and try to live according to feminist values (ex rejecting gender roles and calling out sexist remarks).

[citizen-zero]

This is not a well-formed thesis ATM but if I, a modern reader, were to look at Lucy Westenra through a modern lens, then she becomes emblematic of how young women and girls are forcibly sexualized by a patriarchal culture. This is more and especially true if you focus on how academia and Hollywood have treated her character, as opposed to just looking at Victorian cultural norms.

(Putting the rest under a cut for discussions of sexual abuse)

Because like, Lucy is canonically a sweet young girl who only has eyes for one man, who she wants to marry because she loves him. There’s nothing to suggest she wants him for nefarious reasons or that she’s sexually forward or otherwise violating Victorian expectations for her as a woman. She doesn’t even seem to be especially sexually repressed. She’s a 19 year old girl who is preyed upon by a much older, predatory man who, by enacting violence on her, turns her into something horrifying and tragic. She displays sexually charged and “unwomanly” behaviors not because of any actions she willingly took, but because it was forced on her by a man. She had no agency in becoming what she became.

Which actually, now that I frame it that way, makes me understand now why Hollywood in particular has been keen on finding ways to make her victimization actually her own fault. Isn’t this exactly what powerful older men in Hollywood do to girls and young women? Groom them and shape them into what they want them to be, something borderline unrecognizable? Pressure them into acting older and more sexual than is age-appropriate, and even sometimes (often?) convincing them that this is what they want too? And then inevitably, when those girls have mental health crises and spiral into self-destructive behaviors, it just becomes part of their reputations as slutty bad girls who deserve the disrespect and the shame even though those reputations were never ones they had much agency in earning. So Lucy to me is reminiscent of those young women in that she’s been turned into a sex symbol when she really shouldn’t have been, both textually and academically.

(There’s also a reading in there somewhere about how (again, applying a modern lens) she and the academia around her can be read as a metaphor for the ways that patriarchal institutions have co-opted and poisoned the women’s lib and sex positivity movements and made them into just another way to shame women for existing, but that thesis is not well-formed either.)

Obviously the traditional “she’s punished for being a slut” reading is busted and wretched, but I think there’s a lot we can say about Lucy’s story arc and how it encapsulates both sexual/sexualized trauma and how society responds to women and girls who experience it.

[pinkcadillaccas]

All this Goncharov posting reminded me of when I had to write a review of a film for some arts award thing we did in year 10. I managed to dig it out of my laptop if anyone wants to read it:

Goncharov (1973) as an example of queer representation in mid century film.

Scorsese's timeless masterpiece, 'Goncharov', is not unique in its position as a film made in the heterosexual world that found popularity within the queer community. However, what makes the 1973 mafia epic different is the varied and ever enduring nature of its portrayal of queerness. The two potentially queer couples, Goncharov and Andrei and Katya and Sofia, vary massively in how and why they come to be so involved with queerness in a decade still full of anti queer sentiment; and yet both, despite societies changing perceptions, remain convincing and touching romances to a modern audience.

Begining with Katya and Sofia, this couple tend to be deemed 'problematic' by some fans, owing to the homophobic and misogynistic stereotypes on which Sofia's implied saphic nature lie. Unlike Andrei and Goncharov, Sofia was written with the intent of a 1973 audience reading her as queer, achieved through thinly veiled sexual metaphor and, unfortunately, her role as an antagonist to Goncharov. She is founded on the age old myth of the queer individual wishing to lure innocent straight men and women into a life of debauchery, she introduces Katya to a life separate from men and her husband in a way that can be seen to ultimately cause Goncharov's downfall and Sofia's survival. Furthermore, she commits the worst crime a woman can, not only is she a lesbian but she knows it, she dares to take ownership of her sexuality and display it to a woman from a background of strict traditional values and family dynamics.

Sofia was undoubtedly written as queer, for better or for worse, and shows many of the issues with how mid century film can portray queerness as something corrupting and evil. However, there is love enduring in their plot as queer audiences were able to look past what she may appear to be, as they have done with so many queer coded villains and villainous women, and saw a strong, brave and proud character willing to risk her life to bring another powerful woman into the light and out of the darkness. Their softer moments together act to successfully move the relationship out of the territory of plain homophobia and into something far more complex and beautiful.

Furthermore, to a modern audience who may not be as familiar with the queerphobic tropes of the early 1970s, the relationship reads as more of a modern feminist tale of female empowerment, giving the story of the passionate lover and the torn wife a new lease of life outside of its original context. There is no denying that despite the problems, the subtlety of the hints to her sexuality (either as a perceived kindess to the community from the creators or because of the litany of laws surrounding depictions of homosexuality in the era) and the lack of open hostility towards it as a result means that Sofia's origins do not define her and she is able to break free of her original purpose in the hearts of many.

Following in their wake are Goncharov and Andrei, the couple whose relationship is central to the fast moving plot of the thriller. Unlike the previous couple, neither of these characters were intended to be received as queer by a regular audience and are a classic example of the tragic bromance. If you were a woman we would be in love, but since you are not we can only ever be friends; unsurprisingly, this story repeats itself time and time again through couples such as Kirk and Spock of Star Trek and Dean and Cas of Supernatural. The strength of their male bonding compared to Goncharov's relationship with Katya and Andrei's status as an unlucky bachelor sets up the perfect dynamic in which to find queer romance. In many ways, the story revolves around the development of their relationship and their closeness.

This is even noted by other characters, such as when Mario taunts Andrei with their relationship midway through the film, claiming "if only your Goncharov were a woman you could keep your little prick wet for years". Another case of 70s macho homophobia (which at the time would not be out of place as a way to mock a perfectly heterosexual man) backfiring as it points out to the audience the possibility of a romantic nature to their relationship, which once seen cannot be unseen. Andrei's reaction only furthers this, it could be seen as a typical recation to an insult but it could also ring true to many as a queer man shocked at facing the mocking reality of his hidden self.

The couple is an accidental thing of beauty, only allowed to get as far as they did because at the time it would be unthinkable to the sensible heterosexual audience that two men as macho and agressive as these could be queer. They are both queer and not, together but not, they are tragically unexplored and unfinished. Due to their nature they are, much like the titular character, doomed to run out of time.

The film is a masterpiece but it is not above criticism and as much as it resonates and brings joy to many queer people it is important to note where this comes from. 1970s America was, for many, a place full of homophobia and tragedy. The beauty of the film is that through its incidental and intentional queerness and homophobia it not only tells beautiful stories of queer love, but it brings a slice of queer life from the period to the modern viewer. Through different lenses than the one intended to view it through Goncharov offers many interpretations of tender, passionate, dramatic and toxic love stories that are timeless. Scorsese's most underrated work gives us a unique combination of various elements of mid century queer representation in the mainstream and has left a lasting mark on the community as a result.

[septembriseur]

this question is a courtesy of me encountering yet another tragically wrong terfy take on ''why women like writing and reading slashfic''. and since i'm an appreciater of your opinions, do you have a fresh take?

I don’t think there is one answer to this question. I think that there are a lot of different currents that have moved, at time converging and at times diverging, to create this as a phenomenon.

One obvious current that often gets mentioned is that for a long time the male characters in media tended to be better-written and more complex than female characters. Part of what I mean by this is also that female characters, for a long time, represented quite a narrow, thin, and normative view of female life that excluded many women. This is still the case— I simply have never seen a female character on TV or in a movie who looked or acted anything like me, and if I’m saying this as a cis white woman who is married to a man, then the situation is really dire. So of course a lot of woman sympathized and identified with male characters, and over time this became a really established and even ossified practice, a “way things were” or “way things were done.”

And I think there are a lot of other highly specific currents over the last fifty-odd years— the gendering of pop culture as feminine, the dominant role of Anglophone fandom in many areas, the narrative specifics of East Asian media and fandom (which I’m not well versed in), the demographics of Western adoption of East Asian media, the effect that this had on Anglophone and East Asian fandom, etc, etc. I’m spitballing, because I’m not a cultural historian. I’m sure that the real list would be much longer. Any thorough account of slash fandom as a phenomenon would have to reckon with the particularities of its historical and cultural situation.

I do think that a lot of slash fic has historically been a way of eliding and omitting the “taint” of the feminine— it’s not at all terfy to point out that the female has traditionally been associated with nature/emotion/artifice in contrast to the human/reason/honesty of the male. The female has also (see Elizabeth Grosz’s book Volatile Bodies) been associated with messiness, leakiness, uncleanliness, both physical and metaphorical. Certainly there is an element of slash fic that seems to want to escape the messy, animal, irrational feminine by envisioning relationships that are between men, and that often take place in a world that is almost devoid of women, and that therefore can be “pure.” But the terf tendency to run in the other direction by embracing what Val Plumwood calls the “feminism of uncritical reversal” and just insisting that women need to celebrate being animal-natural, emotional, leaky, etc isn’t in any way a better solution. It just perpetuates the idea that this binary thinking is legitimate, which it isn’t.

And I think that any explanation of slash fandom that focuses too much on the sex and romance of the whole thing is ultimately going to fail, because in the end narratives of sex and romance are usually not about sex and romance. They’re about power relations: antithesis and synthesis. Romance is about trying to integrate two opposing ideas or positions; trying to create a world in which the two recognize, love, and rest together. And dark slash fic is often driven by the unsurprising ways in which people get off on power relations: submission and dominance, master and slave. The ways in which gender and sex are tied up in power relations are so complex and so rich and so wild. Like: omegaverse is obviously about creating a woman-that-is-not-woman who is also a man-that-is-not-man (in addition to the human-who-is-also animal stuff), right? (As I write this I realize that I want to write an academic paper about omegaverse and might well start doing so.)  In a lot of ways it’s actually a pretty intricate and interesting attempt at nonbinary thinking. But it also usually defaults to the idea that a man can be not-a-man, but a woman can somehow never really escape the taint of womanness. There is so much to say about this through the lens of, like, gender as a power relation, postcolonial meditations on cosmopolitanism, and lots of other things. In other words: it’s just not about/not just about sex and gender. And attempt to reduce it to that is going to fail.

