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destielshippingnews · 3 years ago

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Edvard's Supernatural Rewatch & Review: 1x04 Phantom Traveler

In this week’s analysis, I’ll be discussing the unfortunate introduction of Abrahamic mythology, the lamentable gender politics of Dean in his nightwear, and magic languages.

Supernatural’s fourth offering, 1x04 Phantom Traveler, (not a misspelling, 'traveller' is spelt like that in America) is a solid episode. It’s not fantastic, and Supernatural certainly has better to offer, but it’s still an entertaining watch which introduces demons into the Supernatural universe and continues developing Dean and Sam’s characters, making them more distinct.

It is also the first episode Robert Singer directed for Supernatural. I didn’t see much to particularly comment on in the direction for this episode (my two years of Media Studies were not wasted on me at all), but one interesting choice, however, is the tracking shot of Dean’s sleeping form straight after the title card. EscapingPurgatory podcast had a shrewd postulation: the intended audience was heterosexual educated men between the ages of roughly 15 and 39, but a lot of them would be watching with their girlfriends and wives etc, and Dean is the brother who’s available at the moment.

Returning to the plot of the show, the script does itself a major disservice as early as the cold open. This episode was broadcast in America four years after 9/11 (almost four and a half in Britain) and was right in the middle of the decades-long and still ongoing war on drugs. The atmosphere surrounding airfare has changed fundamentally. The air hostess clearly saw the man’s black eyes and was affected by it, and should have alerted somebody on the plane to her worries, because she would have thought he was on drugs of some variety at the very least, and possibly smuggling drugs on the plane. However, for the purposes of the plot she does not act on her misgivings, but simply gasps and goes about her day.

This raises the question of why the demon revealed its presence like that. Demons are usually incredibly stupid on Supernatural, but this level of dumb is difficult for me to believe. The air hostess could have very easily had the man thrown off the aeroplane, and then its plan would be scuppered. The most likely reason was to show the audience that the man was possessed, but the audience was going to find that out in about a minute’s time anyway, so why reveal it there? It breaks the fourth wall in a bad way.

Whilst on the aeroplane and the demon’s plan, the episode never makes the demon’s motivations explicit. Sure, Sam claims that demons like death and destruction for their own sake, but this doesn’t fit well with how demons behave later in the show. They are, forsooth, as thick as poo, but they usually have higher ups telling them what to do. Was the demon’s repeated downing of aeroplanes part of a higher up’s plan?

Before I go on, it’s worthwhile mentioning that this episode is the first one to introduce the idea of an actual Abrahamic Hell in the Supernatural universe. It’s not the only genre show of its kind to have included something like this, with Charmed having the Underworld where the Source of All Evil resided, and Buffy having various Hell dimensions, but those two examples weren’t Hell as depicted in the Bible.

Joss Whedon specifically avoided the idea of a Hell and employed dimensions ruled by demons and demon gods rather than Archangel Lucifer. Charmed used the Underworld as an equivalent of Hell, but it was not a place of punishment for human souls. While Charmed is definitely my least favourite fantasy/horror/sci-fi genre show (Prue notwithstanding), I appreciated that it took a step away from Abrahamic mythology. Buffy/Angel were even better, having their own mythology that had precious little to do with Middle Eastern religions and more to do with Dunsany, Lovecraft or sometimes even Tolkien.

Kripke, however, took the lazy route with Abrahamic, specifically Christian, mythology, a choice which I believe was to the show’s detriment. It’s supposed to be a show about American folklore and urban legends, but that stuff eventually gets thrown under the bus. Forget Native Americans, screw the Americanised versions of Scandiwegian lore, screw the Old West and the Gold Rush and all the tales revolving around America’s history. And Canada? Pfft. What even is Canada? And don’t even think about Mexico. Let’s just have yet more desert myths from 2-3000 years ago.

My distaste aside, this universe has a Hell (and a Heaven), and demons are made by torturing humans until all humanity is gone from them, or by letting the humans off the torture rack if they agree to become the torturers.

Knowing this, two possibilities come to mind. One is that this demon is repeating its own human death for some reason, and another is that it kills people and drags their souls to Hell to make more demons.

Repeating its own death is entirely speculative, but this episode mixes up demons with traits later associated with ghosts and death echoes. Never again is an EMF reader used to detect demonic activity, and unless I’ve forgotten a certain example, demons aren’t shown to act as specifically as this again.

