#obviously i think it's still good queer (specifically gay) representation and that people are allowed to like it

[chronic-cynic]

I know everyone wants a Solitaire movie (and so do I) but I honestly think they'd fuck it up beyond anyone's imagination.

[devondeal]

Long Chaggie rant ahead

I think a reason Chaggie get called "boring" is that they are waayyy past that beginning stage of their relationship TV love to glamorize.

They've been together for three years and already have that comfort level with each other that not everything is a new discovery. They accept each other's differences and just support. That's what a well established relationship is like.

Of course they are still heavily affectionate and loving with each other because duh, they're in love. Society loves to repeat the bullshit "losing the spark" problem in relationships and how "marriage is so hard" but most of these situations are people that barely even like each other let alone love.

I think that's why media loves showing either beginning stage relationships OR trope-y enemies to lovers and variants of that.

ESPECIALLY in the case of queer relationships because it's only fairly recently that it's been normalized onscreen and I don't think we're used to seeing a normal queer relationship. Like think about it.

Media has always loved showing the gays as deviant and toxic because that's been the only way it was allowed to be seen. I think many of us have gotten used to seeing ourselves that way that it's been normalized.

Personally, I'm in the boat of I'm sick being seen as deviant and like it's bad and wrong thing to be in love with someone of the same sex. For me, Chaggie has been healing because it's just two women being a healthy happy couple. Something that society and even family have told me is not possible which hurts beyond words to hear.

So yeah, I love Chaggie. It is the best wlw canon ship in fucking YEARS and I have been craving representation like this. The very things that I get dirty looks at for irl, is completely normal with Chaggie.

They can hold hands, lean in together arm around shoulder, quick casual kisses in public, give each other goo-goo eyes, just general affection and couple-y behavior as well as the "been together for 3 years" quirks and routines. Like I swear I cannot remember any other wlw ship like this so yeah, it's gonna hit me hard in the feels.

And when characters like Lute and Adam are disgusted or fetishize it, it's very obviously portrayed as villainous behavior. Everyone else just accepts them as they are.

Of course it's not just the normalization of those things but specifically in the context of they've been together for 3 years and are still very much in love and have nothing to prove to each other and just face any conflicts as they come like a normal couple.

Most media especially TV have gay couples break up after that amount of time just for drama points and cuz us gays cant ever last in a long term relationship apparently 😒 And I feel like that especially goes for lesbian relationships on TV. I've seen wayyy more long terms mlm relationships than wlw in main roles.

(Wonder if that's cuz it's just so unbelievable that women could actually love each other cuz society just is so attached to the idea that all women hate each other)

Basically fuck Chaggie hate. We need more wlw long term relationships like this onscreen. I'm tired of being seen as deviant and likely to be toxic. And I'm not saying they need to be perfect. They're obviously not and have some issues but that's a good thing. Every couple has issues.

I'm just saying not all gay onscreen need to almost destroy their relationship in order to repair it.

I just really find it incredibly annoying that some will slap the "boring" label on Chaggie when it's more likely that a long term healthy happy wlw relationship is just that bizarre to them. Just let women actually love women for fuck's sake.

[euphoriaonpluto]

Queer Representation

Alright let's talk about Loki and Good Omens.

Before anyone tries anything, I am going to state upfront that I am a biromantic asexual. So keep that in mind before you automatically take what I want to say in bad faith and go to accuse me of bigotry.

I want to talk about how the only ones benefitting from the way we handle queer rep discourse right now are the queerphobic networks and execs.

First, let's look at Loki. The MCU's first canonically queer character. Since episode 4 came out yesterday, I have seen multiple accusations go around of people who are upset about the hinted romance between Loki and Sylvie being biphobic. Bi people are allowed to date people of the opposite gender, you say. And of course they are. But you are purposefully missing the whole point of why people are upset.

The MCU is a 13 year old franchise and Loki is the first time they are actively acknowledging the existance of queer people. This, despite how infuriating it is, is pretty par for the course when it comes to fantasy and sci-fi media. These two genres are notoriously horrible when it comes to diversity and the portrayal of queerness. So it's only natural that people are going to be upset about what Disney is doing right now, and no, they aren't upset because they hate bisexuals.

Fiction in inherently limited to what is portrayed on screen/in the text. We don't know a character's every thought and feeling and we have not seen their entire life. Which is why good media follows the 'show not tell' rule. A character making an off-handed comment about their sexuality is never going to be enough representation, not when Marvel continues to refuse to portray explicity queer relationships or have their queer characters have any experiences tied to their queerness at all.

So sure, bisexuals can date people of the opposite gender and still be bisexual, obviously. But why are you guys acting as it that isn't how most bi people are portrayed anyways? Aren't most bisexual characters only shown being in het-alighned relationships and their identities only acknoleghed like a couple of times in passing converations? Please point me to the abundance of bisexual characters in fantasy and sci-fi shows who have actually been shown being in a relationship with a person of the same gender or have explicitly gone through stuff linked to their queer identity. Please go ahead.

Now let's look at Good Omens, specifically Aziraphale and Crowley's relationship. The constant discourse there is that queer relationships don't always need to be physical. "Aziraphale and Crowley can be asexual!!!! They don't have to kiss on screen for their relationship to be valid!!!!!" Okay fine but can you please first point me to all of those explicit mlm couples that you are refering to when you use the word always. What does always mean in this case? Are you telling me that fantasy and sci-fi shows are so oversaturated with explicit mlm and wlw relationships that some change of pace is desparately needed?

All of this discourse around the two shows is purposefully ignoring the history of homophobia in film and TV. Despite the code being removed almost sixty years ago, the film indistry is still in the shackles of the fucking Hays code. Queerness is viewed as dirty and sinful. Queer men and viewed as sick predators. MLM relationships are treated are perverted and nsfw and will someone please think of the children!

So why, please tell me, WHY are you giving the powers that be such loopholes for them to continue to not portray queerness while wearing a brand new woke hat? Do you not realise that you are giving Disney the option to continue to never portray queer relationships because all they had to do was write one short line of dialogue and now whenever someone tries to demand mlm representation they are going to be accused of biphobia. Loki can go on to never be shown having interest in someone of the same gender or having queer experiances at all, be it discussing his identity or anyone else around him acknowledging it or having his part experiences shape his behavior or anything at all that is just part of real queer people's lives. And people will continue to uphold his character as good representation because he said the sentence "a bit of both". Disney would rather Loki go and fuck a female version of himself than portray a mlm relationship on screen and you go and accuse people of biphobia for pointing that out.

Nuance is great. It's needed. But, perhaps, before we start talking about the nuances of sexuality and identity and the nature of queer relationships we should at least get to see some gay people kiss on screen, don't you think? When there is sufficient mlm and wlw representation in fantasy and sci-fi shows and movies, we can go on to talk about all of these things. But until then all you're doing is giving networks the excuse to never show an ounce of queerness on screen and then market their product as queer rep becase the writer said they love each other on twitter and oh if you object to that at all you're acephobic because their relationship doesn't have to be physical! Nevermind that homophobia still holds that industry by the throat and they continue to find gay relationships are disgusting and less than and to be avoided at all cost.

TL:DR - let some gay people kiss on screen first before you start giving networks exuses to not portray explicit queerness.

[baya-ni]

The Queer Appeal of Sk8

Recently @mulberrymelancholy reblogged a post of mine with a truly galaxy brain take about how Sk8 “is a show made for queer fans” and generally how sports anime often depicts love and relationships in a way that’s more accessible and relatable to ace/arospec people than other mainstream media does.

Just, *chef’s kiss* fucking brilliant. I urge you to read their post here (note I’m referring to the reblog not the actual post).

And basically, it got me thinking about this concept of Sk8 as a Queer Show, and the kinds of stories and dynamics that tend to attract queer audiences in droves, regardless of whether its queerness is made explicit or hell, whether that queerness was intended.

And that’s what I��ve been pondering: What are the cues, markers, or coding, in Sk8 that set off the community’s collective gaydar?

I obviously can’t speak for the community. So here’s what aspects of the show intrigued me and what, for me, marks Sk8 as a Queer Show beyond the subtextual queer romances: a punk/alternative aesthetic, Found Family, Shadow as a drag persona, and The Hands.

1.) The Punk Aesthetic

All three of the above screenshots are taken from Ep 1, and every single one of them depicts background characters. They’re nameless and ultimately unimportant characters, yet each of them designed so distinctly and so unique from one another, one could mistake each of them for the main character(s) of another story.

Of what little I know about Punk subculture, I do know this: that the ethos of Punk is heavily built around a celebration of individuality and non-conformity. Sk8 seems to have incorporated this ethos into the very fabric its worldbuilding, and the aesthetics and culture upon which it takes inspiration appeals specifically to a queer audience.

I don’t really need to explain why Punk has such deep ties with the queer community. For decades, queer people have found community and acceptance within punk spaces, and punk ideology is something that I think is just ingrained in the queer consciousness as both lived experience and a survival tactic.

Therefore, a show that adopts punk aesthetics is, by association, already paying homage to Queer culture, intentional or not.

Queer fans notice this- like recognizes like.

2.) Found Family

This also needs little explanation.

Too often, queer individuals cannot rely on their “born into” families for support and acceptance. Too often, we are abused, neglected, and abandoned by those who we were taught would “always be there for us.”

And so, a universal experience for queer people has been redefining the meaning of Family, having to build our families from scratch, finding brothers, sisters, mothers, and fathers in people with whom we have no blood relation, and forming communities tied together by shared lived experience rather than shared genetics.

And this idea of Found Family is also built into Sk8′s narrative.

Like, for example, the way that Reki promises MIYA that he and Langa will “never disappear from [his] sight,” filling the void that MIYA felt after his friends abandoned him.

And in the way that JOE becomes a paternal figure for Reki, teaching him ways to improve in skateboarding, and ensuring that Reki doesn’t self isolate when he’s feeling insecure.

And in the whole Ep 6 business with Hiromi acting as babysitter to the Gang.

Hell, even ADAM (derogatory) is associated with this trope. Abused as a child, he finds solace in an underground skateboarding community and culture he helped create- his own found family (or some powertrippy version of it anyway).

Again, queer fans see themselves depicted in the show, but this time in the way that the show gives importance to Found Family relationships between its characters.

3.) Shadow and Drag

This is one that’s more of an association that I personally made. But I was intrigued by the way that Hiromi adopts his SHADOW persona. He wears SHADOW like a mask, and adopts a personality seemingly so opposite to his day-to-day behavior.

Further, the theatricality and general “gender fuckery” of his SHADOW persona, to me, just seemed so similar to a the characteristics of a drag persona (I don’t know a whole lot about drag but enough that I’m drawing superficial similarities).

There’s also this aspect of a “double life” that he, and actually all the other adult characters of the show, have to adopt, which is a way of living that I’m sure a lot of queer viewers see themselves reflected in.

4.) The Hands

Ohhhh the Hands.

One of the things I noticed very early on is the way the show constantly draws our attention to Reki’s hands, which I thought was a little strange for an anime about skating. After all, skating doesn’t really involve the hands, or at least the show doesn’t really draw attention to hands within the context of skating.

I count 3 times so far between Eps 1-9 in which hands are the focus of the frame.

First, when Reki teaches Langa how to fist pump after Langa lands his first ollie, second, when Reki and Langa make their Promise, and finally, when Langa saves Reki from falling off his board.

And you know what they say, twice is a coincidence but thrice is a motif (no one else actually says this I think I’m the only one who says this lol).

I’m not really certain why hands seem to be such a shared fixation among queer people (at least among those I interact with). All I know is that gay people are just fucking obsessed with them.

I have a Theory as to why, and at this point I’d love for other people to chime in and “compare notes” if you will, but I think it basically has to do with repression. And in the same way that queer people have had to redefine the meaning of family, we’ve also had to redefine intimacy.

Being overtly physically affectionate with someone of the same sex, even if they’re your significant other, or often specifically BECAUSE they’re your significant other, can still be dangerous, even now despite the “progression” of society. Queer people know this, this vigilant surveillance of our environment and ourselves, always asking ourselves, “Am I safe enough to be myself?”

Already, Western culture is pretty touch-averse. That is, it’s considered taboo to touch someone unless they’re a family member or a romantic partner. And to touch a person of the same sex in any way that could be misconstrued as romantic (which is most things tbh) is a big no no.

There’s just A Lot to unpack there.

But basically I think that queer people, by necessity, have had to learn to romanticize mundane or unconventional ways of being physically intimate so that we can continue to be romantic with one another without “being caught” so to speak.

Kissing and hugging is too obvious. But a handshake that lingers for just a second too long is much more likely to go unnoticed, braiding someone’s hair can easily be explained away as just lending a helping hand, touching palms to “compare hand sizes” is just good fun.

But for queer people, these brief and seemingly insignificant touches hold greater meaning, because it’s all we are allowed, and all we allow ourselves, to exchange with others.

God, I’ve gone off and rambled again. What’s my point? Basically that the way the show draws attention to Reki’s hands, and specifically how they’re so often framed with Langa’s hands, is one of the major reasons why I clocked Sk8 as a Queer. It’s just something that resonated with me and my own experience of queerness, and I know that I’m not the only one who noticed either.

~

So in conclusion, uhhhh yeah Sk8 the Infinity is just a super gay show, and it’s not even because of the homo-romantic subtext (that at this point is really just Text).

Because what’s important to understand is that Queerness isn’t just about same-sex romance.

Queer Love isn’t just shared between wives/girlfriends, husbands/boyfriends, and all their in-betweens. Queer Love can be two best friends who come out together, queer siblings who rely and support one another, a gay teacher who helps guide one of their questioning students, a queer community pitching in to help a struggling member.

And that all ties with another important thing to consider, that what we refer to as the “queer experience” or “queer culture” isn’t universal. In fact, it wrongly lumps together the unique experiences and struggles of queer BIPOC all under one umbrella that’s primary White and middle class.

So I think what drives a lot of my frustration about labeling a show like Sk8 as Queerbait is this very issue of considering queerness and queer representation within such narrow standards, and mandating that a show must pass a certain threshold of explicit queerness to be considered good representation.

I get that someone might only feel represented by an indisputable canonization of a same-sex couple. That’s fine. But labeling Sk8 as Queerbait for that reason alone ignores the vast array of other queer experiences.

The aspects of Sk8 that resonate most deeply with my own experiences of queerness is in the way that Reki and Langa share intimacy through skating (intricate rituals heyo). For me, them officially getting together ultimately doesn’t matter- I’ll consider Sk8 a Queer show regardless.

Similarly, @mulberrymelancholy​ finds ace/arospec representation in that very absence of an on-screen kiss. A bisexual man might find representation in Reki, not because he enters a canon relationship, but in the depiction of Reki’s coming of age, growing up and navigating adolescent relationships. A non-binary person might feel represented through CHERRY’s androgyny.

That’s the thing, I don’t know how this show will resonate with other members of the queer community, and it’d be wrong to make a judgement on Sk8′s queer representation based on my experiences alone.

That being said, Straight people definitely don’t get to judge Sk8 as Queerbait. Y’all can watch and enjoy the show, we WANT you to enjoy these kinds of shows, and we want you to share these shows and contribute to the normalization and celebration of these kinds of narratives.

But understand that you don’t have a right to tell us whether or not Sk8 has good or bad queer representation.

And even members of the queer community are on thin ice. Your experience of queerness is not universal. Listen to the other members of your community, and respect that what you might find lacking in this show may be the exact representation that someone else needs.

[bybdolan]

hey! saw ur post about tjr and her books, and honestly if you didn’t enjoy daisy jones or evelyn hugo, don’t bother with malibu rising, it’s just not very good. i enjoyed the other two, even with their flaws, but malibu rising just lacks the same charm, making the poor writing stick out. also your review of evelyn hugo is so real™️. i loved it but also wished it could’ve been more. the portrayal evelyn’s bisexuality was /interesting/ to say the least. and it would’ve been nice if she’d been with a woman other than celia, just to experience it and learn more about herself. not to mention, i wasn’t 100% sold on their relationship. but nonetheless i could still ship them and i enjoyed her queerplatonic relationship with harry. however the way race is handled is very sloppy. one line about barely being in the civil rights movement isn’t much considering that evelyn is described as non-white. it sometimes felt like i was reading the summary of a really good book instead of actually watching ya know, reading it

Thank you so much for sending this ask <3 i have sooo many thoughts of TJR and this allows me to share almost all of them.

I have heard a lot of. Not good stuff. About Malibu Rising, but I want to give it a try to see if the "telling instead of showing" aspect is as strong in it as it is in her other books despite being told in real time. The "looking back on my life" format plays into it so much because these people are able to say why they did what in hindsight; they've had time to reflect. And if Daisy Jones was a Rolling Stone cover story that wouldn't be an issue given that I signed up for having stuff explained to me, but in a novel it doesn't hold my attention. I don't need somebody to guide me through the story without ever giving me time to stray off the designed path a bit. TJR tends to be a tad patronizing in her writing, her characters are meant to be believed at all times and rarely ever questioned, but that doesn’t reflect the truth: All of these people are unreliable to some degree because they are human and misremeber things or hide stuff to make themselves look better. ALSO: A good interviewer doesn’t just write down everything the interviewee says but adds their own perspective (which is how we get stuff like the Jeremy Strong profile everybody is so obsessed with; it seems like a lot got lost in translation there). Sure, the published Evelyn Hugo book in the novel is a biography, so it isn’t supposed to have that, however, in the novel itself Monique could have or should have challenged Evelyn more imo. Why give your interviewers a backstory when they end up just being there to write down shit.

