#so really i'm more cisgender than any of you motherfuckers

[houseoflunares]

"too blatantly on the nose" i'm not the one who named themself ebony dark'ness dementia raven way

which cis member of the court has the most trans swag

Am I allowed to say the Lunares sisters, or is Mona going to suicide-bait me/imply I'm gratuitously simpering again?

If I am required to provide evidence of my claim: I would say that "being a dark abomination against the stars' divine plan" is rather trans coded. To the point wherein that if this sort of thing were to be found in a work of fiction, I'd almost consider it too blatantly on the nose. But it is swag. Secondarily, effortlessly embodying the princely virtues as a woman is, how shall we say, "gnc as fuck." Obviously, in case any church spies are listening, I wouldn't dare imply any member of the royal court would ever deviate from their stars-assigned sex. Besides Helios, of course, but we all know him.

[bookwormbynight]

Do you think either L or Light being a woman would change the story in anyway?

It definitely would. 100%.

Let's see... Taking away the context of the people writing the story, (Ohba and Obata very obviously fucking HATED women and did not try to hide it 😭) and attacking this only from an in-world perspective...

Let's start with L. What I've always taken is that he doesn't have a particular attachment to the idea of gender, gender roles, gender expression, etc - he doesn't pay any particular attention to his appearance and I'm fairly certain his neutral clothing is the way it is simply because he finds that the easiest and most comfortable. However, I think he's perfectly comfortable with being perceived as a man because he is cisgender, just kind of detached from it. (I would take an argument from others about apathetic nonbinary L tho.) This would probably translate if he'd been born female. I don't think, at her core, she would act any different at all, but she would likely be more aware of her sex thanks to the fact that everyone else would pay more attention to it. The fact that L was male automatically removed barriers that female L would have to face. It would probably take longer to get Watari to listen to her than it did in canon, she would probably allow people to assume she was the wrong gender and not correct them for ease's sake when she contacted people as L through the voice filter, and when she met the Task Force face-to-face, she might spend a hot second fielding weird awkward bullshit, because the Task Force knew and trusted her before, and this doesn't really change who she is, but it would definitely shift their perception at least a little and that dissonance likely wouldn't be handled tactfully. If she acts the exact same as canon L, though, which I imagine she would, whatever 'fears' would be generally dissuaded fairly quickly and she would have their respect due to the relationship they had already built, just like what happened when they saw canon L's appearance, although the Task Force would likely end up assuming she's a lesbian even though she isn't. (This would also probably mean that she's equally as subject to accusations of perversion as canon L.)

Light would be. SO FUCKING AWARE OF HER GENDER. Canon Light is 100% a very cisgender gay man with a good heap of lightly gay-flavored perfectly in-line gender expression, publicly adhering to gender roles as best he perceives them, and a disdain for the opposite gender. Female Light would have a double whammy of suspicion and dislike of the opposite gender (now men), and also internalized misogyny. How nice <3. She would likely go out of her way to be much more publicly sweet and demure, downplay her confidence much more than canon Light bothers to (so as to not be seen as a bitch), and have a good heaping of bitterness about her 'societal restraints' (that she's consenting to be stuck in because she'd be one of those 'play nice and eventually they'll respect you' motherfuckers). She'd probably honestly go for playing Kira even quicker than canon Light does, simply because her future prospects are not as bright as her male counterpart's and she would be very frustrated about that and this would be an outlet, and while canon Light was NOT afraid to murder a rapist on sight, female Light might end up even seeking them out when looking for 'the worst of the worst' (I doubt canon Light did), because she would now be a part of the population that lives under that fear, and those actions might skew her statistics. I think the face-to-face introduction of L into her life would fucking rock her world.

Moving to the topic of sexualities and romantic subtext, I think Light would be a gender-conforming femme closeted lesbian (I like to think she would have a particular weird thing about boobs and that would be the only thing that sticks out about her to her friends, because aversion to sex with men is not considered particularly notable in women in this patriarchal society - which fucking baffles me but whatever). If Misa's still a girl, I can't decide if she would decide that she's in love with this Light, or rationalize her devotion as more of a platonic thing, but since she would be part of the gender Light trusts and relates to more, even though she hates how vapid Misa appears (internalized misogyny + superiority complex!), their relationship might end developing to more closely resemble canon Light's relationship to Mikami. If Misa's a guy, their relationship would stay the exact same, just with the assumed gender roles swapped, and the imminent threat of Misa getting down on one knee and proposing to Light out of the blue at any time (and also maybe being more overtly sexually aggressive because society would have let him feel entitled to that). I personally think canon L is bisexual and as such female L's sexual bullshit would not have changed in the slightest.

