#something something the power of representation and how different people feel represented by different things

[hadesoftheladies]

This might be one of the most important posts I've ever made. (Please Read)

@bakerstreetdocter per this post where i responded to the sports poll i made

on the poll for why folks in radblr didn't watch women's sports, the overwhelming majority of you said it was because you just weren't interested. i needed to make a whole post to respond to this because let me tell y'all something:

WOMEN'S SPORTS IS A HUGELY IMPORTANT INSTITUTION FOR ADVANCING WOMEN'S RIGHTS AND DISMANTLING PATRIARCHY

Let me tell you why.

#1. Sports and Male Hegemony

Do you know what keeps patriarchy so strong? Male camaraderie. The reason rapists and paedophiles don't go to jail, the reason men are paid more, the reason patriarchy even fucking exists is because men invest primarily in men. Sports doesn't just reflect this, it PERPETUATES it more efficiently than most other institutions (like it's right up there with religion and porn). I'm not kidding. Male sports is where men go to bond over everything. They bond over beating up their wives (I've seen it in real time), they gather to celebrate male strength and achievement, and elevate male dominance. The reason sports is so important to the patriarchy is not just because it perpetuates, centralizes and publicizes male excellence, but because it nurtures male camaraderie. It gives them space to be openly "manly," because it is really a festival for male dominance in every way.

Not only that, but it RADICALIZES boys and men in male supremacist ideology. If male peerage is where boys and men slowly corrupt each other with misogyny, men's sports is where that sort of thing is concentrated to the MAX. I'm talking MASSES of men and boys. Uncles and fathers taking their sons to bond over men they believe represent them and their perceived superiority. This has also had consequences for women and girls. Domestic violence rates shoot up during different (men's) sports seasons. The demeaning and brutalization of women is common in these environments.

If you think porn is a huge industry that radicalizes boys and men into becoming rancid misogynists, sports is the next big thing you should worry about, because however effective porn is for dehumanizing women, men's sports is the one most effective for popularizing male dominance and supremacy on a global and generational scale. Forget music and movies, THIS is something feminists should be fucking worried about.

(Read more of this article here.)

#2. Women's Representation, Power & Social Influence

Compared to the crumbs of proper representation we have for women in music, movies and mainstream literature, women's sports centres and normalizes every kind of woman you can think of. Big women, small women, muscular women, single women, masculine women, feminine women, women with wives and husbands, mothers, tall women, unattractive women, cocky women, etc . . .

I have never encountered a visual franchise that humanizes women more than women's televised sports. Never. Not in movies, not on the internet, not in shows. The raw humanity and personhood of women is given centre stage in every angle. We see women sweat, we see women bleed, we see women bump each other in the chest, we see them fight and scrap, flaunt, beg, roar . . .

This humanization has affected not only women who finally feel represented by other women to the world, but even men. Many men and boys who watch sports have far more positive outlooks on women than their counterparts. They are forced to appreciate the skills, strength, intelligence, and personhood of women.

In sports psychology, there's the topic of how people tend to form identities around the athletes or teams they admire. They perceive themselves as an extension of those teams/athletes. This is a very powerful social phenomena, because it strengthens intra-community investment by giving the individual a personal stake and sense of belonging.

It is powerful when men view male athletes and men's teams as an extension of themselves. When mothers take their children to these games and kids identify with the male athletes on the pitch. It is very effective in re-enforcing male-as-default for everyone.

But it is also powerful when this happens for women. When men, women, children begin seeing female athletes and teams as extensions of themselves, it strengthens the perception of kinship with women of all kinds. It humanizes women in an intimate way. Where it's no longer about the "women's team" but about "US." When men and little boys identify with female athletes, point and say "US" instead of "THEM" it lays crucial ground for male allyship.

This is partly why many women's leagues across multiple sports got banned historically. It was because they completely overhauled the idea of women as other and that was a threat to the status quo, because if men started identifying themselves with women, started seeing women's victories as theirs, started seeing women as their heroes, it made male dominance unnecessary and obsolete. It made women heroes for men, women, boys and girls to believe in. It made them leaders and icons. Champions. It destroyed all the lies patriarchy lived off of.

#3. Female Centricity, Community and Consciousness-Raising

I've talked about what this does for men, but I want to zero in on what this does for women.

Right now, in society, men have multiple institutions and industries to boost their camaraderie and male supremacy, whether that be sports, religion, gaming or pornography.

Now, can one of you name a single institution or industry that brings women together to bond over womanhood? Can you name a bonding ritual for women that doesn't include femininity? Most of you will probably only have entities like certain female musicians (taylor swift, blackpink, etc) rather than industries. Currently, the biggest industry that women bond over (and even then, it's not really a social event) is make-up. We're mostly broken up into different fandoms, or maybe we find each other studying certain women-dominated degrees. In most other cases, we're with each other doing something domestic (baby showers, cooking/planning during family get-togethers, etc). (though based on trends, university campuses may soon become women-dominated spaces in totality XD). The domestic sphere is perhaps where most of the consciousness raising has occurred historically.

Unfortunately, the biggest contributor to women's consciousness raising with the most global reach is our shared trauma. That is the one thing that unilaterally unifies women and girls everywhere, and even then, not totally.

While our shared suffering has been a great tool in radicalizing us for change (though it's already an L that we're suffering in the first place), it isn't something that actually empowers the community of women. Radicalization does not equal empowerment. And women need hope and joy to have strength to fight. They need to identify with each other, not simply with each other's suffering. If anything, women are in desperate need of an industry/institution that isn't crippling them with enforced femininity and isn't centred on their misery, but rather, celebrates their womanhood and the joys of being a woman. Centres womanhood. Something that gives them space to celebrate themselves.

The things that do that are the ones fiercely under attack, e.g. women's sports, lesbian festivals, etc. You need to have a hard think at why that is to realize how vitally important things like this are. The difference between something like women's sports and lesbian festivals that gives women's sports an advantage in being the most socially influential, is that women's sports encourages the participation of everyone and posits itself as relevant to all people within the geographic location it is a part of. So it gets more eyes and has more sway.

I have been brought to tears seeing crowds of thousands scream to a deafening degree over a young woman scoring a goal. I'm talking men, women, children losing their fucking minds. Chanting a woman's name from the stands. Rushing to take pictures with her. Cheering for her to break another record. Women need to know there are alternatives to being hated by men. You guys need to know what it feels like to see entire cities show up and show out for women. Where women are glorified, practically worshipped, not for being sexually attractive, not for being the epitome of beauty, but for being skilled, for being amazing women. You need to see women horsing around, unrestrained and free to talk shit. You need to see them acting goofy, without makeup. You need to see them surrounded by love and support no matter who they are. You need to see them having the time of their lives with each other. Real women, doing real things. You need to know what it's like to see a woman do incredible physical feats. You need to see how powerful the female body is. You need to see this day in and day out. You need to know it like you know your name.

Because that's what men have every day. And when I tasted it, I couldn't get enough.

The next generation of girls and women need this so fucking bad. Now more than ever.

#4. The Destruction of Gender

(Portia Woodman-Wickliffe, rugby player for New Zealand)

Which leads me to my next and pretty much final point as to the necessity of women's support of women's sports. Whether or not you're willing to admit it, most of you aren't interested in women's sports because of your gendered socialization.

This could be subconscious resistance (e.g. you're so used to it being mocked you can't fathom getting into it), or it could be simply because of your upbringing and current social environment. I've noticed, that most people engage with sports based on a pre-existing culture concerning sports. Most sons are introduced to men's sports by their fathers, and, as established earlier, it becomes a bonding ritual. Many of us didn't have those experiences as girls, so we never saw the value.

But I think this is also a part of enforced femininity. Right now, some parents don't want their girls watching women's sports because of how unfeminine the women are (and this usually goes hand in hand with homophobia, since a fair share of athletes are lesbian/bi). We're taught to be ladylike. To be demure. Female athletes can rarely afford to be. Even if they wear lashes to the court XD. They have to body their way through. They have to work and scrap and fight for their victories.

It's even more sad to me, since I'm now a very active watcher of women's sports (which I decided to get into on a whim one night, no lie, like I didn't feel like it I just decided to Google random stuff and look at highlights and then I got invested) how crippling that feminine socialization has been to me. How much I've missed. Not only has watching women's sports increased my own pride and confidence in my body, given me a space to experience joy in being a woman (outside of femininity), but it has also made me feel far more connected to women in a predominantly positive way (rather than trauma-bonding). It has humanized women for me, too. Even as a feminist. It's really kicked the shit out of what internalized misogyny I had left.