All of these things factor into the coalescence of women writing and reading slash fiction. And I know that someone is going to read this and be like, “Joke’s on you; I just do it because I like it,” but I think we’re mature enough to understand that desires we experience as basic/authentic are still created out of a million sociocultural and biological pieces. So both things can be true. 

[jovnie]

The king's arrogance | Namjoon

Summary

The King had knowledge on everything and one in his castle, however he knew nothing of the kingdom he ruled before him. That was till one day he left and found you a street merchant.

Words 5k

Namjoon king au! Reader civilian!

Warnings: fluff, cocky joon, medium amount of smut, mentions of parent death, creampie, oral ( female ), big-dick Joon, nonconsensual touches, creampie, rough sex, lot of plot. Very quick relationship.

I beg that you listen to The mary go round from the moving castle [ slowed ] when reading. I think you'll enjoy it even more with it in the background.

Namjoon sat on the throne, laid back and legs spread apart as a servant read him his to-do list for today.

"Well sir, today starts the month planning of the ball. We have a few colors I'm sure you'll enjoy, however, I'm sorry to inform you that the family members that shouldn't be named threatened third way onto the guest list" the man spoke in fear, nodding and sighing namjoon dismissed the servant with talks of the guest later.

"Mrs. Pot is the tea almost ready?" He asked kindly as the elder Korean lady nodded with a bright smile. Smiling softly, the older lady pinched his cheeks softly.

"I still remember when you were a baby and your late parents running you from tea session to tea session. Oh, how I'm sure you miss them as much as I " her smile faded, as she poured the tea on the table in front of him.

"I do, it's been 18 years now. Since I was 10 I believe, so right 18 years. I'm sure they would've loved to taste this freshly poured tea once again" he reassured, rubbing her back and once done taking a sip with her.

"I'll make sure to clean the alter table later and pour some tea with them" she smiled delicately, as took a drink of her tea.

That was right this year would make it the 18th anniversary of his parent's passing ever since the flood. It was heartbreaking, as his eyes dimmed in sadness the older lady pinched his cheek as he smiled with a tear down his cheek.

"Now don't go soft on me Namjoon, you have to stay strong for those who can't and I know it all hurts. But they'll be watching you like garden spirits. I know your mother is very proud and your father knowing how much a man and a king you have become. Now I have to go, it's time for me to go tend the gardens. Goodbye joonie" she waved, after collecting the empty teacups snd pots. Watching her wheel everything away, namjoon felt comforted by her words and took a deep breath before getting up and moving on with his day.

He spent the day testing and looking at fabrics, color swatches, and paper samples. The ball, gala, or celebration was very important for the kingdom. They only three one when it was important and this time it was a celebration of life once lived aka his parent's death date. September 4th. This day celebrated life and death, just like fall. He loved the metaphor behind it and hated how true love ended so quickly in his eyes. However he too wishes to be able to die with the one he loved dearly by his side, he hated how romantic it sounded and how bad he wanted it. Love wasn't an easy game and not once could he find someone who commented with him in a deep, if not spiritual way.

Itching the back of his head, he walked on and into his room. He had another busy schedule ahead of him. Sometimes he just wished he could live amongst the people for a day. That's what he'll do. Looking around for his leather satchel, he put together what he called a commoners bag. A bag that contained money, an id, and a diary. Looking around for clothes that seemed passable for a commoner and changed into them. From there he grabbed his stuff and snuck his way out of the Castle through the bag. He made sure Mrs. Pot knew where he was just in case this would get him in trouble. After all, the family would show up unexpectedly most of the time and he had people watch his every move as well.

Making sure his hat covered all of his hair, he walked into the street lights and found a carriage ride who was going home or into the city. He paid the guy and let him into the buggy and the city.

Namjoon did this for a weak till he knew the ropes of running out of the kingdom St night, he tried his best to avoid getting caught with the knight guards and the pesticide workers who showed nd yelled deals in his face. He also learned patience along with that, another valuable lesson needed as a king or so he was taught.

One night he went into a low-lit bar with entertainers. Majory we're female and drove the men in the room wild. He's had his fee share of women, but not when it came to this level. He found it charming and often sent gifts to them for their hard work. From the kingdom's guards and not him personally. Still, he ordered rice wine snd some jerky, before leaving. leaving a lady much shorter than him, bumped into his shoulder.

"Guards there's the thrift!" A younger woman pointed, as the men ran after her. Wanting to know what was up, he walked up to the merchant and simply asked. You explained that the woman was a theft, they would steal all her family food at night to make their profit.

"I'm sure you can be more um what are these?" He asked, picking up the food he's never seen before.

"Fruit?" You questioned grabbing the lemon out of his hand. "Well shops closed sir, come back tomorrow and you can buy our lovely fruit," you said kindly, walking up the stairs in this wooden place. Following you, namjoon closed the door behind and also walked up. Namjoon didn't know much manners, but he had the basics for a king. However, to a common person like you, he was a pest, rude, etc.

"Um, what are you doing?" you asked folding sheets for your bed up.

"It's nighttime aren't you gonna ask me to stay and wait till morning?" He asked raising an eyebrow.

"Well, I supposed. By the way, there's a futon bed over there. I'll make dinner soon then!" you welcomed, as namjoon looked ok confusion at what the blanket on the floor was trying to imitate. Taking off his shoes, he placed his bag on the 'futon' and hung his jacket and hat on the hanger by the door.

Arriving back you blushed hard, as a beautiful looking man was now clear in your view. Luckily for namjoon, you had no money to spend on papers like everyone else or let alone money to go to the balls either. Therefore you had no clue that this man was a noble, let alone the king. If you did you would've just died at how you just treated him.

"It's beef and seaweed soup, with carrots and onions" you listed off as you placed the bowl on the floor diner table. Placing a spoon and a napkin on the side, you forgot the drink. Walking away you grabbed him a cup and poured lemonade in, before walking back. On your arrival, you saw him going to town on the meal. He slurped and moaned as he complimented your cooking. Chuckling, you sat the glass of lemonade down and took the napkin to wipe his chin and cheek. Placing it down, you watched him continue and enjoy it. Although there was only enough for his, you still had something to eat. You simply had bread and butter with some lemonade as well.

It took him a bit to notice you didn't have a bowl which made him feel a bit guilty but instead handed her 30 ₩ which was a lot during that time. Not wanting to take it, he "accidentally " dropped it down your bra and smiled.

"Well it's late, we should sleep and then go out to shop for food and new clothes" the man spoke.

"I'm sorry but I don't know you, how do I not know you're not trying to kidnap me or steal or worse kill me!" You mentioned as the older man stripped off his shirt.

"You don't have to, just know ill help you and accept the gift" he spoke, pitting his clothes beside him.

"Excuse you, you don't come in someone's house and act like this. Do you even have manners?" You added in frustration.

"I paid you, it wasn't a gift. It was a payment and I can tell you've never gotten one" he snickered, laying on the futon snd taking your cover. Annoyed at the man, you crossed your arm as he mouth "you have a problem?"

"Yes, I do! What's your name to begin with?" You asked, laughing it off he closed his eyes.

"Surprised you don't know and it'll stay like that for a bit darling" he whispered, moving over he patted next to him. "Sleep with me"

"No! I don't sleep with strangers like that, unlike you I have honor " you mentioned, getting up to go change into something appropriate for bed. Once done, you came back and he was still in the same position as before.

"I think I demanded that. besides I can ruin this little shop of yours if you don't. " he threatened, looking at his nails snd then at her. Well dressed and groomed man, you could visibly see the power he likely had. This was your mother's business and you promised her you would take care of it. Saddened you laid down next to him and whispered "please don't, this is all I have left."

"So we're on the same page I believe, no?" He asked, wrapping his arms around her waist.

"Yes," he replied. She felt uncomfortable and annoyed at the fact she had to do this for a business. Let alone a man, then again the men weren't always so kind to the women here, most always. She sighed and just accepted it, as he covered the two up.

"Call me Joon, " be whispered in your ear. Nodding, his hands traveled up and down your wist. Coughing, he halted then stopped after finding a comfy place to lay his hand.

"Do you do this with every woman?" You asked, curious.

"Well the last time I had a woman in my arms, she tried to advance me in marriage" he mentioned, putting his neck in-between your shoulder and neck.

"I do however have experience If that's what your aim is?" He said softly.

"Not really, I mean if a stranger just threatened your job and made you do this. Along with inappropriate touching for people who just met, I'd believe you'd be the class below poverty. Not a king not noble" you told, unexpectedly holding his arm between your breast.

Noticing, namjoon's cheeks flushed red. Luckily the lantern. Was behind him and not in front, so she couldn't see. "Toché" he replied.

"However I can see you've had a bad experience with men hmm?" He asked, softly brushing his nose on her neck.

"So you're not around here I see, well yes every guy here is just shit. Rude snd ignorant as you" you huffed, as raised an eyebrow.

"I'll give you that, feminist huh. Cute, haven't met one till you" he smiled, intrigued. "It seems like I've violated it huh, touching you snd acting sloppy" he added, moving your hair out your face.

"Glad you noticed, now turn the candle out!" you demanded, closing your eyes. Doing just that, he then wrapped his leg around you snd kissed your cheek.

"Good night"

Morning came, as the two of you laid there comfortable in each other's embrace. With him being the first to wake up, he tapped your shoulder and you woke up soonly after him. Yawing and stretching, you made sure your hand hit him on purpose.

