#the show completely uncritically.

[theweeklydiscourse]

No, actually. It is not “shaming Katara’s femininity” or her “maternal traits” to critique the ways in which her character was relegated to a the passive role of the Avatar’s grieving widow and largely ignored by the narrative post-ATLA. Oh my god, we are not “degrading” Katara by pointing out the sexist implications of how her character was handled and to suggest such a thing is just so…infuriating and very revealing of the underlying sexism in the fandom.

No thoughts, just people endlessly glorifying Katara’s maternal tendencies without bothering to question or investigate the adverse effects of her parentification. Apparently anyone who criticizes the writing of Katara’s character is just denigrating “traditional femininity” and THEY are the true misogynists! Not the male writers or viewers who consistently minimize Katara’s significance to the narrative and mock fans who ship her with anyone other than Aang.

Not at all, really we should just accept the conditions of the narrative uncritically and never question the biases of the creators. How dare we criticize them and point out the underlying sexism in their writing?

[the-breath-in-air]

Look...

Does Rowling benefit monetarily or socially from Misfits & Magic?

No.

Is Misfits & Magic completely uncritical of Harry Potter, thus reinforcing Harry Potter's problems and Rowling's bigotry?

No. Quite the opposite.

So, like, you don't have to want to watch the second season. Heck, I probably won't be watching it. Not my thing.

And also, it's not morally or ethically wrong that they're making a second season of this show. It doesn't suddenly mean Dropout is supporting terfs.

Harry Potter was a cultural juggernaut. And it'd be weird to pretend it wasn't. Like, there is so much fiction out there that's inspired by it (including inspired by the problems with it).

It's okay (and indeed, necessary) to look at problematic fiction from your past that really impacted you and take a look at it again with an adult's critical eye. And it's okay if you highlight the pieces of it that still bring you joy even as you also call out the pieces that do not hold up.

[transfemgorgug]

at this point if i see someone has anything abt spn in their bio and they’re not a mutual or a mutual in law i kinda just assume they’re one of the racist fans. you can usually tell pretty well based off of their bios

[prying-pandora666]

ATLA Fandom and its Rejection of ATLA’s Messages

Can we talk about something for a moment?

The ATLA fandom loves to go on and on about all the ways the characters are “toxic” and who “deserves” redemption, in ways that are completely at-odds not only the messages and themes of the show but also in ways that are simply incompatible with being imperfect humans.

More than that though, there’s a complete failure or unwillingness to engage with philosophies unfamiliar to them. No effort to try and broaden their understanding. No, it’s all about pearl clutching.

Look at this:

Pretty funny little meme. Was posted on Reddit. Not that far-off from what actually happened in the episode.

Now let’s look at a couple of the comments.

The first commenter outright claims that a remorseless person doesn’t deserve forgiveness. No elaboration. No reasons given for why they disagree with Aang in this moment. It’s just stated as fact and several people uncritically agree. It is assumed that Aang’s thinking is wrong and everyone should agree.

You can see my comment countering this blanket statement, and bless the commenter below me for tying this back in to what Aang said. Understood the assignment! Succinct and to the point.

But then look at this:

The thing that really gets me about this is not only that they ignore the entire message of the very episode being shown here, but that they wholly condemn Aang’s (and his people’s) way of thinking as cowardice or a failing driven by fear. It frames Aang counseling Katara to not murder a man for vengeance as him somehow wanting Katara to stay afraid??? What???

Is it any wonder so many people twist and misrepresent this episode and its lesson?

No wonder then that so much of the fandom—and indeed even NATLA—is full of apologists for the Fire Nation despite their horrendous actions. The irony being that the one Fire Nation character the fandom widely condemns and refuses to extend empathy towards is the same one who expresses the very same sentiment contrary to Aang’s beliefs!

Remember what little Azula said about Iroh surrendering at Ba Sing Se?

The Fire Nation are the ones who believe in vengeance and violence. This is why Zuko thought killing Yon Rha was what she needed. It’s what he’s been taught. It’s what he and his sister were raised to believe. But the show is explicit about the fact that this is wrong. Iroh ends up living in Ba Sing Se peacefully! No revenge necessary!

The Air Nomads, meanwhile, teach forgiveness as a way to cultivate peace within yourself. Of course Aang reflects this teaching. And although Katara isn’t able to fully forgive Yon Rha (nor does Aang feel she has to), she is able to let go of her anger and find closure. She spares Yon Rha. She turns the other cheek. She moves on. Aang is explicitly shown to be right.

You don’t have to agree with all the messages of the show, but can we at least try to engage with them?

[pluckyredhead]

Hey, I don’t blame you if you don’t want to respond right now, but I just wanted to acknowledge that you were completely right to insist that people should have voted for the Democratic candidate if they didn’t want Trump, regardless of if they completely agreed with the Democratic candidate or not. We wouldn’t be in this situation if more people thought like you. And I hope more of the “both sides are just as bad” people remember this for next time.

I appreciate the thought, and you're right that we need every vote, every time, all the time.