Re: The representation aspect... I am gonna focus on the bisexual rep here because I am a bi girl myself and therefore can talk more on that specific issue. There is no right or wrong way to be bi, being in love with one woman only is enough if you want to use that label, howeverrr narratively Evelyn’s sexuality only ever revolving around Celia is... weak? We know she sleeps with other women off-screen, it gets mentioned at some point, however, we never actually hear Ev mention or talk about genuine attraction towards a woman that isn’t Celia. The way she looks at other women doesn’t feel queer, if that makes sense. Gay women don’t want to sleep with every girl they meet obviously, but feeling flustered when a pretty girl touches you, or having very intense female friendships seem to be a pretty common part of the queer woman experience and none of that is found in Evelyn Hugo. The way it is written is very straight even though the main love story is queer. Evelyn doesn’t read as queer when she isn’t romantically involved with Celia, and that feels weird. Her bisexuality is only there to make her more interesting, to give her a secret, and to make Celia belittle her for it Plus: I think her only ever having negative experiences with her other partners (all men) makes the love story weaker. Celia and her are not a great couple, and her husbands ALL treating her badly (except Harry) just make it seem as if Celia is the best option she has. Had she realized in another good relationship that it doesn’t give her what Celia gave her, it would have been more impactful. Not to mention that Celia does a lot of thing Evelyn doesn’t like about her ex husbands.

I think it all comes down to what you said in your final sentence: The ideas are there but the execution lacks depth. Evelyn gets all these things taped to her (being queer, being a WOC, being sexualized for her entire life) in order to make the story more interesting, but the novel never gets DEEP into these things outside of very explicitly mentioning them a bunch of times. Evelyn never stops being bisexual, but we don’t see that side of her until we need to narratively. Same goes for her being Latina. We get one (1) scene of her regretting neglecting and hiding her heritage for so long, but there are never any subconcious things that makes us realize that before she does. TJR makes her characters tell us everything and it’s boring, which is a shame given that her ideas are so interesting. Every part of ourselves influences us every second of the day, sometimes more, sometimes less, but that doesn’t seem to be the case for her characters.

[inmyarmswrappedin]

Honestly I don't really get very many skam vibes (honestly I think most people are saying this because it's scandinavian and gay lmao). Young Royals is definitely more dramatic than skam, but both skam and yr have good representation of teens. Like, sex/drugs/alcohol isn't romanticized, teens are allowed to have acne and wear the same clothes more than once, and there are strong female friendships

Hi anon 🎈 Thanks for your comments! I feel like at this point I'm intrigued not so much because of the premise of the show, but because of the way people talk about it. 😂

Like, are people being vague about the similarities because they don't want to straight up say that the similarities are that it's Scandinavian and gay? Also, how similar is the ~Scandinavian vibe? I say this because when I really got into Skam I noticed a lot of differences between Norwegian culture (like, Russ is an exclusively Norwegian thing for one) and that of other Nordic countries like Sweden, Denmark, Iceland or Finland. It's the way Greece, Italy, Portugal and Spain are all Southern European, and are even grouped as a whole sometimes (the PIGS business), and there are some cultural similarities of course, but I'd still be ???? if someone said "omg if you loved Elite you should def watch Baby!" I don't know if I'm making any sense.

I'm also really curious about what the target audience for this show is, like, is it meant to appeal to gay teenage boys? Or is it more meant to appeal to girls/women who like certain romance tropes like royalty AUs, boarding school tropes, etc? (To give an example and make what I mean clearer, Queer as Folk was obviously marketed at gay men even though it found an audience with women who are into mlm romance.) I find either possibility interesting, because it's obvious that women have been into mlm romance for a long time now. And even though many networks have created media to cater specifically to certain romance audiences (like Twilight or 50 Shades, but also Bridgerton or even Noora's season on Skam, itself), I don't think there are many examples of shows/movies created specifically to cater to women who are into mlm romance. Even Isak's season, though ostensibly on a show for teen girls, wasn't marketed that way (imo). And if the case is that it's marketed at gay teen boys, then I'd put it with shows like Love Victor, although perhaps more plausible in some ways (the attitudes towards sex/drugs/alcohol that you mention) and more tropey in others (the whole royalty stuff is tropey as hell).

At any rate, I'm glad that people have found a light-hearted show they like. Like it might not be the most groundbreaking show in the world, but I don't think it has to be. Sometimes people just want light content you know?

[orestes-hungry-and-pylades-sober]

Les Miserables Stonewall AU

Just hear me out for a moment: Les Mis AU taking place in 1969 Manhattan. June, if we want to be specific. Why June? Stonewall.

So my school does these trips every few years that are always a big deal. A really big deal. As in, a month in the Galapagos Islands. It got canceled cause of covid but still, y'all get my point, right?

I also came across these two amazing drawings the other day. I don't know either of the artists so if you do, please let me know so that I can credit them. Not my art

The art and the trip gave me the idea. Because look, pretty much the entire fandom ships e/R. And then there's Courf and Ferre, and everyone else. I'll list them all later.

So we end up with les amis in Manhattan during the Stonewall riots and protests. Obviously, they're going to get themselves caught up in it, right?

--------------------------------

There are two ways I might want to go with this. They're both good and they could both work out well but I'm not sure which one I'd rather use.

    1) they're just all students at the same university who happen to be going on the trip together. Obviously, some of them would already know each other (like R has been completely in love with Enj for years) but realistically, you don't know everyone who goes to your school

    2) all of them are part of the drama/theatre club. This one might work out in the sense that they're all going to Broadway to watch a performance or perform themselves (Phantom maybe?), and that the theatre club has become an accidental hidden magnet for closed queers. Tbh that's what it's like at my school and why I'm in drama.

--------------------------------

And here are basically all of the character roles.

Enjolras - Social equality/civics minor. He hasn't yet decided if he wants to pursue a higher degree in the same field or try something else. Often in detention or something because he gets into fights all the time. If he sees a bully picking on a kid, he will not hesitate to kick the bully's ass into next week. He's that one person that you'd go to if you had a problem, kinda like a school vigilante. A girl being harassed? Talk to Enjy and the man will never bother her again. He organizes a bunch of rallies and protests for what he believes in. Should've probably been suspended or expelled a while ago, for all the people he's hurt, but the teachers and school board know why he does it and know that he keeps the other students safe. Still manages to get really good grades, as long as he gets a bit of help from Ferre or Courf (and they're glad to help him study or smth)

Grantaire - slightly sketchy fine arts and music double major. He's a composer and his music is beautiful, and so are his paintings, but while he's amazing in those classes, he's just barely scraping by in the more 'academic' classes he's taking. Everyone knows him as 'the problem kid' but not in the same way as Enjy. R gets into fights and stuff too, but not exactly for good reasons. Has a drinking problem and has turned up to class drunk on a few occasions. Always carries around a sketchbook. He's completely in love with Enjy, and while the two of them aren't exactly friends, Enj likes him a lot more than most of the other students, since he's actually taken the time to get to know Grantaire personally rather than just as 'that one drunk problem kid who's about to flunk out.' Really sarcastic and sassy.

Combeferre - (y'all, I said his name with the E at the end kinda like 'ferreh' for so fucking long before someone decided to say it rhymed with Javert). Philosophy minor, lit major. He's probably on the student representation board. That one kid that manages to be a total nerd who literally corrects the dictionary for fun yet is still one of the coolest kids in the school. Everyone seems to think he's cool and composed and calm, and they're not wrong, but he's mentally screaming the loudest of all of them when it comes to finals or something. He's a bit of a perfectionist and knows it, but he's also used to being able to easily pass his classes. How do I describe this... he's outwardly composed but internally a mess. A lot of kids known as 'the smart one' who are overachievers and have teachers who praise their work, etc, are. Internally screaming 24/7. Believe me, I know what it's like.

Courfeyrac - he's the only mutual friend of everyone in the group. He's a literal ray of sunshine and always will go out of his way to say hello to someone and ask how they're doing that day, and check up on someone who's looking down. He's really good with kids and people in general. Might run a tutoring group or something because I've always thought he'd make a really good teacher. (Just imagine Courf as an elementary school teacher or something. Carrying little kids around on his shoulders, helping them with art projects, and hanging them up all over the classroom. He'd be kind and patient and funny and everyone would love him. Just- elementary teacher Courf). Best friends with Combeferre. Probably Jvj's aide or TA or something.

Marius - I think we all know him. He just Pontmercys his way through university and has a massive crush on this one girl who sits across the aisle from him in one of his classes. She's pretty and brave and smart and outspoken, and he admires her. Eponine, his good friend, sees this crush and convinces him to talk to her. He has a brilliant idea to ask her for help with homework and just botches up the entire thing and kinda embarrasses himself, (cue Eponine facepalming in the background) but she thinks it's sweet, and they end up becoming friends.

Eponine - honestly I don't know what I want to do with her. I know she's another student on the trip, but I only have the vaguest ideas of how she fits into the group, and even that is more of a vibe, rather than something I can put down in words. Used to have a sister that her parents often abused and used. Ponine did her best to shelter Cosette from their parents, but she didn't always succeed. However, she was able to get help and get her sister taken away. Their parents turned on Ponine instead. Her little brother ended up running away, but she wasn't able to. Eventually, she stops going home at night, sleeping at school instead. Professor Valjean found her outside his classroom one time when he finally left at like 2 in the morning after being stuck there grading papers. He ended up taking her home with him.

Cosette - Eponine's "sister". I will insist on these two getting along and being best friends, regardless of how you want to interpret their canon relationship. Imma just call them sisters, since they were raised that way. Eventually, she's taken away from the abusive household she lived in as a child. Soon she was sent to be fostered with a man who later became a university professor. Much to her surprise, she was reunited with her sister in a class and found out what had happened to Eponine in her absence. She quietly brought the issue up to her adopted father.

Valjean - history prof, and the supervising teacher for the trip. I call him Jvj and pronounce it sort of like 'Jivvy' and yes I know that's not even how it would be said and that it's weird af but I will live and die by that nickname. He's that one professor that everyone loves. While he never brings it up, his house is a second home to Eponine and Gavroche, ever since he found Ponine sleeping on a bench outside his classroom (Cosette may or may not have set this up so that he would find her), and now he has three children instead of just Cosette. By the end of the trip, he ends up with like 20 students who all treat him like he's their father.

Javert - ex-military school dean. He's coming on the trip as well because the school's two biggest problem students - Enj and R - are going on the trip and he doesn't trust Jvj to keep them in line. Everyone knows there's some sort of drama between him and one of the history professors, but no one can figure out the story between the two of them.

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Oh well look at me, totally ignoring the thing I said about them all not knowing each other. Welp. And yeah, I know I'm not being the most brick-accurate when it comes to their personalities or whatever, but I'm trying to keep the main feel of each of them while modifying it in a way that works for what I'm trying to write. And look if y'all want to make suggestions about roles for the other amis please go ahead cause I only really have theories for a few of them.

So anyway on to the actual plot.

They all settle in and the next day, they're kinda just let loose in the city to explore. Look we all know that Grantaire is probably going to try to find a bar or a pub or something. The thing is... he ends up at the Stonewall Inn. For y'all that don't know, it was a bar that mainly catered to members of the LGBT+ community. For the first time, he's kinda like 'there are... other people like me? I'm not some sort of a freak for being a man who's in love with another man?' and all that. Through some turn of events, Enj and R (maybe even a group of them?) end up there the next night. I remember reading this thing about since how common police raids and in order to avoid undercover police (*glares at Jav*) there were all sorts of safety measures in place and to be allowed in, they had to 'look gay' and you can bet R takes full advantage of the fact that he's there with Enj to get in.

The police conduct a surprise raid on the bar, and it explodes from just a regular thing into a massive deal, with a massive crowd of spectators. It quickly becomes more and more heated and eventually violent. They fight back against the police because you know neither of them would ever go quietly. Enj and R end up getting arrested together before everything goes insanely out of control, and if anyone else from their group was there, they manage to get away. In prison, Enjy talks to R about the whole deal. Through that conversation, they discuss the LGBT+ movement (though I can't remember if it was called that at the time) and Enjy eventually admits he's not straight, and one of the reasons he ended up becoming the School Vigilante is because he used to be tormented for it, and taught himself how to fight back. He refuses to let anyone else go through the same suffering for it. His protection soon extended to anyone being bullied and picked on, not just fellow queer people. The two of them decide that something has to be done, and this is the start of something massive. Enj tells R that he'll be going back whenever they get released, and Grantaire agrees to go with him.

Jav and Jvj come and negotiate for the release of the two of them since they're visiting French students and all that. When they get back to the place they're staying, I imagine they get a massive yelling-at from Ferre and Courf and Ponine. None of them know the full story, only that the two of them were caught in a bar and got arrested. I'm not sure how old all of them are in this... they're all over 18 in the novel (if I've done my math right) so they weren't arrested for being underage, so there are all sorts of rumors flying around about the two of them.

The next day, someone, I'm not sure who, overhears the two of them discussing what happened the night before, though they've both agreed not to mention anything personal about each other, in case that exact situation of being overheard occurs. However, the person who listens in on them goes to the rest of the group and talks about the protests, and eventually come to the decision that yes, what's happening is a massive deal, and they kinda all want to be part of it? Even if not all of them are part of the community, like Marius and Cosette, they're all very supportive allies and agree to join in these protests. Enj and R try to sneak out when they're confronted with the rest of the students. The two of them think the others are going to try to stop them until Courf steps up and says "like hell we're letting you do this alone,"

They all meet up before the Stonewall, joining a crowd of over a thousand people, surging against the police cordons. The bar itself has smashed windows and looks like someone tried to burn it, but it's still defiantly staying open. R gets his hands on a bunch of rainbow spray paint and joins in a group grafitting walls and buildings. Is grafitting even a word? Grafitti-ing? I dunno. But I had to look up when spray paint was invented and began being used and now I can tell you all about the history of aerosol. Being a writer, right?

They stick around for the rest of the week, joining in various rallies and protests at night, participating in the actual point of their trip during the day. Jav and Jvj obviously know what their students are doing, but they’ve both decided to not mention it at all.

One morning after the group has been out all night, they all escape the chaos and catch rides to Central Park? Maybe? I’ll have to see if that’s even possible. More research, yay!

Anyway, probably Central Park. I don’t really care how improbable it is rn. And we just get a series of shots of all the couples together who’ve found each other.

Enjolras and Grantaire, Courfeyrac and Combeferre, Joly and Bossuet, Bahorel and Feully, Maruis and Cosette. I’m going for lesbian or ace Eponine. Maybe both? If anyone else has suggestions, please lemme know.

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The only problem is, will I ever get around to actually writing this? No, probably not.

Sorry for the long post! Look I get that people feel weird leaving long replies or whatever but I promise you it's totally okay. More responses = me being more likely to actually write this, please and thank you! I'll probably come back to this someday and see if I can update it and add even more ideas and stuff to it, because I feel like I could turn this into a pretty cool fic, if anyone's even interested in it. Thank you so much, everyone!

[overhighways]

final spn thoughts

the memes have me rolling with laughter, because after a finale that bad all you can do is laugh but, i also can't stop thinking about the fact that they said the perfect ending for dean, the depressed character who finally became stable and built a found family, was to die without any family or friends around besides his brother that really... was yikes...

so i initially quit the show on the episode that kevin died. i had stuck it out thru so many sexist and/or racist deaths and acts of violence on the show but that was kinda my breaking point. additionally, looking back over my old liveblogs and op eds on tumblr, i was getting really tired of the fact that for the 8 or so years of the shows run the brother's had never grown emotionally, and continued a constant cycle of being dangerously codependent but also continuously lying to each other and hiding things from each other which always resulted in some catastrophe, causing them to come into conflict. it was bad writing and a bummer for someone who liked the universe and the characters but wanted a satisfying change in their state of being from the beginning to the end of the narrative.

for a hot second in college i dropped out, because one semester cos i was just so depressed, and in between bringe drinking and smoking i thought i should watch supernatural but i literally only made it like half a season further then my initaly quitting point before being like "wow this is shit and i feel bad maybe i should stop and get help". so i really hadn't thought of the show except for when i saw a funny meme clowning superwholock for about five years now but then all the posts about 5.18 tricked my gay clown ass into sitting down and marathoning all of the episodes i had missed so i could watch the finale live.

and what i have to say is i know they experienced a couple shifts in show runners and head writers over the past five years so it was still inconsistent in quality (its a CW show so like, who is surprised?), but they actually really broadly improved the show i think. i remember that the first 5 seasons or so were more carefully planned and ben edlund provided so much good writing, that i think when edlund and kripke left the show lost its way for a while, and there were moments that were decent, but when they finally brought cas into the bunker and jack was brought in as a main character it felt like they got back on track. they were able to refocus the show on family while also allowing the dean and sam to grow as people and build a much healthier found family. the three of the boys bring in claire novak as their charge, jodi and her hunter family become regulars; the show kind of felt like it was closer to reaching its potential, like back when we all thought bobby and ellen were gonna be forever main characters, and dean and sam would have a family and semi normal hunter lives. so i kind of felt like sam's arc was mostly complete seasons ago, he was a pretty normal dude who was gonna end up with eileen and that was cute and lovely. but for dean i really think it was more complex and the whole final season being about killing god and truly giving everyone full free will to create any possible future they wanted, was gonna tie in more to dean's struggle to define himself outside of the role of his father's blunt instrument and his brother's protector. but instead they establish this amazing free will for everyone, cas literally dies to give dean the chance to finally be free, and then they wrote a finale that essentially says "free will doesn't exist and you will always be bound to certain expectations". like dean dying on a hunt is fine and arguably in character, but to not include any of the family that he painstakingly learned he could have? bullshit. they just completely disregarded all of the character growth they spent the last five to ten seasons giving us. also i find it nearly impossible to believe that sam would not specifically be searching for eileen after literally killing an entire coven of witches to get a spell to bring her back from the dead, so his weird faceless implied wife was confusingly bad writing as well. and dean not trying to get cas back? the dean winchester who had a complete emotional break down every time he thought he had abandoned cas or failed him or let him die? bullshit. jack not immediately bringing cas back to them? bullshit!!

and it felt like a really odd ending for cas, whose entire character arc has also been about learning how to act of his own free will and not be a mindless soldier of god, to just disappear and be implied to have suddenly returned to being... a mindless soldier of god. like i know its a new and better god who is also his son but like... you are telling me cas was really okay with abandoning his friends on earth and just sitting in heaven doing boring celestial paperwork for eternity? the writers threw away the potential narrative symmetry of having dean pull cas from the empty the way cas pulled him from hell, they threw away the potential symmetry of implying that jack brought cas back and having cas appear in the barn and save dean to mirror his first appearance in the barn where dean summoned him... and okay say misha didn't wanna risk covid and flying back to canada, they threw away the ability to literally just have a prerecorded line where cas found dean in heaven and said his iconic "hello dean" line. idk very bad writing. like obviously i had always assumed that at the very best the sbow would end with sam having the most normal life, and dean kinda fucked up but finding peace and dying on a hunting trip, but the execution sucked.

my final addition is that i have read quite a bit about all the drama behind the scenes but i genuinely cannot forgive the show's head writers and producers for queer baiting their audience like that. it would have been one thing for dean and cas to remain implied, but to confirm offscreen that they were in love and never acted on it, mention it only briefly onscreen before killing off their only on screen confirmed queer leading man, and then never resolve dean's sexuality was... quite hateful. and to know that you won't resolve it, but dangle the possibility of a resolution in the hopes of getting better numbers on your finale is... incredibly hateful. my heart goes out to misha, jensen, and berens who apparently worked very hard to get the little representation viewers were granted, and who subsequently were treated very poorly by the show's main writers and the network.

its been a hell of a 15 years...