"Sorry," you said coy, as he rolled his eyes up and shrugged it off.

"So when's breakfast?" He asked, getting up as you realized he had just worn cotton briefs. One's that we're expensive and that added more mystery to him. Why was someone who could've been from a noble family be here and threatened for his stay? Then the thought of maybe it's all stolen.

"The time?" He asked waving his hands over your face as you realized you had zoned out.

"Sorry, we have to go get food and we can buy food at the square." You mentioned.

"Where's the bathroom?" He asked, you pointed to the medium-sized room across from him. The place was small and combined, so you could see the kitchen from the bed area and a mini living room. Nodding off he grabbed his clothes snd began using the pump to pump water into the bath.

"Don't use all the water!" You yelled.

"I can and make you join me" he yelled back, smirking.

"No ill make you get more water from the lake behind here" you replied, itching your hair.

"Don't you have to get more water anyways, less work" he mentioned, leaving the door open and sitting in the tub? This man was quite weird when it came to flirting, it somewhat seemed motherly and innocent. However on the other hand, overly sexual and mysterious.

"Fine" you huffed, striping and walking towards the tub. That's when that harsh look he had softened and turned into a stare. There you were in front of him, naked snd he took every moment to vies your body. He saw how thick your hair was and how curvy your body was. He liked that, he paid attention to how big your breast was and the fact it looked like you haven't trimmed in a week. Which meant you looked old enough for him to do special things with.

"How old are you?" he questioned.

"I love how you did all of this without asking' she rolled her eyes, trying to muster a pony 0tail with the length and thickness of her hair.

"Turning 20 next month!" she replied excitedly.

"28 next month as well" he replied, breathing out the air he had subconsciously kept in. Getting in, she sat in front of him, covering her chest with her knees.

"I can still see you!" he laughed, grabbing the soap from the tray. Washing his body first, he took his hands and spread her legs open and washed below and around her arms and chest.

"Open," he said, waiting. Opening your arms you rolled your eyes and he splashed you with water. "Manners young lady " he mentioned. Knowing he's right, you sighed. Your father once told you the same when he was alive and because of that "Joon" reminded you of your father a bit. He acted mature and young simultaneously.

Washing your arms and your thighs, you washed off the soap on his neck and took the plug out to drain the dirty water. Placing the soap down, he spread his legs open and you accidentally saw something you shouldn't have. Frightened and embraced, you blushed. Taking his hand and pushing your gaze to meet his. He smiled softly.

"It's fine, just don't get too threatened by it. I'm aware of the size," he mentioned, looking you in your eyes. Nodding, you this time pumped the water until it was all out. Cleaning the both of you, you couldn't help but feel shy snd flustered. He felt the same, only he knew how to hide it. But not everything he knew or wanted to hide.

He looked in your eyes, noticing a soft dismal look on you to which he replied with "tell me are you okay?" Thankful for the concern, you told him about your parents passing and the shop's importance to you was. He understood automatically and exchanged his parent's passing in less detail. He didn't think he'd meet with someone with such a familiar background as his, even if they were below Noble.

He took her hand and placed it on her chest. "They're here, I'm sure your mother would be proud of how you came out to be. So leave it at that" he smiles wildly, with his eyes closing shut a bit as he did. You were glad to hear that and he never thought that Mrs.pot's comfort would come in handy, but he's glad to say and share a similar message.

"Speaking of do you have an altar?" He asked gently, unplugging the water and helping you stand up. Nodding you pointed out the door to a small corner. He thanked you and grabbed both of you a towel. Getting dried and dressed you did your hair as he went over to pay the slightest respects. Smiling at how kind the gesture was, you walked over to the rack and tripped over your foot trying to hand him his stuff. You saw a journal fall out and your eyes met his.

"You're a journalist?" You questioned, fixing your dress and hair before getting up and handing his stuff.

"Yeah, not from here tho," he lied, dusting dirt from your shoulder. Nodding you both made your way down the stairs, as he took your hand. Noticing it, you smiled. You wondered why he was being nice to you all of the sudden, however, that all changed when a guard walked past by and he brought you to a kiss. Confused and his eyes waiting for them to go, you kissed back hesitantly. Letting go, you looked at him worried he shrugged it off and you walked him to the square.

Hand in Hand, you brought namjoon to the bakery. Looking around, he pointed out the most expensive bread on hand and paid. Thanking him, he leads your hand to the vendors outside. Lucky for you, he knew about gardening and what was good. He helped and taught you the basics snd you learned you've been scammed for years. Thanking him, you took him to a cart of flowers and smelled the fresh roses, looking up at him. He paid for the golden yellow rose bouquet. Now it was for his favorite part of the day, clothes shopping. But beforehand, he pulled you into a cafe.

"Two bags of your finest coffee," namjoon ordered, by now you shouldn't have been shocked at how much he could spend. But seeing him use more money than you've sent your entire life was a sight to see snd each time you were thankful. You had enough food and supplies to last week if not a month. Holding you close by him, you realized you warmed up to him and small gestures like that felt comforting to you. He noticed and did it more often.

Soon it was night and there was only, one dress store open. In there was a beige dress that sparkled in the shop's lights. Running to the window to look, you smiled. Feeling a hand on your back, he took a step in and pulled your hand in with him.

"Welcome to Gezels tailor and shop" the owner greeted. He was an older man with gray hair a fragile smile.

"Well take that dress in the window snd tailor it to her size. His much is it?" Namjoon asked, pulling his wallet for the last time today.

"₩ 10,000" the man spoke, paying upfront the older man invited you to the back room and told namjoon to stay upfront. Nodding, you walked ahead and namjoon sat in the chair. He had a diary to write about today's and yesterday's adventures. He started up about the bathtub time you shared snd imagined your body once again. If only he knew his to draw, he'd paint a pretty picture in the book. Soon after finishing his entry, you walked out with a note.

Note: the dress will be ready for you miss before dusk, come back tomorrow with your lover -Gezel tailor and shop

You handed it to namjoon and he read it, as the two walked out. Suddenly loud commotions of horses snd guards ran through the city with lights.

"The king's missing!" The horseman yelled into the square. Namjoon in a panic rushed you two into the forest nearby. Confused, but following him. You wondered if he had something to do with it, besides this wasn't the first time he ran away from the guards today.

"They can't find me or ill be in trouble, act like a lover, please. I'll pay you in gold when I can" he begged on his knees with his hat on his chest.

"Don't pay me, think of it as a token of my gratitude. I'll help, but you have to explain everything when we get back," you murmured, taking his hands and helping him out the dirt. Making you drop the food and his bag.

Suddenly, he gripped your body and jumped both of you in a lake as he heard the sounds of horses clamping. A sound you didn't even hear. Holding your head under the water, he waited for the light of the torch to leave the lake area before swimming the two of you up.

Taking deep breaths of air, the two of you swam to the doc snd he helped you up first before himself. Luckily, the food wasn't damaged. Frustrated, you grabbed the food and his bag as you walked home. Walking in, you kept the lights off snd went to the second floor.

Stripping you of your clothes snd placing the bags down, you watched him do the same. Forgetting you had to pump the water, he suggested he'd go do it and you nodded giving him directions snd within 30minutes he was done. Striping once again, he hugged your body to his chest. You soon felt tears on your neck and small crys, you rubbed his back snd just stood there till he let go.

"What's wrong?'" You asked concerned.

"I could've killed you!" he cried, remembering the look his mother gave him before dying in his arm. His father did the same thing to his mother, only on a ship in the middle of the sea. Hugging him, you rubbed his back and placed a kiss on his lips. Holding you to his chest, kissed you back, and laid back so your bare body laid on his.

"Let's wait to shower" he suggested, kissing your neck. Nodding your head no, he flipped you over on your stomach softly and trapped your legs with his. "Please?' He asked, leaning down on your level on the floor snd holding your chest in his hand. Agreeing, knowing what's about to happen you loosened up snd he turned you on your back.

His hands ran around your chest and thighs, leaning down to kiss your naked body as a slight moan came out. From there, he moved his lips to your mouth and softly moved yours to his hair. Taking note, you ran his fingers through his dark brown ones as the two of you danced with each other's tongue. Namjoon removed his lips snd traveled down south, gripping his hair in pleasure you moaned grinding your hips. Meanwhile, he took in a natural aroma, one he found arousing. Moving his tongue around the bud, he softly kissed your thighs leaving bruises.

Looking at your head tilting back snd eyes closed with heavy to light breathing. He took his pointer finger snd rubed softly in circles, moving his body to tower you with one arm. Noticing the shift of best around your neck, you felt his warm breath move down your neck and by your ear.

"Let me tell you something darling, I'm not who I say I am" he kissed around your neck, papering it in kisses. Hearing you moan, made him aroused by the minute. However he knew it was time to go back to the castle, only he wasn't going empty-handed. As your hands rubbed his back, he whispered "I'm Namjoon, they're looking for me, darling. Tonight the last night I can spend here so let's make it count" in a raspy tone.

In shock, he gave you a minute to calm down as he could hear your heart. "I'm sorry" he apologized.

"No need, but for whatever this may be for you. Just know I haven't done anything like this with anyone," you admitted. Humming he moved to the other ear and whispered "I like that, just know it will hurt after a few minutes snd then feel better or the pain could feel good!" he warned. Taking his warning, he gently rubed you as got on his knees and opened your legs wide. Watching as he did, you noticed he was fully erected at this point and ready. You closed your eyes snd tensed your muscles as he began to simply grind his tip into you.

He was right there was pain, which caused you to bleed a bit. However, it was enjoyable without a doubt. Soon he was able to put 6/9 inches in as he trusted slowly. Moaning under him, he moved his in circles biting his lower lip as looked at your fuller lips and leaned over and wrapped your legs around his waist. After a few moments of waiting for you to adjust, you thought about today snd how it was so obvious he was the king snd yet it flee by.