The second option, that of dragging souls to Hell, doesn’t seem likely as it’s made clear that demon deals or trades are required in order for Hell to get its claws on human souls, at least in usual circumstances. There’s nothing saying that demons can’t just decide to drag certain souls to Hell, and there is an implication at the end of this episode that this might actually be the case, but it’s a stretch. If this were the case, however, it would give the demon a real motive and make the episode less of a stand-alone bit of fun with overt X-Files vibes.

Sticking with Hell events on the aeroplane for now, let’s skip to the end and the exorcism. Whilst trying to exorcise the demon, it tells Sam that Jessica is burning in Hell. Dean tries to reassure Sam by saying that demons read minds and that it was trying to get to him, but demons can only know the minds of people they possess. This then leaves three options: the demon was lying and Jess is in Heaven, it was telling the truth and Jess is in Hell, or the demon was just trying to get to Sam, but unbeknownst to him Jess actually was in Hell.

Technically speaking, Jess shouldn’t be in Hell. She didn’t make a deal (that we know of) and it’s established later in the show that most people go to Heaven anyway. But Kevin didn’t, neither did Eileen or Bobby. Mary did, even though she made a deal with Azazel, and she died under the same circumstances as Jess. As Jess is never mentioned as being in Hell by another demon in the show, and as Dean, Sam and Cas eventually visit Hell and find nothing of her there, we can assume Jessica went to Heaven.

The exorcism in this episode is strange compared to exorcisms in the rest of the show. The Doyle (external to the text) explanation is clearly that the writers didn’t know exactly how they wanted things to work yet, but the Watson (within the text) explanation could be that they used a different exorcism ritual. Later in the show, there is no intermediate stage between being expelled from the host body and being banished to Hell: they just go directly down. This version, though, forces the demon to manifest and thereby makes it much stronger and more dangerous. I personally think the version in this episode makes the demons more of a threat because it’s harder to exorcise them, but I can see why it became streamlined later in the show.

The fact the demon possessed the aeroplane, however, raises the question of why it didn’t do so in the first place. Maybe it’s more fun to possess a human first.

Speaking of the ritual, Jared tells us on the commentary that he had to have a Latin teacher from a local university instruct him in Ecclesiastical Latin because he learnt Classical Latin at school. As a language person, I’m left wondering why. It’s the same language, just pronounced differently. Does the spell need to be pronounced in a certain way in order to work? If so, would the Ancient Romans have been completely incapable of expelling demons with their own language? Would they have had to rely on Greek, Etruscan, Gaulish or Sumerian for the rituals? It’s just completely unnecessary, especially as we later see Rowena casting spells in Scottish Gaelic, Irish witches casting spells in Irish, Celtic ‛demons’ performing rituals in Gaulish…

At least the university teacher got a little bit of extra money, I suppose.

Sticking with the aeroplane a little bit longer, Dean’s fear of flying is a welcome expansion to his character, though it was clearly included with the intent of making fun of him. It could easily have been played as such, but Jensen’s comments on the commentary indicate he saw it as an opportunity to provide more depth to Dean, as his connection with Lucas through their shared childhood trauma did in 1x03 Dead in the Water. In these two episodes, Jensen begins taking Dean away from the writers and making him his own: he was supposed to be the sidekick, but Jensen said nope.

In making Dean afraid of flying, but having him so insistent upon flying in spite of it, The Show perhaps did itself a bit of a disservice in its mission of making Sam The Hero and Dean The Sidekick. Dean was terrified, but flew anyway. That is bravery, and it’s what the audience wants to see in a hero.

Sam, however, does not miss an opportunity to make me dislike him (you knew this was coming at some point, don’t look surprised). Not only is he incredibly unappreciative and derisive of Dean’s talents, such as making his own EMF from an old Walkman, but he was also derisive of Dean’s fear of flying.

Sorry, let me reword that. Derisive of Dean for being scared of flying. It’s perfectly rational to be afraid of being in a giant metal bird suspended miles above the ground, but Dean agreed to it anyway in order to save people. And Sam treats him like a child because he’s scared of take-off and turbulence. Dean’s fear is a rational one, something that a person who hasn’t been sheltered from reality would have. Sam’s greatest fear, however, is…

Clowns.