This is the primary reason women's sports has been so vilified, as I have pointed out in my other post on this topic: it is the loudest anti-gender campaign in society. It destroys patriarchal myths about womanhood and makes femininity and masculinity obsolete. This is why its still resisted today, and this is why it's integral to the feminist fight. Not only does it empower the fight for women's liberation, but it also bolsters movements for things like LGB rights, another movement that seeks to demolish the institution of gender in society.

Conclusion: This Is Urgent

While women's sports is on the up-and-up, female athletes NEED predominantly female audiences to ensure the integrity of their leagues and to minimize exploitation. If men remain the predominant stakeholders in women's sports, they get to demean, belittle, objectify, starve, sabotage and command the female athletes. They get to use women's sports to perpetuate misogyny and the dehumanization of women. At a time where women's liberation is gaining global traction and is heading to a potential climax with patriarchal society, this is something that is vital to our fight. I'm dead fucking serious. It stands to be one of our best assets in the global fight to humanize women. It is one of the best anti-patriarchal propaganda machines we have. We must protect it via our support both financially and with our time. We cannot let men take control of one of the biggest weapons we have. Girls need this. Boys need this. Society needs this.

WE need this.

[p0wderedmarbl3s]

TW: CSA/RAPE TALK

A (positive) mini rant about SA metaphors in TOH:

I hate how quick people are to dismiss any SA headcanon involving Belos as "too evil". It's so nasty and disrespectful to victims of any origin, as well as the victims of the people Belos is based off of and represents clear as day.

Rape is a form of control, of power because you are stripping the victim of their humanity in the most violating way you can.

Remind me again what Belos's entire deal is?

I feel like the possessions is such a crystal clear metaphor for rape in the most blatant way possible, from the way it's start varied between Hunter and Raine, the states they were in during it, to the scars it left on them afterwards.

It's so beyond important that it was presented the way it was too in a Childrens Show, through body horror. Because that's what it is. It's BODY HORROR. It's VIOLENCE. It completely destroys you on the inside and outside.

Especially the way it was presented in Hunter, a child, a person still developing in a body so fragile because of it. It's a perfect visual representation of what CSA to that degree can be like, beyond just being touched at. There are different levels to it, and it's so beyond important to depict these different types in a way that let's kids know they aren't alone, that these feelings afterwards that they can't put words to are in fact, REAL.

Remember, Belos literally ATE HIM from the inside out. He was inside him in the most literal way you can be.

He went in and out of "episodes" of paranoia because of him, because of his ongoing abuse since he was born. This is presented THROUGH the method of possession, it's slow, it's patient, but it's still so extremely violent and body AND mind altering, taking into account how violently his mentality and demeanor switched afterwards, to the point he barely said a thing in the following episodes.

Not to mention usually covering some part of his body with his arms, subconsciously or otherwise.

And Raine.. oh. They make me so sad. Raine is the other most explicit form of CSA victim in the show, starting with Terra when they were a kid. The fact that the scars left behind after being assaulted again so violently in adulthood, by the white man who colonized their people, were tear streaks, makes my heart ache.

Not to mention they were essentially "unconscious" (semi, at least) when Belos first possessed them. And then Belos kept aiming for their mouth over and over again. Even when they fight back, when they verbally scream at him to get out, to leave them alone. It doesn't physicially alter them in the same way it does Hunter, a child, but the end results do not lessen what happened.

Their body was simply done growing by that point. They were not a child when such a violent form of this type of assault happened.

But it happened.

The show is so violent and vile about the nature of it all, it doesn't hide a thing.

But it's all done so well.

It's the horror that it is.

And yet, these things are either demonized in the completely wrong way, or sexualized because the sexual violence towards brown people is so deeply fetishized in every white culture. You as a white victim, do not get to exploit our trauma because of your own in this case.

Because they do not stem from the same place.

It's not like the implications with Belos aren't a pattern either, even way back when he was Philip. It's not something I can put into words, but the way he talks at Luz.. when you've been around those men long enough, you can sense it.

It's not "attraction." It's exploitation.

It's power. It's control.

It's why I don't like drawing anything with him and Luz much.

Not to mention, this pattern is attempted again with the Collector in their sleep, before he resorts to mentally manipulating them instead. Even then, he is actively using another victim to do so.

It is never subtle.

It is never the same with any two characters.

And that's what I love about it.

It's so incredibly important to show these sorts of things in children's shows in the ways they can understand, in ways they can relate to and identify with.

These things are already so confusing and isolating on their own, and the way the writers handled it all is so beautifully well done and respectful. It all fits, it's all well constructed, it's all done with genuine care.

[miwiheroes]

Arguments I think we should stop using for Byler and why:

Let me know if you have any thoughts about these! This post isn't made to give anyone byler doubt btw omg, my intention is to actually cure it, because I feel like some of these arguments are made as an overcompensation as a result of doubt so-

"Why do people say that two boys falling in love in the 80s is unrealistic? This show is about monsters and a different dimension!"

This argument is pretty much always a joke, which i don't mind, but using it as a genuine rebuttal isn't going to get us anywhere. People in general are far more likely to believe the impossible--things like monsters and super powers--than the improbable--things like two boys in the 80s falling in love. I feel like, instead, we should be focusing in on the fact that two boys falling in love in the 80s is an important thing to represent because it was improbable and "unrealistic". The reason why it feels so unrealistic to happen is because there is actually very little representation of it happening successfully, therefore, if we see more representation of it, it won't be seen as unrealistic anymore. Also, I don't believe that the audience really understands that what they're watching is not supposed to be a shot for shot realistic protrayal of real life. This isn't just about monsters and shit, this show is about love. Yes it's cheesy, but it's not unrealistic for a show about love - which portrays unique loving relationships like platonic love between a random guy and a lesbian - to portray a queer love story which honestly isn't even that hard to wrap one's head around.

"Mike didn't care about El until she pointed to Will's photo. He only cared about her because she helped find Will."

Okay this one is wayyy more nuanced than just him only caring about her because of Will. He is a heroic human being, and this is supposed to be portrayed by him taking her into his home, not out of romantic love, but just out of goodness of character. He is a very sweet person at the beginning of S1 because he's curious about El and acts different to Lucas and Dustin. Although, there are definitely things to show that he doesn't love her romantically here, like him trying to get rid of her and get her back to her family or something. I think the argument above in bold actually is an overcompensation for how he acts around her in S1. He treats her like a friend when showing her around, but Bylers might be afraid that looks too romantic. Don't worry guys, I really think it's Mike being himself. Acting friendly and nice around El is just part of his character to me. He also decides to not have her talk to his mom when she says she's in trouble, so it's not all about Will. However!!! He does decide to commit to hiding her and begins to place her on a pedestal when she starts to make an effort to find Will.

"Mike and El are on bad terms at the end of S4 so they won't be together in S5."

This argument was also used at the end of S3 (see the byler slides), saying that technically, Mike and El weren't actually together by the end of S3. Then they were together in S4. Here's the thing. This show isn't all about telling and not showing. It's about the opposite. Just because they didn't tell the audience "we're back together now!!!" doesn't mean that they aren't. At the end of S3, for example, El going "I love you too" implies that they are back together and that their relationship is now going to be more grown-up unlike in S3. Because of the love monologue at the end of S4, I can genuinely see Mike and El being back together at the beginning of S5. I can see them actually saying I love you to each other a la Steve and Nancy S2. Like, come on guys, isn't our whole argument that you can say I love you to someone and not actually be telling the truth? Also, Finn has confirmed that Mike and El will be together "going into" season 5, and the time skip between March 1986 and Nov. 1987 shows to me that they are still going to be together, and that they are saying I love you because El would not be staying in that relationship if he continues not to say it. More problems in their relationship are going to be revealed, beyond him being able to say I love you or not.

"This actor ships Byler so Byler endgame."

Uh oh,,,, if you start saying this, you can easily get a rebuttal from a Milkvan saying that so and so ships Milkvan, so... I honestly think that people saying they like Byler as a ship can be somewhat seen as a little hint they could possibly be endgame but tbh, it's not a full proof. To me, proof from the actors comes from what they don't say about Byler. They don't treat it like Stonathan, Ronance and Steddie. They treat it like a possibility, like a spoiler. The other queer ships of ST are treated like cool things that would have been interesting if they had happened. Byler is never treated as something that would have been cool. It's something that could happen. My confidence comes from when the actors are more ambiguous about Byler than when they're completely, utterly on board with it. Except for Noah, because he's definitely allowed to ship it, because his character is literally in love with Mike.