As you moaned loud, his thrusts began to speed up snd the two of you could hear the sounds of his hips banging into yours snd your ass as he went faster.

"Ah, baby!" He grunted, grinding into you deeply as your hands rubed into his hair. Morning louder, his lips conceded back to yours as you held on snd then to your neck where you heard his heavy breathing. Your body was tightening around him, as he went in deeper now putting himself in. Not to mention you began to pool around him which gave him more speed in the end.

"Namjoon!" You moaned in his ear, holding his back tightly as your legs unwrapped snd opened wider for him. Cursing under his breath, he went harder as you began to arch your bag in pleasure. He held onto your back as your head went backs and the build of pleasure built up quickly.

you held onto his muscular shoulders while he moved you closer to him to go deeper. With that sending you over the edge, you screamed his name in pleasure as yours and his breathing began to match in heaviness. Shopping for a second, namjoon looked you in your eyes and thrust slowly as he was too close and it felt too good.

"In close, but I don't wanna cum yet" he grunted, thrusting deeply in and out.

"Then cum when you can't hold it!" You urged, outta breathe enjoying the depends. "I'm fine with children" you explained. Nodding, he continued and went harder this time.

His mouth roamed your chest, sucking and pulling on the bud as your back arched and mouth open in response. You this time, grinded back cgroundhim to jolt forward and start panting.

"Fuck don't do that unless you-" you interrupted doing it again. Pushing your legs back and open wide he started hammering into you as you began screaming in both pleasure and slight pain. You scratched his back and he immediately let go of your thighs snd pushed your hands back. As your body began to shake under him, he went faster as his chest heaved in breathing and yours became flushed with red. He started to let his enjoyment show more and tilted his head back with his eyes close as he went faster. He allowed the sounds of your whimpering snd moans to fulfill his urge as his balls smack your body hard causing a loud moan to come out from him.

Moving his hips to go at a slightly different angle than before, he noticed you started dripping more and more causing your heat to became more and more pleasurable on his end. He leaned down to your chest and held you as he began moaning in ecstasy as a thick load covered your walls in white.

Stoping and catching his breath, he mouthed something so simple but daring and that was simple.

"Don't leave me"

To which you replied softly. "I won't"

Soon the both of you gained the energy to get in the tub. There you two conversate on what it was like for him to be the king and all, what he planned on doing, and where he wanted to do next.

"Please come back to the castle with me tonight?" He begged, holding his hands with yours.

" I don't wanna be a drag" you looked down.

"You won't, I promise you'll enjoy your new life" he stated happily as ever.

"Namjoon don't you think it's too fast, we just met and all." You mentioned.

"Right, that is an undeniable truth. However, I know you felt the same way I did snd I know this isn't a fairy tale. But I truly feel like we could have a life" he spoke, holding your hands to his chest. Yes, that was true, you did believe in fate snd everything. But this was soon and so much.

"I'll go, but you have to let me have the ability to leave, " you said sadly, bring you to his chest he nodded and turned your body around in the tub.

From there you two did what was needed and packed a small bag of hygiene snd the coffee from earlier to go. You two had to walk back to the castle without being seen or heard at all. Which called for a few close times of being caught, from there he showed you a secrete gate entrance that led straight towards his room. From there, he tried his best to pick you up and take you to his room. there which Mrs. Pot sat praying

"I'm home and I brought a guest" he mentioned putting you down. As she recognized Mrs. Pot, she immediately went to hug her.

"It's been a while, my dear, I remember when you were both sized. I see you ran into the king, ah I knew he would've found you. I mean he's always had an eye on elegance and beauty" she mentioned embracing you tightly and pinching her cheek the same way she did with namjoon.

"I'll tell the guards your home" she looked at namjoon winking. Itching his head as he smiled, he turned to you and stripped naked again.

This time he leaned on the top of you again and you immediately kissed back. "It's a yes" you knew immediately as he took off your clothes once again that same night. Only this time, he focused on filling you up till he couldn't anymore.

"Fuck, this is amazing" he cursed, moving his hips harder as you who was behind sensitive began moaning his name louder and louder. Your legs opened wider and pools of arousal soaked the bed, making him lose control once more in you before pulling you close and moaning in your neck. Spilling once more, he simply uttered

"I love you"

"I love you too"

[ichayalovesyou]

Turnabout Intruder isn’t Thoughtless Misogyny: It’s An Abuse Metaphor

This really felt like a metaphor for abusive relationships. Like hardcore. In which Jim was the abused and Janice was the abuser. In that case, 10/10 to ST and the writer if I’m right because men getting abused by their partners happens a lot and they tend to suffer in silence because of the same misogyny that causes the abuse of women to be more common.

It’s so rare (especially in the 60s!) to see abusive relationships where the woman is the abuser that weren’t played for comedy. This metaphor in its physical representation can also be used for the reverse more typical abused (FM) abuser (M) dynamic because Janice (as Jim) is abusive in a man’s body, while Jim (as Janice) is “powerless” in a woman’s. In actuality, even if Janice’s motivations appear like they are a result of weird space misogyny, or basically “women can’t be Captain cuz womens are crazy”. The abuse metaphor, the reality that Janice is clearly very ill, combined with the fact any possibility of that being the case completely decanonized by Discovery and TAS, (there’s an episode where Uhura’s in the captain’s chair!) count against that idea. If you really chew on the episode the argument that this episode is just sloppy misogyny actually holds very little water. 🙃

This felt like a physical, sci-fi metaphor for what it feels like when an abuser takes over your life. Janice literally took over Jim’s body, his autonomy, his life, and physically (and in a psychic sci-fi way, mentally) forced Jim into a position of weakness. By forcing Jim to switch bodies with her without his knowledge, understanding or consent, she took away his sense of self by forcing him to (literally!) be someone else. Someone who is treated as delicate, deranged, and powerless.

As a matter of fact, though this was probably an accidental thing, “I’m in trapped the body of the sex I do not identify with and I HATE it.” Aspect of this episode can also be a trans metaphor! It also lends itself (if it’s not the source!) to the headcanon of Jim being trans, as he’s surprisingly unperturbed by being in a woman’s body but also extremely determined to get out. 🏳️‍⚧️ Janice on the other hand feels such loathing and so trapped by her gender it seems to be part of what made her so sick. Her desire for power, and her wish to not be a woman, isn’t treated as problematic, her violent, abusive means of getting it are.

Another huge awesome thing about this episode is that it tackles is how abuse isn’t a permanent situation and can be escaped if you have friends and loved ones to support you in your escape. Janice executes typical abuser behavior by isolating Jim and making everyone believe he (Janice technically) is crazy, that’s textbook abuse.

Jim would not have been able to get his life back if it weren’t for Spock’s faith. Spock believes Jim in the way a good friend believes an abuse survivor. Everything may seem okay on the surface, nobody else bats an eye, but things of course, couldn’t be less alright. The whole crew comes to realize that in time as Janice lashes out more and more at being questioned, and Bones & Scotty especially do their best to stand by Jim, even if it means the death penalty from Janice. Of course Sulu & Chekov would never have let happen, but still. That, AND, because abusive relationships are inherently unstable, Janice was unable to hold her power for very long and it was Jim’s willpower combined with his friends’ support that won in the end!

I think it’s also important that they don’t completely vilify Janice, not for being a woman, not for being mentally ill, not even, really, for being an abuser. Most if not all abusers are mentally ill (sidenote: all poodles are dogs but not all dogs are poodles applies obviously) and untreated, so their struggle comes out as domestic abuse. No one wants to kill her, in fact, everyone (including myself, the audience in this case) feels sympathy for her. She isn’t forgiven, but she is going to get help. I think that’s a really, really cool way for the episode to end.

[kindaeccentric]

When I was writing my university bachelor's degree thesis (that I'm still to defend) about Penny Dreadful as a modern adaptation of Frankenstein I noticed how the original novel's homoeroticism is realized by the series in an interesting way.

In the way he is presented, it seems to me that Victor secretly desires men, but thinks that only through creating a perfect one by himself he's allowed to touch other man's skin. His endeavour to pierce the veil between life and death is an excuse, since Victor from the series grew up lonely after the death of his mother and he searches for companionship, for someone who would love him unconditionally, like his mother used to. He believes he can find such love only in a person he creates himself, brings from the dead, and who would see him as his only friend, calm and obedient. Yet his first instinct is to make a man, not a woman, and a handsome man at that.

I can imagine both Rory Kinnear and Alex Price are not everybody's cup of tea (I do find them attractive, they are quite charismatic), but the way the original Creature and Proteus are shown makes them attractive. Proteus we see through Victor's eyes, when he is tending to his body before its even reanimated, when he sketches him (a sure sign of affection) and when he teaches him how to eat in a way that becomes seductive, because of how the camera lingers on his lips and then, in a closeup, on his fingers running down his long throat, immediately bringing to mind erotic imagery. Some may argue that Victor tries to emulate the relationship between his mother and himself taking the parental role and projecting onto Proteus the role of his childhood self, and as much as it is partially true, their relationship bears these marks of hidden desire on Victor's part from the start. The image at the end of the first episode when Proteus is born shows Victor trembling, teary-eyed, looking at the body, a torn and stitched back together, but human body, of a naked man. He's afraid, but not necessarily of the man, but of finally getting what he wanted, it's a fear resulting from excitement. Then the man is touching his face tenderly and Victor, still trembling, cannot stop himself from a little smile. Their faces are softly illuminated by the orange light of the gas lamp, creating an intimate atmosphere of a warm bedroom. Victor practically gasps hearing his own name smoken by Proteus. I doubt all of it was intentional in the way I read it, but it doesn't change the fact that the final scene can be easily interpreted this way.