[yeah-oh-shit]

Sherlock S5/Dracula Meta

I’ve been thinking about this for a long time. I’ve never written any fan theories or meta before (although I have so many), so please bear with me. I know my theory is going to sound a little out there, but I here it is: I think BBC Dracula is actually Sherlock S5, or else that it is somehow going to lead directly into it without warning. 

Warning: this is going to be a long piece. I’m going to break this down as follows, because there are many different pieces of evidence to examine: 

TFP, the story and the episode

Gothic Horror, HOB, Dracula

Vision, Timing, 20/20

The Final Problem

The first one is a fan theory I read probably 6-9 months ago that sadly I can’t find anymore (if you know who this person is, please please comment so I can give credit!). Basically this person was talking about how the naming of the episodes typically has some tie to what occurs in the original story by that same name, but how TFP has nothing AT ALL to do with the original story. In the original story, Sherlock goes face to face with Moriarty, and we are all lead to believe that both he and Moriarty die over the Richenbach falls. In all reality, ACD had meant to kill off Sherlock in this story, and stopped writing Sherlock Holmes stories for ten years before bringing him back in “The Empty House,” due to the public outrage and demand for more stories. So, the logic follows that maybe the one thing that they have in common is that they are both pitted as the end to Sherlock Holmes (in the story, he is dead; in the show we are given [force fed] an ending, it's made to seem like the final piece). The author of this theory also pointed out the show runners in this way are comparing ending the series with TFP (no canon Johnlock) to ending the show with Sherlock dead. We are left with a straight-washed version of John and Sherlock, with Mary’s voice controlling the narrative and that narrative being: It Doesn’t Matter Who You Are. The chemistry between John and Sherlock has been more or less completely lost throughout S4, and so we are left with this empty, dead-feeling version of them that doesn’t feel true to the characters we know and love. Even casuals thought S4 sucked.. this is why. They metaphorically killed them/killed the show.

Before S4 aired, Mofftiss had said that if they pulled off what they had planned, it would be the biggest thing in television. Well, what we got in TFP doesn’t really fit that at all, does it? What could they be referring to: A secret sister? Not really that epic. Even if we find out that most of S4 didn’t take place (either EMP theory or some other way of explaining it) that isn’t really a new trope. The audience discovering that they have actually been seeing things that are inside the main character’s head the entire time has been done over and over (Sixth Sense, A Beautiful Mind come to mind off hand). So what could this huge, history making move be? The argument that the meta I read previously made was that the show will come back (from the dead) unexpectedly, with no warning. That it will be a revival and in that revival, we will get canon Johnlock. I can’t remember if OP explicitly theorized that Dracula is actually Sherlock S5, but I think so. 

Now, I was with this theory from the beginning.. there is just something that feels possible to me, despite the fact that it sounds far fetched. Dracula seems like a weird, random thing to do when Sherlock, Moftiss’s mutual obsession, isn’t finished. (Also creating an escape room to keep up hype is odd if the show is over, but I digress.) I just don’t believe Moftiss’s constant claims that they couldn’t get everyone together to film S5 because of schedules, that they wanted to take a break, that they don’t know if they will do more (when Moffatt has talked about wanting a 5 season arc before, not to mention John Yorke). And then there’s the fact that we know they have filmed scenes that we have never seen (Niagara Falls anyone?). All this evidence that S5 is definitely coming, combined with the fact that we haven’t heard anything about it but have heard about Dracula, sort of fell into place for me. Despite me being willing to buy into it, this theory still seemed a little far fetched. But wait, there’s more!

Victorian Gothic Literature, HOB, Dracula

A lot of people have been talking about how gay Dracula is going to be, and citing evidence of the connections between Bram Stoker and Oscar Wilde (Dracula was written directly after his trial and Dracula is read as having characteristics of Wilde) as evidence. This, along with the extremely homoerotic last clip of the trailer, certain parts of the text that read as queer coded (I haven’t read Dracula, so I don’t know much but have seen some things floating around that seem v gay to me), and what we know about queer coding in Victorian gothic literature in general, all make a convincing argument. Gatiss actually recently confirmed (more or less) that Dracula will be bisexual in the upcoming series. And while I’m all about gay vampires (I am a huge vampire fan, seriously I love Vampire Diaries and True Blood and was one of “those girls” during the middle school Twilight craze), there is something about Dracula being Moftiss’s first cannon gay show that feels both disappointing and incongruous.

I want to bring up the All Ghost Stories are Gay Stories meta by heimishtheidealhusband. Now, this meta was written in 2015, in anticipation of TAB. Its great and you should definitely check it out if you haven’t/don’t remember it. The part I am most interested in is actually the reading of HOB, which I will get to in a bit. The takeaways from the first bit of the meta are that monsters and ghosts (to a different extent) are representations of queer desire in Victorian gothic literature. I’m summarizing drastically here, but as queer desire was obviously unacceptable in Victorian times, writers would obfuscate it by creating an “other,” a monster or ghost, that represented the queer or “inverted” desire and also demonstrated the fear and horror that society had for homosexuality. So the monster becomes the representation of homosexuality (homosexual acts or desires) that is pursuing the protagonists. Oftentimes, the protagonists were originally obsessed with the monsters or the concept of them, before actually confronting them, but are terrified and frightened when it actually occurs (think Dr. Jeckyll or Frankenstein). This meta also specifically talks about Dracula and vampires as the most queerly coded of the Victorian monsters: “Think about your vampire tropes: Dracula sneaks into your bedroom at night, lusting after your bodily fluids. The victim, meanwhile, is paralyzed with fear, but also excitement. (Oh hi phobic enchantment, I see you there!) The tension mounts until there’s a climactic penetration of fangs into flesh. And lots of sucking. Then think about the fact that the one doing the penetrating and the one being penetrated can be - and often are - both male.” 

This all seems to bode great for our queer reading of the new BBC Dracula, yay! Vampires are clearly queer coded, and making it explicit makes sense and seems like a no-brainer. But I think it’s important to point out the ways in which this is also potentially (and likely) problematic. In Victorian times, there weren’t really many other options for portraying homosexuality. This is part of what makes what these writers did so brilliant - they were unable to show these desires as normal and healthy, because it was too dangerous and society didn’t see them that way (hence the use of the word “inverts” for homosexuals). Using the horror genre allowed them much more freedom to explore homosexuality, identity, and societal reactions to it, but also obfuscated the difference between reactions to homosexuality and the thing itself. In some of the stories, like Frankenstein, the monsters are actually misunderstood. Frankenstein’s monster only turns evil after experiencing society’s horrified reaction to it. However, in a modern context, I wonder about the message it sends to remake a Victorian story in a modern time and make the monster queer.

To flush this out a bit, I think it would be helpful to take a look at how Moftiss (and particularly Mark Gatiss) have played with this Victorian monster trope already, in Sherlock. Which brings us to HOB. heimishistheidealhusband points out that ACD’s original story “The Hound of the Baskervilles” would definitely fit into the scope of Victorian gothic literature, and their meta “All Ghost Stories are Gay Stories” does a particularly good job of breaking this episode down with the lens of Victorian gothic literature and queer coding. I am going to quote this reading here, and also also want to touch on the reading of this episode by Rebekah of TJLC Explained.

Here is what heimishtheidealhusband has to say about this episode: “Here’s why BBC Sherlock’s treatment of Hound is particularly beautiful. The creature – the hound – is our queer monster. In ACD’s Hound, the hound was indeed physically altered – he was painted in phosphorous to give him a hellish, glowing appearance. And the hound was actually the one to do the killing. In BBC’s Hound, there’s “the hound” – the monster that everyone is afraid of which is actually imaginary, and “the dog” – the real thing that actually exists. In other words, in this version, the “queer creature” in the horror story has been de-monstered. Homospectrality is being flipped on his head – rather than separating the man from the queer, they’re separating the queer from the monster. Because the dog isn’t inherently evil, it’s just the poison in the air that everyone is breathing that makes them fear it, and see a monster instead of an innocent dog. So in this treatment, if the dog/hound represents queerness, heteronormativity becomes a poisonous element in the air we all breathe.” 

This is why it is so important that Hounds is plural (as opposed to the original story “The Hound of the Baskervilles”). They are emphasizing the differentiation between the two dogs, the differentiation between the monster and the queer. Rebakah of TJLC Explained also points out that despite all the conspiracy theories, there is actually no monster inside Baskerville, but rather a rabbit that glows “like a fairy,” (let’s all take a moment to remember the skipping dance and sing-song voice Ben does in this scene, in case it wasn’t obviously queerly coded enough). It’s hard to imagine a less-threatening animal than a glowing bunny. 

Mark Gatiss has been very open about his love for horror and the gothic. He has studied the gothic writer M.R. James, and was involved with the BBC documentary about James that explored his “repressed sexuality.” He clearly loves and respects the genre, and is familiar with queer readings of Victorian gothic lit. In HOB, he chose to engage with the genre in a modern context, and to separate the monster from the queer. In doing so, he points out the inaccuracy and harm that coupling queerness with monstrosity generates. With this in mind, the choice to make Dracula feels like a step backwards, especially when you bear in mind that Gatiss has actually said that he isn’t really interested in gothic horror anymore. In an interview with Shadows at the Door in 2017, Gatiss stated: “I used to think nothing could exist without waistcoats and bubbling test tubes and now I’m actually more interested in modern horror; the gothic but in a modern context. I don’t think it has to be about the old and obviously I still love it but it doesn’t have to be about candelabra and castles. You can get the same feeling from modern methods, and in a way that is more frightening.”

All this isn’t to say that gothic horror or vampire stories isn’t still interesting and worthwhile as a concept, or that a canonically queer Dracula wouldn’t/couldn’t be badass. (I for one would love a Vampire Diaries remake wherein Damon’s character is a woman, but I’m off topic..). It doesn’t even mean that there can’t still be something complex or provoking in this representation for a modern audience. But it also feels dangerously close to repeating the queer coded (or even plainly queer) villain that we have all seen a hundred times from horror films and Disney movies. At best, still doesn’t seem particularly new or exciting, and at worst it could reinforce frankly problematic and dangerous stereotypes.

I am now going to analyze the actual trailer for BBC Dracula that was released a few weeks ago, because it is going to help me to illustrate this point. One thing that struck me most when watching it was just how horrific it really is. The 45 second long trailer includes: a fly that crawls into an eye, a bloody fingernail being ripped off, a blood covered hand, something that appears to be being birthed, a scary, old-looking Dracula with a bloody tongue, and bloody flesh that is being carved. There are at least 3 instances of mouths: the fangs at the very beginning, the mouth with bloody tongue, and the frame after the gunshot of a mouth that looks desiccated like a zombie, that only flashes for a split second. All in all, it’s not only scary, it’s quite disgusting. The three bloody or otherwise monstrous mouths that we see relate most strongly to the covert sexual tones of Victorian gothic literature (and also remind me of Moriarty’s oral fixation in TAB). These are some of the most disturbing of the images. While the intro fangs are pretty mild, the clip of Dracula’s frightening face and bloody tongue (which is followed immediately by the bloody flesh being carved) and the decayed mouth are both quite gruesome. If we apply the metaphors that we know from Sherlock, they are making some pretty damning connections. The mouths in-and-of-themselves could be read in a sexual way, but then there is the added fact that the decayed mouth appears directly after a gunshot, which we know has been tied to dicks/gay sex in Sherlock (and generally). The bloody flesh being carved on a table also recalls the food/sex metaphor in Sherlock, specifically reminding me of how disgusting the meal scene is in John’s wedding to Mary. Food and eating can be really disgusting, and this trailer makes a point to show us that. When we connect this back to the sex metaphor again, and give it a queer lens, we are once again being metaphorically told that queer sex is disgusting and horrific. 

Whether or not Moftiss are purposefully making these metaphorical statements, they definitely went out of their way to make this variation of Dracula particularly scary, horrifying, and gruesome. It’s always possible that they are just hyping up the goriness in order to get audiences excited. It’s also possible that they are highlighting the disgustingness of Dracula’s monstrosity as a means of engaging with the public perception of homosexuality or that they will complicate the narrative in some other way. But even if we give them the benefit of the doubt here and assume they aren’t trying to paint queerness in a bad light, this highlighting of the disgusting nature of Dracula’s monstrosity doesn’t seem to push forward any kind of unique, modern narrative. We have seen this, this is exactly what Victorian gothic literature is all about. They needed to explore homosexuality through its repression, to make it monstrous, because they lived in a time when there were few alternative ways to explore it (except for maybe the example of our sweet “bohemian��� boys - check out this meta from artemisastarte to learn more about bohemianism and queerness in Sherlock Holmes). But in our modern day, is this really that exciting? Is this the kind of queer representation we want and deserve in 2019 (soon to be 2020)? To me, the answer is no, especially in light of the incredible and complex work they have done in Sherlock toward building a queer love story that is normalized, and completely removed from any conflation with monstrosity. 

The fact that Dracula is tied so heavily to Sherlock makes this distinction even greater. Gatiss said that they got the idea for Dracula from a still image of Benedict Cumberbatch on the set of Sherlock with his collar up. Supposedly it reminded them of Dracula and the BBC asked them if they wanted to make it. In an interview, when asked about Dracula in relationship to Sherlock, Gatiss called it a “stablemate” of Sherlock Holmes. I’m not really sure how we are supposed to take this, and he doesn’t explain at all (of course), but that would mean that they are in some way similar or connected. I think he doesn’t just mean that they both come from him and Moffatt, as that is rather obvious and was acknowledged in the question itself. Both shows are not only created by Moftiss, but written in the same format, produced by Sue Virtue, and shot at Hartwood Studios. They also really emphasize the connection to Sherlock in the trailer (which isn’t surprising because advertising), and also in the new Netflix description, which states only: “From the makers of ‘Sherlock,’ Claes Bang stars as Dracula in this brand-new miniseries inspired by Bram Stoker’s classic novel.” There isn’t even a background image, only a weird gray distortion on a black background.

Furthermore, there are also elements from Sherlock that point to Dracula, either directly or indirectly. In S4, when John is supposedly texting “E.” He asks “Night Owl?” and the response he gets is “Vampire.” It feels odd and out of place to mention vampires in this offhand way, as we have never really seen anything like this on the show. To be fair, a lot of S4 feels this way, but I believe that it is actually chock-full of symbolic meaning and that almost everything that we see that feels wrong or untrue to the show has a deeper meaning. What, then, is the purpose that this plays? Additionally, in the escape room (Spoiler alert for The Game is Now), there is a television in the first room (Molly’s lab) that is playing what is set to look like British news. In the newsreel at the bottom, they included the announcement that Mark Gatiss and Steven Moffatt are making BBC’s Dracula. Once again, this feels a little throwaway, or could be explained away as advertising (although the escape room is so fast-paced that having any time at all to look at the television, let alone read it, when it wasn’t explicitly part of the puzzles would seem rare). Once again, there is a subliminal connection made between these two shows that I would argue is purposeful. 

The decision to make a gothic show that so completely plays on this horror trope, and then to tie it both explicitly and implicitly to the show that they have already done, which has a very different messaging around the gothic as it relates to conceptions of homosexuality, seems odd. In and of itself, a Gothic exploration of queerness is possible, but feels limited by its very nature. Gothic horror through a queer lens is about queerness and otherness being equated to and embodied by monstrosity. Dracula’s trailer seems to clearly be playing up this monstrousness. I want to reiterate that I don’t think making something like Dracula gay couldn’t be cool or interesting for what it is, or that there isn’t a way to engage with the gothic without it being problematic. But in comparison to what they are doing with Sherlock, it feels unimpressive. And in light of HOB, Dracula seems to go directly against the argument that Gatiss makes so beautifully, that queerness is harmless and very distinct from monstrosity, despite what the fog of homophobia might depict. To build up this narrative in Sherlock, then cut into the middle of it with something that is explicitly connected to it but symbolically making an opposite assertion feels counter-intuitive.