I get it, they’re brothers, and siblings are supposed to rib on each other like this (the siblings I still talk to aren’t like this with me or each other, so I find it difficult to relate to Dean and Sam’s relationship) but it makes Sam come across as an utter cunny-hole. If somebody is clearly terrified of something and on the edge of a panic attack, you don’t sneer and mock, and then demand he calm down. Sure, Dean needed to calm down and Sam was the only one who could do it, but talking to him like a child just reveals how little Sam knows of taking care of other people. He’s the pampered younger brother, and it really shows.

He also shows a lack of judgement when roughly putting a hand on Dean’s shoulder while he was distracted. Dean’s essentially a war child (and suffers C-PTSD) and you just shouldn’t do things like this to somebody like that. That’s how you trigger panic attacks or flashbacks. Ask a veteran, I’m sure s/he’ll agree.

Aside from that, the middle-aged man on the aeroplane winked at Dean – winked – when Dean was walking down the aisle with his EMF reader. A man winking at a man has sexual overtones nowadays, and has done for a long time. How many men wink at a built guy standing over them like that unless they’re sure they won’t be punched in the face? Dean had his EMF reader out at that moment, but he was simultaneously on somebody else’s radar. Something about Dean set sexual bells ringing in cameo middle-aged man’s head. Regarding Sam, there’s two important moments for him in this episode (Jess aside): when he discovers John talked about and praised him in his absence, and when he exorcises the demon. It’s made clear in a few episodes’ time that Sam never felt like he fit in with his family, and that he believed John was disappointed in him. Exactly how he came to this conclusion is uncertain, since John doted on Sam and afforded him liberties he never would have allowed Dean, but it’s clear their relationship is difficult. Going away to university was Sam’s attempt to run away from the dysfunctional family he felt an outsider in and to escape John (and Dean): that he apparently didn’t speak to either John or Dean during his time there says a lot.

He finds out, however, that John praised him, undermining somewhat Sam’s belief that John regarded him as a disappointment. Episode 1x05 Bloody Mary provides another moment of character growth for Sam that subtly changes the way he perceives himself, but all in due course.

Praise from parents is important for children, and it really shouldn’t be hard for parents to tell their children they’re proud of them, even if they don’t say it in as many words. In spite of his difficult relationship with John, Sam gets that by proxy in this episode (whilst Dean’s happily checking out all the men in the hangar) and it changes the way he sees himself and John, even if only slightly.

The other moment – discussed above – is his exorcism of the demon. I don’t mince my words about disliking Sam, but even I can see he had potential. He’s the weird kid who wanted a normal life, but because of cursed blood had that hope denied him. Series 4 shows us the beginning of what Sam could have turned into when his blood magic arc truly kicks off, and it could have been a riveting plotline if written and handled well. Think for example of Willow in Buffy and the journey she went on with her magic powers: there was real darkness in there, and a gargantuan struggle to overcome it and become stronger.

This exorcism reminds me of Willow’s first steps at witchcraft in 2x22 when she casts the spell to restore a certain character’s soul and we see the potential for true strength as she performs the spell with ease. This exorcism of Sam’s should have been something similar, and his demonic powers should not have been completely removed and forgotten about in 8x23. He could have been Supernatural’s answer to Willow, and the Dark!Sam arc in series 3-7 could have been the first in his descent into darkness and his fight back out to take control of his own powers and become the opposite of what Azazel wanted him to be.

But – and not for the last time – three words come to mind. Such potential, Supernatural.

You might remember I mentioned the tracking shot of Dean (and neglected to mention the revealing shot of his thighs and underwear). Paula R. Stiles’ suggestion that the fact the writers and director for this episode were men doesn’t cheapen it is one I don’t understand. Jensen is in my 100% objective and unbiased opinion one of the finest men alive, but exploiting that in order to draw in an audience does cheapen the show.

To be fair, Supernatural is hardly high culture and commercial television is about revenue, but things like that break the illusion of artistic integrity, just like not making Dean explicitly bisexual does because that’d scare away too much of the audience. If having scantily-clad women in a show or film is there for the male gaze and drawing in money, then so too are Dean’s thighs and buttocks, similarly cheapening the show. If the male gaze objectifies women, stripping them of their power and subjecting them to male desires, then the female gaze objectifies and strips men of any power they might have and subjects them to female desires.

If it’s bad for the gander, it should also be bad for the goose.