Then the original Creature, with the violence surrounding his return, presents him as highly masculine, smart, powerful, a direct opposite to the delicate, clueless Proteus Victor could easily form into whatever he wanted. The Creature throughout the entire series is perceived as ugly by some and easily tolerated by others, making his ugliness purely subjective, since, despite his small deformities he remains strangely alluring with his gothic qualities (black long hair, black lips, white skin, yellow eyes, proportional features) of a dark brooding gentleman. With blood on his face he becomes vampire-like (vampires always a symbol of hidden desires and 'depraved' sexuality, the Creature and Victor becoming a mirror image of Vanessa and vampire Mina, both Creature's and Mina's monstrosity an indirect result of Victor's and Vanessa's desire towards having a same-sex companion). The Creature touches Victor's face, a callback to Proteus doing it, but the Creature is not gentle, he smears blood all over Victor's face (blood in vampire narratives was always a symbol for other bodily fluids, that's why it seems so sexy, it also gained another meaning in the 80s, due to the HIV epidemic, which no filmmaker can shake off if they tried, I could discuss it more with The Lost Boys, but no time for that right now).

The dynamic between Victor and the Creature is a reversal of Victor's budding relationship with Proteus, experience winning over innocence. Victor is under another man's rule, and it terrifies him, because it would force him into a position of having to admit his attraction, whereas as the one in control he could have still easily deny it. The Creature, with all his attributes, symbolizes carnal love, he's all 'body', where Proteus was virginal, pious love (to an extent). In one of the scenes where we see Proteus he looks up into the skylight at Victor's apartment and appears angelic, as if in a halo of white light.

It's revealed Victor never had a woman, and the series wants the viewer to believe it's because of his awkwardness and passion for science that consumed him, but his dedication to creating himself male companions instead of searching for a living female one is exactly what makes him seem more queer coded.

It's clear that the lack of paternal figure results in Victor quickly becoming close with older men he encounters (Sir Malcolm, Van Helsing), but it also puts him into a position where he's constantly surrounded by men, with whom he feels more at ease, and is intimidated by women. The rivalry between him and Ethan is that of siblings, until the moment when Ethan teaches him how to shoot a gun. It might be a stretch (it is a bit of a stretch, I admit), but a gun often, especially in horror, alongside a knife, represents manhood and masculine power. Victor allows Ethan to touch him and encourages him to show off with the gun, which is a scene all too familiar from many other movies where the role of Victor is reserved for a woman and the interaction is flirtatious (can't pull examples out of thin air, but if you saw over 1400 movies like me you know I'm not lying). All this adds to the general image of Victor.

The Creature and Victor, when they are on a walk, have a very revealing conversation in which the Creature points out how quick Victor was to grow attached to his more perfect man, and Victor doesn't deny it, he admits that he did in fact feel affection towards Proteus, although the meaning of it as the scorned past partner expressing jealousy over the love he didn't get while someone else did is largely subtext. When the Creature says that he's lonely, Victor answers 'I cannot love you' (paraphrase, because I can't find the exact quote right now) and the Creature, disillusioned, mocks him, 'I do not want what you cannot give' suggesting that Victor, by making himself a meek obedient man, is selfish, cruel, manipulating, and a coward, therefore could not have loved Proteus truly. Then again, Victor cannot bring himself to love his original Creature, because he's not the ideal man he envisioned and by then the Creature being too aware of his flaws of character. The Creature/Caliban/John Clare knows that Victor is 'monstrous', not just because he's someone who desecrates dead bodies, plays God and abandons his creation, but because of his queer desire. It's important that in the case of Penny Dreadful 'monstrosity' signifies many different things, literal (being a vampire werewolf, witch, and so on), metaphorical (bad deeds, like letting your son die a horrible death, cheating, killing etc.) and wholy subjective, merely condemned by ignorant society (Sembene's blackness, Brona's sex work, Lily's want to be equal or greater than men, Vanessa's want for sexual freedom, the Creature's ugliness, Angelique being transgender and other cases), so it's NOT that much of a stretch this time.

We also have the whole problem with Lily. Victor is so attached to Lily (who takes up both Elizabeth's and creature's bride parts in the novel) because he believes that only by possessing a good woman he'll be redeemed for his 'sinful' desires, but he's foolish to think that. This belief reduces a woman to a semi-maternal, semi-virginal angelic ideal with no sexual urges or agency, like virgin Mary. Lily is a true replacement for Victor's mother, and his imagined redemption. As long as she's similar to Proteus, in that she's not sexual, and pure like an angel. Yet Lily is not a woman in that sense. She is another of Victor's creatures, so she partially also takes over the role of the original Creature from the novel, a male. She's not an ideal of a Victorian obedient wife, she has power, or tries to have it, but power in the context of patriarchal society is masculine by nature. The moment she drops her pretenses of a weak delicate wife-like girl Victor does not want her like this. He doesn't want a woman that is sexually liberated, because he doesn't like women in this way, and yet, by being similar to the first Creature (from Victor's perspective, from hers John Clare is similar to Victor-a man, I could delve into Brona's sexuality, but later, this thing is already way longer than I intended) she's 'the man' he wanted.

There is also Henry. Henry Jekyll takes the role of his namesake in the novel, Henry Clerval, Victor's closest friend, and a character most often cited to have homoerotic tension with Victor. It's true that some of the eroticism might be accidental, stemming from the prevalence of homosocial interactions in 'Frankenstein' which in turn is a result of misogynistic nature of 19th century Genevian society and in-novel universe reflecting it, but like I mentioned before, it still feeds into the queer reading of the text and translates beautifully into Jekyll and Victor being both extremely misogynistic towards Lily and their mutual homoerotic tension. In the scenes where Henry purposes his plan to Victor he practically seductively purrs it into his ear, Lily becomes merely a female buffer that allows for that interaction, a female presence which is an excuse for male closeness (here I have a couple of examples actually: Dead Ringers, Sir Gawain and the Green Knight, Scream (in a roundabout way, through murder) and a couple others, but that deserves its own article). I won't even mention more references to the novel, because that's a lot already.

Penny Dreadful, although I believe largely unintentionally, expands on what is already there through the changes it introduces in relation to the novel's plot. I have nothing else smart to say, I just think it's worth considering.

*I use the word 'queer', because that's the umbrella term we use in academic writing for years now and even our lgbt+ group at university is called 'queer', so don't come at me with stupid takes

[michaels-reality]

jsaghka whats wrong with ok ko?

Okay so I will spoil the whole main plot of the series with it but there are 3 main problems I’m gonna get into with this series and it’s problems with character design, jokes on child neglect, and ableism with system caricatures. And this is coming from someone who enjoys the show before anyone thinks I’m just hating to hate on it. But again, these issues are so big for me that I would not recommend this show to anyone skjhskjf.

1. Issues with character design

Alright, so first off, please look at this picture of the majority of the women of the show and tell me what’s wrong with it?

Yeah! Almost all of them have the exact same body type! I’ve seen people praise ok ko with its diverse character design but if you boil it down, almost all the women have the same cinched waist and big hips. And for the characters the characters that do have different body types, it's almost unfair to compare them to the rest of the characters, like you can’t compare Carol to Rippy Roo because Rippy Roo is an actual animal. And you can’t compare Dendy to Enid, because Dendy is a child and Enid is a teenager. And for the Ladies that have an actual difference in body type, that’s like 6 characters out of how many? And to those characters that have different body types, the Hue Troops only show up for 2 episodes and even then the main focus isn’t on them so they barely get any screen time, Punching Trudy shows up for one episode to fight Punching Judy, Pheobe shows up for 7 episodes but she’s a background character and I don’t ever remember her speaking, and then there’s Foxtail. Foxtail is probably the only female character that has a different body type that has an important role in the story and shows up for more than just background appearances.

Compared to the men in the show, there is way more diversity but even then, there is a lot of making the upper half of them bigger and giving them tiny hips and legs. 

There is also the issue that kinda pisses me off is the racial ambiguity of everyone. Like most of the characters aren’t even human so whatever, but there are characters like enid that have darker skin but she has straight purple hair so what are we supposed to get from that? I mean, I guess there is some wiggle room for anyone that isn’t white to claim her but then you start to see that all these darker skinned characters seem to always have straight hair and that’s also a problem. The only character I can confidently say is black is foxtail and she has straight hair. And the only character that is said to have curls and an afro is RADICLES who is BLUE and an ALIEN! Like it makes me mad that our curly haired and black coded character is designed like this. Like, I get it, he’s an alien, he’s blue, he’s not human, BUT WHY DID HE HAVE TO BE THE ONLY ONE? WHY CAN’T THERE BE ANOTHER CHARACTER WHO IS DARKER SKINNED AND CURLY HAIRED? 

It’s so ironic given that ok ko has one of the BEST racism metaphors I’ve ever seen in episode 28. Dendy says kappas don’t need pow cards to be heros but it feels nice to be appreciated but this show is not making me feel very appreciated right now sjglksjgds.

2. Jokes about child neglect/abuse

OKAY! BOXMAN! I LOVE BOXMAN BUT WHAT THE FUCK?

Okay, so in the show, Lord Boxman has robot minions that he is constantly annoyed with the performance of and punishes them and yells at them. AND I WOULDN’T HAVE A PROBLEM WITH THIS IF BOXMAN DIDN’T REFER TO THEM AS HIS CHILDREN! It’s shown in the show that Boxman raised them as baby robots and they call him daddy and they have a very familial relationship. But it’s constantly joked about with Boxman saying how they never make him proud not taken seriously in the show. Like, in the second episode, one of the first things we see Boxman do is put Darrel in the furnace and Darrel says “I deserve this” BUT DON’T TAKE IT SERIOUSLY CUS DARREL IS A ROBOT AND HE’S BACK 2 SECONDS LATER! The robots get emotional over any sense of approval, like at the end of “Villains Night In” Darrel and Shannon literally fall apart after Boxman gives them shirts and says to “keep up the good work”, and the end of Plazalypmics, Darrel, Shannon, and Raymond get participation trophies and are really happy with that. Like, this isn’t normal.