But that's not what swung this election. There was a big shift to the right among men, particularly low information voters. And exit polls show that the economy was the biggest driver of those votes. It was not the very small number of extremely online leftists who abstained from voting or voted third party who caused this. It was people who absorb Fox News uncritically and/or fail to understand that Trump was terrible for the economy and will be terrible again, that Biden pulled us out of a recession, that prices are high because of greedflation and not inflation.

And, you know, fascists. But mostly people who are so under-informed and actively dis-informed that they think Trump deporting thousands of people will magically make gas cheaper.

I don't know how to reach those people. Our media landscape is so fractured that they are literally living in a different reality than I am, where the things I see as so obvious and self-evident don't exist to them, or exist only as lies. A second Trump presidency with its inevitable rolling back of regulations about social media disinformation and equally inevitable threats to honest journalism is only going to make it harder.

But here's what I know:

We're going to remember to eat, and drink water, and sleep. We are going to hold our loved ones close.

Lock down your birth control. Get your vaccines. Know where your important paperwork is.

Read On Tyranny by Timothy Snyder. Read Hope in the Dark by Rebecca Solnit.

Check for misinformation and disinformation before you share something.

Posting online is not activism. Fighting online is not activism. Share resources, yes. Otherwise, block and move on, because...

Infighting didn't save us this time, and it will never save us. We are going to have to build coalitions. I'm going to get involved in my local progressive politics. I urge everyone who can to do the same. You are going to meet people who are not exactly like you, who disagree with you, who you don't like. If they believe in democracy and equal rights and justice for everyone? Then they are your allies in this fight and you need every single one of them.

America has never lived up to her ideals, but I still believe in them: that we are all created equal. If we never get there, it will still always be a fight worth fighting.

So let's fight.

[greensaplinggrace]

the fact of the matter is that buffy ends up isolated no matter what the scoobies do because she bears the burden of the slayer alone at the end of the day and nothing can change that. the problem with this isn't that she's separate from them, it's that they don't want to acknowledge that she is, and in doing so they drive a wedge between them that just grows and grows. the best thing about spike is that he's similar enough to this other side of buffy to understand it and her by extension. he is the only person around who can support that side of her.

most of buffy's issues in season six stem from the scoobies rejecting a part of buffy that spike accepts. and this shame she feels for her reliance on spike and the presence of this darkness and isolation she cannot avoid is largely because of them. i'm sick of this bizarre assumption that pointing out where the scoobies go wrong in their relationship with buffy somehow equals an uncritical uplifting of spike. just because he understands her and represents a certain aspect of her doesn't mean he doesn't fuck up. i mean that's kind of the whole point of their season six dynamic. one of his biggest issues is that he thinks he's helping her by enabling her completely because he doesn't have the ability to properly identify the line between self acceptance and self destruction - pursuit of the id is one of his biggest character traits. that's what makes the end of season six and his decision to get the soul so interesting (although of course there's just as much i can say about the narrative framing of that in regards to lore consistency and the story's obsession with angel, but that's a whole other thing).

point is, the scoobies cannot understand all of buffy, and when they refuse to acknowledge this they destroy their chances of building any bridges to even a simple relationship with that other side of buffy or helping her carry that burden in any way. meanwhile, spike is in the proper position to understand buffy as the slayer and hold his own with her in such a way, but his definition of love is wholly obsessive and destructive. while i disagree that he's incapable of love and even of loving selflessly without his soul, i think spike's version of love in particular is self destructive in a way that enables buffy's own desire to hurt herself through hurting him (see the aforementioned shame regarding her shadow self). spike cannot identify why allowing buffy to give in to her dark side in such a way is bad because he struggles to understand how she could use this to resent herself - although i do think he realizes it's happening on some level.

spike is also buffy's only form of catharsis and the only one that actually listens to what she is saying during a time when everybody else is dismissing her because of the aforementioned inability to understand her as the slayer. it's a clusterfuck - and a clusterfuck that needed to be shattered with a hammer for any kind of relief. and quite frankly to disregard the scoobies' own part in this situation does a disservice to buffy as a character. to be honest, she deserves fucking better than what everyone in her life gives her, especially the scoobies, who grow to take her for granted and feel entitled to controlling her life as a way of keeping her conformed - again, due to the aforementioned lack of desire to acknowledge this other part of her that they cannot connect with.

which leads to season seven, where spike is the only person on the show who has developed and changed enough to remain at buffy's side helping her carry the burden. while everyone else suffered during season six, none of them opened their eyes to what they were doing to buffy - and if they did, none of them acted on it. spike is the only one to acknowledge the damage he's done and work to become better for buffy in any way he can. he is the only one that ends up able to carry that burden with her because he is the only one capable of facing the truth and acting on his desire to do better.

the fucking problem isn't that he hurt buffy - because to be quite frank everybody did - it's that he's the only person on the whole damn show to acknowledge his place in buffy's life, and to acknowledge the burdens she bears, and actively change himself for her. did you know he has almost all of the genuine apologies in the entire show? seven seasons and all of the harm the scoobies cause buffy, and it's fucking spike that is acting like a mature person capable of being a proper partner.