Vision, Timing, 20/20

Even with all this evidence, I don’t know that I would really believe they would go through the trouble to do all of this if not for the timing. Dracula is set to come out “soon,” but people have been speculating for this winter. That would make it the end of 2019 or beginning of 2020. Now I’m going to explain a little bit about my reading of HLV, which happens to coincide nicely with The Game is Now, and ultimately this theory as a whole. 

Something that caught my eye in HLV is how much glass there is in its first scene. We open on a shot of CAM’s glasses sitting on the table. We are below them, looking up through glass (although we see later that the table is actually wood). Next we get a shot of lady Elizabeth Smallwood, reflected through glass so as to show her in double (which is particularly interesting given that she is repeatedly called Lady Alicia Smallwood, both by CAM in the text that flashes on the screen during his analysis of her later this episode, and in the S4 scene where she leaves Mycroft her card). Next we see the entire interviewing committee through glass walls (it continues but you get the picture). We are introduced to the concept of lenses, looking through them, and at times the distorted image created by them. 

CAM owns a newspaper, and he controls people through rumors: it doesn’t matter what the truth is, it matters what people believe (what they see). (This sounds a lot like Mary in S4 to me). So we are introduced again (after TRF) to the concept of fact vs. fiction, truth vs. lie, and this time with the addition of lenses. What lens you view something through matters, has a bearing on how you read something, how clearly you see it (sounds kind of like the fog in HOB). By the end of HLV, we have been removed from the narrative enough, we can’t see completely clearly. We don’t know what has happened during the time between John and Sherlock’s confrontation with Mary and the scene at Christmas. We don’t see if Sherlock and John are on the same page or what Sherlock is planning. 

This episode leads into TAB, followed by S4 fuckiness. In S4, there are many things that feel “off” but one of the biggest is that John and Sherlock are distant the entire time. In the beginning we get the indication that John is missing Sherlock, but then we see Sherlock acting as if he is closer to Mary than John, inviting her on cases in his place. She gets inserted between them completely, becomes part of the gang. After Mary’s “death” John blames Sherlock (in a feat of logic that is truly baffling) and we have them at their most distant in TLD. And then, they come back together again in TFP, but the warmth and closeness is missing.

This season makes it clear that Moftiss were writing in all the little things that made their dynamic romantic and their chemistry so clear. They were able to take that out, and they did so with intention. It is if we are seeing the show through a lens: through the lens of straight-washing, the lens or perspective that Mary (John’s wife, the symbol of a straight John Watson, a platonic John and Sherlock) narrates for us so thoroughly at the end of the series. (Also side note, this straight-washed version of the show also fits into the 5 part John Yorke structure with part 4 being the height of the antithesis or the “worst part” - I learned about York from garkgatiss’s meta). The heart of the show is John and Sherlock’s dynamic. This dynamic is clearly intimate and romantic and has been in every iteration of Sherlock Holmes since the original stories, despite never being explicitly canon. S4 really follows through on Moriarty’s promise. The heart of Sherlock Holmes is gone, missing, burned out. 

Then we have the escape room [mild spoilers]. The entrance is Doyle’s Opticians; its filled with glasses. (Side note there was definitely a wall displaying glasses that were arranged by color to look like a rainbow). Once again we have the theme of lenses. Being in an optometry office, it’s interesting because the focus is obviously on correct vision. 20/20 vision. Vision is “right” when it’s 2020. (This wasn’t my realization, but someone else went to the escape room as well and wrote about it). So now, we have this idea of being able to see correctly tied to the number 2020. To the YEAR 2020. This is also interesting because one of the signs in Doyle’s Opticians read “You were told but you didn’t listen: coming soon.” Just another indication that we will be getting more (Sherlock) soon. 

Now, finally, we come to what I see as some of the most convincing evidence about Sherlock S5 coming in 2020. It has to do with copyright laws. 

In England, all of ACD’s stories are in the public domain. However, in the US, this isn’t so. US Copyright laws are different from the UK, so the last of the stories won’t actually enter the public domain until 2023. American copyright duration is 95 years from the date of publication. This is important because the Arthur Conan Doyle Estate is extremely protective of how Sherlock Holmes is portrayed in the media. It turns out that despite the fact that most of the stories are already in the public domain, BBC, CBS, and Warner Brothers have all gotten licenses from the Estate in order to make their shows/films. In 2014, the ACD Estate lost a lawsuit in which they were trying to argue that the characters are “complex” and that any use of the character (at all) was still valid under copyright laws (as not every story had entered the public domain) and therefore in need of a license from them. While some of the later stories are still under copyright, they lost the lawsuit and it was ruled that the character (as written in the earlier stories) is in the public domain. They sued Miramax for its production Mr. Holmes, which portrays an elderly Holmes, arguing that it drew from the later stories and therefore violated copyright. Miramax ended up settling to avoid litigation. The Estate is known for being litigious and basically doing its best to stay gatekeeper, hoard ownership, and generally extort money out of anyone who creates anything having to do with Sherlock Holmes. While the BBC has paid them for licenses before, I’m not sure how this clearly conservative group would feel about making Johnlock canon. Even if its not legally in their power to prevent it from happening, it doesn’t sound like that has stopped them in the past from suing basically anyone that has tried to create Sherlock Holmes material without their consent, and if that material in any way seems to come from the later stories, then they might have a case. 

Which brings us to the Three Garridebs. Moftiss have said in the past that this is one of their favorite stories due to it being the story where Holmes shows his depth of feeling for Watson. As stated by Watson himself, “It was worth a wound–it was worth many wounds–to know the depth of loyalty and love which lay behind that cold mask” Generally speaking, the fandom has posited that a Johnlock reveal may happen in a “Three Garridebs” moment. And do you happen to know the story that directly precedes the Three Garridebs? The Sussex Vampire. A story in which Holmes investigates a supposed vampire only to discover a loving mother who is attempting to save her infant child by sucking poison out from his wound. Kind of sounds familiar huh? A perceived monster, who is in fact nothing dangerous at all. Who in this case is the exact opposite of monstrous, is actually loving and gentle (like the real dog that is tellingly tied to sentiment, or Bluebell the glowing rabbit).

Both the Sussex Vampire and the Three Garridebs are part of The Case-Book of Sherlock Holmes, the last collection of stories. They were both published in 1924, meaning that both their copyrights run out in 2019. It will really only be possible for Moftiss to use material from the Three Garridebs for a queer storyline starting in 2020. And if we assume that this is their plan all along, that they have even potentially set it up in S4 (looking at you John Watson getting shot by “Eurus”), they have HAD TO WAIT until now. But they won’t need to wait any longer, starting in January. 

Oh and by the way, here is an interview Martin gave recently in which he tells a story about how he had to literally give up the Hobbit because he was CONTRACTED to Sherlock S2 and they wouldn’t move filming on that. (Thankfully Peter Jackson moved filming around for him, so we still have him as Bilbo). So I would imagine that if S2 was contracted, and they were planning on making a 5 series show all along, that they are probably contracted for all of it. Which means all those claims that its just too difficult to get everyone together for filming are just another means of throwing us off the trail. 

If they have been waiting for this copyright to expire, but also unable to tell us that that is why they are waiting, it also makes sense why they have stretched it out so much. It's even possible that they didn’t realize how horrible the ACD Estate was going to be when they first started filming, and had to adjust/drag it out so that they could finally do what they want to do, what they have been planning for from the beginning.

So there you have it: the ending of The Final Problem, an analysis of HOB, Dracula, and Victorian gothic lit, and finally the symbolism of lenses, correct vision, and copyright issues all leading up to 2020. I think S5 of Sherlock is coming. I’ve been feeling it, sensing something for the last few months. I think we can all feel it. And it might just be sooner than we thought.

---------------------------------

Thank you so much to my love @canonicallybisexualjohnwatson who co-developed this theory with me, edited this, helped me with the links, and was also the one to introduce me to Sherlock/TJLC, subsequently changing my life. i love you b.

[olderthannetfic]

I just realized it’s Fandom First Friday and the topic is meta!

For months, I’ve been slowly working my way through How To Be Gay by David Halperin, which talks about drag queens and how certain aspects of gay male culture appropriate from women to empower gay men. (Halperin uses the word ‘appropriate’ extensively, not necessarily in a negative context.) He brought up some points I thought were highly relevant for thinking about slash.

Last February, I went to Escapade and chatted with a bunch of acafans. To my total lack of surprise, they too love Halperin’s book and had the same reaction I did. I thought when I finish the book, I’ll write up some meta. But I got busy, and it’s a long, dense book. So then in August, I went to the final Vividcon. There, I ran into Francesca Coppa and mentioned this idea. Her response? “Oh, I just wrote a journal article about that.”

…

AHAHAHAHA! Oh god, we are the same person.

(NB: We are not actually the same person.We just have similar first names, similar fandoms, and similar flists back on LJ, have done similar fandom history oral history projects, go to the same cons, and have both been on the OTW board. Laura Hale once went so far as to “out” me as her. And now we like the same academic books too. Heh.)

So, obviously, now I have to write meta about this, and Fandom First Friday is the perfect time to take a stab at it. I have so much more to say and I want to go back through How to be Gay and pull out many more amazing quotes, but better to write something than wait for perfection.

What I found the most interesting about Halperin’s analysis was that he points out that women may find these funhouse mirror versions of femaleness upsetting, and those feelings are completely understandable and valid, but they don’t make drag any less empowering or significant for gay men. He neither thinks that we need to get rid of drag nor that women should stop having those reactions.

He also talks about how subtext is often more appealing than text: when he first started teaching his college course ‘How to be Gay’, on which the book is based, he assumed that students would connect more with literal representation of their identities. That’s the narrative we push: now that we have literal X on TV or in a Broadway show, we don’t need subtextual old Y anymore! Instead, many of his students loved things like The Golden Girls and failed to connect with current gay representation.

It’s a long book, but what many of his ideas boil down to is that a Broadway show that is massively subtextually queer allows the viewer to identify with any of the characters or with all of them simultaneously or with the situation in general. It’s highly fluid. Gay representation often means a couple of specific gay characters with a rigid identity. Emotionally, that can be harder to connect to.

Sometimes, allegory gets closer to one’s own internal experiences than literal depiction does.

Coppa’s article (book chapter?) is about exactly that. It’s titled: Slash/Drag: Appropriation and Visibility in the Age of Hamilton. She uses Halperin’s book but extends the idea further. I particularly liked her example of how female fans use Bucky to tell stories that are essentially (and often literally) about rape. His story is about a loss of bodily autonomy and about having one’s boundaries violated in a way that is familiar to female fans, but he’s a male action hero, so those stories don��t have the same visceral ick factor as writing about literal rape of literal women.

Partly, that’s due to how society treats men vs. women, but it’s also about which fans are writing these stories and which fans are the target audience of them. Just as a cis gay man appropriating Joan Crawford to talk about his experience of gayness isn’t really for or about women, most slash fanfic about Bucky being victimized isn’t really for or about cis gay men.

It was on the dancefloor at Vividcon that I realized that, as a woman, I have this unconscious feeling like I am appropriating gay men’s culture when I’m into Joan Crawford and other over-the-top female performers. It’s ridiculous! How can I be appropriating a female celebrity from gay men? But it’s an experience I share with lots of other women. Telling women we have no right to things is the bedrock of our culture.

That feature film Slash, which featured a bunch of cis male slash writers was inspired partly by the male director going on Reddit and finding a bunch of gay guys saying that slash squicks them. He felt that he was being progressive by erasing women.

On Tumblr, the fujocourse gets reblogged not just by toxic pits of misogynist, delusional bullshit like thewoesofyaoi, but also by seemingly reasonable fans. Hell, I’m pretty sure I used to suffer from this problem myself: I remember a time when I felt like I, as a bisexual woman, liked slash better, differently, and more correctly than straight women did.

I no longer feel this way.

There are lots of reasons for caring about slash, some of which are just about the pretty, some of which are more about gender, and some of which are more about sexual orientation, but after seeing decades of arguments about who is allowed to like slash, I have come to the conclusion that none of them are valid. All of them are “Not like the other girls!” and hating on femaleness. Some of the fans who do this are female and some are not, but it all boils down to not feeling like women have a right to a voice.

And then there’s Halperin calmly asserting gay men’s right to self-expression!

It struck me like a bolt of lightning because it was so self-assured. He never doubts that there’s something valid and important about giving gay men space to explore their own emotional landscapes. Literal representation is important, sure, but so is the ability to make art that speaks to your insides, not just your outside, and that sometimes means allegorical, subtextual art played out in bodies unlike your own.

“Fetishization” a la Tumblr often means writing stories with explicit sex or liking ships because they’re hot. Sometimes, it means writing kinks that are seen as dark or unusual. Frankly, this sort of fujocourse boils down to thinking that sex and desire are dirty and that m/m sex is the dirtiest of all. I do write some ~dark~ kinks in my fic because, for one thing, I’m a kinky person in real life, and for another, I often use fic to explore the experience of having dark thoughts and wondering what that says about me.

A lot of slash writers are exploring feelings of victimization. Another big chunk of us explore things like rape fantasies from the bottom: maybe we have and maybe we haven’t experienced assault in real life, but for all of us, having that kind of rape fantasy brings up questions of whether we’re asking for it, whether it’s okay to be into that kind of thing, whether it means something. Another chunk of us are exploring a different kind of “bad” thoughts: feelings of aggression, violence, dominance. In my own work, I’m interested in sadists and how they come to terms with their desires, but I think slash is also often a way to explore any sort of violent, dark feeling, not just rape fantasies from the top. Society tells us women aren’t allowed to have dark thoughts–hell, that we’re not capable of impulses that dark. Sometimes, it’s easier to write even a relatively banal action story about a male action hero because he, in canon, is allowed to have the feelings and impulses that interest the writer.

The fujocourse is all about saying that women aren’t allowed to have dark impulses ever. That we’re not allowed to be horny. That we’re not allowed to enjoy art for the sake of an orgasm. When we depict people not precisely like ourselves, we’re overstepping. When we make art for our own pleasure instead of devoting our lives to service, we are toxic and bad. Any time. Every time.

It’s just another round of saying that women’s pleasure is not valid and women’s personal space should not be respected. No hobbies for you: only motherhood.

And yet that’s not actually what most slash fans think. I was heartened to read Lucy Neville’s Girls Who Like Boys Who Like Boys: Women and Gay Male Pornography and Erotica. A friend read it recently and was trying to guess which quotes were from me. I have to admit, I was playing that game too! I honestly couldn’t tell, until I looked at demographic info, that some could not have been mine. They sounded so familiar. On Tumblr, I tend to wade into meta discussions, so I see a lot of loud, divisive views. I especially see a lot of views that, over time, make me start to wonder if I’m a crazy outlier. Intellectually, I know that this is all down to bad curation of my dash and a love of browsing the meta tags. I didn’t realize how much it had crept up on me unconsciously–how much I had started to feel like I had to justify and explain the most basic and common experiences of being a slash fan.

What was interesting about Neville’s book is how alike many of the women sounded. Now, no one book represents everybody, and she makes no claims to have figured out the exact size or demographic breakdown of fandom. Her focus is on women who like m/m material, whether slash or porno movies or anything else. At the same time, though, she surveyed heaps of women, and the responses were amazingly similar. Nearly every quote in that book strikes a chord with me. Nearly all of them, with a few minor variations, could be something I’ve written. Gay, straight, bi, asexual: we all had many of the same things to say about slash and what it means to us.

So, some brief, and more digestible thoughts:

Slash is “overrepresented” in meta and scholarly literature because people still ask us to justify ourselves constantly.

People ask us to justify ourselves because they assume that “good representation” is literal representation.

There are key emotional, psychological aspects of our experiences that are often better expressed allegorically, whether we’re gay men doing drag or women writing slash or any other sort of artist.

Here are some choice quotes from Coppa. (I will restrain myself and not just try to quote the entire thing. Heh.)

“There are endless transmedia adaptations of characters like Sherlock Holmes or Batman, so it is clearly not appropriation that’s the issue: it is the appropriation by the other—by women, in this case.

One could argue then that it is our awareness of this appropriative doubleness—of the familiar characters acting in an unfamiliar script, of the female storyteller animating the male characters— that boots slash out of “literature,” with its illusions of psychological coherence (see Edwards’s Chapter 3 in this volume), and puts it instead into the category of performance, itself so often associated with the fake, the female, the forged, the queer. My argument in this chapter is that it might be useful to compare slash to other forms of appropriative performance; drag comes powerfully to mind and, more recently, the musical Hamilton. These are forms where it’s important to see the bothness, the overlaid and blurred realities: male body/Liza Minnelli; person of color/George Washington.”

“In his book How to Be Gay, David Halperin (2012) discusses the ongoing centrality of certain female characters to the gay male cultural experience and takes as his project an explanation of why gay men choose those particular avatars and what they make of them. Halperin argues that gay men use these female characters to articulate a gay male subjectivity which precedes and may in important ways be separate from a gay male sexual identity (or to put it another way, a boy may love show tunes before he loves men, or without ever loving men). The gay male appropriation of and perfor- mance of femininity effectively mirror—in the sense both of “reflect” and “reverse”—slash fiction’s preoccupations with and appropriations of certain (often hyper‐performatively) male characters in service of a female sensibility; in both cases, appropriation becomes a way of saying something that could not otherwise easily be said.”