[e-vay]

Why do you think Amy should get her own year(or not) and What would be your Year of Amy wish-list

There should be a Year of Amy because Amy is the best, of course!

Seriously, I think it would be so beneficial to have a Year of Amy. When I hear from people who tell me they used to hate Amy, it turns out a lot of them had just misunderstood her character (either by their own doing or by some of her prior portrayals). I think it would be a great opportunity to really let her character shine and be able to establish everything she represents in a clear way so SEGA can set the record straight. It's been really encouraging to see Amy included in the lineup more often lately, but personally I still say it doesn't happen enough! (I'm greedy when it comes to my girl, it's just how I am lol). Plus, I think it'd be good to highlight the feminine representation that's in this franchise. This fictional world is full of so many awesome characters, including strong and powerful women, and I think sometimes that gets overlooked when there's so much emphasis on 'The Big Three' (Sonic, Tails and Knuckles).

If I'm shooting for the stars, my wishlist would include Amy having her very own game! I love getting to play as her and she was my favorite part of the Frontiers DLC, and I feel like the story that happened in Frontiers is a great setup for any of the members of Team Sonic to have their own game. OR! If it's too much to ask for Amy to have her own game, I'd be happy with a follow-up game to Frontiers where you get to play large portions of the game as each member of Team Sonic individually. I loved how you got to play as everyone way back in Sonic Adventure, and I'd love to get that experience again now that their characters have developed in different ways.

I'd also love to see some animated shorts with her. Whether it's super-detailed, story-driven animations like SXSG Dark Beginnings or something simple and cute like Chao Tales, I just want to see more! Animation is incredible and I love that the Sonic Team creates a lot of animated shorts; it would be even better if they revolved around my favorite hedgehog!

ALSO! I want more accessories/merch. Amy loves shopping, so this would be an awesome opportunity to sell some skirts/dresses, cutesy mini backpacks (I know there are a couple of Loungefly bags out there but I want more!!! Especially more artistic designs instead of the same character art they've been using for decades), wallets, baking sets, etc. I want to buy ALL the cutesy things!

I don't know that Year of Amy will ever happen, but hey, maybe 2027 will be Year of Amy since that's when Sonic 4 comes out! Either way, every day is Amy Day in my heart!

[911lsbts]

the_brianmichael: As we moved toward the end of the show, I found myself reflecting on Paul's journey-what we've explored, the ground we've broken, and the things I wished I had seen onscreen when I was younger. I started thinking about what we could do that hadn't been done yet in terms of trans representation. When I thought about how to end Paul's storyline, I went back to the beginning. What made Paul take the leap and come to Austin in the first place? It was Owen's words: 'Somewhere in this town is a kid who's just like you were. Who feels scared, hopeless. I want you to show him or her or them it's okay to be who they are! That idea stayed with me, and I knew that's where we needed to take Paul. I pitched the idea of Paul mentoring a young trans character to Rashad Raisani, our showrunner, and Rashad didn't just run with the idea-he made it something truly special. Together, we created this powerful arc, and I couldn't be prouder of what it represents. This led to this incredible moment with Jax-two trans people, from different generations and points on the spectrum, sharing a scene. How rare is it to see that? To see a trans man and a nonbinary character not just exist, but thrive together on primetime TV? When Paul tells Jax, 'You don't have to justify your existence. You are enough, it's a message that so many of us need to hear. As Rashad said in The Wrap, this story is about showing love and care in a world that often denies it to trans people-especially during a time when we're being attacked on all sides. For me, this episode wasn't just about mentorship. It was about showing one of the most beautiful aspects of being trans: how our experiences push us to grow deeper into our humanity, into our sense of self, and to break free from being defined by others. That light we carry can illuminate the path for others who are still on their own journeys of self-actualization.

l also wanted to explore aspects of a trans man's O experience in new ways. Paul's challenges and triumphs throughout the series are so specific, yet so universal. They hold a mirror to the kind of resilience and self-discovery we all experience in life. This is bigger than a TV moment. It's a reminder of the importance of showing up-for trans lives, for our stories, for our future. Now is the time to speak out. Use your voice to push back against the hate. Advocate. Support. Fight for a world where we don't just survive but thrive. To Rashad, Miles McKenna, and everyone at #911LoneStar: thank you for bringing this vision to life. These moments matter.

[its-wabby-stuff]

Mikey Goes To Oz

<Time spent: 49 hours 17 minutes>

When Mikey takes some time away from a loud family squabble he accidentally ends up getting “flushed” down the sewers. This winds up sending him to the colorful land of Oz where he meets a good witch, a wicked witch, a brainless scarecrow, a heartless Tinman, a cowardess lion, and a powerful wizard, all disguised behind very familiar faces.

A canon adjacent spin off set before the season one finale but after they discover Splinter is Lou Jitsu

I wanted to fit each of the boys into their “you’ve had this all along” category. Leo isn’t brainless, in fact he’s pretty clever with a street smart, people reading ability on par with Donnie’s intelligence. Donnie isn’t heartless, he just has a tough time expressing his feelings. They are complex and unalgorithic but he can get just as excited or sad or angry as anyone, as much as he may deny it. Raph isn’t a coward, but being brave sometimes means admitting you’re scared and that you maybe don’t have all the answers. You dont have to be strong all the time and you don’t have to do it by yourself.

In the movie Dorothy’s journey home is also a representation of her running away. The important thing was to remember there were people who cared about her. Mikey is experiencing a similar phenomenon, wanting the escape the bad vibes in the lair. His “you’ve had it all along” is interesting because it is an object, since the Ruby kneepads could’ve taken him home the whole time. And sometimes getting home means going on a journey only to realize you never left.

I put April as Glinda because Glinda appears as a defender of the weak, and I see April in a similar light. Always willing to help and beat someone up if it is so required. Splinter as The Wizard of Oz represents Splinters own willingness to hide behind different personas, his running from the past and the pulling back of the curtain for Mikey in timeline. The Wizard grows through the movie, albeit quickly, and ends up leaving Oz to go home leaving his legacy with the scarecrow, the Tinman, and the lion. In this case the passing of the baton to his sons.

Meanwhile Draxum as the wicked witch felt much more how Mikey sees Draxum at this time in the show, mostly just an antagonistic force who wants something from them. Fun fact: I imagine throughout this dream, Draxum is uninterested in being the wicked witch but is pressed into it via plot. Hence his disinterest in being “melted.”

Additional characters not pictured: Big Mama as the Wicked Witch of the East (those were her Ruby kneepads!!) and Todd as the Mayor of Munchkin Land. If you can think of more, feel free to leave them in the comments or tags.

[supahstarrr]

rambling about the love triangle, what michael & kit represents for jentry

a good handful of the criticisms about the love triangle and the romance in general in the show are completely valid and i agree with a lot of them... like i truly do get it when people say they rather not have romance in this show. but honestly i found the love triangle in beginning to be quite interesting since it showed potential in the dynamics. i feel the writers did not *fully* utilize the meaning within the dynamics that was already there and instead mostly used the triangle for entertainment. it would've been way more better for the writers to take advantage of the meaning to explore it for the audience to study it, which they partially did but its clear at some points they prioritized showing romance for the sake of entertainment reasons

in the beginning, Michael being representative of the "normal" and Kit being representative of the "unusual" that the main character is struggling with is such a compelling introduction of a love triangle, considering that we're introduced to our main character struggles with normalcy, the past, her powers, and the underworld being set up to be the main thing for this season. Micheal is teenage boy who is quite normal to the point of almost being the ideal of it—he's a football player with good influence whose able to socialize with people. but also he is a childhood friend who is still disturbed by the past fire, so he is not even just being representative of the "normal" but also the past that Jentry constantly struggles with.

Kit fits the norm so much to the point he leans towards being a deviant. he is very conventionally attractive, he says and does the right things, he's so polite and composed, yet also remains detached. he's so close to perfection to the point he's "unusual" or "out of bounds" (like the underworld). but also he is the "new kid" of the school, being the potential of something new or a different kind of future that Jentry can't get with Michael.