The whole relationship between the robots and Boxman is actually pretty toxic and kind of bothers me sometimes. The robots seem to have a very intense sibling rivalry but it’s over the affection of Boxman, which is unhealthy but most of the time it’s just played off as funny joke for the tv. And it becomes even more apparent because episodes without Boxman, like Rad likes robots, it shows them getting along fine and even worrying about each other. And in season 2, Boxman comes back from the sun and Darrel stands up to him and says he doesn’t need him anymore, but one “I’m proud of you” from Boxman and Darrel is back to wanting his approval. LIKE ITS ALMOST NEVER FRAMED AS A BAD THING OR TAKEN SERIOUSLY! I AM NOT A FAN OF HOW THEY TREAT THIS! Like, I can admit it gets better after Venomous comes into the picture and Boxman has that realization of “oh I should be proud of my kids achievements” but to me it looks like this whole forgiving your abuser plot line and I fucking hate it! And Boxman still admits to incinerating his robots after the company switches over to his and Venomous’ ownership when discussing what to do to punish them and he says “I usually see improvement in my robots after I incinerate them.” 

And even if it got better, it’s still played off as a joke in all of season one and normalizes terrible behavior. Child neglect in tv shows, especially in children’s media, played off jokes and funny are never good and can be insensitive to children who are in these situations seeing it played up for laughs. You can argue that being on the villain’s side frames it as a bad thing but that kinda loses meaning in a show like ok ko where you start to see the villains as regular people and not necessarily bad, just “evil”. I just feel like this could have been treated so much better and not trivialized like this.

3. System Caricatures and ableism

Let me start off by saying, I am a singlet and I don’t have as much authority on this type of thing so feel free to correct me on anything I get wrong or add on in anyway. 

With that said, KO and TKO along with Shadowy Figure and Professor Venomous are terrible system caricatures. KO is 6-11 years old is prime age to develop a system, so when shadowy figure comes into KO’s life and traumatizes him, he splits. And so we begin our little “evil alter ego”(quoting the show! using this phrasing is terrible and should never describe a system like that) stereotype.

I’ve talked about OK KO with my friends who are systems and it makes them mad that this show had so many moments to be good system rep and then it turns around and fucks everything up! Like TKO could have been written well. TKO is very clear on stating he isn’t KO and is his own person but everyone still refers to him KO and treats him like a bad thing because he isn’t KO. And when TKO acts out due to being referred to as KO and rightfully being upset, they act like it is some evil act against them and they need KO back! Like, the show misses its own point so much!!! If they treated TKO like a person (which he is!!!!!) then half the problems they have wouldn’t be a problem in the first place. And TKO has done nothing wrong other than wanting to front! KO even talks about TKO as another person but they address him as such! 

The way people talk about TKO in this show makes me so mad, like when Dendy does tests on KO in “Mystery Science Fair 201X” to bring out TKO, TKO finally comes out to deal with the feelings KO can’t deal with and then they almost do it right when Dendy realizes she was the one that fucked up and then SHE APOLOGIZES TO KO INSTEAD OF TKO FSDGHSDFJ!!! And they always treat TKO as a threat as if he’s a danger! Like TKO’s a kid just like KO and acted out when the people around him upset him! Like a kid! And the last time TKO shows up in season one in the finale, TKO actually SAVES everyone in the plaza and leads the battle away from the plaza but because “oh but TKO is the evil” they go and try to stop him from saving them? Like yeah he got a little reckless but he only ended up hurting people in the plaza when Rad and Enid interfered. They treat him like a problem because they MAKE him a problem! 

Also, the moments where everyone tries to bring KO back by saying “you are loved” and all that, that’s actually really manipulative! Like, they’re using positive triggers to kick TKO out of front and that’s actually a really rude thing to do. They’re trying to bring to front who THEY want to see and it’s not fair to TKO who is fronting. It also goes the other way around when Dendy is experimenting on TKO to try and get him to front.

And then even KO treats him terribly, locking him in a cage, then keeping him in his head all the time, and then when he finally lets TKO out and TKO acts out from being locked in his own head for so long, KO then traps TKO in his subconscious. Which is terrible! TKO should be allowed to front and should be treated like his own person! It’s so weird how the show almost gets it right but then does shit like this that makes it terrible again. Like KO has a headspace and he creates things in his headspace and he talks to TKO like another person and they communicate their feelings but then the show turns this all on their head when KO locks TKO away and blames him for destroying everything when he’s the one trapping him in his brain. 

There is also the problem with TKO being the one with all the power and changing his appearance cus that all contributes to the system caricature. Also, TKO and KO integrating at the end of the series? ALSO VERY BAD AND HARMFUL CARICATURE! Alters are different people and they should be treated as different people and KO is not TKO all along THEY ARE DIFFERENT PEOPLE! And integration is possible but it’s usually not by choice. And even then, integration being the end goal of a story is a very ableist narrative and shouldn’t be written.

And it confuses me, why does shadowy figure have his own pow card but TKO doesn’t. Like, KO and TKO are established more as being different people than Shadowy Figure and Venomous so why doesn’t he get his own pow card? Like the end of season one, TKO fought the fight at the plaza and used his power to defeat Boxman jr but at the end KO ends up leveling up instead. And on the topic of TKO’s power, again, that shouldn’t be a thing. TKO and KO should both have access to the same power because they use the same body because that's how systems work! They use the same body!

And I know what the show was trying to do like “oh TKO is a manifestation of all the bad feelings that KO has!” but there are so many ways to do that without making a caricature of systems. Like if you didn’t make TKO a person then this would have been fine. Like if other people didn’t see TKO this could have been fine. There are ways to make a manifestation of your negative emotions without doing it like this. And the way this show did it is such bad writing, because you are meant to think TKO is this terrible manifestation of emotions but all you see is this scared kid who doesn’t know where he is and lashes out when he gets rightfully upset. BECAUSE LET ME REMIND YOU! TKO AND KO ARE BOTH 6-11 YEARS OLD! THEY ARE KIDS! THEY’RE SITUATION SHOULDN’T BE TREATED THIS WAY

And my guy shadowy figure...... bad. Shadowy Figure and Venomous’ is not only a terrible caricature but also very inaccurate. With KO and TKO, their system developed at the correct time as a child, but with Shadowy Figure and Venomous, they developed after Venomous got his snake disease. And, Venomous doesn’t even know about Shadowy Figure and that can be a result of dissociative amnesia but it’s really unfortunate. And again! the end of the series! Shadowy Figure and Venomous integrate into one entity and it’s terrible! Because they aren’t the same person and shouldn’t be treated as the same person! And again with the whole “evil alter ego”. Like Shadowy figure only exists to traumatize KO and make him split and create TKO. And the fact that they turn out to be KO’s dad??? Yikes??? Like again, these are terrible caricatures and are harmful to systems and should’ve been treated better in the show.

---

Like, I love OK KO, I used to hold this show very close to my heart and made me very happy to see this show with the amount of LGBT rep but looking back it was very bad in many ways. Like that racism episode I mentioned, that shit resonates with me! And I appreciate characters like Dendy and KO and I still love the boxbots and venomous, I just wished this show lived up to the potential that it had.

TL;DR: OK KO has a problem with misogynistic character design and colorism, normalizes child neglect, and has put out an ableist narrative with system caricatures.

[jechristine]

Thoughts on what happened with Will and Chris last night😅?

So many thoughts! On Twitter I see a lot of people staking out their positions as if there’s one overarching takeaway when really this was a perfect storm of intersectionality. I think that multiple people who think they are arguing are actually correct at the same time.

I can certainly empathize in general with struggling to accept your body as is, and I admire Jada a lot for having to be/choosing to be so public with her own challenges. I will say that Jada’s done great advocating and sharing around alopecia on her own, and I know Willow has publically supported her by shaving her own head, too. The way Jada rolled her eyes and frowned at Chris in the first moment was a masterclass in communicating a clear, strong message that she could have built upon later (and hopefully still will). I’m not a Black women, but it’s not hard at all for me to understand and appreciate sensitivities around Black hair in this culture, too. I 100% understand why Chris’s joke was so offensive and hurtful. Adding to that, it seems like Chris has been pushing the envolope in maybe a mean-spirited way with the Smiths for some time. He does not come out of this looking sympathetic imo.

I think that comedians are sometimes so far up their own asses in their veneration of their often terrible jokes, in the name of supposedly “speaking truth to power” or “free speech” or whatever. The image of Louie CK jerking off at women who didn’t want any part of it has always struck as the perfect image and metaphor for how some of these comedians think of their societal role. Cancel culture sometimes gets a bad rap, but I’m a big supporter of it in general. Chris should for sure have to answer for his speech, as should everyone.

To me, it seems like Will made a rash, emotionally-driven (but not “out of control,” exactly) decision based on issues we can’t know. I think @wetheoriginals was probably correct that stress leading up to the big Oscars moment probably had something to do with it, and of course we’re all human. I feel sad for him, too, that he distracted from what was the zenith of his career so far [edited to add: and that he distracted from the Williams sisters’ celebration of their important story].

Now I’m going to talk about ideas only, and not about Will and his family because I truly don’t know about what’s going on there.

In America we have a national tradition of seeing Black men as violent and scary. Unfortunately and unjustly, any sort of altercation or even slippage from social decorum is going to bring barely submerged racist stereotypes to the surface, and then people with big platforms and egos and unexamined racist biases like Judd Apatow are going to simply use those tropes to explain the world he is seeing. I think these racist wheels would have been set in motion even without the slap, actually, if Will had just shouted “keep my wife’s name out of your fucking mouth” without even leaving his seat.

