#so much as it being unclear due to how many sex workers other than Angel Dust that Valentino actually “employs”

[prince-liest]

Hey Mr Prince, for a question about Val in your 666 series! He was very chill with Alastor interrupting him and Vox last time, but do you think he might get jealous of Alastor in the future, as Vox's obsession for him is only deepening now that they're spending more and more time together? He seems possessive and volatile enough for this... (mostly with Angel Dust who he sees as his property, but Vox also expects to be the "ungrateful whore" Val is angry at in ep2)

Hello! I've gotten some fic comments that are a similar question to this over the last couple of 666 fics, so I appreciate the opportunity to answer it on my blog, haha.

I'm going to be totally honest, as much as the radiostatic side of 666 is part of my aroace agenda, the staticmoth side of it is just as much my poly agenda and I don't (currently) have any intention of writing a jealousy plot of any sort from Valentino's side of things! This is for a few reasons:

I'm just not a huge fan of jealousy plots as a whole, and despite being Like That, this fic series is kind of a comfort series for me.

This isn't very clear from the lack of timestamps and whatnot (though this makes me inclined to be clearer about it in future fics), but radiostatic aren't actually spending very large swathes of time together. Alastor's "dealing with Vox" meter is too resource-poor for that, lmfao.

I think Valentino is a possessive fuck but the way that I write him, he wouldn't register what radiostatic are getting up to as worth getting legitimately jealous over, especially because:

Part of Vox's character progression in this series is actually transitioning from obsession to genuine affection, not increased obsession!

The natures of their respective relationships are really different. (As is the nature of Valentino's relationship with Angel Dust.)

Val and Vox already have their own relationship bullshit going on in the background at any given point in time. Someone should financially compensate Velvette for that. Oh, wait, that's probably what Love Potion is for.

[queermediastudies]

The Forbidden Fruit: Tangerine

Ashley Kim 

Released in 2015, Tangerine is the story of two friends, Sin-Dee (Kitana Kiki Rodriguez) and Alexandra (Mya Taylor) navigating their way through their lives as transgender women and sex workers. Despite her dominance throughout the film, Alexandra’s story becomes only a subplot in this film, very clearly chronicling Sin-Dee’s life and results of her erratic behavior. 

Tangerine opens with Sin-Dee and Alexandra having an animated conversation inside a doughnut shop called “Donut Time.” (The unassuming shop becomes increasingly important as the story develops.) The date is Christmas Eve day in 2014. Sin-Dee (Kitana Kiki Rodriguez) and Alexandra (Mya Taylor) are best friends, which is made obvious through this initial interaction. They frequently refer to each other as “girl,” and their body language suggests that they are comfortable around each other. In their conversation, Sin-Dee is vocal about wanting to reconnect with her boyfriend, Chester (James Ransone) after having spent 28-days in jail, away from him. This encounter with Alexandra is her first of many after being released from jail.

At the mention of Chester’s name, Alexandra assumes that Sin-Dee is going to break up with him, which explains Sin-Dee’s reasoning behind trying to reconnect with Chester at all. Sin-Dee shares that she wants to talk to Alexandra about Chester.

“I know what it is,” Alexandra says. “You’re breaking up with him! Thank God! Because honey, if he’s gonna be cheating on you like that…” Sin-Dee’s demeanor immediately shifts, displaying her insecurities. “You didn’t know?” Alexandra asks her. Sin-Dee immediately begins asking an endless stream of questions about what Alexandra knows. From this point on, Sin-Dee’s sole purpose in the film becomes finding the girl whose name starts with a D, and then finding Chester to confront him. 

Sin-Dee and Alexandra navigate their way through a small stretch of a Los Angeles street, visiting with people they know, asking them questions about Chester and his new girl. 

Alexandra and Sin-Dee go their separate ways as Sin-Dee becomes too dramatic for Alexandra’s liking. Alexandra leaves Sin-Dee to find Dinah on her own, and the film chronicles Sin-Dee’s journey in finding Dinah. Eventually, Sin-Dee comes across Dinah at a brothel. Sin-Dee drags Dinah out of the brothel and across what feels like half of Los Angeles, beating her up and around the city. This narrative is interwoven with Alexandra’s while she’s separated from Sin-Dee and her shenanigans. 

Alexandra’s story in the beginning heavily relies on her passing out flyers to a performance that she will be participating in later that night. She repeats to everyone she gives a flyer to, “7pm” at least three times, making them repeat the time back to her, as if this vocal repetition is an intangible reservation to her event on that night. Her performance there depicts a decidedly female transgender woman, and also reveals the ignorance among the public. Dinah comments that the performance was in “drag,” but Alexandra makes clear that it was not drag because she was performing as herself, as her own depiction of female identity. 

Arguably, what’s most problematic about the film is Sin-Dee’s obsession with a man and feeling like she needs to redeem herself after being cheated on. This suggests that women, even if they are transgender women, are defined by men, thus insinuating that there is no life outside of men at all, that even transgender lives cannot be separate from being identified by male identity. 