Noticeably, Jentry also struggles with being unusual in social and physical terms (underground world & possession of powers), and she pushes herself to the future for the sake of normalcy so much to the point of not addressing the past. this is reflected by the way the romance in the dynamic between Jentry and Kit is quite fast despite her feelings still remaining with Michael (the past), the attraction from Jentry's end being so strong because she's enticed by the image of him (the future or moving away from her past), plus how unusual they are & feel fueling the connection. the speed of their romance is also reminiscent of how fast Jentry became connected to the underworld.

Then what these guys represent for Jentry gets explored more. Michael as a representative of the "normal" is somewhat broken down. he is quite unsure his future & himself despite being perceived as being secure in his identity and how much he's seen as a good teenager mostly relies on how much he pleases others (especially authorities but also his peers) even if he doesn't want to do those things. though in a sense these traits are normal in teenagers (thus being a representation of the "normal"), those traits also deconstruct norms which are typically social expectations that are thinly-veiled unattainable ideals for most teenagers to achieve. thus Michael shifts to being representative of the deconstruction of "normal"—which absolutely goes well with Jentry breaking down the lies, truth and secrets behind what is normal for her (ex: her grandmother as a guardian, the lack of her parents)

but on top of that, it turns out he has quirky powers of his own. his powers are interesting considering he is the "normal" (then "deconstruction of normal") and "past", considering they are outside of normalcy and are related to the future. despite having these visions, he remains unsure about them and the future in general. its hinted that his parents know about the powers, yet never told him about it. which is interesting noting that these parents pushed him to be normal. through the relationship with his visions, his parents knowing about his powers while pushing him away from the knowledge of them—but also pushing him towards what made him normal (football), and also his desire for doing something new, it shows that being "normal" held him back on his potential unrelated to norms & expectations, thus contributing to him as a symbol for deconstruction of norms.

Kit as the representative of the "unusual" is not just reinforced but strengthened when he's revealed to be a demon. this reveal really does reinforces him being the underworld that Jentry is connecting to, though the connection mostly revolves around her being taken advantaged of by the many demons in that world—just like what Kit has largely been doing throughout the show. yet there is more added to him as a symbol. he becomes the physical form of Jentry's insecurities, being the demon that she think she is. Jentry has avoided and taken advantaged of the "demon" (power) within her at various points of the series, which is similar to the way she does the same to Kit. despite being a demon, the show humanizes him as it shows he is a multifaceted being cable of emotion that he may not be able to describe. through the acknowledgment of the demon that is Kit having traits likened to humanity, Jentry is able to address the "demon" she sees in herself by humanizing herself. and so Kit's death can be seen as a the death of Jentry's perception of herself.

with the context of Jentry's story being to accept the powers and the connection to the underground world as something definite in her life, along with the themes around taking control and Michael slowly getting used to his own powers, him as a symbol is framed differently. Michael is the deconstruction of *society's* definition of normalcy to make your own version of what's normal for you! with the (possible but likely) establishment of the romance in the dynamic between them at the end of the show, it represents Jentry reconciling with and finally addressing the past that she has constantly mourned about. with Michael largely being associated water (that being a big theme in his visions) and Jentry being associated with fire, it shows a "balance" between the two of them as she's worked on herself and that work is ongoing. in a way he goes back to being a symbol of what is normal, but specifically according to Jentry's definition.

i just want to emphasis that there's so much potential even right from the start. i also believe that the outcomes of the triangle—the dynamic Jentry/Michael being endgame, and Jentry/Kit having hints of chemistry for a while but is doomed to perish makes sense for the narrative. the endgame relationship being off and on does make sense, although it is a concept not executed greatly since the show is so vague with them establishing their relationship and them breaking up to the point that was not the message given to many viewers. Kit's death (in the love triangle and literal terms) makes sense, and it is to me the most satisfying outcome of the triangle despite the execution of it being questionable among some of the audience. i'd say that these characters' existence & the emphasis on Jentry's dynamic with the both of them (romance or not) are needed for the story. it is also very interesting to see what the guys represent for Jentry having some shifts and recontextualization, which is reminiscent of the constant life & rebirth topic going on through out the show with the rules regarding to spirituality and the underworld

there's no question that the execution of the whole triangle wasn't that great. there can be so much meaning drawn from the love triangle and what it means for Jentry's story. yet many viewers are dissatisfied with it to the point of some wishing there wasn't any romance in general. it is understandable, though i fear that the love triangle was so lacking to the point the meaning & potential that's already there is missed by the audience and diminished by the writers.

i especially have more complaints towards Jentry/Michael, which fell short to me (and many others apparently) despite it supposing to be the endgame relationship that's meant to be rooted for. there is some hint of the "opposites attract" thing going on with the two that strengthen by the fire & water associations with Jentry & Michael. the both of them are set up to be the opposing elements that are needed together to balance the two of them out. though there is definitely stability that can be seen from especially Jentry but also Michael as he has constantly jumped to girl to girl despite his strong feelings for her, that "opposites attract" trope is hardly reinforced by Michael's personality traits.

Michael's character... needed some more work in this season. he's such a "safe" character that the traits that would translate to flaws and/or concerns in real life (emotionally cheating on all of your partners, cheating by kissing someone else despite having a current partner, and jumping to girlfriend to the next) are portrayed as traits not meant to show depth, and in fact are things to gloss over or be happy about for the sake of rooting for the endgame ship. the traits that could've acted as an extension of to already existing traits (his trouble with commitment could be an extension of his constant self doubt of himself) are not touched on, because those traits are meant to be glossed over. there could've been more opportunities to explore him more and yet there are hardly any, which makes some of the meaning between Jentry/Michael not shine as much as it had the potential to.

and it was very clear that people behind the show did not know what to do with Michael's character, which makes him and his relationship with Jentry lacking even more. which is quite unfortunately, because i'd argue the dynamic is one of the most important ones in the story... and yet the writers prioritized the drama that come with it instead of the potential depth of the ship. Sigh. Still like this show though! It's just... maybe there could have been more... to the romance...

[froschli96]

As an asexual Good Omens fan

There's something I've noticed in this fandom that makes me really uncomfortable, and that is the way that Crowley and Aziraphale's possible asexuality is constantly being connected to and justified by them being not human.

I just honestly really hate that, because implying that asexuality is something that somehow "logically" follows from characters being nonhuman is ... not great. Like, I hate having to be the one to point this out, but asexuality is, in fact, very much a human attribute.

And unfortunately, most of the time when I come across this take, it doesn't feel like someone seeing themselves in the characters and relating to their experience, but rather an othering, this kind of otherwordly pure non-sexualness, where people put these characters above such trivial things like sexuality.

I am not asexual because I am somehow confounded by this oh so complicated human concept of sexuality, or because I don't ever think or care about sexuality at all (a lot of thinking was unfortunately involved actually before I finally came to a conclusion about my identity) it is just a fact of who I am, as a human being, it’s a part of my human experience.

And let's be honest, attributing asexuality to nonhuman characters is not the hot new take a lot of people seem to think it is — this trope has been around for ages. And it hasn't done a great deal to normalize asexuality. In fact I'd argue it's perpetuated an othering of ace people, but you take what you can get, really. (This is not to say that it is in any way wrong to identify with these kinds of characters, I definitely do, too! It's just sad that the topic of discussion is always about how "human" someone can be considered when they don't feel sexual or romantic attraction)

To be honest, I don't actually see A&C being asexual as canon — as a lot of people seemingly do — just because the author kind of suggested it in a tweet where he basically conflates "asexual" and "sexless" (for the record, this is not a dig at Neil, I just think the implications were kind of unfortunate, even if it might not have been intentional, which makes it all the more frustrating that a lot of fans just ran with it). And yeah, going around calling people aphobic for seeing the Ineffable Husbands as gay rep or any other identity, when they’re oh so obviously canonically ace, is honestly kind of insane.

I get that it might feel nice and tempting to be able to "claim" these characters and this relationship and being able to tell other fans off whose headcanons on their sexuality differ from your own because it is hard to come by any kind of representation when you're ace and there's finally a creator who's not only not contemptuous towards but even supportive of fans reading his characters as queer. And if you feel represented by A&C as it is then all the more power to you. But the thing is, it doesn't matter what kind of justifications there are or what canon might or might not say (bc when has that ever mattered in fandom spaces) or what the creator says, you cannot convert people to your opinion about a character, and you're going to have a bad time if you spend your time in fandom trying to do that.