Neither do I think it matters one bit that the writer and director are men, or am I supposed to believe a woman has never encouraged or coerced another woman to flash a bit of boob in order to get men to empty their pockets? Claiming that presenting a person as an object of possible sexual attraction turns him into an ‛object’ is strange, and that claim’s only ever made when women are being presented for men’s enjoyment.

But let’s stick to Supernatural because I have work in the morning. To be honest, I never notice if a woman on screen is being subjected to a ‛male’ gaze because I have no sexual or romantic interest in women whatsoever: if a woman is supposed to be portrayed as appealing to men’s eyes, it’ll usually go straight over my head because it just doesn’t register as having anything to do with sex. Interesting, however, is that this begins the trend of treating Dean in certain ways that women are usually treated, or associating him with ‛feminine’ traits.

Some people go overboard with for example Dean’s association with and likeness to Mary, his taking on the parental (maternal?) role in Sam’s upbringing, his knack with children etc, and use it as evidence to suggest that any traditionally masculine behaviour – or masculine behaviour at all – from Dean is a performance to keep up an act so that he can hide how feminine he really is.

My take on this is quite different than the condescending viewpoint that a man behaving like a man is performing and pretending. Dean’s ‛feminine’ traits are not his ‛true’ self in opposition to his feigned masculine behaviour. There is absolutely no contradiction between Dean exhibiting ‛feminine’ traits such as being good with children, cooking, or trying his hardest to fill the role Mary would have filled, and being a masculine man who identifies very strongly with being male.

I do think it’s fascinating, though, and the complexity and depth of Dean as a male character is one of the reasons he is one of my favourite characters. We rarely get to see men who are very manly and also incredibly loving, loyal and paternal and who exhibit a normal range of human behaviours and interests, including ‛masculine’ and ‛feminine’. That’s what normal men are like, something television and film seem to have forgotten.

Regarding Dean in bed, note that he is a stomach sleeper (sleeping on your stomach keeps your tummy safe), and this is consistent throughout all fifteen years of the show. However, this early in the show he takes his trousers, outer shirts and shoes off, in contrast to sleeping fully dressed as he begins doing sometime rather soon. He’s alert and cautious this early in the show, but not yet quite so worn down that he can’t be bothered to get ready for bed.

Note also that both brothers have sleeping problems here. Dean knew Sam was still up at 3am, meaning Dean likely slept for less than three hours, having been woken up by Sam at 5:45.

The end of the episode presents the brothers with something to be hopeful about. John has a new mobile phone number, the first evidence they’ve had so far that he is very probably still alive. It’s not much to go on, and John does not answer Dean and Sam’s call, but it’s something the boys can latch on to and keep them searching for John. Whether or not they should be searching for John is another question altogether, though, but at least it got the plot going in 1x01.,

Phantom Traveler is a strong but flawed episode which builds on last week’s expansion of Dean’s character and role, as well as introducing demons and Hell into the lore. The cut scene where Dean has to remove all his concealed weapons before going into the airport really should have been kept in because it says a lot about his character, as does his sleeping with a blade under his pillow, but other than that, I’m happy to leave this episode now on a positive note.

#Michael's Supernatural Rewatch #SPN Rewatch #spn 1x04 #phantom traveler #sam winchester #john winchester #dean winchester #demons #hell #male gaze #female gaze #christian mythology

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aimmyarrowshigh · 5 years ago

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aheavenlyrush replied to your post “I’ve been on tumblr since 2012 and I was even a John Green fan for a...”

i checked and it happened in 2015

aheavenlyrush replied to your post “I’ve been on tumblr since 2012 and I was even a John Green fan for a...”

i saw that jg post on my feed and i had no energy to comment on it but truly when i saw that you had i felt such relief!! i remember making that one post about stiefvater defending him and telling teenage girls to be quiet and the response to it still fucking haunts me i swear

Oy, was it really that recently? The last three years have taken 900 years. And yeah... Maggie Stiefvater’s post about it was a Really Bad Look, and iirc that was the environment that spawned the beginning of the batshit “Keep YA Kind”* concern-trolling thing (yep, also 2015) that was mainly used to silence girls and women and people of color whenever the four white cishet men in YA fucked up between 2015 and 2018, when it finally publicly came out that most of them were, yk, fucking up because they’re legitimately horrible people and maybe the people calling them out should have been taken seriously.