“A character like Tony Stark or Bruce Wayne speaks, obviously, to boys who are getting mixed messages about what successful manhood looks like in the twenty‐first century—it was hard enough in the old days to be Charles Atlas, but today you have to be Charles Atlas and Steve Jobs at the same time, which is a problem of time commitment just for a start. But these characters speak to women, too: differently. The doubled nature of the paired male characters taken up by slash fandom—these aliens, these costumed heroes, these men wearing man suits, men in male drag—make them appealing sites of identification for women, or proxy identities, to use Halperin’s (2012) term; that is, they provide “a metaphor, an image, a role” (185). They are sites of complex feeling.

But what these characters are metaphors for, what they make us feel, is not simple, singular, or easily reducible. Halperin takes hundreds of pages even to begin to excavate the complicated web of meanings around Joan Crawford; I am not going to be able to unpack any of these iconic male characters in a few paragraphs, and it is also the nature of fandom to build multiple and contradictory meanings around fan favorites (and to get into heated arguments over them).”

[In Halperin’s class] “Works that allowed gay men to be invisible were preferred to those where they were explicitly represented. “Non‐gay cultural forms offer gay men a way of escaping from their particular, personal queerness into total, global queerness,” Halperin (2012) writes. “In the place of an identity, they promise a world” (112). I would argue that slash offers something similar—that queer female space, as well as the ability to escape the outline of the identity that you are forced to carry every day—and that for gay men and slash fans both, the suggestion that you would restrict your identification to those characters with whom you share an identity feels limiting.”

“Visibility is a trap,” Phelan (2003) concludes, referencing Lacan (1978) (93): “it summons surveillance and the law, it provokes voyeurism, fetishism, the colonialist/imperial appetite for possession”—and fans on the ground know this and talk about it in very nearly this language. Again, this is not to say that fans—or gay men, for that matter—do not want or deserve good representations: female fandom, slash fandom included, championed Mad Max: Fury Road, Marvel’s Jessica Jones, and the new, gender‐swapped Ghostbusters, all of which have multiple and complex female characters. Rather, I am arguing that representation does not substitute for the pleasure or power of invisibility; for, as even the most famously visible actors say, “But what I really want is to direct.”

[migleefulmoments]

Let’s unpack some cc nonsense

Anonymous asked:

Not that anyone can at this point but if YOU were representing D, how would you get him out of the mess? The damage that has been done to him is horrendous but the man has talent. Surely D believed there was “light at the end of the tunnel” or he never would have agreed to this??!’ Curious? If there is a plan, would do you think it would entail?

cassie1022 answered:  Nonnie, I woke up to reading about this giant shit storm his team has created getting worse (shitstorm? really? it was a GAY website talking about all the straight actors who have played gay characters and gay actors who played straight and gay characters. The website post was not judgmental or cruel- in fact this is what they said

Films are an important voice for a lot of LGBT people as they offer vital representation in society. Actors do an important job of starring as our favourite characters in films. However, very few LGBT roles are filled by openly LGBT actors. Actors who are open about their sexuality are struggling to carve a successful career path for themselves – a fact that is not helped by their heterosexual counterparts filling up roles that some might argue should be reserved for them.PinkNews has compiled all a list of all the Hollywood stars who have gone “gay for pay” on the big screen. We’ve also explored the gay actors who have made a name for themselves playing it straight.

Then they listed along with each actor-most of them A-listers-the movie they were in. That’s it. Hardly career killing.)  They completely crossed the last line they had left with this latest nonsense. Make no mistake, this is a deliberate and vicious attack on D’s character, (is it though? he has said he is straight for 10 years) and it’s being perpetuated by people that are supposed to be operating on his behalf and helping him shine (He just won 4 awards and has his own show in the works which allows him to write, write music, sing, act and produce so I don’t know how you can argue they are not helping him shine) So, the question is, why are they coating him in mud instead? (No the question is why do ccers NOT understand that these stories are written by writers-in this case Joseph McCormic (X)- who create content for the specific website. It is the same as Vogue.com, Just Jared, The Advocate, Bon Apetite, Tasty, Buzfeed, and all the other speciality websites that create content for their readers. Writers pitch stories and then do the research or interviews and write the content. If they had to wait for teams to destroy their clients out of revenge, they would never have enough content to publish regularly and if Ricky sent this info to destroy Darren then Meryl Streep and Benedit Cumberbatch’s teams did so as well) THAT strongly suggests to me that they know their time is drawing to a close and they want to break and damage not just his career, but him, as much as they can. (This is a completely illogical idea that Abby started several years ago. Today @ajw720, @Cassie1022 and @Notes-From-Nowhere mentioned it.  Obviously there is a coordinated attempt to gaslight their readers with this trope. Did Abby sending out “cc talking points” this morning like the gop  always does?). The age old, if I can’t have you, I’m going to destroy you so no one else wants you, prophecy. (”Prophey: noun a prediction of what will happen in the future”. Not the right word here, Cassie. “I’m going to destroy so no one wants you” is abuse, plain and simple. If Ricky was actively and methodically destroying Darren, it would be grounds for Darren to break their contract and pursue legal options against Ricky. Let’s talk about Ricky’s contract- RICKY signed it, Darren didn’t because Darren HIRED Ricky. As a manager, Ricky is legally required to work to further Darren’s best interests.  He is not allowed to use his POA to sign anything that Darren wouldn’t sign himself. That is the law. Also you have been claiming this for the last 4 years-either Ricky sucks at destroying Darren, he is doing the world’s slowest destruction or it’s all bullshit). 

As for attempting to fix this mess? Well, I have to believe that there is some type of plan in place (again you have said this for 4 years). Clearly, he needs to clean house on his team and start over. (Here is where this gets interesting because Cassie lays out a plan for Darren to STOP being Darren and turn himself into Blaine Anderson once and for all) He needs to seek guidance from members of the LGBTQ community that have successfully come out and have the right people working for them (He isn’t gay). The replacements need to be thoroughly and meticulously researched and carefully selected. D needs to shed the dude bro douche image (that IS who Darren is) and get back to being the quirky, loveable goofball (Blaine) that makes you (ME) fall in love with him (because it is HIS job to be the fictitious character you fantasize about?). I suspect he knew exactly what they were planning and that’s why he hasn’t sought more career opportunities on his own.(He just planned a wedding, produced a StarKid reunion, is writing scrips, writing music, producing, acting and singing in Royalties and producing Elsie. He’s very busy). Let’s be honest, D himself is the one that secured his most successful career opportunities.(This isn’t something you know anything about. If Darren finds Ricky’s work lacking then he needs to fire him.) The things his team has gotten him are few and far between and generally only agreed to so their bank accounts grow and they get swag (Again a trope that Abby made up and you all just mindless globbed on to but that you would have NO idea who did what)  

The good news is that people, that are not fandom fanatics, won’t hold a grudge (Actually the ccers are the only ones who hold grudges. The rest of us understand that the healthy adult reaction would be to just find another celeb to like. Getting angry, raging and holding grudges when a celeb doesn’t do what you want them to do is what immature and mentally unwell people do) . Sure, he may take a hit with those outside the fandom, but memories are usually short and people are generally forgiving. He may take a bigger hit within fandom, but I believe he’s charming and sincere enough to rebound (and yet you claim he lies to us now every time he speaks so being sincere isn’t high on your list of criteria for being a fan) . Any fans that walk and don’t come back won’t be missed. I also believe he has a strong support system within the LGBTQ community.(Why? Why would the LGBTQ community strongly support him when he has outright lied about his sexuality so many times over the last decade?  He didn’t just avoid questions or give evasive answers, he spoke at length about his being straight, he even brought it up on his own quite a few times. He refused to be honest about who he is in 2019. That’s fucked up. As pissed as you -a gaggle of straight women- are about the Pink comment, imagine how the gay community will feel when they find out that he lied for 10 years about his sexuality and married a women to keep his secret while he was with Chris and he did so simply to keep his career afloat. The LGTBQ community is writing about him in their  “pay to gay” article, imagine the articles that would come out-“a decade in the closet while married to his husband cuz he wanted  to be an A-lister ” or  “Gay but married his Beard to stay relevant in Hollywood: 2019 edition”. According to cc theory, he isn’t closeted because of concerns about his safety or his family disowning him but because he wanted to be an A-lister....he stays in the closet in exchange for not being blacklisted in Hollywood, that is what you guys tell us. But he could come out and still perform- he could act, write, and produce StarKid, he could pursue music, he could do Broadway and be out and proud. He could likely do Royalties.  In fact, once Royalties is up and going, the “He’s closeted” trope is going to have a hard time standing because there will be no reason for him to be closeted).   So many people that identify as queer LGBTQ genuinely love him (Really? How does a straight women with no connection to the LGBTQ community know that? if you are speaking about Ricky Martin, Justin Trantor,  Elivs Duran, and Chris Colfer, you aren’t speaking about “many people”) and that speaks volumes and will be one of the key components of rinsing the mud left on him by team stupid off and helping him regain his brilliant light. If they believed the nonsense his team is spreading about him, they wouldn’t be friends with him (l don’t think any of his friends real CDAN or PinkNews) . The LGBTQ community is a loving, supportive group, but they won’t tolerate people that use them (exactly why they would not support a closeted Darren). If they thought that was the case with D, they would make it known.

All of this makes me so sad for him. He doesn’t deserves the character assassination that’s happening, especially as it’s at the hands of people he’s paying.

ajw720 @cassie1022 well stated. Completely agree.(Of course you agree, these are your tropes -you wrote them all)

notes-from-nowhere. I believe the plan is to discredit him as much as possible. This will make him less believable once he will be able to say his truth.

People is scared, what D may say once free is making them nervous (if that was true then Darren would have all of the POWER and could blackmail them. They certainly shouldn’t antagonize him even further, that isn't how you keep someone quiet. God, this trope is so stupid) and what we are seeing right now is an attempt to do an earlly damage control. Basically someone is trying to take him away his voice. If they successfully make him look like a liar (what have they done that makes him look like a liar? You guys, on the other hand, say he lies every time he talks about himself), an opportunist and a selfish dick, no one will ever take what he says seriously.(That isn’t how it works. Everyone in Hollywood is an opportunist and a dick- nobody in LA would bat and eye)  It’s maybe their lowest and lousy move since the beginning but as I’ve said earlier, none of them is better than this (huh?). This is how they play this game, the difference from before is that now that the end is near, D forced them to show their moves because he is no longer bending (and yet they have been playing this game for10 years now, they can only play it if Darren lets them...why is he letting them?) .

ajw720. @notes-from-nowhere that’s one of the reasons the sham mockery had to happen (more illogical logic). Because many that know the truth think d is choosing this. And that’s how it will appear in the surface when he is able to tell the truth. They want him to take the blame completely. (HUH? Did you have wine before you wrote this? It makes NO sense at all “Many who know the truth believe d is choosing this”???? YES BECAUSE HE DID CHOOSE MIA)

I won’t let that happen. Their sins are well documented.(Oh Abby, please let us know how you “won't let this happen” and please share the “documented sins”. We all know you believe they are sins but I would love to see how you have documented them.  I’ve read your master posts of evidence and they are all the rants of a mentally unfit person. You have NO power in this so claiming you “won't let this happen is utter nonsense. You sound like Trump)

cc-still-going-strong  Don’t forget he still has C and C’s friends. They are a great ally if D ever wants to win back the LBGT’s hearts. And LBGT community will understand the difficulty he has at the present.(This cracks me up- Darren has never been seen in the same vicinity of any of Chris’s friends in the 9 years we have been following them. He never mentioned or Tweeted them- even back we he wasn’t so cautious on sm.  This is pure fantasy- complete made up nonsense. I’ve already argued why the LGBTQ wouldn’t be thrilled to welcome Darren into their community with open arms) 

There is also a lot of his fans love him for who he is only, so that they will absolutely understand when his dark stage is over. 

The only harm he will ever gets would come from Mi/arren stans, but mostly they are love M because of D, not the opposite. 

There will be light waiting for him if he decides to be free from this BS. After all, he still has us and C (Thank god he has you, I love that Chris comes second in that comment).

ajw720. @cc-still-going-strong I think that the fact that C is still solidly by his side, speaks volumes for D’s character and makes an incredibly strong statement that I think many of the LGBT+ community in hollywood see.  (and what do you see Abby that indicates “Chris is still solidly by his side”? I'm super curious because over her in sane-world, we don’t even see a the most basic of indications of a friendship anymore). 

cc-still-going-strong Absolutely. I believe people who did corporate with him and/or know about C and him, will totally understand and support him.

And I strongly believe that C is still has D’s back. When the vid “Gay for pay” outed, C immediately update his Instagram and Twitter, as a distraction - with a video about a caterpillar in its ugly shape, but one day it will turn into a beautiful monarch. He only said #Savethemonarchs as a way to show his support for HIM. (Proving that the tinhatter are not sane. I cannot with this comment. It’s so ridiculous.... I just can’t. Literally WHO was so distracted by a caterpillar video that they forgot Darren was listed in a “gay for pay”? I also love how she totally wrote an entire story behind the post because that is what ccers do- see a caterpillar tagged #Savethemonarchs? It’s not about the plight of global warning and Monarch butterfly survival NOPE is really about HIM and the caterpiller will turn into a beautiful butterfly just like Darren, gag me) 

ajw720. Could not agree more (of course she agrees). That video was so intentional and such an interesting choice to not show the butterfly. Just the caterpillar.(blah blah blah blergh) That’s d and his current state. And d is going to emerge as a stunning monarch.

leka-1998 I’ve always liked that song but (Leka believing life is just a big episode of Glee)

“Don’t let them get you down

You’re the best thing I’ve seen”

is probably my favorite part.

cc-still-going-strong Not only the video but also the song choice.

Still going strong, guys.

[echodrops]

Why Do Certain Ships Become So Popular? (And Why Should Writers Rethink When They Do?) - Part 2

<- Start back at part 1 or you’re going to be very confused!

This time my victim of choice example is Klance (and Allurance and Lotura too).

In a previous post, I established the premise that shippers focus their efforts and attention on ships between characters who exhibit the most compelling dynamism, the greatest amount of emotional energy--good feelings or bad--that directly relates to one or more of the characters’ growth arcs... or the two characters whose emotional interactions most significantly affect a story’s main plot.

This idea (that shippers are looking for strong, dynamic emotional interactions that are directly tied to plot) feeds directly into my second premise: part of the popularity of slash ships comes from the fact that, very often, the strongest and most plot-relevant emotional events don’t occur between male characters and female characters, but between male protagonists and other male characters--due to a combination of 1) a much smaller number of female characters, 2) a majority of writers for anime/manga and American shows being male; 3) under-developed or poorly written female characters, and 4) the tendency to situate males in the hero, sidekick, and villain positions, increasing the chance that their actions will have greater importance in the story’s main plot.

In short, writers can unintentionally cause fans to prefer non-canon slash ships by writing more dynamic, better developed, and more plot-relevant interactions between their male leads than between the main character and his designated female love interest.  

Now hang on. Before you get all up in arms, yes, I’m perfectly aware there are plenty of other reasons slash ships are popular, including:

A huge desire among LGBT+ fans for positive representation

The fact that m/m interactions appeal to straight women/others the same way w/w interactions are sexy to straight men/others

The tendency of shows, particularly from Japan, to deliberately queer-bait

The fact that many women vicariously ship male characters together because it allows them to imagine a relationship of “genuine equals,” particularly in areas where women feel they are still not treated equally to men

The tendency for “pair the spares” to result in m/m ships simply due to a lower number of available female characters

And so on

This isn’t written to negate any of those reasons or to imply that they aren’t major factors in the popularity of slash ships, not at all, but it has always, always struck me as reductive when I hear things like “Slash ships are only popular because girls think two dudes together is hot” (the fetish argument) or “Girls will ship any two good-looking male characters together regardless of canon. They just hate het ships” (the fetish argument with a side dish of misogyny).

In particular, this last one--an argument I’ve heard from a lot of male fandom members (but of course not all)--has always gotten under my skin, because it implies that girls who ship aren’t capable of critically analyzing the media we consume and identifying characters who have meaningful interactions and interesting potential. That we, unlike those viewers who adhere to the canon (typically heterosexual) relationships, are somehow reading these stories wrong, blind to “real” romance (namely the one between the male hero and his best girl/waifu), and/or misusing male characters with zero regard for their personalities--worse, this argument also implies that female fans deliberately hate or under-appreciate oh-so-perfectly written female characters whose romantic subplots are totally natural and not at all an unfortunate side effect of their position as the token chick on the team...

At its best, the statement: “Girls will ship any two good-looking male characters” is demeaning in its dismissal of a majority of slash shippers and their ability to read characters. At its worse, it’s this exact dismissal that continues to allow so many (primarily male) authors to write under-developed, unimportant, token female love interests: “It’s the girls [or the slash shippers] who are weird; there’s nothing wrong with the way we’re doing things.”

But guess what happens when well-written female characters whose actions are central to a story’s main plot are introduced and highlighted? Guess what happens when the emotional energy between a female lead and her male counterpart is the most compelling and dynamic in the series?

The (often canon) het ship suddenly--somehow--magically becomes well-liked by fans!