And at the same time—

It’s one thing to want to support & defend the people you love. There’s lots of ways to do that and the best ones rely on words imo. That loving, caring impulse, however, can bleed over into, or can be used to justify, something that I think is categorically different and insidious—a sexist idea that somehow a woman’s “honor” belongs to her male partner, too, and his self-worth depends on protecting it in demonstrative, public ways, often in ways that perform a specific version of aggressive, toxic masculinity. Sadly the greatest perceived threat to that “honor” is often the woman herself. Just as stereotypes about Black men’s uber aggressiveness and propensity to violence hurt and sometimes kill Black men, the ideas that undergird male “chivalry” lead to a lot of suffering and the literal death of women of all races. You can draw a direct line in both cases. I really don’t think I’m overstating. (I’m not speculating about the Smiths on this point at all. I’m saying that noxious ideas fester everywhere in our culture and sometimes they don’t cause any explicit harm but often they do.)

[variousqueerthings]

Daniel LaRusso: A Queer Feminine Fairytale Analysis Part Two of Three

Part 1

Part 3

6. Sexual Awakenings part 1: Love, Obsession, & Size Differences

[Insert that post talking about the creators making sure that Daniel’s antagonists were much bigger than him so that the audience would sympathise, spawning 10000 size kink fics]

I’m sure this won’t awaken anything in Daniel

Corporate wants you to find the difference between these two pictures

The hallmark of feminine fairytales tends to be growing into womanhood, with all those symbolic sexual under/overtones, searching for a prince, encountering monsters (or evil stepmothers), on the surface tending to be quite passive/reactive, but actually being about young girls and women getting out of their environment and choosing to tussle with those deep, dark desires – monsters. They’ve got to function within the limitations of power that they have – escaping an abusive situation through marriage, chasing forbidden desires under the guise of duress, asking questions about sexuality through things like symbolic plucking (flowers) or consumption (fruit) or pricking (needles), etc.

Daniel isn’t striking out to find his fortune or win a girl or a kingdom Like A Man, he’s not a threat to Silver, who – like Jareth in Labyrinth – is in control for almost the whole of the narrative, he’s not actually able to do much more than react until he makes the decision to stop training, and even then he’s immediately ganged up on and assaulted, needing to be saved by Miyagi while he stands and watches, bloodied and bruised. 

Daniel’s journey in the third movie is to be forced into an impossible situation, seduced by Silver, and then prove that whatever violence Silver did to him isn’t enough to destroy him. It is incredibly similar to Sarah’s in Labyrinth, who by the end declares: “you have no power over me,” and that’s her winning moment. Not strength, not wits, not a direct fight, (although Daniel does fight Barnes and gets beat up again – only winning in in the end by taking him by surprise, unlike in TKK1 or TKK2 where you could argue that he proves himself to be a capable physical opponent to Johnny and Chozen), but by declaring that whatever power was held over her is now void.

Daniel’s narrative isn’t satisfying in the same way, because the dynamic of Silver and Daniel only accidentally emulates this - it’s not an intention on the side of the film-makers.

When Miyagi tells Daniel that he has strong roots, when he tells him not to lose to fear and Daniel wins over Barnes (in an almost fairytale-esque set of events), on paper he’s defeated whatever hold Terry Silver has over him. In the film itself though, Daniel never defeats Silver (which will likely be confirmed once he returns in Season Four). Daniel cannot simply say “you have no power over me,” and see Silver shattered into glass shards. 

The film is a contradiction: It wants to be a masculine sports film, but it exists in the same realm as Goblin Kings seducing young girls with the promise of: “Just fear me, love me, do as I say, and I will be your slave.” Unlike Sarah, Daniel doesn’t claim the power that’s been promised to him on his own terms. His subtextually sexual awakening is so corrupted that all he can do is pretend it never happened.

Still, Daniel proves in the film that his strength is not in his fists. It’s in his praying to the bonsai tree that’s healed despite a violent boy brutally tearing it in two.

These looks on Daniel and Silver though?

So why does Silver become obsessed with him? What’s up with all those red outfits (that he doesn’t wear in Cobra Kai)? What does the temptation reveal about Daniel? How does it recontextualise TKK1 and TKK2? Is Daniel bisexual? (yes).

Ah, beach-Daniel, in your red hoodie and your cut-off jorts. Iconic hot-girl summer vibes. 

If you didn’t want me over-analysing this, you shouldn’t have put him in so many red outfits and then have this man leering at him like he wants to eat him alive.

Surface-level it’s not hard to read into a Dude Story: Masculine power fantasies are about strength in a very direct way. Fighting, control, suaveness – and if you’re not the most traditionally masculine of guys, asserting dominance through being a good lover or intelligent or overcoming that unmanliness in some way through beating the bully or convincing the hot girl to go out with you, levelling up in coolness. Being A Man. It’s not too dissimilar from Daniel’s arc in the first movie, if you watch it without taking later events into account, although Daniel is never interested in proving himself as a man, and more in making Miyagi proud. Still, he does win and gain respect, and arguably “get the girl,” although Ali’s interest in him was never dependent on the fight.

7. Sexual Awakenings Part 2: Sexual Assault, Liberation, and Queerness

Feminine power fantasies are often about sex. Metaphorically. More accurately it’s “owning sexuality.” Even more accurately: “Freedom.” They also inhabit a fluid space in which empowerment through monstrous desires and non-consent can happen at the same time. And on top of that, many of these “fantasies” are actually being written by men, so whose fantasy is it really? A lot of them are based in oral traditions so presumably they were originally from the mouths of women, even if modern iterations (starting with Grimm’s collections) are filtered through cis men’s perspectives.

All of that being acknowledged: In Angela Carter’s “The Company Of Wolves,” Red Riding Hood unambiguously sleeps with the wolf. Belle discovers her freedom from expectations and unsuitable suitors (and in some versions, evil stepsisters) by falling in love with a Beast (the original novel was written by a woman, the 18th century Gabrielle-Suzanne Barbot de Villeneuve). Jareth informs Sarah of his obsessive devotion to her in Labyrinth. To lean into horror for a moment – Buffy is stalked and eventually has relationships with both Angel and Spike, Lucy in Coppola’s Dracula (which I have mixed feelings about) is raped by the werewolf and Mina is stalked by Dracula, The Creature Of The Black Lagoon kidnaps Kay (the lead’s girlfriend) – subverted in both The Shape Of Water in which Eliza forms a consensual relationship with the amphibious sea-god and in the short-lived horror series Swamp Thing, in which the connection is purposefully framed as seductive…

and in The Karate Kid Part Three Daniel LaRusso punches a board until his hands bleed because an attractive, older man tells him to and in this moment he gives in to what he (thinks he) wants.

Not all of those examples are equal. Some are consensual, some are hinted as abusive and/or stalkery, all of them have large age gaps, and a few are outright non-consensual.

But they’re all fantasies.

They’re all power-fantasies.

Except for Daniel, because he’s a man and the idea that being obsessed (lusted) over by an older man who keeps you in his thrall, specifically because you tickle his fancy for whatever reason, because you’re beautiful, breakable, different – could in any way be considered empowering is a difficult concept to wrap your head around. It doesn’t contain that “but I’m a good girl, I’d never go off the path and pluck flowers if a bad wolf told me to, honest,” societal context or the social context of rape culture. It’s closest comparison is closeted (perhaps even unknown until that point) queer identity.

There have recently been some comparisons of Daniel LaRusso to Bruce Bechdel in Funhome (and everyone who says that Ralph Macchio ought to play him in the upcoming movie: you’re right and I’m just not going to enjoy it as much without him). I’ve written a post about Sam being the heir to his legacy and trauma, specifically as a queercoded man. It’s not dissimilar to the plot of Funhome in a lot of ways.

The other interesting source that’s been going around in connection with Daniel is the essay “The Rape of James Bond,” which discusses the use of sexual assault as a plot device for women and not for men: “About one in every 33 men [in the US] is raped. … [your statistically average, real life man] … doesn’t have a horde of enemies explicitly dedicated to destroying him. He doesn’t routinely get abducted, and tied up. Facing a megalomaniac psychopath gloating over causing him pain […] is not the average man’s average day at the office.” That last bit is just a descriptor of Terry Silver, (although I take issue at the blasé use of psychopath).

The two part youtube essay  Sexual Assault of Men Played for Laughs posits that there is nothing more de-masculinising than the threat of sexual assault and therefore any narrative that features this “rightfully” must mock any man who has been a victim or who fears being a victim of sexual assault. It is feminising. There is nothing more humiliating – and therefore unheroic – than a man dealing with sexual assault.

So what do we feel when we see an attractive young man being put into a vulnerable position by an older man? A trope associated with female characters, a trope that is considered unpalatable for men (see reactions that happened when the hint of sexual assault was introduced in Skyfall).

Was it the fact that he was being threatened, or the fact that James’ next line is: “what makes you think this is my first time?”

Some thoughts added by @mimsyaf​ are around the idea of safety in how a lot of cis women might relate to this narrative through Daniel’s eyes. He’s not a woman, he has – societally – more power than a girl or woman would have, which makes this a different watch to, say, if Danielle were to go through the same narrative. Daniel doesn’t carry that baggage of rape culture, or of the male gaze that you might find in a similar scenario of Buffy the Vampire Slayer or Christine in Phantom of the Opera (and once more the age differences between these characters and the men who love/lust over them are substantial), which makes the narrative “safer” to engage with.