* The other notable “why the fuck is this happening???? why is HE the one getting the sympathy here?????” events from “Keep YA Kind,” which, listen, I would bet you anything that it was very very nearly called “Keep Kidlit Kind” until the only person involved with 1/4 of a braincell managed to realize the acronym on their Twitter handle looked REALL BAD:

Andrew Smith, a straight white adult man, says out loud with his human adult man mouth, that he knows he can’t write female characters well and relies on fetishization and stereotypes because he never really met a girl until his daughter (??? SO WHAT IS YOUR WIFE, ANDREW? CHOPPED LIVER?) and, being as that is Bullshit and also his books were also being lauded as though they were Infinite fucking Jest Jr. even though the interview in question was for a book in which mutant grasshoppers take over the earth and a teenage boy gets trapped in a bunker with a teenage girl who eventually has to git to birthin’ babies she doesn’t want and isn’t medically prepared to have safely For The Good Of Humanity, he’s called out.

He’s called out mostly on a technical, writing level at first, even! Like, “Here’s how to write a female character: you write a fully considered, well-rounded character. They’re a girl.” And Andrew Smith FLIPS HIS SHIT, does some op-ed about how his mother used to beat him so he can’t see girls as people, and makes his twitter private. The “Keep YA Kind” sycophants support him HARD.

And then this happens to pop up on a mysterious Twitter that just HAPPENS to start while HIS twitter’s offline...

NOTE: Jay Asher, author of 13 Reasons Why, was literally dropped from his publisher and SCWBI for being a sexual predator. So like, I don’t think he was bullied, I think his predation was being remarked upon. Like, idk, maybe that he was being called creepy or sth idk idk idk

And then when A.S. decided to unsockpuppet to promote his next book, The Alex Crow, which is about mutant crows and a bunker or whatever:

The “asshole” in specific that Andrew Smith was calling an asshole was delightful human being and fellow author Kate Messner, who, coincidentally, was one of the victims to come out against Lemony Snicket’s sexual harrassment, so she’s had a BULLSHIT time just trying to do her JOB of being an author while female.

Which leads to Tommy Wallach! All-around fucknut! Whose major interest seems to be being That Guy In Philosophy 101 Who Always Has To Be Devil’s Advocate, Even Though No One Asked, and has a deeply vested interest in making sure that teenage girl readers -- who are his target audience, because he chose to write YA, as an adult man who made a choice in what he wrote and chose to make it YA, and not, like, any of the hundreds of genres that AREN’T largely written about and for teenage girls, yk -- know that teenage girls are Dumb. Victoria Schwab actually wrote an essay for YA Books Central about the incessant problem that IS/WAS Tommy Wallach called “We Need To Talk About Tommy” back in -- you guessed it! -- 2016, but it’s offline now and I’m not going to go Wayback it rn.

I’m just going to copypasta YAinterrobang’s Wallach timeline because he’s exhausting, he reminds me of undergrad.

Wallach’s continual pattern of behavior is worth discussing, especially in the context of sexism in YA and the continual marginalization of “diverse” voices in the community despite the efforts of the We Need Diverse Books movement.

Wallach’s problematic behavior runs back over a year, starting with a defense of Andrew Smith where he ignores the opinions of author and advocate Tessa Gratton in favor of a dictionary definition of sexism. (Andrew Smith’s behavior and the fallout around his statements have, of course, already been documented on YA Interrobang in “The Curious Case of Andrew Smith, Twitter & sexism.”) Wallach postures that women are inherently “other” from men, accuses Gratton of “gin[ning]up the controversy” and explains that he is a feminist because he was “raised by a single working mother and she’s still my best friend in the world.”

[View Wallach’s defense of Smith and attack on Gratton as a .pdf.]

Fast forward to later that year. Author Justina Ireland takes to Twitter to discuss a book where she feels the black character is self-hating. Ireland, being black herself, is asked about the book in question; she says that it’s Wallach’s debut novel We All Looked Up. Though Wallach is not tagged, he swoops into the conversation and demands Ireland provide proof that his character Anita is self-hating before claiming that author Dhonielle Clayton, who is also black, is friends with him and “engaged” with him on the issues in the book.

Clayton later stated publicly that she had not done any sensitivity reading on We All Looked Up.