Zutara and Kataang vastly out-strip any slash Avatar pairings in popularity. Noragami’s Yatori commands a staggering following in the fandom. Is there anyone in their right mind who thinks Alucard/Integra wasn’t the best pairing to end Hellsing with? No one debates whether or not Ahiru and Fakir from Princess Tutu are true love. In Doctor Who, Rose and the Doctor reign so far supreme in the fandom that none of the other ships even need to exist though I actually prefer River. Terra and Aqua from Kingdom Hearts beat out every other Terra or Aqua ship by a mile (and this is in a series notorious for hating and under-shipping its female characters). Gekkan Shoujo Nozaki-Kun has no problem juggling three very well-accepted het ships--even while having a scene in which two male characters sit down and draw a gay manga together. Ain’t nobody suggesting Mr. Bates and Anna from Downton Abbey should be with anyone else, right? And this is just in the handful of shows I personally have time to watch. Anyone who reads or watches a series with well-written female characters can play this exact same game!

The obvious conclusion? Female fans are perfectly willing to ship heterosexual pairings--if they’re well-written.

It’s the same story all over again: when the real emotional energy, the dynamic core, the most plot-relevant interactions occur between a male and female character, they too can become the fan-preferred couple. (Shocking!)

Yes, yes, I hear you saying “B-But wait, sometimes the m/m ship is more popular even though the het love interest is well-written!” or “Sometimes girls ship guy characters who have never even met!” or “So what you’re saying is female fans wouldn’t ship slash if there were better het options available?”

1) Don’t get me wrong--there are certainly always exceptions. I’m pointing out a trend, not a rule. Sometimes a fandom has a separate, specific reason for elevating a non-canon slash ship above a well-written canon het ship. (Someone who is actually in the Fullmetal Alchemist fandom might be able to explain why Ed/Roy is more popular than Roy/Riza, probably?) And in situations where a slash ship and a het ship in a series both have equally strong emotional energy, my bet is that the slash ship will always come out on top because it gets the added benefit of people liking LGBT+ rep and straight girls (and anyone else) who just think m/m is hot.

2) Crack ships definitely do exist. But usually when a crack ship actually manages to become popular, it’s because fans have recognized the potential for a strong emotional energy between two characters. If the two characters could reasonably have strong tension because of similarities, differences, or other elements of their characters, then crack ships are still following the trend of aligning with emotional energy, even if that energy is only anticipated at the moment.

3) I definitely don’t mean to suggest that slash ships are shoddy seconds to fans who would “naturally” prefer het ships if good het ships were available. What I’m suggesting is only that it’s no surprise slash ships are so extremely and consistently popular across so many fandoms, because in terms of plot relevance, depth of writing, and meaningful interactions with each other, male characters so rarely have any real competition. A desire for LGBT+ representation and people living out power or equality fantasies through slash are certainly motivating factors and good and worthy reasons to write slash. But one unfortunate contributor to the popularity of slash ships is that male characters continue to occupy a place of privilege in modern narratives. Our heroes remain overwhelmingly male. Our sidekick/lancer/buddy characters remain overwhelmingly male. Our villain characters remain overwhelmingly male. That is to say: male characters continue to dominate all the most “plot relevant” roles in our narratives, and so long as male leads continue to be placed in roles where their most compelling emotional interactions and greatest sources of character growth are other male characters, slash ships will continue to dominate fandoms’ online presences.

(Hilarious: the dude bros who complain about the number of slash ships in their favorite series are often the very same ones supporting and becoming the writers whose shallow portrayals of female characters further bolster the popularity of said slash ships in the first place...)

Okay, I’ve made you wait long enough.

What does all of this have to do with Voltron?

Well, you’ve probably figured that part out already, actually.

If we consider the “emotional energy” and tension among Voltron’s main characters, there’s absolutely no question who is at the core, where the most plot relevant and meaningful emotional interactions have occurred, where the “heart” of the story is, in essence...

Hint: It’s Keith.

(Just a heads up: I’m going to use Klance as the example because it’s the most popular Voltron pairing according to the numbers, but any Sheith fan worth their salt could obviously very, very easily apply these ideas one-for-one to that ship, because clearly Shiro’s interactions with Keith are some of the most emotionally tense and compelling in the entire Voltron series--they are a consistent core of feeling energy for the show which naturally leads many people to support this ship. A large part of the reason that this post is tagged Sheith is because I am absolutely inviting Sheith shippers to use the theory and lens in this essay to analyze Sheith--using this idea to analyze Sheith will reveal a lot of intense emotional energy to discuss and validate that ship. I’m very tempted to put this paragraph in all caps or something so the Sheith shippers will actually read it and stop badgering me...)

Keith (and his relation with other characters) is the core of Voltron’s main plot, both in that he is positioned as the leader/the hero/the protagonist, and because, obviously, almost all of the series’ emotional high points (with the exception of “Crystal Venom” and Pidge’s search for Matt) somehow feature him. 

Keith isn’t just central in the main plot though; he’s also central in the individual arcs of two other characters: Lance and Shiro. He’s a motivating and driving factor in both of these characters’ stories and change throughout the series, affecting their actions, attitudes, and self-worth, and so it should come as absolutely no surprise that Sheith and Klance are the series’ most popular ships.

But since Klance is the most popular pairing, the person I really want to talk about is Lance.

You can say a lot of things about Lance and the raging debates that occurred over whether or not Lance is a straight loverboy trope or not, but I don’t think any viewer of Voltron would deny that, if we consider the main cast members (Team Voltron plus Lotor), the core of Lance’s emotional energy and tension is Keith. His interactions with Keith--not even in a romantic sense, simply in a storytelling sense--are more important and dynamic than his on-screen interactions with any other main character.

From his laser focus on Keith at Garrison that caused him to invent a rivalry (this word is basically just a synonym for “emotional energy” at this point):

To comedic banter:

To the infamous bonding moment:

To a fledgling “right hand man” partnership:

To Lance’s insecurities:

The story of Voltron itself continuously reiterates that Lance’s interactions with Keith are more dynamic, more intense (even if we’re talking about “Rawr, I hate you, we’re rivals!” emotions instead of lovey-dovey stuff), and more plot relevant than Lance’s interactions with other characters in the series. Lance’s emotional arc is irrevocably centered on Keith until very, very late in the series.

More importantly: Lance’s motivation and personal plot line as a whole are centered on Keith. At it’s most basic, Lance’s character arc seems like it was supposed to center on Lance’s sense of self-worth--despite acting confident, Lance was actually insecure about his ability to help save the universe. Theoretically, his narrative should have focused on him becoming confident about his place on the team and his value as both a friend and fellow paladin to the other main characters. His arc should have been (and I guess theoretically still is? It’s just not... ever given much attention?) about him overcoming his insecurity by learning to recognize his own unique talents and discovering the things that only he can do to help Team Voltron succeed. (Hell, the entire Allurance thing could have been framed as “She’s completely out of my league” ---> “Whoa, originally I was putting Allura on a pedestal but actually she’s as much a member of this team as me--we’re in this together, side-by-side.”)

Whether or not the semi-incoherent narrative of Voltron actually delivered on this promise is iffy, but the set up in season 1-3ish is all there and all Keith:

At Garrison, Lance viewed Keith as a road block in his quest to becoming a fighter class student. Keith’s achievements and talent became a measuring stick for Lance’s own capabilities. He imagined a rivalry to make himself feel better/less insecure. His drive not to lose out to Keith is what dragged Hunk and Pidge along to Shiro’s rescue and ultimately led to the discovery of the Blue Lion. Lance comparing himself unfavorably to Keith as a paladin and pilot contributed to (mostly) one-sided animosity throughout the early seasons that gave way to a scene of Lance attempting to step down from the team because he didn’t see himself worthy of the position in comparison to Keith:

The logical conclusion that I think most fans would draw from these many scenes is that, as part of Lance’s overall character growth across the whole series, he needed to have a moment in which he recognized that he isn’t--and has never been--inferior to Keith.

Ultimately, the first five seasons continually reiterate the idea that, in terms of interactions, energy, and dynamic character growth, the most important main character in Lance’s story (other than Lance) is Keith.

Keith’s interactions with Lance are directly and immediately tied to Lance’s individual character arc/growth, and Keith is definitely the focus of Lance’s most meaningful emotional tension throughout seasons 1-5 at least.

Which means it shouldn’t come as any surprise that Klance is the most popular Lance ship, particularly when you set it side-by-side with the (increasingly canon) Allurance.

I just want to make this abundantly clear before I begin: I have absolutely nothing against Allurance shippers and, until it was done so poorly in season 5-6 (and potentially 7, I still haven’t even finished that one), I actually was okay with the possibility of Allurance being endgame because I thought there was potential for it to be done well. After what we’ve been given, I actually feel the Allurance shippers have been horribly shortchanged by the show’s real writing, and that I can’t personally support the ship the way it’s being written, but that’s not the fault of the characters themselves or anything inherently “wrong” with the ship. So please don’t take the rest of what I say here as ship hate--this is just observations from a literary analysis standpoint.

What has prevented Lance and Allura from gaining significant traction with the fans despite the fact that it’s edging close to canon territory if it isn’t canon already?

Well, one problem might be that Lance’s emotional energy has no bearing on Allura’s individual character development--and Allura’s emotional peaks have no bearing on Lance’s personal arc either (at least as far as it was established in early seasons and then left essentially unresolved).

Allura’s arc has, throughout the course of the show, centered on her ability to defeat her family’s foes, her grief for her lost people and planet, and her desire to follow in her father’s footsteps as a leader and in the Altean traditions as well. None of this has much of anything to do with Lance. Her growth as a character occurs--with the exception of the single shining scene on Naxela--completely independently of Lance. She lets her father’s memory go on her own in “Crystal Venom.” She faces Zarkon head-to-head by herself after rescuing Shiro. It’s Shiro who stops her from over-working herself to aid the coalition, not Lance. It’s Keith’s whose Galra blood forces her to re-examine and overcome some of her universal hatred for the Galra. It’s Lotor who helps her reach Oriande, and her own ingenuity that allows her to tame the White Lion and learn the secrets of Altean alchemy.

With the exception of the scene on Naxela where it was specifically Lance’s speech that motivated Allura to save the day, virtually all of her most charged emotions occurred elsewhere and with other characters, and there’s nothing in her personal goals--to be a strong leader, to revive her culture, to save the universe--that is intrinsically tied with Lance. He can encourage and aid her in those pursuits, but so can Shiro, Keith, Pidge, Hunk, and Coran. The role of fellow paladin and supporting ally isn’t unique to Lance. His interactions with her don’t fill a niche that drives her personal plot lines outside of the romance subplot.

And the same thing is true in reverse.

We get this nice scene of Allura encouraging Lance and helping him work on his insecurity... And then it is promptly never mentioned again. (Where did the sword go, guys? Where???) Lance gives up Blue to Allura and she’s almost immediately gifted at piloting the Blue Lion, while Lance is shown struggling with Red (once more in Keith’s shadow) and still hadn’t, as of the end of season 6, seemed to have mastered it to the same extent as Keith. It’s Keith, Laika (an alien dog--not Allura guys, an alien dog) and the SPACE MICE that Lance expresses his insecurities to, and it’s Coran who is there for Lance’s touching scene expressing his longing to return to Earth. Lance’s personal arc about growing into the paladin role and becoming a selfless person who puts the team before his own desire for glory once again occurs independently of Allura, with little to no interaction, and even fewer emotional high points between them, in the entire first half of the show.

For both of these characters, their “real emotional energy”--their tension both positive and negative--occurs with other characters. The “believability” and energy of this ship is diminished by the fact that it simply isn’t the most well-written of character pairs in the series. The romance subplot isn’t organically tied to either of their personal plot lines, and the depth of their one-on-one interactions pales in comparison to their, particularly Lance’s, interactions with other characters.

But huh... would you look at that... When a potential romantic interest came along whose interactions with Allura were both directly tied to her personal arc, her central character motivations, and her emotional high points...

Isn’t it amazing how well it was received by the fandom--despite the fact that no one was really sure whether Lotor was evil or not? Now of course, I’m not going to ignore the fact that Lotura was probably helped along by leaving Keith, Lance, and Shiro free to ship elsewhere, but I don’t think the actual chemistry in the series’ writing itself should be ignored.

There was significantly, significantly more tension and nuance to Allura and Lotor’s interactions that any of Allura’s interactions with any of the other main cast, and their interactions operated not just in a romantic capacity, but also as a vehicle for Allura’s personal character growth:

The push and pull of these two characters and their scenes together sparked change in both of them, which augmented and increased the quality of their romantic arc while also furthering both of their own individual goals as characters.

The story painted them as equals with mutual interests, a shared interest in Altean culture, both victims (at least initially) of their parents’ war, both distrusting but ultimately lonely people who were longing for connection to, in Allura’s case, what had been lost, and in Lotor’s case, what he theoretically had never been able to have (except the writers did him dirty so jk).

I just don’t think there are many people who would argue that Allurance--or Allura’s interactions with any other male character--have been written with near as much depth, engagement, and integration with her motivations as Lotor and Allura’s were. Their plot literally got more screen time one-on-one in a single seven episode season than Allura and Lance did in the 43+ other episodes...

And for the the short time that it lasted, this pairing was embraced by many fans. I might be biased because I immediately went out and followed every Lotura blog I could find, but to me it seems like it was well-liked and generally well-regarded among shippers until the colony reveal (and by many still after). I was very excited by the writing of this ship and definitely wanted something meaningful to come out of it. Part of the fandom’s immense outrage at Lotor’s reveal was, I think, linked to the fact that this ship had been so convincingly written into the series before it.

This, to me, is a perfect example of a situation in which the emotional exchange between two characters exceeds the strength and depth of their interactions with others, leading to immediate adoption and approval as a ship by the fandom. Where the real energy is, there are the shippers.

PHEW! Let me take a deep breath and come up for air. There’s a lot going on here, but boiling it down to the basic point I’m trying to make, and which I’ll address in a lot more depth in the third and final part of this: the way that a story is written profoundly affects what ships will or will not become popular with fans. Shipping isn’t an unpredictable beast that grows completely independently of its source material. The ways writers craft interactions between their characters--and the places where they invest the most and infuse the most life--are powerful tools that impact how fans view and come to love seeing characters both separately and in romantic relationships.

To that end, while there are numerous reasons slash ships are popular and continue to grow in popularity, one reason that should be considered seriously by all creative writers--fanfiction authors or aspiring original novelists--is the notion that shipping often aligns with the core of a story’s or character’s emotional energy, the pairs with the highest tension, the electric pulse of the story’s most meaningful moments. Non-canon ships of any sexuality swell to mega-popularity when fans perceive more depth and significance in the interactions of characters outside the canon pair, when the emotional work of the story is happening somewhere outside the intentional romantic plot line. Sometimes this is fine. But more often, this is a bad sign for creators--a sign that you’ve fumbled in the writing of your main romantic leads.

As writers, questions we rarely ask ourselves but often should are: “Where is the core of the tension in my story? Whose interactions are deepest and most central to the development of my main character?”

In other words: Where is the real emotional energy in my story?

In part 3 I’m going to provide one more excellent case-in-point, and then close out with a discussion of some take-aways for writers from all this that might help strengthen your romantic subplots, whatever your genre or whoever your characters.

Go on to Part 3 ->

[novarasalas]

Second Look Review: ‘A Little Adventure’, Part 2

Part 4: It’s Complicated

So, last time I talked about how Shiro has a chronic illness.

This time, I’m going to talk about how Shiro has a boyfriend.

..uh….had?

Hoo boy.

This scene lasted all of one minute, but it gave us so much insight into Shiro’s character. It also stirred up a lot of shit.

I’m going to be honest about what this is: a defense of Adam.

To be fair, I try to avoid the drama, but it just wasn’t possible with this particular plot point. People seemed to be pretty evenly split between ‘omg OTP boyfriends forever’ and ‘Adam is evil and deserves whatever happens to him’. The truth is, as is almost always the case, somewhere in the middle.

I, for one, believe that this was a very well written scene, obviously written by someone who’s had relationship troubles. And all relationships will have troubles. No one is perfect, and when you put two imperfect people together, disagreements will happen.

And even when two people seem perfect for each other, in the end, there may be that one thing that drives them apart.

In this case, that “one thing” is Shiro’s recklessness with his own health.

Now, in my first part, I talked about how much I could relate to Shiro in our shared suffering of chronic illness. You can’t let it stop you; you have to live as best you can while managing yourself and your health. You must learn your limits, and adjust accordingly if you want to keep living. Learning to do that takes maturity, and is something that you must grow into.

So, yeah, I’m saying that Shiro’s being immature. And I say that as someone who’s been there. I was immature like this once, too. And Shiro’s very young here. Both of them are, I suppose. We don’t get any info on Adam other than the knowledge that he and Shiro are together.

Aside from the illness, though, is just the nature of being with another person. You have to take them into consideration: what they want, how they feel, which direction they’d like to take the relationship. It’s why a couple is together. If you want to act completely on you’re own without thought to others in your life...well…

Yeah. This mess happens.

Adam feels like Shiro’s already made the decision to leave him. And hasn’t he? He elects to go on an already dangerous mission, complicated by his own worsening condition, when instead he could be as home with the man who loves him.

You can tell by the dialogue that they've had this conversation many times before. How long are two people suppose to suffer through this?

And now, I want to say this, specifically for the ones I saw mad that Adam would leave a sick man.

Shiro is sick, yes. But he’s not dependent on Adam. He’s well enough to have been considered for missions still, and while I’m sure that he appreciates the help he gets from Adam, he’ll be fine on his own.

I’m sick. If it would come down to something like this with me and mine, I wouldn’t want them to feel trapped in a relationship just because of my illness. I could use some help everyday, but in the end, I can still take care of myself.

I say this because I immediately saw people comparing Adam leaving to, say….a spouse leaving another after a devastating accident, or during cancer treatments, or something heavy like that. Those are unequivocally douchey moves, no doubt about it.  