And really, I am just wondering why we necessarily even need an explanation or justification for them possibly being asexual. Why does it have to be that all angels and demons are asexual by virtue of being nonhuman, and so A&C have to be too? why can't that just be an aspect of them that is completely unrelated to them not being human? Could these characters maybe not simply identify as asexual, not because they're nonhuman, but in spite of it? (btw, in the same vein it is equally stupid to argue that A&C can't be ace because they have "gone native", which is also an argument I've come across)

Honestly, I'm not even asking anyone to fundamentally change how they see these characters here — if you think they must be asexual solely because they're angels and have no concept of human sexuality, then whatever, I can't stop you and I don’t want to police anyone's headcanons bc as I said that's stupid and a waste of time. What I am asking you is that you maybe reflect a little bit on why exactly it is that humanity and sexuality are somehow so intrinsically linked in your mind to the point where you automatically use it as a way to distinguish between human and nonhuman characters.

Anyways.

Tldr: please stop equating asexuality with non-humanness thank you and good day.

[guardian-angle22]

BRIAN MICHAEL SMITH via ig [1/28/25]

As we moved toward the end of the show, I found myself reflecting on Paul’s journey—what we’ve explored, the ground we’ve broken, and the things I wished I had seen onscreen when I was younger. I started thinking about what we could do that hadn’t been done yet in terms of trans representation. When I thought about how to end Paul’s storyline, I went back to the beginning. What made Paul take the leap and come to Austin in the first place? It was Owen’s words: ‘Somewhere in this town is a kid who’s just like you were. Who feels scared, hopeless. I want you to show him or her or them it’s okay to be who they are.’ That idea stayed with me, and I knew that’s where we needed to take Paul. I pitched the idea of Paul mentoring a young trans character to Rashad Raisani, our showrunner, and Rashad didn’t just run with the idea—he made it something truly special. Together, we created this powerful arc, and I couldn’t be prouder of what it represents. This led to this incredible moment with Jax—two trans people, from different generations and points on the spectrum, sharing a scene. How rare is it to see that? To see a trans man and a non-binary character not just exist, but thrive together on primetime TV? When Paul tells Jax, ‘You don’t have to justify your existence. You are enough,’ it’s a message that so many of us need to hear. As Rashad said in The Wrap, this story is about showing love and care in a world that often denies it to trans people—especially during a time when we’re being attacked on all sides. For me, this episode wasn’t just about mentorship. It was about showing one of the most beautiful aspects of being trans: how our experiences push us to grow deeper into our humanity, into our sense of self, and to break free from being defined by others. That light we carry can illuminate the path for others who are still on their own journeys of self-actualization. I also wanted to explore aspects of a trans man’s experience in new ways. Paul’s challenges and triumphs throughout the series are so specific, yet so universal. They hold a mirror to the kind of resilience and self-discovery we all experience in life. This is bigger than a TV moment. It’s a reminder of the importance of showing up—for trans lives, for our stories, for our future. Now is the time to speak out. Use your voice to push back against the hate. Advocate. Support. Fight for a world where we don’t just survive but thrive. To Rashad, Miles McKenna, and everyone at #911LoneStar: thank you for bringing this vision to life. These moments matter.

[group-dynamic]

Doctor Who Ep. 6 Interstellar Song Contest Spoilers

Loved everything about this episode (Ok, except one (1) thing!). . .

First, I think if you try to read this episode as a direct allegory you're going to have trouble because the layered thematic ideas allow for about 100 different readings that can't be simplified including:

Showing a planet like Earth while talking about "The Corporation" stripping Hellion of its resources and burning it down is a condemnation and warning against capitalism's responsibility for global warming

Discussing "buying" an entire culture and its people in order to get one silly food resource you don't even need but just want to sell evokes colonization and specifically reminds me of what Dole did to Hawaii or what United Fruit Company, Nestle, etc. have done to South / Central America and various parts of Africa.

Centering the queerness of the doctor, including gay / queer characters and icons, and using a reference to "Rise Like a Phoenix" also acts as an homage and recognition of Eurovision as a beloved segment of queer culture, giving a sympathetic look at how that might complicate our feelings about the event's ability to build community beside its complicity in harm. This, to me, was one of the episode's strengths. Its willingness to show that we can hold contradictory and complicated feelings about things.

Furthermore, the Hellions are a representation of the IDEA of a marginalized community, combining the greatest hits of classic bigotry from across time including the accusations of cannibalism (indigenous communities), secret horns (antisemitism), and self-destructive, naturally evil terrorists (Muslims).

And that brings us to the genocide issue. The idea that "Kid" is literally someone whose mother was shot and killed in front of him and suffered from the loss of his home and subjugation of his people creates a clear argument that the violence of domineering, capitalist, colonial powers ARE terrorists acts. The Corporation is a terrorist group. If their behavior creates "terrorism" as a result, that is hard to blame on the victims. (Also, calling him "Kid" was clearly deliberate, and although this episode literally can't be an allegory for the ongoing genocide it reminds us of, it certainly evokes how the literal majority of Palestinians suffering are and were children). I thought the show was very careful to balance the idea that Kid and Wynn's actions are wrong, but that Kid and Wynn are more sympathetic and fleshed out than the nameless, faceless advertisement that represents the Corporation.

Including Cora also seemed like clumsy if thoughtful choice to remind the audience that judging any group of people on the actions of the one or two individuals who get in the "news" for doing something heinous is its own kind of atrocity.

THAT BEING SAID. There was a huge fumble here with the Doctor. Sure, The Doctor has suffered a genocide, but he has also caused them. His torturing the terrorist is clearly meant to make us uncomfortable and disgusted. However, he does not learn any lesson here. He has a CHANCE to, but we're only shown how the torture affects him (which felt an awful lot like the old "the U.S. will carpet bomb your country then make a movie about how sad it made their soldiers"), and he does not in any way modify his beliefs or stance after. He stands there and says basically "I'm coming after you" to Kid in an extrajudicial killing kind of way. He says "You have put ice in my heart." And since Bel does not call him out more than "Oh, I was scared for a second," what I think we needed was for Kid to say to him, "Good. Now you know how I feel." Instead he says nothing and so. . . we're left assuming the Doctor is in the right, I guess? I suppose I wanted a "You would make a good Dalek" moment here. We needed something that sealed the message of "Wow, the deaths of trillions of people is a heinous and abhorrent act, how could anybody do that? And how could you just stand by and DO NOTHING (the episode actually did make this note!) while it happens. Gosh, if that happened, I'd be so angry I'd want to destroy the people responsible and take them out. . . Oh. . . Ooohh, that's what Kid is feeling. The Doctor was angry about a potential genocide. Kid was angry about the real one that happened. If the loss of innocent life can drive you to do things so tremendously out of character. . . Again, this wouldn't EXCUSE the actions. It would HUMANIZE them. It would remind us that our righteous fury over terrorism can only be earned if we bring that same energy toward the colonial, genocidal powers that create the conditions which cause it. Those powers which operate by that same deadly playbook then cry foul when its turned on them.

[f-yeah-no-evil]

Part 2: Major Themes in Later No Evil

Click here for part 1! For the record, I'm defining "later No Evil" as post ep 18, once the series becomes plot-heavy.

Madness

We first see hints of this theming with the asylum, but the repeated motif of a clock ticking to represent madness (seen in A Good Deal and Blackwell) makes this theme a transmogrified version of the time theme, rather than a fully unique one. However, this theme centers around Corn: his guilt causes him to split in two. Corn gets admitted to the asylum, and thus his sense of self and autonomy disintegrate; however, this shows up in smaller ways, with the "mad" people being lumped in with perfectly sane native people. Who decides who's sane, and who's mad? What metric means you deserve freedom? Which brings us to...

Colonization

This is the big one. The how "spirits relate to villages" theme has transmogrified into a colonization theme. Now, there's a big city, with different technology, and people from far away, and things are different in the city. While spirits have always represented the land, now spirits are indigenous-coded, and likewise, native human characters feel the same boot on their necks: one of conformity and suppression. This colors pretty much every theme subsequently, and is so overarching discussing it in full is rather difficult, but I have a bite sized analysis available here.

Something I haven't touched on yet is Briarwood House and What You Want. The railroad spike and gears, surrounded by aliens, seems a pretty apt visual representation of colonization. The story is an old one, and plays out the same: Once upon a time, some men from far away came with ships and railroads and tore up the land, and things were never the same. Exploring this idea when working with an American folkloric medley setting is a good thing, and certainly the tasteful one. But all this brings us to...