The film also comments on transmisogyny, perpetuating misogynistic behavior towards transgender women and women at all. The men that Sin-Dee and Alexandra encounter very clearly have a huge void and disregard for women, except in moments where they can please them. This is clear in the clip added below. Chester is seen repeatedly acting aggressive and violent toward Dinah, displaying a complete disregard for her and her body. 

Additionally, the entire film puts gender performativity in question and perpetuates the incorrect ideology of a gender binary. Sin-Dee, Alexandra, and their transgender friends that they encounter throughout the film are all very clearly attempting to perform what they perceive as feminine identity. They all wear high heels, makeup, and wear a wig usually with long hair. A mention of Alexandra’s boobs looking nice sparks a conversation about estrogen in the beginning of the film, suggesting that transgender womanhood is dependent upon becoming what society perceives as femininty in general. This is problematic in that it suggests that being a transgender person is about being completely opposite from being male or female, further perpetuating the gender binary. 

What Tangerine succeeds in but also fails at is representation.  Much of the cast is made up of LGBT characters, even extras that Sin-Dee runs into throughout the film. But, in her article, “TV is Getting More Progressive, But It’s Still Failing People of Color,” Ludmila Leiva argues that “characters of color who are also queer remain few and far between” (2017). Tangerine is an independent film, so it did not receive much media attention. So, due to it’s lack of popularity, it can be perceived and argued that mainstream tv and film lack diversity. Leiva’s statement rings true here, as Tangerine’s lack of popularity perpetuates the idea that queer characters are few and far between.

While Sin-Ree is on her quest of finding Chester after having found Dinah, another story is unfolding—the story of taxicab driver, Razmik. Razmik’s character is a nice break from the erratic behavior of both Sin-Dee and Alexandra. In the beginning of the film, it’s unclear what relationship Razmik has with Alexandra and/or Sin-Dee, or if there’s one at all. 

Although his story only falls secondary to the primary narrative of Sin-Dee, Razmik’s character is layered and complex. For the majority of the film, the camera follows Razmik in his daily life as a taxicab driver. Often victim to unruly strangers and racial microagressions, it’s clear that the comments made by his passengers (usually commenting on his well-spoken English) are nothing new to Razmik. He is unphased, and he is holding onto a secret. Razmik is a closeted gay man. Instead of paying Alexandra for sex, he pays to give her a blowjob. He sexualizes both Alexandra and Sin-Dee’s bodies. His closeted sexuality becomes central to his identity, as it contradicts his culture’s values. 

The film begins to end at Donut Time where the climax to each character’s story comes to fruition. Sin-Dee meets Chester there and brings Dinah and Alexandra along with her. Razmik pursues Sin-Dee after he has left a family dinner. 

The final scene shares an intimate moment in Sin-Dee and Alexandra’s friendship, one that is clearly not the first of many like it. It follows Alexandra as she chases Sin-Dee to apologize for being with Chester. Sin-Dee gets urine thrown at her on the block she typically conducts business on as a sex worker. Alexandra takes Sin-Dee to a laundromat to help her get washed up, but tells Sin-Dee she needs to throw her wig away. Sin-Dee, clearly uncomfortable without a wig, is defined by her hair in this situation, perpetuating the idea of gender performativity in the gender binary. It’s made clear that Sin-Dee’s comfortablity is more important to Alexandra than her own appearance, suggesting a special sisterly bond between the two characters. 

It can be argued that Tangerine is a break out text, defined by Andre Cavalcante as being a piece of media in which people a part of a marginalized group can identify with. Cavalcante defines a breakout text as “the first of its kind.” While not completely in the mainstream, Tangerine’s existence displays progression in the representation of queer lives in media. However, the film perpetuates certain ideologies and stereotypes of transgender and gay identity. Cavalcante argues “it is worth noting that even as breakout texts make departures from a regime of representation, they are not necessarily ideologically “pure,” politically progressive and ideal, or even liked by their viewers” (6). The film, although unique in its subject matter, does not separate itself from a stereotypical transgender identity. 

Tangerine is certainly far from boring. It captures an unprecedented honesty about a fragment of complex transgender identity and gives viewers an insight to an unconditional and beautiful friendship. Tangerine is a story about self-discovery through one’s self and through others. While the film fails to add depth to transgender identity, it inspires the forbidden parts of us to shine through—no matter how much we don’t want them to. 

Works Cited 

Baker, Sean, director. Tangerine. Magnolia Pictures, 2015.

Leiva, Ludmila. “TV Is Getting More Progressive, But It's Still Failing Queer People Of Color.” Bustle, Bustle, 11 Sept. 2017, www.bustle.com/p/tv-is-getting-more-progressive-but-its-still-failing-queer-people-of-color-64520.

Cavalcante , Andre. Breaking Into Transgender Life: TransgenderAudiences’ Experiences With “First of ItsKind” Visibility in Popular Media.