That’s not what’s happening here. If you were to remove Shiro’s illness from the equation, and just have Adam be worried about him being just generally reckless, the outcome would be the same.

And I’m not saying this is all Shiro’s fault, either. It’s a partnership. And in this case, we only really get to see what’s happening as far as Shiro himself is concerned.

We know that the relationship ended. We also see, later on, that Shiro still cares for Adam. The actual break up happened off screen, but it was probably still amicable. It’s entirely possible to break up and still care for each other.

Do I think they would have ever gotten back together? Nah, probably not. And that’s ok. It’s really, really ok.

For more on this, please read this interview with Lauren and Joaquim from Hypable: _Exclusive: ‘Voltron’ EPs break down journey to LGBT+ representation, Shiro’s connections, ahead of season 7. _They say it all better than I can.

Also, please tell me how to link without breaking the tags.

Oh, and another thing. That ultimatum? Crazy, evil and manipulative?

From Psychology Today, in the article How to Issue a Relationship Ultimatum:

The worst part about ultimatums is that sometimes the recipient desires the same outcome as the person issuing the demand, but the ultimatum feels so aggressive that it forecloses the mutual desire.

The best way to avoid ultimatums altogether is for each partner to be perfectly clear about their values, goals, and intentions from the beginning. But sometimes even the best planning doesn’t prevent a situation in which one person is ready to move forward when the other isn’t.

When that happens—when it’s time to move forward or move on—it is entirely possible to deliver ultimatums in a compassionate and non-coercive manner. Instead of forcing the hesitant partner into a corner, ultimatums can honestly be presented as choices that highlight options and freedom, rather than pressure and sacrifice.

Please read that for more good insight. Nothing is as black and white as people on here would have you believe.

Part 5: He’s Gay

So I went on a lot about the chronic illnesses thing, but the real news was that Shiro loves men.

This is amazing. Don’t let anyone tell you different.

I really enjoyed how casual it was. There was no exposition, no stopping and explaining it. Shiro knows himself and has for awhile. It’s just a fact at this point. Was is subtle? Understated, maybe. But not everyone’s queerness is Pride parades and glitter. I know mine isn’t.

And the fact that it’s Shiro, Mr. Voltron himself. The main guy.

The main guy. Because the fact that Shiro is male and queer is a big deal.

Now, I must admit, I’m really not up to date on what’s going on rep wise in children’s media. I know of two wlw relationships happening, which is a very good thing. I’m 100% on board with that.

But it needs to be acknowledged that it’s because they’re girls(and not the main characters, as well), it was easier to be more obvious with their relationships.

Why? Because our society still sucks.

Gay women? Hot.

Gay men? A threat.

Across all media, I’ve seen far more lesbians and bi women than I have queer men of any kind. To a particular set of men who run most things these days, gay men can only be dangerous. They’re predators, and they’re out to get both them and their sons.

So for Shiro to be allowed to be gay, however subtlety you see it, is a huge step forward. This is a main male character, who is in a cartoon primarily marketed to adolescents, who is queer.

I never thought I’d see the quiznacking quintant.

However you found this revelation, you must admit: this is progress, and this is a good thing.

Also, there will never be perfect representation, because there are no perfect people to represent.

I feel good about it though. Shiro is chronically queer, just like me.

In Summary:

Wow, that was a certainly something. That was a very strong start to the season. Heavy, too, which honestly sets the mood for the rest of the episodes. It’s still rated  Y7, though, which will never cease to amaze me.

A few things that I didn’t mention:

Let’s be honest, we all thought he was going in for a kiss here.

And this, which is one of my favorite things I’ve seen all year.

I call it

The Gasp of Knowing

Next up: The gang hits the ol’ dusty trail and set out to mosey on home.

[bluerobokitty]

Okay, so I was one of the interviewees for the #LanceIsBi article that just released recently, known as “Shardy”. Given how much the article is being discussed now, I’ve decided to post my entire interview in full to show just how in depth the discussion actually became. 

The article barely scratches the surface of the issue of the bisexual treatment in fandom, this is true. However, as someone who has been screaming into the void about this for a solid year and a half now, it was nice to finally have a platform on which to speak.

This whole thing started because the #LanceIsBi movement gained so much traction to the point of trending on Twitter. The editors of Den of Geek grew curious and wanted to look at why such a thing happened. Remember, not nearly as many people are involved with VLD discourse. Our fandom’s discourse so multi-layered and so complicated, people on the outside can’t really see it unless they become involved themselves. As far as DoG was concerned, this was just a fandom thirsty for bi representation. 

My quotes about it being mostly for a shipwar are not used within the article, but that would be an entire article on its own. However, this article did focus on how fans do queerbait themselves and others, the importance of separating fanon from canon, and real bisexual representation comes from the characters, not background colors and jokes by voice actors. I’m not gonna toss the baby out with the bathwater here - that’s a pretty good start. 

So without further ado, here is my interview. It was conducted via Twitter DMs back in October, but for ease of reading, I formatted the interview to post here. It’s a very long post, so if your “read more” function doesn’t work on your phone, I apologize. 

What’s your name? (You don’t have to give me your full name if you aren’t comfortable.) You also don’t have to answer this if you don’t want to, but if you’re willing to say so, how do you identify?

My name is Shardy and I identify as a bisexual female.

How long have you been a Voltron fan?

I’ve been a Voltron fan since Legendary defender first aired. I never had the chance to watch the original as a child, but I had friends who were super into it so when the reboot happened, I decided to check it out.

How do you interact with the Voltron fandom? Do you write fic? Post fanart? Discuss the series online? Whatever!

I interact as much as I can through fanfic, artwork and zines, I’m trying my hand at making merch, and I’m always discussing the series on Twitter or Discord from meta and worldbuilding to theories and ships.

Why do you see Lance as bisexual when the show hasn’t expressly said that he is?

So when I started headcanoning Lance as bisexual, I saw bisexual Lance headcanons making their way around fandom since day one. By then, fandom was pretty small and it was obvious that he was mostly headcanoned as bisexual for shipping purposes. Which, I really don’t mind, so long as people are respectful about it. I hadn’t entirely embraced my own bisexual label yet, I was still confused about a lot of things. But then I see this guy in this show who clearly prefers the opposite gender, but if he were bisexual, maybe it would be because he’s nervous around his own gender? Maybe he doesn’t know how to approach dudes like that? Maybe he doesn’t want to risk humiliating and outing himself by hitting on a straight guy? And I realized that was MY experience. That’s exactly how I felt around other women. Nervous, scared, maybe I should just stick to guys since it’s safer, makes me less vulnerable.

Lance is my favorite character because he’s closest to me in personality, so I projected a lot of experiences onto him. Of course, I relate to all the other characters in lots of different ways, too, but Lance is a bit special to me when it comes to my sexuality. I really used him in my fanfic to explore my own sexuality, and that’s the case for a lot of women in fandom, really. I know that he is thus far explicitly straight in canon, but the beauty of fandom and transformative works is that we don’t always have to strictly follow canon. So long as you don’t start insisting that such things are canon, because that’s when you start to queerbait yourself and see things that aren’t there, and if you base your expectations like that, you’ll only disappoint yourself in the show if not hate it. Which I’m starting to see a lot of people in fandom do.

This is why I am so incredibly bothered by #LanceIsBi movement. Which I will get to here in a minute because this movement stems from a much bigger problem that’s been festering in fandom for over the past year.

Do you think the series will ever openly confirm Lance is bisexual? How will you feel if they do or don’t?

I don’t think Lance was ever meant to be bisexual. I think he was always meant to end up with a girl (my money’s on Allura given the events of these past two seasons lol). It would be cool, though. I would like to see a little arc dedicated to him coming to terms with his attraction for his own gender, too. Because that’s what bisexual representation is all about. Coming to terms being someone attracted to multiple genders. And accepting that it doesn’t make you confused or broken or prone to cheating or anything else people who don’t understand bisexuality try to throw at us. Embracing our label. Even if Lance were to end up with a girl in the end, that would still be good representation because it’s never about the gender of our partner but our experiences and growing with our identity.

Unfortunately, people just don’t really accept bisexuals in different gender relationships most of the time. There was this huge blowup in fandom earlier this year about that. I’m a bisexual cis woman but I married and had a child with a cis man. It doesn’t sit well with a lot of people, so I get told a lot that I don’t really count as a queer. It looks invalidating. I think it’s because a lot of people think bisexual issues and homosexual issues are the same thing, and while we overlap in some things, our needs and our issues are not the same at all. We are two unique sexualities with our unique issues. I’ve been having quite a time trying to educate people about that ever since I came out.

So I don’t really blame the producers and the crew at all for not wanting to open that particular can of worms. It would be amazing if they did anyway, and a great opportunity, but if they don’t want to deal with that blowback, then that’s completely understandable. So if Lance is explicitly straight all the way through the series, I don’t have an issue with it.

Why do fans, particularly with Voltron, read so many of the characters as LGBT when there is very little if any canonical evidence in the series itself that they are? I know it isn't just Lance being bi. I've seen people Keith as gay, Pidge as trans, etc.

I think a lot of fandom headcanons the Voltron characters as LGBT+ because with so little representation out there, of course we would take matters into our hands. The producers of Voltron also worked on Legend of Korra, which we know ends with a bisexual girl/girl couple, so I think there’s an expectation that Voltron will do the same thing. Shiro and Keith obviously have a very intimate relationship. Lots of shoulder touching. There’s a million reasons from shipping to seeing ourselves in these characters that make us headcanon them as different sexualities. Tumblr in particular has always been attractive as an LGBT+ space so that’s why such headcanons are prevalent there.

How did you first hear about the #LanceIsBi movement? What about the whole #LanceIsBi thing appeals to you?

Alrighty, here’s the thing about the #LanceIsBi movement that super bothers me as a bisexual.

It’s not really about the headcanon. People are allowed to headcanon whatever they please, for whatever reason. That I have no problem with.

The #LanceIsBi movement came about because Jeremy Shada said that Lance’s milkshakes brings everybody to the yard. This is nothing against Shada, I assume he was just joking about how handsome Lance actually is – which he is! Lance is a really pretty guy, he has a better skincare routine than I do. So of course, it’s not a stretch to say that other people than just the ladies are attracted to him, that’s just how good-looking he is. But to take that as confirmation that someone is bisexual… that’s not how bisexuality works. It’s not about who’s attracted to you. It’s about YOU being attracted to two or more genders and how YOU deal with that. And what we seen in canon is that Lance is very much only attracted to women. As of right now, there is no bisexual story there.

It just really takes away from what real bisexual representation is, like I mentioned earlier, being about Lance’s personal issues as he comes to terms with this identity of his. Or even just him saying “Hey, I’m bisexual” or “I also like dudes, but here’s why I’m not as confident around them.” It doesn’t really have to be that deep, you know, I don’t need him to rehearse a whole documentary on bisexuality in order for it to be good representation. It makes it about HIM. About his character growth. HIS story. That’s what matters.

One issue with bisexuals (and I assume it’s not so different with pansexuals and aroaces from what I’ve seen) is that it feels like our identities have to be determined by OTHER people. Are we queer enough? Are we oppressed enough? Are we not with a different gender partner? Our own voices are never enough and it’s exhausting. Lance being confirmed bisexual is because of a joke by his voice actor. The colors of the scenery behind him. Because of multiple genders being attracted to him instead of the other way around. But it’s not his own character that confirms his identity. That bothers me. It infuriates me.

Added to that, fandom tends to blow things way out of proportion. They queerbait themselves a lot because they twist things around because they want their headcanons (specifically their ships) to be canon that bad. I’ve seen people new to fandom say they got into the show because they heard about this bisexual guy being awesome is a cast member only to find out that there’s this guy being awesome who is explicitly not bisexual at all. It’s awful seeing that kind of disappointment. Had I not been in Legendary Defender fandom since day 1, I probably would have fallen for that trap, too. I love this show so, so much and fandom makes it look like the crew is delivering something that isn’t there at all, and they’re even taking the heat for it. Lance is being held up as a bisexual icon next to actual, canon bisexual characters from other fandoms and that’s just… not right. Because once again, it’s not about his character, it’s only about what fandom wants. And non-fans come into this show with these expectations of seeing something that isn’t there.

And if Lance were bi, and if he still ended up with a female character, I know for a fact fandom would not be accepting of that. A lot of people would be, for sure, and it would be great to have that kind of support, but there’s a lot of people out there who won’t and then the whole “bi-het” debate starts up again. And it’s a debate that affects a lot of bisexuals in real life.

This whole movement, taking a joke as canon confirmation of Lance being bisexual, just feels like fandom actually doesn’t care about bisexual issues and representation. They only like it because they feel canonly validated shipping Lance with another male character because there’s this really weird attitude in fandom right now that all your headcanons must be canon in order to be valid. It’s very transparent, and very upsetting. It makes light of bisexuality, turns it into a shipping tool, and completely forgets what fandom is all about in the first place.

First off I just wanted to thank you for being so open and honest with all of this. These are fantastic observations on the whole thing and you really nailed a lot of things I was interested in asking about. Do you think fans would be better off seeking out shows/other pieces of media that feature canonical bisexual characters? Or do you feel as though people want that in their favorite shows regardless? Or to put that question another way, there are other shows out there with confirmed LGBTQIA (and anyone else I missed, nonbinary etc.) characters. Why focus on a character that, so far, can only be headcanoned as bi? Is it just fans REALLY wanting an LGBTQIA character in their favorite show? Why put so much expectations on this one specific show when, admittingly, all of TV has lot of work to do when it comes to representation?

When it comes to for the specific demand that Lance be bisexual, it boils down to a ship war. I’m sure you already know, our fandom is pretty notorious now with our ship wars and how far certain shippers will go to have their ship be canon confirmed. It’s pretty messy, and there are a few factors at play here.

Like I said earlier, a lot of fandom really doesn’t care about actual bisexual representation. Those of us who ship Lance with someone else such as Shiro or Allura, we can get some pretty heated comments. So when things pop up like #LanceIsBi, it’s a little transparent. I remember before S2 came out, fandom lost its mind when an interview said that Keith and Allura were gonna have moments together (whether platonic or romantic, it wasn’t clear at the time and could be interpreted either way). A lot of Gay Pride Keith edits came out and the whole thing was pretty ugly and, dare I say, misogynistic in tone because how dare Keith have a meaningful relationship with a woman even if that relationship is not romantic. And when a lot of Kallura shippers were like “well, we think Keith is bi or pan” (asexual Keith headcanons are also pretty popular with Keith fans), we’re immediately fired back with how that doesn’t matter, we’re just using bi/pansexuality as a copout, we’re actually homophobic, etc.

So when one character is heavily headcanoned to be bisexual but other characters are not allowed to have that same headcanon, it’s pretty telling. And I think it has to do with stereotypes. Lance is flirty and flamboyant and extroverted, maybe a bit promiscuous, so of course he must be bisexual. Keith is the stereotypical emo gay, skinny with some muscle, tight pants, weird hair. And once these headcanons are popularized, the rest of fandom is bombarded with them with no room for argument. I don’t think I’ve ever seen anyone admit to headcanoning Lance as something other than bi, and anyone who says they don’t headcanon Keith as gay (I am one of them) is met with hostility.

It’s not something I’ve ever seen in fandom before, at least not to this extent and I’ve been involved in online fandom for the past fifteen or so years now. Sure, there’s always been ship wars, there’s always been people being nasty to each other over fictional characters, but it feels different these days. It’s a different type of fandom wank. There’s a different attitude here.

I’m wondering if it has to do with the line between creator and consumer thinning so much now thanks to social media and cons becoming so frequent and mainstream. Fifteen years ago, there was no way we would ever dream of being in contact with showrunners, crew, and voice actors on our favorite shows. We never even sought out such contact, not unless you were really gutsy. And cons were very few and far between, so the only way you could interact with any of these people is if you had enough money and could travel to them. Now with things like Twitter especially, you can just tweet your questions and tag creators in your work, and chances are good that you will actually be seen and acknowledged.

And with this exposure, this really thinned line, I think a lot of fandom fully believes that they can actually influence a show. It’s been done in other shows, or at least enough that the creators give this illusion that fandom influences a show. So they think it’s the same with Voltron, but it’s not. Voltron is not a TV show, it’s a Netflix series meant to be binged in one sitting. But fandom has this belief that if they push and push and push enough, then all their fanon dreams will become canon. And they push back on the rest of us who don’t really go with the flow because they feel threatened.

Sheith, followed closely by Kallura, is the biggest threat to Klance, like I’m just gonna be brutally honest here with the whole ship war thing, we all know what it’s about. Like I said, fandom pushes for a bisexual male character, completely ignoring two things: 1) Lance explicitly flirts with women and ONLY women in canon and 2) Shiro and Keith are very intimate and touchy for a pair of guys (lol I’ve known a lot of guys and they don’t shoulder touch to this extent like Keith and Shiro are so TOUCHY). You would think fandom, determined to have mlm representation, would be all over Sheith because they are already established to have a personal, intimate connection that definitely goes beyond just a pair of dudes being bros. Instead we get all this age discourse, accusations of pedophilia and abusive power imbalances, etc.

And on the other side of this, Keith can’t be bi/pansexual because that makes him still available for Allura. Kallura is a threat because they’ve been the ship of Voltron since the beginning. They were heavily teased in DotU, they get together in the sequel comics and every reboot so far (except for Legendary Defender at the moment). By insisting Keith is gay, then he won’t want to be with Allura. There’s even this headcanon popular in this circle that Allura is a lesbian, yet I’ve seen very little femslash content in this fandom, and none of it reaches the popularity of the mlm ships.