I agree with that, although as a transmasc person I also come at it differently. I specifically like to headcanon Daniel as a trans guy and find his fraught interactions with masculinity through his own non-toxic lens relatable, as well as the way other boys and men react to it – also I think Terry Silver is hot. I know there are people who write Terry Silver with female OCs, which is also a form of empowerment.

On the flipside putting Daniel in this space runs a risk of fetishising him as a queer youth who is either Innocent and Pure, or a bisexual stereotype that deserves to be assaulted for not being a real man. After all, Real Straight Men don’t run the risk of sexual assault.

 Alas, the road to empowerment never did run smooth. 

The comparisons between the way Daniel is treated by the text and how female characters are often treated in texts are undoubtedly there. Through Ralph Macchio and TIG’s casting and the direction and acting, but also within the text itself. 

It might not be with the same purpose as Neo’s symbolically trans journey, but it puts the whole narrative that Daniel’s going through from TKK1 under a different light than if there had only been one movie that ended on a triumphant sports win and a girlfriend.

Johnny’s masculinity and the use of tears as liberation, now that’s a whole other analysis….

[yan-twst]

Hello! May I request hc for the dorm leaders finding out that their female crush is only attracted to girls(female mc as a lesbian I stan-)? If you don't feel comfortable writing this then feel free to delete! I hope this was intresting ;-;

hell yeah lesbians rise up!!!! i included some of my own headcanons of how gay and lesbian stuff is in twst because i think it’s nice to have that there!

riddle rosehearts

riddle is immediately mortified- not because it turns out his crush is a lesbian, but because he’s now horrified all his “courting” may have come off as a bother or inappropriate. he’ll go beet red and apologize for that. he- he didn’t know! he didn’t mean to impose himself- argh!

is he heartbroken? a little. but he’s more worried that he may have come off as pushy. the queen of hearts may have been overbearing, but she never went out of her way to specifically bother anyone, and riddle feels the same way. he really really wants to make it clear he didn’t mean to bother her oh god-

once he calms down a bit, he’ll just, kinda... compose himself and apologize once more. if he had known, he’d probably not have made any advances (even though his “flirting” was more along the lines of inviting to unbirthday parties and sharing trey’s baking. it was nothing too invasive- hell, riddle’s crush wasn’t even aware he was flirting with her)

riddle will also bashfully ask if... well, even if he has no chance with her, he hopes that they can still remain friends. romantic or platonic feelings, he still really gets along with her- hell, everyone’s grown used to having her at the unbirthday parties, and trey already bakes extra for her every time.

he’ll take the title of being her friend with pride. riddle will quickly swallow down his heartbreak: this is something that has to be this way, and the fact that she likes girls simply means he’ll just be the best guy friend she possibly can have

leona kingscholar

leona “woman respecter” kingscholar takes the information well. he just kinda goes ‘oh’, nods, and takes a nap.

welp, there’s nothing to be done, so why get all sad and mopey? if the little herbivore likes girls, more power to her. welp, women are pretty and powerful. he understands why they like women. makes sense

leona is a bit sad, sure, but it’s only natural. he doesn’t dwell on it for long, though. if something can’t be changed, there’s no sense in thinking it over and over: he’s a man and his crush likes women, so that’s the end of that

despite it being so clear cut for him, he will take some time to talk everything out with her. he wants to make it clear: he was pursuing her romantically before, and he won’t anymore. he didn’t know she was a lesbian before, and now he knows

still, leona’s got a soft spot for the little herbivore. even though he might not be pursuing her anymore, it doesn’t change the fact he still feels like he’s gotta watch over her and help her. 

he’s just gonna be his usual grumpy self, really. he’ll still invite her over to practice magift, he’ll still tease them and call them “herbivore”. is he still in love? leona won’t ever mention it, really. does it matter? she’s his friend now, even if he calls her “annoying herbivore” whenever she wakes him up, and that’s pretty much all he could ask for

azul ashengrotto

fun fact did you know octopi have been seen displaying homosexual behaviours out in nature

which is to say, this isn’t anything new to azul. same-sex relationships are more common in his home than what he’s seen in the surface, but it’s not like lesbians are a new concept to him

oh don’t get it wrong he does cry when his darling tells him she’s not into men. he cries and then he lets her hug him until he stops. he then proceeds to be so mortified over it all he wishes he could go hide in his octopus pot

after apologizing for... that ordeal, azul will return to his usual composed self. it’s almost hard to tell he was a sniffling mess just a few minutes before if it weren’t for his puffy eyes

he composes himself quickly because, well... when he pictured himself getting turned down, it was always painful- old insecurities flaring, being told he wasn’t enough- but this was... not painful? it’s not as if he wasn’t good enough or something. his crush was just a lesbian! it’s not his fault, so it’s hard for him to feel sad over it

azul might even feel a bit bad for her. she’s... stuck in this all boy’s school, huh? the only girls here are probably the fae that control the weather... and the talking portraits...?

even though there’s really no girls for her to talk to, azul will still take on a protective attitude over her, giving the “if any girl breaks your heart tell me and the twins and we will avenge you” talk. azul doesn’t know why any girl would hurt her heart, because in his eyes she’s precious, but hey, he’s gotta protect his friend, right?

kalim al-asim

“wait you like women? oh me too!”

kalim takes it... so well. like, almost shockingly well? it’s like he processed the information in record speed, sorted out his own feelings immediately, and made peace with it all in a matter of seconds

kalim has many sisters around his age. one in ten people are gay. what i am getting at is kalim has lesbian sisters and so this revelation that his crush is lesbian doesn’t shake his world too much

he’ll admit it stings a little- love is a powerful thing, after all! but he thinks people who pursue others who are clearly not interested are scummy, and he’d never do anything like that

in his mind, it’s an easy ordeal. he trusts and likes her. she sees him as a close friend, and that’s the most he can be. so really, he should just be happy he’s as close to her as can be! he’s already at the top rung of being close to her, so he’s hit the goal, right?

kalim, god bless his heart, is that friend who will present his lesbian friends to any other lesbian friend he has. he has good intentions, but it might get a little tiring? and a bit overwhelming too when he brings up that he has sisters right around his age who are also into girls and suddenly he’s making plans for a big mixer party and oh god jamil please help and put a stop to this before it gets out of control please help he’s already planning a menu-

vil schoenheit

ooooh so she’s a lesbian ooooooh ok that makes sense. that makes sense. 

vil is like “oh! of course my incredible efforts into my appearance and into our friendship and in wooing her weren’t working. she is just not into men”

he’s almost surprised at how getting turned down like this just... didn’t bruise his ego at all. his efforts weren’t useless, he wasn’t doing things wrong, it simply couldn’t work! honestly, vil would have been more hurt if he’d put all this effort and his crush had been straight and still turned him down

hmm, so she’s into girls... then being here, in an academy full of men (who are, in vil’s opinion, horribly unrefined and ungraceful) must be rough.

just because he’s no longer trying to pursue a relationship with her does not mean that he’ll stop inviting her over for skincare or for trying on clothes. absolutely not. the fact vil even was attracted to her in the first place is because he saw her as someone with potential and that has not changed

he will immediately position himself as a big brother / best friend. just because he’s her friend doesn’t mean he’s gonna let her slack, though! he’s still gonna be checking she follows the skincare routine he set up for her, and that she’s eating and sleeping well- as much as he says it’s because he “wants to make her potential shine” or whatever, it’s just... overwhelmingly clear he just cares about her as a friend

idia shroud

out of all the ways he imagined getting turned down this has to be the one that he had NOT pictured and at the same time, it’s kinda the best one? crush was a lesbian so it wouldn’t work out, 10/10 turn down, didn’t make him go into a self deprecating vortex

once again, it’s the age old relief of “yes, i got turned down by my crush, but it wasn’t my fault, because it turned out she was a lesbian”. idia had ran so many scenarios of being turned down, of his crush being disgusted at him, that it all being resolved into her not liking men at all is... almost relieving?

and you know what. he gets it. when he sees his figurines and posters of his favourite idols and anime girls it’s like well duh of course she likes girls because girls are cute? 

he’s gonna have her rate his waifu tierlist. what? it’s not- it’s not weird, is it?! he’s just trying to bond, and- urgh, he kinda wants to know what her opinion on his waifus is. because his waifus are cute girls and she likes girls so ?? it makes sense? right? (idia might cry if she says his waifus aren’t That Good)

this whole ordeal might also result in the almost hilarious scenario in which ortho just straight up goes “Hey niichan, what is a lesbian?”

learning that his closest friend likes girls opens pandora’s box, the box being idia making his friend review every anime girl and gacha or visual novel girl that HE likes

malleus draconia

did you know reptiles are also quite gay? there’s even a species of lizard that’s just, entirely female. dragons are reptiles.

malleus, bless his heart, is not good at reading people. his crush will need to be Direct. trying to use metaphors like “I swing the other way”, or “I play for the other team” do nothing but further confuse him- when his crush finally cracks down and just goes “what I’m trying to say is I’m a lesbian” he finally, finally, understands what this is all about

malleus just... nods in understanding

he feels a little sad- it does sting, a bit, to know things can’t work out, but he’s also... happy. if she told him, that means she trusts him, right? 

malleus is happy enough to just have A Friend in general, even if he’d never admit he’s usually lonely. most people tend to run from him or be so intimidated they shiver when they hear his name. and yet, against all odds, he’s found a friend who likes being by his side, someone who didn’t know all the baggage that comes with his name. he’d be a fool to tear down that friendship just because he’s learnt it’ll stay platonic

also, as mentioned before, it’s not like homosexuality is some sort of taboo or odd subject. it’s actually quite common amongst the fae, especially those in Malleus’ kingdom. although he does say he can’t introduce her to any cute fae girls. he.... is not friends with any. (he just doesn’t have a lot of friends in general, but he refuses to say that because he... doesn’t want to sound “mopey”, lile lilia says he is)