The way Light is treated by the Task Force might start derailing the story when they begin to intertwine. Also I would not at all be surprised if male!Misa tries to babytrap Light by poking holes in the condoms and switching out her pills because he thinks she, a female with biological urges, will grow to appreciate what he did. (She will not.)

[watching-pictures-move]

Put On Your Raincoats #20 | Squalid Motels and Desperate Gals, courtesy of Kim Christy

This review contains mild spoilers.

When I first heard of Kim Christy, I knew I had to delve into her work. Here is someone who was involved in the drag scene in the '60s and went on to direct and produce pornography from the '80s onward. She's also a trans woman director (and occasional actress), which is not just unusual in golden age pornography but even mainstream cinema today. Unfortunately, figuring out where to start was a challenge. There's a very good interview with her on the Advocate but which doesn't really delve into her directing work. So I did the highly risky and ill-advised move of scanning through the titles in her filmography and trying to pick out ones with interesting sounding premises. Even this was a challenge, as a lot of her movies sounded like they didn't have a terrible amount of story. (A good many of them also had certain slurs in the title, which are unfortunately common in trans pornography.) So out of the crapshoot of movies I picked, I can't say I really got to the bottom of what makes her work interesting or even gelled to most of them, but hopefully I can convey what makes the ones I did take to interesting.

To start with the most slight, the two Divine Atrocities movies are basically a collection of sex scenes. There's a theme of dominant women running through them, but otherwise there isn't much tying together in terms of staging, aesthetics and the like. The segments have titles like "The Leather Lass Tamer", "Rubber Rampage" and "Ms. Degradation", but truth be told, nothing here is terribly shocking. So there isn't a lot to either of these movies, but if you're watching it for those reasons, they're enjoyable enough. A few of the segments feature trans performers, and I did find that Sulka had a nicely imposing screen presence in her scene, and while Sugar Nicole briefly threatens her partner with her "big black cock", I did like that for the most part the movies don't discern between these scenes and the ones with cisgender performers. In the eyes of Kim Christy, there's room for everyone in this great sexual melange. Also notable is the threesome scene with Janey Robbins, who (after likely reading Dan Savage's column) tells one of her partners, "If you don't find a different way to fuck me, you can forget it, I'll have to find somebody else", and in the first time in the history of civilization, gets mad at her male partner for not climaxing quickly enough. "You always say it'll only take a few minutes. Time is the only thing I can't replace, and it always takes too long."

A bit more substantive narratively but less interesting is Momma's Boy, with a premise that you can guess based on the title. Tantala Ray presides over a brothel set during an indeterminate period, where she presides over her girls and also her son, who mysteriously became a deaf-mute at a certain point of time. Why did her son become a deaf-mute? Will we ever find out? Spoiler: it's incest. Tantala Ray does have a weird enough screen presence to make her parts watchable, but this has none of the charge that, say, Taboo brings to the same material. (It's worth noting that Ray in this movie, looking like a debauched queen of Mardi Gras in one scene, is a camp villain while Kay Parker plays her role straight in the other movie.) As it's shot on video, the movie is not very nice to look at, and the dirt cheap production values make it unclear whether this is supposed to be a period piece. Some of the dialogue is amusing ("Oxford?" "Guess again." "Princeton?" "Try Biloxi Tech, my sweetie."), and there is some old timey music and one of the clients wears an ascot at one point, so it's not a totally squalid affair. (It's classy, see? He's wearing an ascot.) As the son, Jerry Butler does a cringe-inducing lisp, but I did chuckle at his last line.

A bit easier to recommend is True Crimes of Passion, where Janey Robbins plays a private detective (cheekily named B.J. Fondel) who invariably bungles her investigations and winds up in sex scenes with the people she's supposed to be investigating. "Out of the fog and into the smog" begins the overwrought voiceover, which truth be told doesn't compare to the likes of Chandler but I guess the effort is nice. The first case involves her investigating the wife of a minister whom her client suspects of infidelity. Surprise, surprise, it turns out the wife has a girlfriend with whom she has dominant sex. Thanks to Robbins' investigative prowess, she gets found out and forced to join the proceedings and ends up getting her client, a Dan Quayle looking motherfucker in a cowboy hat, captured as well, which leads to an incredible burn.