So it’s pretty clear from the two issues that bisexual representation isn’t really something a good chunk and the loudest part of fandom really cares about. This section of fandom only accepts bisexuality when it’s convenient for their favorite ship.

And they insist that the rest of fandom kowtows to these headcanons because I guess there’s this belief that if they get all of fandom to unite for a headcanon, then the showrunners will have no choice but make the show reflect what’s popular. Even though that’s not how fandom or media works at all.

I think it’s a generational thing. A lot of these fans tend to be younger, for some this may even be their first big fandom, and there’s this weird belief among them that they’re only allowed to ship things in hopes it’ll be canon and their headcanons must be 100% backed by canon, so they tend to read too deep into every little joke and offhand comment and fanwork responses made by cast and crew. Maybe because they’re new to this, but these kinds of fans just don’t seem to understand the transformative nature of fandom. That while we do everything out of love for the source material, the stories and art and other content we make doesn’t necessarily have to have a 1:1 reflection of canon.

That's all fantastic insight, especially on the generational gap between certain members of the fandom. Yeah, your comments about the hate for the Allura/Keith ship just reminds me how weird I always found that since in all incarnations of Voltron they've been pretty much the ONLY canon ship of the main characters.

This is all fantastic, I wish I could use it all but as it is with articles I know I'll have to really cut it down. But still, it's all super helpful. Legit.

[technoqueers]

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2019-11-27

Happy Holigays from TQ! For the first time since sending out the guide v.1, we're going into hibernation for a bit and taking a break! Feel free to email us if you’d like ideas for where to go out, or just check RA! If you'd like to peruse past editions of the guide, they're posted on our Facebook and Twitter pages. Stay in touch, stay warm, and hope to see y’all on the dancefloor in the new year! 💗

How Charlene Incarnate Inherited the Legacy of NYC’s Drag Scene // “That’s what gay people are good at,” she acknowledges, “being audience members and contributing energy.” “We saw the shuttering of every space [queer folks threw] parties in, every space that wasn’t a typical gay dive bar. They’re all gone now.” The artist grieves both her home [Casa Diva] and the community it provided, and the fact that spaces like hers are “even rarer or nonexistent in the neighborhoods that [queer folks are] still occupying.”

“Taking drag out of nightlife is like taking it out of queerness,” Charlene says, adding that drag “happens in the spaces that were left to us.” How Papi Juice Became the Most Important Party in New York City // In 2013, Oscar Nuñez and fellow DJ Adam Rhodes were tired of going to parties catering to white, cisgender gay men — and were thus inspired to create a party that centered queer and transgender people of color. “We are part of a legacy of people who have been doing similar work for years,” Rhodes explains. “Seeing colleagues emerge and get bigger has been amazing. I love that there are more parties that are specifically serving our people. They’re creating spaces where we can be celebrated in all of our beauty and diversity.” Rare photos of New York’s iconic club kids // We were able to set an example for the everyday kid who was coming from the outer boroughs, and maybe it would give them permission to be a little more liberated within their own lives and within their own context. This was very valuable. The real tragedy when they closed all of the mega clubs in New York was that a number of creative people lost job opportunities. That’s why New York really suffered culturally when the nightclub industry was targeted and wiped out because all of a sudden people couldn’t pay their rent or sustain their art practices. That was a really sad moment for New York culturally. Masked balls and gay uprisings: Queer Maps is a guide to 150 years of LGBTQ history // The tool launches at a time of growing concern about the disappearance of queer bars in cities across the country – LA’s last remaining lesbian bar closed in 2017. It honors world-famous institutions alongside little-known haunts that quietly thrived during eras when being gay was criminalized and dangerous. Saatchi exhibits and BBC Four docs: why is 2019 so nostalgic for 80s rave? // These events were communal and often lawless. They were not happening with anyone’s permission but instead were reactions to the prevailing currents of their time. Deller’s film analyses rave’s role in the traumatised aftermath of the miners’ strike. Rave, he proposed, was “a death ritual marking the transition of Britain from an industrial to a service economy”. Techno Titan Carl Craig Commissioned for Sound Project at Dia:Beacon, Five Years in the Making // Craig—part of a fabled lineage for a legacy of techno music that was born and bred in Detroit—said he drew connections between his hometown and Dia:Beacon’s setting in a former factory that had been abandoned for years before it was transformed in an art-world destination. More to the floor: the decade the dancefloor was decolonised // Perhaps partly helped by the global panopticon of the internet, DJs and producers combine everything from the weighty syncopations of footwork to the sparse, percussive rolls of gqom and euphoria of hard trance, until the key compounds are almost unrecognisable – and then add their own distinctive local flavour. The result is a simultaneously global and local sound, and cross-continental collaborations are making it even more cosmopolitan. First Floor #13 – Where Have All the Anthems Gone? // More and more, what matters is contextualizing an artist within a larger socioeconomic and sociopolitical backdrop. Writers and editors obviously still consider the music, but they’re now also thinking about stuff like identity, representation, privilege and structural discrimination, and while that rubs some people the wrong way—particularly the “it should just be about the music” crowd—I don’t see it as a problem. Leave Your Body at the Door: How ketamine became the drug of choice for our dissociated moment. // In the 1980s and ’90s, the growth of rave culture brought it onto New York dance floors and it became a staple of the club kid scene, prompting the first wave of ketamine trend pieces. “Whether it’s a gay all-nighter, or at a hard techno rave patronized by young, white out-of-towners, the picture is invariably the same. Come 3 a.m., the dance floor is littered with those wasted on ketamine,” Muzik Magazine wrote in that same 1998 article. But in 2019, once-fringe elements of rave culture have bled into the mainstream. EDM is elevator music, banker bros and leather-daddies share bumps at Bushwick warehouse events, Silicon Valley has invaded Burning Man, and the wellness world has turned the drugs of the ’60s counterculture into productivity boosters for start-ups. As rave culture has rebranded, ketamine has pivoted with it. Today’s K users are bringing the drug beyond the dance floor: to chilled-out bar nights and tech-world salons, New-Age wellness retreats and quiet nights at home. NYC Votes To Ban Flavored Vaping Products // New York became the first major city in the country to ban all flavored vaping products on Tuesday. The ban is expected to take effect in July. The crackdown also comes amid an outbreak of vape-related lung disease that's killed dozens of people nationwide, including at least two New York City residents. Researchers with the Center for Disease Control have linked the sickness to vitamin E acetate, which is commonly used in black market THC vaping products.

Wednesday

11-6 // parka presents Trust Exercise: Courage @ Market Hotel // The theme of the night is Courage as a reminder of the courage it takes to trust and be vulnerable. We forget that not everyone celebrates the holidays the same way and many have had to sacrifice a lot to move away from home.

10-3 // Thanksgiving eve with justin strauss and juan maclean @ Black Flamingo 10-4 // Marcellus Pittman All Night @ Nowadays // The Detroit don is back to bless us with another marathon set. 10-4 // pure immanence XL @ Bossa // 10-11: Pure Immanence, 11-12:20: Night Doll, 12:20-1: perrX (live), 1-3: quest?onmarc, 3-4: Pure Immanence 10-4 // OD: Yurk \ Skyshaker \ WILHELMINA \ Christy @ 444 Club

Thursday

10-4 // ADAM X & MÆDON @ Bossa 10-4 // Bermuda /\ Thanksgiving night @ Venus in Furs

Friday

10 // ELSEWORLD: Juan Atkins, Noncompliant, Lauren Flax & More @ Elsewhere // 🌎🛸 HALL 🛸🌎 Juan Atkins, Noncompliant, Relaxer (live), Lauren Flax 🌎🛸 THE LOFT 🛸🌎 Cultivated Sound and Friends: Maŕa & Chamberlain Zhang, 夜露四苦4649 [ Haruka Salt & Yuri Mizokami], LOKA $5 off presales

10-4 // Room To Live presents sold and DJ Wawa @ Newtown Radio // sold (Chicago, smartbar, Groove Cafe), DJ Wawa, Room To Live residents 10-4 // Soul 2 Seoul Do Black Friday @ Mood Ring // Tag Team, Back Again, Back by unpopular demand, The original Blasian Super Duo. Chung & Turtle All Night 10-4 // Technofeminism @ Bossa // BORED LORD (LA), AKUA 10-4 // Blazej Malinowski [Live] + Mary Yuzovskaya @ Public Records // Polish-born DJ Blazej Malinowski brings his knack for deep + atmospheric techno to the Sound Room for a live performance. Having released records on Semantica, TGP, SIlent Season + many more, expect a tripped out, mesmerizing set with Monday Off founder, Unter regular, and vinyl-only DJ Mary Yuzovskaya kicking things off and closing the room. 10-4 // Working Women and Martyn @ Nowadays // Nowadays resident DJs Nina, Nicely and Voices, aka Working Women, are teaming up with 3024 boss (and Ostgut Ton, Brainfeeder, Ninja Tune, Hyperdub, Warp and Aus Music alum) Martyn. 10-5 // Stenny, rrao, Only Child, Significant Other Plus Lagasta, Jacques Renault, Boys' Shorts @ Good Room // Stenny is an essential producer in driving forward the sound of Ilian Tape. A versatile, adventurous and tough approach allow for constant forward momentum and a truly unrelenting energy on the dancefloor.

Saturday

10-5 // NEW YORK TRAX x VOITAX @ BASEMENT // In partnership with the forward-thinking, Berlin-based, record label Voitax, New York Trax brings 4 massive live acts for its Basement debut. Makaton LIVE, Swarm Intelligence LIVE, Brenecki LIVE, Deflector LIVE, Cressida, Paàl

10-4 // XXxBORED LORD x NYCxXx @ Mood Ring // ୧༼ಠ益ಠ༽୨ bored lord, pauli cakes, phoneg1rl, nk badtz maru ୧༼ಠ益ಠ༽୨ 10-4 // FIT Siegel / DJ Fire / DJ Healthy @ Bossa 10-4 // Soul Summit Music All Night Long @ Black Flamingo 10-5 // Perel, L&L&L + Lost Soul Enterprises with L. Sangre, R Gamble @ Good Room // Perel will be joined by L&L&L Record Club. Lost Soul Enterprises takes over the Bad Room with party residents L.Sangre and R Gamble. LSE is a party and label focused on mutant sounds past and present: wave, electro, body music, and all things in between. 10-5 // Shelter 002: Timmy Regisford, Francis Harris + Special Guests @ Public Records // Crossing generations of fans in New York, Timmy Regisford joins Public Records music director and partner Francis Harris for a monthly affair in the Sound Room with one question in mind: How deep is your love for House? 11 // Occupy the Disco @ Elsewhere (Zone One) 10-7 // Dee Diggs, Posi-Track and DJ Bone @ Nowadays // For this soiree, HalfMoonBK's Dee Diggs is teaming up with Fermented Frequency's Posi-Track and the inimitable DJ Bone. Good luck leaving before daybreak.

Sunday

3-9 // The Carry Nation All Day @ Nowadays // Nita Aviance and Will Automagic have been working together as the Carry Nation for the better part of a decade. During that time, they've lit up clubs, lofts and warehouses the world over and released music on Nervous, Classic Music Company and W&O Street Tracks.

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[queercapwriting]

Important reminders about identities in our communities and our fiction from @purplesaline​ (edited by me slightly, where indicated, to take out the personal context from which these are drawn).

“Lee made some really good points... I’d also like to understand why [someone’s] identity grants [them] the right to be the arbiter of how a character should be portrayed but someone who is also non-binary and gay isn’t allowed. In many... posts that I’ve read regarding this subject it consistently comes across as... being dismissive of Cap’s identity and othering them from the community. Additionally I’d like to know why [people] seem to think that if an autistic person asks for very specific things in a fic that is representative of their own lived experience it qualifies as bad representation because [someone else doesn’t] relate to it as an autistic person. Is it purely because the person doing the writing is neurotypical (or assumed to be)? I might be able to give more credit to that logic if they had done it of their own volition but they were essentially acting as a ghost writer. It’s sounding an awful lot like [people] are allowed to demand people represent an identity [they] inhabit in a way that [they] relate to but that other people who share the same identity but have a different lived experience than [others] aren’t allowed to ask for that shared identity to mirror them. [People in our communities sometimes] say that these other representations are harmful and problematic because they don’t fall in line with [everyone’s] lived experiences but in disclaiming those representations [it is] harming people. There is no single way to be any identity whether it’s a gender identity or a sexual orientation or neurodiversity or any other identity out there and because of that you’re going to find honest representations of that identity that can read as stereotypical because sometimes a persons lived experience of their identity falls in line with the stereotypes. It is unfair to invalidate their lived experience of their identity, it is harmful to invalidate their lived experience of their identity. What is problematic is not that that example of an identity exists but that there is not a more diverse sampling of the different ways people can inhabit the same identity. And as a final point I have a HUGE problem with [people] deciding that just because characters have been portrayed as having sex in canon that it negates any chance of them being portrayed as Ace forever after. Having had sex doesn’t not disqualify someone from being Asexual. There are many reasons why someone who is asexual might have sex, not least of which is that they hadn’t come to the realization that they were asexual. I think [people’s] arguments would hold more water if this was a discussion about the representation on the show itself rather than fan service fiction and would hold more water if the fanfic world was lacking in the very representation [some of us] claiming to be the ‘correct’ one but even if we just look at the microcosm of QCW’s fic library alone there are multiple fics representing each of a wide variety of identities. How [someone] can claim Identity Erasure when there are ten fics representing the canon identity to every one fic representing an alternate identity i really don’t understand. One of the biggest draws for people about fanfic is the ability to change canon in a way that allows them to relate more completely to the characters and/or the show and to me that’s one of the best things about it. To try to police that? You come across as an elitist gatekeeper deciding who is or is not worthy of gaining entrance to the VIP club. Doesn’t the LGBTQIA2+ community deserve better than that? We’ve already got far too many cishet people telling us that we’re not worthy of being in mainstream society, let’s not mirror their actions in our own community. While [people in our communities’] criticism of representation that [people] find harmful to [their] lived experience of [their] identity is certainly allowed, [the] policing of the way other people express and represent their own lived experiences of their identities (even if that is through a proxy) is unacceptable...”

and 

“Okay so, first of all? Queer and Dyke? Some of us have gained a lot of empowerment from those words. I get that they are still being used as slurs and that they are really harmful to a lot of people still but this then becomes a case of “please don’t use that term in reference to me” and that’s cool but [people] don’t get to police how I, or anyone else, chooses to label themselves (or their incarnations of fictional characters). Sure [one] can point out that it’s possibly problematic because of the negativity still associated with it but it’s not a simple issue and a “You’re a bad person for using it how dare you” isn’t gonna cut it...

And look, I get that [people in our communities are] upset about what [they] see as stereotyping identities but the fact of the matter is that there are people who relate to those portrayals and by saying that it’s wrong to be portraying characters that way [people] are invalidating their experiences the same way [they] are feeling [their] own invalidated. The solution here isn’t a reductive one, but additive. Taking away representation because [not everyone] relate[s] to it is harmful to those who do relate to it. It’s definitely important to point out where representation is missing and that the experience portrayed isn’t indicative of everyone with that identity but instead of tearing someone down for trying and, if the comments left on these stories is any indication, succeeding in representing the experience for at least some, maybe try the approach of either a) asking for a representation that differs from what was already written or b) write [one’s] own. We need to avoid building ourselves up by tearing others down.

Now as for [people’s] point of a writer changing a canon lesbian into another identity if they don’t claim that identity themselves. That’s a complicated one. On one hand Cap is essentially acting as a proxy for a lot of people who want to see their head canon in writing and for various reasons can’t write it themselves and I see nothing wrong with that. These people trust Cap with their vision and from what I’ve seen most appreciate the results.

Changing the identity of a marginalized character is a bit trickier for sure. On one hand yah there aren’t enough canon lesbians on tv or in media in general but I don’t think fan service fiction is necessarily the place to be policing that. If for no other reason than [one] run[s] the risk of trampling over someone’s attempt to learn more about themselves through exploring these identities in fiction. I’m not trans and I’m not nb but I did go through a period in my life where I was seriously questioning my gender identity and writing about it was one of the ways I explored that about myself.

I think maybe the line there is the same one we tread with cultural appropriation. Changing a canon lesbian into a straight woman is blatantly problematic but changing them into an identity that is even more marginalized and has even less representation is maybe not as much of an issue. It’s human nature to want to take the thing we can most relate to and then change it so it reflects our experiences even more, which is why [we] see the gay characters being head canoned into ace characters etc.

Which isn’t to say that it’s not also problematic but I think that more than being problematic it’s just scary to see already slim representation being appropriated no matter who is doing it. I would honestly rather give someone who has no representation a portion of mine, however small mine may be, than them not having any at all especially knowing how much harder they would have to fight to claw anything away from the ‘mainstream’ than I would.

So yah, it’s not clear cut and there is no easy answer to that one but I’m certainly falling on the side of letting the even more marginalized appropriating canon lesbian characters and that it’s acceptable for someone to write outside their own identity especially if it’s fan service.

As for the pulse fic? Cap said they realized it was problematic and removed it which I think shows a great deal of character. Their intent for writing it in the first place though? Not off base. It’s natural for us to process grief through fiction, we do it all the time. Using a traumatic event in a story isn’t necessarily trivializing it, in fact it cam be incredibly helpful and healing for many people, author and readers alike. I read the fic in question and I didn’t see anything that stood out as being disrespectful. Obviously [people] saw differently and that dichotomy is going to echo on a larger scale as well and I think that this is another instance I prefer to err on the side of 'if it helps people then it’s acceptable’ and for those who would be harmed by it them we take the same action we would in other situations where content can be harmful like content or trigger warnings.”