[drilovskyclan]

SITS MC Bios And Faces

Aria Nunikiya

Faceclaim: Sora Amamiya

Literal angel okay

Like she never has a mean word to say about anyone

Thinks REVANCE are pains in the butt but loves them anyway

Originally from a tiny little village just outside Osaka

Grandparents raised her

Dad ran away from home when he was 17

Mom was a drug addicted prostitute (big time differant than a sex worker though) in Osaka

 Was left at the hospital after she was born

Homeschooled till she was 16 then forced to go to a boarding school in Tokyo

Biggest virgin to ever virgin

Addicted to showtunes

Can hold a note for almost a minute as long as it’s not too high

Deep voice when singing

Like Christina Aguilera deep

Met the Ena’s several times while growing up

Always has headphones on, like Taka

Sae Akimatra

Faceclaim: Deborah Ann Woll

The Dancer 

Has been dancing ballet since before she could walk

Third child of the wealthy Akimatra family

Older sisters Sari and Seiso

Younger brother (practically twins, only a month apart) Prestley

Younger sisters Seaka and Shae

All the siblings are half siblings

Father is the ultimate man-whore

Stepmom is evil

“Sometimes I forget my middle name, then I remember I don’t have one.”

Schizophrenia

Dated Ritsuto for 3.5 seconds to help their careers then decided that was stupid and stopped

As intelligent as a brick wall but also as tough as one

Is barely 5′ 2′’ but will fight you 

Mother is a Polish choreographer

Says Ritsuto “sold me to REVANCE like a damn dancing slave” even though she agrees to help them

The Boss in the dance studio

If Iori and her are in a room alone for more than 2 minutes they’ll either kill each other or kiss each other 

Voice is like Jordan Sparks

Manihu “Mani” Okiyaki

Faceclaim: Malia Bautista

Half Hawaiian Half Japanese

Grew up in Hawaii

Mom died when she was 5 from complications from diabetes

Ran away to Japan when she was 19

Wanted to be a screenwriter soooo bad

Over-protective father

Hates the name Manihu

Father says Mani sounds like he has a son

Never even touched a video game before she dated Kota

Didn’t know she could sing till she met REVANCE

Good at making friends

Had bulimia and anorexia in highschool

Hasn’t been in America since she left when she was 19

Hasn’t been to Hawaii since she left when she was 19

Is 26 in season 1

Always has a notebook on her and an iPod

Doesn’t understand how the “Mani looks like Mayu” argument works but would rather have Kota hugging her than Mayu

Thinks Mayu is creepy tbh

Queen of the emoji :P

Voice is like Taylor Swift

Winoki Romituna

Faceclaim: Emily Browning

Our sweet little broadway starlett

Long notes can give Aria a run for her money

A quarter French and three-quarters Japanese

Last name is pronounced Rome-eee-toon-ay

It’s French not really

Father is an abusive asshole

Like that son of a bitch is disgusting

Ran away as soon as she turned 18

Adores Barbara Streisand

Nose is slightly crooked from being broken so often

Just don’t piss her off

Bunny grows poisonous spikes if she’s mad lol

Voice is like Ellie Goulding

Aiko Natuka

Faceclaim: Satomi Ishihara

Absolutely gorgeous 

Sweetest thing in the world but still makes other girls jealous

Model

Besties with Akina 

Father is a member of diet and mother is the daughter of a retiered member of diet

Rich girl

Identical twin sister named Midori

Aiko is older

Younger brother named Rikito

Acts completely oblivious to the guys that watch her constantly

Actually completely aware of their presence

Went to New York for college

Grew up between Japan and Germany

Dated a creep in college who had a Asian fetish

Dumped his ass immediately

DON’T SCREW WITH AIKO

Amazing singer but hates singing around REVANCE

Voice sounds like Jamie Lynn Spears

Chia Nao-Fujisawa

Faceclaim: Chiaki Kuriyama

Lyricist of the year award

Kai’s little sister (yes yes I know)

Adopted

Grew up with Aiko in Germany

Went to college with Aiko in New York

Has Lupis

Likes dark clothing and highlights in her hair

If you see them walking down the street together, her and Ryo are complete opposites

Feels inferior to Aiko

Always has a notebook 

Brainstorms with Mani and Ryo all the time

Gets on really well with Takashi

Voice sounds like Kely Clarkson

Seaka Akimatra

Faceclaim: Rina Aizawa

Full Japanese, like her oldest sister Sari

Learned about clothing from her sister Seiso

Expected to be the innocent one

She kinda is but doesn’t really act like it

Smartest kid in the family, besides Sari

Constantly jealous of Sae and Seiso

Ignores the fact that Ritsy and Sae dated

Calls Sae and Shae “whity” when mad at them

Calls Prestley “Chinatown” when mad at him

Calls Seiso “Korea” when mad at her

Calls Sari “The Original” when mad at her due to the fact that they look so much alike

Tells people she isn’t related to Shae and Sae

Now owns up to being related to Sae not Shae

Sounds like Hilary Duff

Seiso Akimatra

Faceclaim: Jung So Min

Half Korean half Japanese

The responsible sister

Secretly bullies Prestley

Argues with Shae on a daily basis

Only child her stepmom can sorta stand

Slept with  girl once while drunk in college

Very unclear about being bi or not

Went goth for a month when she was 14

Had a pregnancy scare at 15

Swore off boys till she was 28

Voice sounds like Katy Perry