"The lord will punish you for this."

"The lord already has, he gave me you for a husband."

Also, when Robbins is forced into cunnilingus, she says over narration, "Oh Christ, I'm not even sure I've seen one of these things up close", and yeah, okay, Janey.

The second scene is probably the most notable as it features Christy as a performer. Robbins visits her friend to investigate a death threat against her friend's brother (also Robbins' ex), and the twist can be deduced when you start wondering why a seemingly minor character gets an unusually large amount of screentime. The scene features a trope that likely isn't terribly sensitive by modern standards, but I get the sense from that Advocate interview that Christy isn't too hung up about such things and one must concede that the film is a product of its time and genre (and within that context, there's a lot worse out there). The last scene has Robbins spying on her neighbour in hotel to get some industry secrets, which leads to some really awkward dialogue about champagne and then a threesome involving her client and mark. Like the work of Yasojiru Ozu, this scene breaks the 180-rule, but I guess if this is your thing, you might enjoy it. At the very end, the mark just gives up his secrets to the client. The secrets of male bonding sometimes elude me.

Easily the most accomplished and enjoyable film from Christy that I watched was Squalor Motel. It combines the sexual variety of the other films with a sense of camp and grounds it in a distinct, memorable location. There isn't much more "plot" than the other movies, as it's basically about a motel concierge doing her job over the course of a day, but as it follows her bumping into a variety of (usually horny) guests and finding herself in amusing (and unfailingly sexual) situations, there's enough of a narrative through line that it feels like a "real" movie where the other movies strained for similar effect, and the movie uses a soundtrack of icy synths and jazz that sounds like imitation Angelo Badalamenti to give it all an alluring vibe. I'm gonna make a wager that David Lynch would have liked this movie. Look, I have no idea what his viewing habits are or what sends his motor running, and the thought of him jacking it furiously to this or any movie is not something that brings me pleasure. But this shares some of the campy tone and surface qualities of his works, and I also wanted to leave you all with that image.

Why does the motel have its own house band (to whom people try to listen to while they engage in all kinds of sexual congress)? Why is Jamie Gillis made up like a vampire and trying to sell marital aids? Why does the one guest's blow-up doll turn into a real person (and prove, uh, extremely vocal during their scene)? Why is the owner wearing a pig mask and a tutu while he spies on his guests? Why is everyone laughing at the newlywed? Why is the one scientist with a Hitler mustache and his shrill-voiced assistant conducting experiments (read: having a threesome) with Tantala Ray? And how are most of these things taking place in the mysterious Reptile Room in the middle of the motel? With an extremely winning Colleen Brennan in the lead role (sporting a pair of thick glasses, a Lucille Ball updo, and a big, toothy smile), we'll have a pretty good time finding out. Like a lot of hardcore movies, this is pretty episodic in structure, but its distinct atmosphere gives it a nice sense of momentum as it drifts from scene to scene.

With its nice production design (and the fact that it seems to have actual sets, rather than being shot in what I assume are people's homes like in the other movies), Squalor Motel feels a bit more upscale and lavish than the average porno. While I don't have any budgetary information handy, I do know that the production had an assistant director, Ned Morehead. To what extent he contributed to the movie's DNA I can't say for certain, but the directorial effort of his I watched, also produced by Christy, had many of the same qualities. Desperate Women starts off feeling pretty stylish with its spraypaint style opening credits (although it loses a bit of style when it misspells star Taija Rae's name as "Taja Rea"). Taija Rae plays a reporter who ends up wrongfully convicted for a murder and thrown in brutal women's prison presided over by the sadistic Tantala Ray, who seems to get her jollies from spying on her prisoners as they get it on or abusing them with the help of her dimwitted guard. During such incidents, the guard frequently ends up ejaculating on her uniform as a source of comic relief. (One such scene ends with a shot of a photo of Ronald Reagan.) I must however disclose, without revealing too much about the shameful inner workings of my hopelessly degenerate mind, that the denouement of scene involving Ray, her guard and Sharon Mitchell did not leave me unmoved. Mitchell plays a prisoner who befriends Taija Rae, and it's worth noting that despite being one of the best actresses in classic porn, she's saddled here with an atrocious Hispanic accent and at one point sings a bit of "America" from West Side Story.