Free Will

What is a colonizing force but one that suppresses the will of the people being colonized? One can't bring up Corn's treatment in the asylum without bringing up that his free will is trampled: He has no ability to do what he wants in Blackwell. Likewise, Ichabod has spent most of his life bent to Hollow's (the colonizing force's) will, rather than his own, so when asked what he wants, he falters. The story keeps building up to the Blue Tezcatlipoca, whose domain is free will, but we're not there yet... someday!

Honorable mentions: Family/generational inheritance and Desire

This one is a little less central, but there if you're looking. Despite all current spirit characters (save Corn) being adults, Xochipilli refers to them as 'kids'; in spite of their immortality, spirits sort themselves into generational categories even after they're grown. Likewise, powerful objects split into less powerful pieces with each generation: the mirror, the fork's spells, even shamanism (the three triplets vs the singular(?) Corn.) Family ties come up, too, with Amaroq being a father figure to Charles and Kitty a mother to Corn.

Meanwhile, wanting and desire show up a few times. Now, any character-driven story is driven by what characters want, so some of this is simply how stories function - apt, in a story about stories. And again, these desires sometimes come at the expense of someone else, which brings us back to the free will theme...

As a final note, the family/generation theme strikes me as one of the few truly consistent throughlines in No Evil, as the story largely loses interest in its earlier thematic ideas and explores these new ones. Not bad, just different.

Thanks for reading!

[autism-connoisseur]

what's your take on karkat now that you know his big secret?

genuinely amazing how his whole personality is a defense mechanism.... this guy cares he cares so much but his whole life hes had to push people away lest they Find Out.... living in constant alert ever since he had consciousness of how Different he was and how dangerous that was for him, knowing that everyone around him would cull him on the spot if they found out about It.... if im not mistaken trolls' tears are the color of their blood so he also had to repress himself to Not Cry. and for a person as emotional as karkat thats such a challenge!! not even out of sadness, or grief, but people also cry out of happiness, nostalgia, frustration, anger... those two especially i can see happening to karkat. and hed hate it.

he can be so Mean sometimes, perpetually angry... sure, it might be part of his personality, he is definitely easily irritated and prone to heat-of-the-moment decisions (like when he ran sollux's code and promptly exploded his computer and cast a curse on himself & his friends) but like i said, he's lived his entire life having to be Alert, not being able to let his guard down, because he would die if he did!! and at the same time he needs to prove himself, prove that despite being Wrong and Different he can do things!! he can be useful!!! maybe if he makes himself useful enough someone will even see him as a person and not just a mutant... thats why he is so dead set on being the leader. much like dave he has lived his whole life Needing To Be In Control Of Things (rose too, but shes more like she needs to Understand People, if she can read people correctly then she can avoid them flipping on her (no she cant that is not how it works babe)), but whereas dave is content with letting june be the leader (even if he wants to surpass her, hes very much doing his own thing anyways) karkat NEEDS to be the leader because that way he will prove that hes capable (to his friends in particular but to society as a whole, they are basically a mini representation of society anyways with each of them representing each caste).

but also he blames himself, he blames himself so much whenever anything goes slightly wrong and that feeling just gets amplified since he ran sollux's virus. it's a vicious circle for him since he needs to be in control and call the shots to feel like hes useful (defense mechanism, you wouldn't get rid of an useful pest even if he was a pest now would you?), but whenever something goes wrong under his command he freaks out (maybe relating it to his blood color? like he is Bad so this happened. also we know he takes sollux's virus's curse very seriously), he takes it as proof that He Personally Is Wrong and obviously everyone knows this, but since he doesnt want to be seen as that and he wants society to accept him without ever realizing there was a reason they shouldnt (see: also why he wanted to join the military or some part of it at the very least) he doubles on his efforts on Controlling everything.

and when he realizes they created our universe, it finally gives him a chance to be above someone. to be the powerful and not the powerless, the respected and not the shunned. its why he treats the beta kids as stupid, inferior beings, and why he constantly points out that he is their god even though he isnt (well he technically is but you get it). it mimicks the way some highbloods treat lowbloods, but where the highbloods are like that because society told them it's their natural right that they were born with, karkat does it to forget what that same society told him: that he was somehow intrinsically worse than anyone else. so bad, in fact, that he'd be better of dead. actually, he'd be so better off dead that they want him dead, that they will kill him as soon as they find him. so of course he takes the chance to not feel like that! of course he wants to feel superior! he needs to be the one above for once, he needs that control over someone instead of feeling like he needs to watch out for everything and anything. he sees a chance to not be the lowest link in the chain, and he takes it. sure, he may be a mutant, but theyre human... and not just any humans. the very same humans that doomed their session, the session karkat threw himself into because not only did it grant him escape from a planet that hated his existence (as much as he also idealized, trying to fit in, trying to not be seen as Abnormal even though all the beta trolls are Abnormal & don't fit in), it also gave him the chance to, like i said, prove himself.

he trusts his friends, he does, and he said he'd tell them his blood color eventually. but he needed to be ready and that's why both jack noir & terezi, or at least their reactions, are so important to him. neither of them shuns him, they don't attack him, they don't make fun of him of call him aberrant or do anything that most trolls would. fair, jack noir isn't a troll, and he doesn't even understand why karkat is freaking out. but when he shows him his own blood, the same color, karkat is suddenly not alone. even if red blood doesn't mean anything special to jack, to karkat it means the world to see that he is not some abomination, that the universe didn't signal him out to be different than the rest forever and always. and terezi, terezi is what really does it for him. shes somewhat high in the hemospectrum, she is someone that karkat likes (and apparently kissed! good for him because God knows the kid didn't let anyone in out of fear of being found out), she is a troll. and she doesn't mind. she even calls him adorable in the same log! the beta trolls are outcasts of the alternian society; and they are karkat's friends. that's why he was willing to tell them eventually: it was his secret to keep and his secret to share. and even if terezi found out when he wasn't ready yet, her reaction was absolutely positive. again, these kids are the furthest away from troll society as they can be, almost its opposite, which is why karkat thought about telling them, is willing to tell them. he knows hes safe with them.

ive seen people point out how his handle (carcinoGeneticist) references his sign (carcinogenesis is the process by which an organism gains cancer) and both these things represent how hes considered an anomaly & something to be rid of, something sick; i also think it's. ironic that he's the knight of blood, but i don't know enough about classpects yet to analyze that. it must have felt like a cruel joke to him, though, being told that his literal title was someone who fights for the same thing he's ostracized for. it would certainly piss me off that's for sure.

[beigetiger]

Ok, LISTEN. I’ve been putting off talking about China in phase 2 for ages now because the words weren’t finding a good way to fit together, but I swear I can do it now.

I’ve seen a few people talking about how they didn’t like the development at the end of phase 2 that China got artificially aged up, and while I kinda agree with that, I also understand the reason why that would’ve been written in.

At the very start of the series, two things are immediately established about China. One, she’s beautiful and has a magical charm that she uses to convince people to give her what she wants. And two, she’s incredibly selfish and will throw those around her under the bus if it benefits her. And these repeated themes stick around throughout the series, it is always hammered down on us that China is magically beautiful but also incredibly manipulative and self-serving. It should also probably be noted as well that there are points in the series where China almost seems to resent her status as selfish, even if she feels that it’s an accurate label. It more reflects a sort of dislike about herself more than anything.

But another thing that gets established as the series goes on is that Valkyrie has a tendency to inspire those around her to be better, the most notable example of this being Skulduggery. But this also applies to China, as shown in places such as Mortal Coil when China allows a man to escape with one of her books because Valkyrie is watching her.

And so when China gives Cadaver the bomb that he eventually aims at a group of innocent people, China has the opportunity to stand by and let it happen, at no real cost to her. But instead, she demonstrates fifteen books worth of character development and goes to save those people, with the process taking away her youth and, by extension, the magic charm that she uses to manipulate people. Her unnatural beauty represented her selfishness, and so committing a selfless act then removed that beauty. This is also reflected in Seasons of War in a way, where Valkyrie talks about how Ghastly was born with bizarre scarring and was an incredibly sweet and loving person, while China, the most beautiful person in the world, was selfish and made Valkyrie want to throttle her on a semi-regular basis. It’s the whole “beauty on the inside versus beauty on the outside” trope.

And again, being selfless stripped that beauty away from China even as she, on the inside, became a better person for it. Valkyrie was a force of good in her life who taught her that sacrifice was worth it. Her whole arc is learning to face the consequences of her many, many mistakes and learning how to overcome her reputation to save innocent people from yet another one of her mistakes. One that she still has the power to fix.