What brought Wallach’s behavior to the attention of the YA world as a whole came this past November in the wake of the horrifying terrorist attacks in Paris. When the hashtag #prayforparis went viral, Wallach responded with multiple social media posts and a blog post about how atheism was the only belief that could make the world a better place. (Though Wallach argues that it is not, in fact, a belief: “The fact that we have a word for it makes it seem like it’s equivalent to other belief systems, but it’s not. The absence of something is not equivalent to the thing itself.”)

[View Wallach’s comments on atheism as a .pdf.]

After Wallach Tweeted that he was a “a rabid atheist, and the world would be a better place if more folk were” – a Tweet he subsequently deleted before deleting his account in its entirety – he doubled down in a block post that outlined all the way religions failed and all the reasons atheism was awesome.

Those who tried to explain to him why this behavior was – to say the least – problematic found themselves quickly blocked or shut down; at once point, Wallach tried to explain anti-Semitism to Jewish author Hannah Moskowitz before claiming that “if [her]parents are atheists and [his]dad is Jewish, [he’s] as much Jewish as [her].”

(For those wondering, Wallach blocked me during this incident despite being friendly with me and having taken my advice previously; while he did believe me in regards to his behavior towards Justina Ireland, which you can see in Tweets above, my snarky comment to him about “the only good people are the people who are exactly like me” was, apparently, too much for him to take. As Wallach’s account has since been deleted and I purged my social media account in January, that interaction is no longer publicly available.)

Take this behavior in comparison to author LJ Silverman, who recently received a sea of anti-Semitic hate mail – including crude manipulated images of her in an oven – for Tweeting that she was worried about the upcoming election in the context of history. Wallach painted himself to be the victim, somebody “attacked” for insulting all of the religious folks in the YA community, while Silverman, who simply shared a worry plaguing her, became a victim of virulent trolls.

While Wallach deleted his social media accounts after this, there were no public consequences to his actions despite ill-will from the YA community at large. If another member of the YA community had spoken out – one of our Catholic or Islamic or Jewish or Mormon authors, for instance – the backlash would have been substantially worse, possibly career-ruining.

Wallach’s career, however, was not ruined; he recently landed a six-figure deal for a book trilogy centered around a “holy war.”

And thus, we return to Wallach’s dismissive comments on suicide – which, it turned out, were neither new or original. In a blog post deleted after it came to light during this discussion, Wallach rated “the top ten literary suicides (organized by emo-ness)” which included all of the characters of HBO’s Girls – “It’s really just a fantasy of mine.” – and, ranking at number one, Sylvia Plath – who is not a character but a real person who suffered from depression before taking her own life at a young age.

[View Wallach’s post on suicide as a .pdf.]

“I’m only going to talk about the fact that a successful YA author found it appropriate to glorify, romanticize, and mock what for many of his readers is among the highest causes of death,” wrote Schwab in her “We Need To Talk About Tommy” post. “That this author could be so very careless and flippant and insensitive about such a very serious issue is abhorrent. That two years after penning this post he still sees suicide as something to be made light of, to be used as a marketing tool.”

Simon & Schuster made no public comment about any of Wallach’s comments. His career, save for making enemies of some fellow authors, seems relatively unscathed by his callous actions.

Anyway, the moral of the story is, like, if you wanna read books by straight white dudes, go for it, but check them out from the library. Spend your book-buying money on books by women, nonbinary/other folks, and dudes who aren’t straight and/or white. Straight white men, PARTICULARLY in categories of literature that are largely targeted towards girls and women, and largely written by girls and women -- but published, edited, and marketed by other straight white men -- are lauded FAR above what they’re actually worth, as like, storytellers or human people go.

The Glass Escalator is a one-way trip to wonderland, but YA is a skyscraper that was built by women and I PROMISE you, whatever book by one of these dudes you’re considering reading, there’s a better version by a woman and/or person of color on the shelves nearby that just didn’t get 1/10th of the marketing money.

And of course there should be an effort to be kind on social media, but “keep YA kind”... to whom? To the people who were being silenced when they were pointing out legitimate problems with the behaviors of men in social power? (And one of whom, in the case of Jay Asher, was LITERALLY DANGEROUS BC HE IS A SEXUAL PREDATOR.) Like, really? There had to be a hashtag campaign to silence dozens of people with legitimate, not-bullying-just-pointing-out-problems-that-are-problems-with-stuff-you-did-dude problems, to make social media feel more comfortable for four middle-aged straight white men?

As though the outside world isn’t comfortable enough for middle-aged straight white men????

#asks #aheavenlyrush

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