By porn standards, this is actually quite well produced and has a relatively sturdy narrative. (I must however note that one scene has a blatant ejaculation-related continuity error.) Women in prison movies tend to be pretty squalid affairs in general, at least in terms of production values, so this doesn't feel too far off from the real thing and offers more explicit versions of the same pleasures, while its sense of humour gives it a nice campy quality. Tantala Ray especially delivers in a pleasingly over the top performance as the teeth-gnashing villain (the camera often frames her severe face in wide angle close ups), and say what you will about Sharon Mitchell's accent, I did like seeing her pop up in here. With all the flamboyance and excitement around her, Taija Rae almost becomes a supporting character in her own movie, although I must confess that I found her character's hopeless naivety pretty cute. ("I didn't wear rubbers, it's sunny out".) With a fun cast, a firm handle on the genre's pleasures and a groovy soundtrack, this is a pretty good time.

[letmetellyouaboutmyfeels]

I am sick as shit and my doctor said I'm hyponatremic so I'm reaching far here and asking for some salt. 🔥😏

I mean I would have to do this for that amazing pun alone, obviously. ;)

Unpopular opinion time (again)! I feel like after last time I need to put up a damn official disclaimer or something. Anyway.

I really don’t give two shits about the live action Disney remakes.

2015′s Cinderella is the only one I really enjoyed. Beauty and the Beast made me nearly walk out of the theatre (and I would have, but I was seeing it with my sisters and they were enjoying it) because shockingly enough, spending two hours watching the gay man be over the top stereotypical and the butt of every joke is not my idea of a good time. I nearly cried hearing everyone laughing at Le Fou. And a bunch of the stuff they did in the film made zero sense, from a writing/storytelling perspective, oh and also getting hit over the head with fake woke feminism is also not my idea of a good time.

(Lindsay Ellis actually has a really good video essay about “Woke Disney” where she essentially says everything I’ve been thinking.)

Dumbo? Don’t give a shit. Jungle Book? Oh would you look at the garden where I grow my fucks--oh dear, it’s barren. The Lion King? Actual real-life lions emote more than those animated pseudo-realistic nightmares. Mulan? I was actually excited for this until I learned that while they were having fun remaking every single Disney movie shot for shot, they decided that this one, THIS ONE SINGLE MOVIE, they were going to completely change the plot (and make it a ludicrous one with a witch which doesn’t even fit in the original Fa Mulan legend so don’t @ me saying it’s going to be more historically accurate, it’s not) and huh interesting how there are a lot fewer Chinese/Asian people working behind the scenes of this live-action adaptation than there were on the animated version and frankly, the fact that the love interest will “see Mulan as a rival until he learns she’s a girl and only then he’ll be attracted to her” screams bullshit misogyny at me because clearly men aren’t allowed to respect each other and must always see each other as ‘rivals’ and women are only allowed to be ‘love interests’ fuck that cisgender heteronormative steaming pile of shit.

Aladdin? Meh. I mean, it’s a real pity Bollywood that there were no directors from the Middle East Bollywood or other cultures featured in the film Bollywood who could’ve directed it Bollywood so I guess they HAD to go with the BOLLYWOOD white-as-fuck Guy Ritchie MOTHERFUCKING BOLLYWOOD EXISTS. And like. I loved the idea of Jasmine wanting to be sultan and becoming sultan at the end but it was so very “man yelling about how feminist he is see see guys look we’re feminist!” in its delivery and how it was handled, and her song “Speechless” was a great song but the way it was delivered in the film (her singing while guards just... disappear? but wait it’s all in her head? no wait the others are just standing there letting her sing? her singing literally does nothing? what kind of cheesy random bullshit...) and I literally was cringing.

I just do. Not. Give. a single fuck. about these remakes. They’re this weird combination of shot-for-shot remake and a remake with all this “woke” bullshit shoved into it like Disney’s making some desperate attempt to prove that they’re relevant and they ‘understand’.

Yeah. I don’t like to talk about it a ton because I hate to rain on people’s parades. I’m glad that people are enjoying them, especially Aladdin because God knows we need more stories with people of color and non-Europe, non-USA centered stories. But they just either piss me off or annoy me. I don’t plan on seeing any more of them as they come out.

Sorry not sorry.