Another thing I want to point out is that future China (the one who’s head is ripped off by Malice) also has scarring that she’s learned to love, but her scars represent something slightly different. Future China’s scars are a mark to forever remind her that she tried and failed to save Valkyrie, whereas current China’s aging is a physical representation of a selfless act.

I know that this is probably a relatively skin-deep analysis and there’s much more to talk about regarding China, but this has been bouncing around my head for a frankly ridiculous amount of time and I wanted to get it out. Phase 2 is honestly when China’s character took off for me as well. I liked her before (albeit with mixed feelings), but phase 2 is when she actually became an appealing character that I had significant emotional investment in because seeing her relationship with Valkyrie and seeing Valkyrie eventually inspire her to give up something that has defined her life for centuries hit hard.

[olderthannetfic]

One of the worst YA books that is bad "ownvoices" that I've personally read was Cemetery Boys, and it's a great example of how silly ownvoices as a term has become because the author is of some degree of Latine descent and nonbinary, but it was really clear they didn't speak Spanish at all because they were absolutely obsessed with doing the "Latinx" thing with every gendered Spanish word, to the degree that because it was about magic users, I had to read the word "brujx" multiple times per page in some chapters....

Like, you know, maybe a label such as "ownvoices" should be based on something a little more than just belonging to the same broad demographic groups as your characters. I'm not saying that writing should only be autobiography, but I was honestly shocked a gringo (gringx?) hadn't written it and I'm not sure that their representation was any more "authentic" (I'm sure it involved some research, but it wasn't their personal cultural experiences) than one written by a non-Latine person. That doesn't make it a bad book; plenty of great books are written by people from different cultural backgrounds as their characters. But I'm not sure it's really "ownvoices" is what I'm saying, and it makes me think about how I feel like that label is becoming more about representing a specific kind of POC/LGBTQ+/etc. "experience" that (predominantly white and straight) publishers want to see, than actually reflecting its authors' ACTUAL life experiences as the term would imply?

It reminded me of a point a lesbian mutual made about how if she were to write a book about a lesbian teen going through conversion therapy, that would require just as much research for her as it would for a straight author because she never went through conversion therapy and had a largely accepting family and social environment from an early age. But if she were to write a book about that, not only would it be praised as "ownvoices" but a lot of people would ASSUME it was based on her own experiences unless (or even if) she said otherwise, whereas a straight cis woman writing an identical book would be raked over the coals in the current discourse environment....

--

Brujx? BRUJX?!?!

And yes, I've seen plenty of people complaining about how they only get approached for ~ownvoices~ stuff and how they're expected to write about plantains and colonialism, not whatever actually moves them.

What was supposed to be a chance for people to at least get a foot in the door past the slush pile has turned into another straitjacket and double standard for people not seen as the default.

Not that we should stop asking who the author is and if they did their research/knew what they were talking about in the first place, but the hashtaggy version has gone awry as these things frequently do.

As usual, we focus more on things like book content than on employment equality behind the scenes. The really significant thing is to diversify who has power. They can make their own damn decisions what to do with it.

[likealittleheartbeat]

hello !!

i was wondering, do you know any other characters like aang from other shows/movies/books? or maybe, just his theme of radical kindness appearing in other stories?

i've been missing aang, and it would be nice to find other representations of such a fun and warm personality like his.

ps.: your blog is like, fantastic. truly.

🥰🥰🥰🥰 This is the best ask I’ve ever received!!! Depictions of radical kindness in media is a special interest of mine—not exaggerating. So I’ve done my best to make a list of rec’s, just tv, from most formally similar to ATLA to least, with a short description for each.

1. Fruits Basket (2019)

"My mom told me, it's better to trust people than to doubt them. She said that people aren't born with kind hearts. When we're born, all we have are desires for food and material things. Selfish instincts, I guess. But she said that kindness is something that grows inside of each person's body, but it's up to us to nurture that kindness in our hearts. That's why kindness is different for every person."

An anime orphan whose established memory of the kindness by which her family raised her ends up transforming and liberating a whole clan from an intergenerational curse that enforced an abusive hierarchy all within a show that has a deeply queer subtext, beautifully complex plotting and character development that due to its zen influence refuses to demonize anyone or any perspective wholly, AND a straight romance you can actually root for!? Nothing comes closer to ATLA thematically than this show. While the lead Tohru Honda is the biggest representative of radical kindness, the character of Momiji Sohma with his complex purity, idealism, and gender performance is one of the closest you'll find to Aang in any media.

2. Mob Psycho 100 (2016-2023)

"The truth behind one's charm is kindness. Just be a good person, that's all."

Mob Psycho 100 explores a core tenant of ATLA's critique of imperialism and power: greatness and perfection are overrated. They both ask the question about what to do for the world with one's gifts if that's the case. How can one be both normal and prodigious at the same time? The satirical comedy and style of this anime, which deconstruct a lot of the shonen genre tropes, are pretty distinct from ATLA, but when ATLA arrived on the airwaves, it was a pretty massive break from tradition in Western animation, and for both of these series, that difference of style is tied to the message of the show about the experience and acceptance of difference.

3. Natsume's Book of Friends (2012-present)

"As I encountered kindness, I wanted to be kind myself."

The anime, Natsume's Book of Friends and ATLA both depict the challenge and necessity of facing abandonment, loss, and a deep-seated loneliness with kindness and gratitude despite the persistence of grief. Both take a deeply spiritual view--even a responsibility--of this experience that demands a compassion for all beings including those who intend to do harm. Natsume, an orphan shuffled between houses who is one of the few people who can see spirits called youkai, inherits his maligned grandmother's book of yokai names, becoming a target for them in the process. He hides all of this from everyone in his life, and even five season in, still has trouble admitting to the one person who understands him when he is struggling and needs help. The gentle and light tone papers over a profoundly honest representation of attachment trauma and the wisdom of compassion that develops as a tool to cope with it.

4. Hunter x Hunter (2011-2014)

"You can do whatever you want to hide your feeling. You still have a heart."

If you think that "Radical Kindness" is by definition non-violent, then this show is either not for you or going to change your mind. Gon, the protagonist of HxH, like Momiji mentioned in Fruits Basket, is another rare character whose naivete and optimism are treated with respect. He is allowed to suffer, to be wrong, to be stupid, and to inspire others away from their own cynicism with the persistence of his beliefs nevertheless. But HxH is a show that integrates the most violent aspects of the world (organized crime, capitalistic competition and privileging, state-sanctioned brutality, pure sadism) with its examination of human potential for goodness. And even within a list of shows deeply inspired by spirituality and religions, this show is abundant with religious references as it seeks out meaning, balance, and an ethic for modern experience. On top of that, it ranks with ATLA for the depth and relevance of its magic system to its themes, plus its got gay subtext out the wazoo!

5. Mushishi (2005-2014)

“Make sure to remember, every person and place has a right to exist. It is true for you too, the entire world, as a whole, is your home."

Elegaic, episodic, compassionate, and strange, with some of the best short story-telling of all time, Mushishi is the story of a medicine-man who travels the Japanese countryside helping people deal with the spirits that accompany the little trials and tragedies of life that cling to our minds long after they're passed. The protagonist, Gingko, and the show itself takes the approach of restraint to observe these problems fully and come to a conclusion that's taoist in its balance and acceptance of reality--"Eyes unclouded by hate" as Miyazaki/Gaiman would have it. Each episode is like a therapy session arguing for you to choose to live even as the heaviest burdens sit on your chest.

6. Reservation Dogs (2021-2023)

"See...love doesn't have to be received, it can just be."

We're finally out of the animes, and moving away from the zen and shinto approach into some other options. Reservation Dogs' indigenous humanism was groundbreaking, bringing in distinctly modern American realities (with the kind of true-to-life details only a an on-location shoot could offer) with Native beliefs about ancestry, community, and connection to the land, while rarely feeling preachy. Instead, it's just fucking hilarious and casually heartbreaking. Four friends on the edge of graduating high school on a reservation in Oklahoma try to figure out what to do with their lives after their plans to go to California get abruptly messed up. Radical kindness as a concept often gets focused on accepting the enemy but what about accepting the weird stoner uncle who farts all the time and won't talk about his years in the army. I think that might be a more important goal of radical kindness, in truth, if we are being asked to look and accept reality for what it is, because growing comfortable with disappointment and the mundane let's us live without the relentless striving that drives perfectionism.

7. Skam (2015-2017)

"The second you start looking for hate, you find it. And when you find hate, you start hating."

A Norwegian teen drama that understood internet culture better than any show before or since, four season-long romance plots better than any romance film from that decade, and a masterfully constructed exhortation about leaning into failures of connection to build deeper compassion rather than demonize another person or group. Each season focused on a specific character within a high-school friend group, emphasizing the limited scope of subjective experience, and had them confront the challenges of opening up to others fully. And even when they return into the scenes with new protagonists, their lives weren't sorted perfectly, reflecting how resolving a single romantic plot point would not resolve life. The impact of this low-budget public-television web series (!!!) will be felt for years (it's already been referenced by Netflix juggernauts like Sex Education and Young Royals), but we're not likely to see something that juggles political themes, heartfelt characterization, realistic dialogue, and meta-commentary (it flashed its own hater and fan comments across the screen in the last episode!!) in such a obsession-inducing package anytime soon.

7. Boys Like Boys (2023)

"Because I have always been someone who hates myself, I don't have the courage to face it. Running away is my only option...What if I give myself one more chance to be brave?"

So how can a reality show make it onto a list of radically kind tv series, especially a dating show!? Well, when that reality dating show casts people who radiate warmth, vulnerability, and respect and seem to have the kind of chemistry that most scripted shows can't even manage, it's a good start. But then, when they elevate that cast with a format that addresses the cruelty of dating, elimination formats, and broader societal exclusion (an important consideration for a gay dating show), it offers a new model for future shows. Boys Like Boys did this when mid-season (spoiler alert) they had contestants vote out a contestant, only to provide the contestants with a vote in which they could retain a contestant who they didn't want to leave. In fact, many of the contestants asked if they could abstain from making a vote that would eliminate a constestant and were allowed to. The final result left one contestant, Jia-Hang, up for elimination--he had voted for himself to be eliminated, and many contestants, recognizing his reticence to continue on the program, didn't want to force him against his will to stay. Then, looking around at nearly the whole cast sobbing, even apologizing to him for not providing him enough support, Jia-Hang chooses to stay on. This is just one of many heart-warming authentic moments in the show that illustrate the vital influence of kindness to impact the trajectory of our hearts.

8. Joe Pera Talks With You (2018-2021)

"I can help you reach things. I can tend the garden. The different hours we keep are a good thing. And when they overlap, I can offer companionship and entertainment."

So much has been written about this show's groundbreaking kind approach, I'm going to quote instead: "It can be difficult to convey how a TV show airing on Cartoon Network’s provocative nighttime programming block Adult Swim can evoke almost nostalgic feelings of kind-heartedness. The premise of Joe Pera Talks With You is so simple as to almost be beside the point: Comedian Joe Pera plays a lightly fictionalized version of himself as a sweet Michigander, a middle-school chorus teacher with small and specific passions. Joe likes breakfast food, obscure trivia, beans, trips to the grocery store, and his grandma. He greets every day with a contented smile, stands beneath a pale blue sky, packs a balanced lunch that contains no surprises. (A turkey sandwich with cheese and a tomato, a banana, some trail mix, and as a treat, some cookies.) Joe, more than anything, is satisfied. His greatest joy is sharing these small pleasures with you, the viewer who exists on the other side of the fourth wall he has cleanly dismantled, often speaking quietly to the camera like he’s sharing a secret, just between you two. That he’s talking “with” and not “to” you is a crucial distinction in the show’s title: Joe never lectures nor rhapsodizes. Instead, he waxes poetic about what he loves and who he cares for and how he leads his life, telling his stories from a vulnerable position of welcoming you into his daily existence.” --“A Great Comedy About Being Good,” Allegra Frank for Vox

9. Anne with an E (2017-2019)

"Her life was not short on challenges, and still she held no grudges, believing instead that grace is perennial like the green, green grass."

While maligned for not being the 1980s version, this Netflix adaptation of Anne of Green Gables takes what many have read as an autistic subtext and made it text, giving Anne a performative quality that pushes a lot of the audience into the same irritation that the characters of Avonlea feel for Anne at first, and, thus, requires its audience to persevere toward the same kindness that Anne inspires in her adoptive mother figure, Marilla, among others, which is much more rewarding than simply identifying with Anne right away. In so doing, it enhances the development of its broader approach to acceptance--an approach in its insistence on the requirement of a community of kindredness (see Sebastian's excitement at finding out about the black community in "The Bog") that is much more rigorous than many other shows will cop to. Expanding far beyond literal adaptation into queer, black, and indigenous characters, without disguising history or disparaging the thematic seed of grace at the heart of the novels, Anne with an E imagines what it meant and what it might still mean to build real joyful community with others through kindness.

10. Little Bear (1995-2003)

"Interesting."

A childhood favorite that disguised in its simplicity a wide-openness to the world and an acceptance of different natures. While most child shows emphasize kindness, few do so with as much patience, wonder, and generosity extended to its viewers. Little Bear is a curious kid who goes on adventures in the woods around his house that can turn into games or small imagined experiences. He is sometimes with his friends Cat, Duck, Hen, Owl, and Emily, whose personalities, along with Little Bear's, bring about small tensions in their games that ultimately resolve, if not independently, then with the help of Mother Bear or Father Bear, who give each other knowing glances about the expected childhood behaviors. This is the first show that initially taught me to observe things while withholding my judgment, that first step of radical kindness.

12. The Andy Griffith Show (1960-1968)

"The key to happiness is finding joy in the simple things."

One really old and somewhat controversial throwback for my last entry. If you have concerns about a sheriff character representing radical kindness, I would encourage you to start with the third episode of season 3 where Andy, the sheriff in question, has to explain to the new mayor why he doesn't carry a gun and lets prisoners go to gather their crops. There have been some fantastic pieces written about the complexities of this show's bucolic fantasy and Southerners (of all races) attachment to it, but they all acknowledge a type of humanistic and deceptively simple virtue found in Mayberry that audiences long to witness, if not emulate themselves. It's a morality that resists the "hyperactive zealotry" and bureaucracy that the show satirizes through Barney Fife (along with guest characters like the new mayor) and instead emphasizes the understanding that one can have for each individual and the trickstery middle paths that one can find to address conflict.

[alondrasthoughts]

Blog Post #5 (DUE: 03/06/2025)

Why is race thought of as a verb and not a noun? 

The idea of race and what it means has been defined via our actions and human interactions. Grouping people based on certain characteristics whether physically, geographically, etc. is an action that we have done via socialization. Our “mind’s eyes” is what characterizes people and it’s in contrast with the one we would give our own self (Race and Social Media, T. Senft, S. Noble, p.109). Since it’s something we do via socialization it’s an action therefore a verb. If it was a noun, race would just be a “thing” that’s concrete and set. The action of race makes it as if it’s constantly changing and what it consists of.  

How can online platforms be used to fight against white supremacy?  

White supremacy is an issue that has been occurring for decades, but in today’s modern era it may look different versus 50 years ago.  Online platforms are now the most powerful tool to spread information, the idea of white supremacy has become more known to man because of online platforms. This tool has given the voice to many individuals who have been victims of white supremist and their ideals. This voice was seen in 2013 when a jury acquitted Zimmerman who shot an unarmed Black teenager, folks quickly went to Twitter to highlight this inequality and organized protests (Race and Social Media, T. Senft, S. Noble, p.121). The power that social media and overall, the internet can help fight these injustices like white supremacy.  

Does representation in T.V. promote diversity or hide the inequalities that minority groups face? 

The past 20 years there has been a slow increase with minority groups being represented on television shows. There has been an emergence of shows with mixed minority groups as well. But my thought is does this add or does it take away from the inequalities that minority groups face. It’s amazing to see people T.V. that looks like you and can relate to you. These shows/movies will often highlight the struggles that some face, but it can feel that it’s just a highlight and not an activist form. The celebration of diversity can often just cover up the inequalities to avoid these uncomfortable conversations (Race After Technology, R. Benjamin, p.44). I think it’s important to analyze if the diversity on television is sincere or if it’s just makeup to hide the true realities.  

Are online platforms making it easier for white supremacists to spread their ideals? 

I think that online platforms are a mask for many individuals to say things online that they wouldn’t know in the real world. Now more than ever there’s a wave of intolerance toward racism and in public situations, we will defend those who are victims of racism. That’s in the real world; online platforms are a scary tool that can help spread these racist views. White supremacists have easy access to global linkages and access overall (White Supremacy in the Digital Era, Daniels, p.6). I think we are living in an interesting time where these technological tools can either push us to an equal world for all or a world of dangerous hiding.