[fae-morrigan]

Superfam and Found Family: What it Means to Choose

I have seen a lot of my beloved mutuals talk about adoption as a theme in the superfam, and thats true, thats very much a thing, but thats more a subsection of the larger idea with the superfamily: You get to choose your family, and define your relationship to them.

Clark and Kon come to mind. They've been discussed a lot lately, huh? Namely people saying Clark does not treat Kon well. This is false, by the way, they get along great.

But let's sort of dig into the actual story told by their relationship here: Kon was created by Lex without Clark's consent. Clark had no say in how part of his DNA would be used to create a new life.

(This is coincidentally why it irks me that certain fans will act like Clark is a monster for even HYPOTHETICALLY not wanting a relationship with Kon. Guys, you sound like pro-lifers. Lets watch it!)

Despite this, Clark accepts Kon with open arms. Now, as myself and others have pointed out, Kon's technically... he's not a clone, he's a test tube baby. Technically, biologically, he's Clark & Lex's son. D.. diversity win...?

But thats not how Clark and Kon choose to define their relationship. They instead decide, hey, we were raised by the same people, we're brothers.

Kon is not an outsider to the Superfam, even as he is an outsider to this world- He is welcomed with open arms once it is clear he needs a home. And with Clark and Kon, they get to choose how they define their relationship, not Lex, not anyone else.

Then, John Henry and Nat. John Henry is not Natasha's father, but their relationship is very complex and often veers into that territory, for the simple reason that he shows up for her in that capacity when Natasha's own father fails her.

Even while their relationship has its ups and downs (read 52 guys for THEM), they manage to forge a relationship based on mutual respect, enough to the point where during Steelworks, she is not just his niece, but his partner in building a better tomorrow. It is a fatherly/daughterly relationship built on mutual respect largely independent of their blood relation, built on the security that Clay failed to provide Natasha with.

Of course, to talk about adoption, Clois adopting the twins. I think Phillip Kennedy Johnson handles the topic of adoption EXPERTLY with Otho-Ra and Osul-Ra, specifically as a metaphor for transracial/transethnic adoption.

Clark's relationship with the twins is built throughout the Warworld saga, and does not start... great (they discuss looting his corpse lol), and often they. But Clark understands that the kids are traumatized, and seeks to guide them to a better situation.

Now I would be irresponsible to not mention that, during this time, Clark is still struggling with Jon's age up. He mumbles, disoriented during their first meeting, that the kids are the same age as his son (no they are not). In a less tightly written book by a worse writer, it'd be a thing where Clark completely uncritically finds 'replacement kids' in the twins... Which is NOT what happens here, because PKJ is the GOAT.

In the end, his relationship with the twins is built not only independently of his struggles with Jon, but the way he connects with them helps Clark realize that whats done is done. They need him to be Clark, not a man hanging onto the past he will never get back. To move forward, they must do it together, it won't work if the twins remain on Warworld and he remains mentally in Hamilton. Its why it is SUPER important, also, that in the end, Clark doesn't ask them to come with him- rather, they ask to go with Clark.

(Sidenote: The twins lost not only their parents on warworld, but an older brother, too. Clark isn't the only one who finds a healing way forward via the Ra-El relationships, but that's gonna be another post!) And their hero names, Red Son and Starchild, are from their original culture (the Phaelosians), a culture that was systematically robbed from them when Warworld trafficked them into service. Rather than forcing them to conform to the house of El and their legacy, they help the kids reconnect.

These are his children. They found each other in the scariest place in the universe, and together, they find a way past the things they've both suffered through.

I'm afraid I don't know much about Kara (kara mutuals, reading recs appreciated! i've only ever read WOT and a few issues of the most recent Supergirl run) but I do know that her relationship to Clark is inherently different than it was supposed to be, and she has to roll with it and redefine it accordingly. She was supposed to be older than him, be able to take care of him, but by the time she actually finds him, he's the one doing that for her.

(I dont really have a panel here I fear, so look at the pretty art from Woman of Tomorrow. If someone wants to say more on Kara, you're welcome to hijack my post for a bit!)

Kenan is an example of this theme going kind of sideways and being examined from another angle- He's forced to choose between his two found families, and with either choice, he stands to lose something. Either his connection to Superman, or his connection to home:

Kenan already has a messy relationship with family, considering the soap opera level drama his parents inflict on him in his solo. Now, separated from his culture by circumstances he can't control, Kenan's relationship with the Superfam is forced by circumstance, even as it isn't unwanted. He's forced to make the most of what he has.

Then you have Clark and Jon, where the 'and define your relationship to them' part of my thematic statement REALLY becomes important.

I've seen it argued many times that giving Jon the Superman mantle weakens the theme of found family, but I'd argue it strengthens it, because Jon not having a choice in becoming Superman is EXPLICITLY framed as a bad thing.

Jon's not ready to be Superman. He doesn't even really WANT to be superman. But because of the circumstances of his birth, the world, and his father, push him into it. Clark never asked Jon to be Superman, during the Son-of-kal-el + Warworld era. He assumed he would be.

It tarnishes Clark & Jon's relationship, actively preventing Jon from connecting with his father and the WORLD fully in the way they both want. This is a key theme of Superman: Son of Kal El, from the very moment of Jon's actual birth:

All throughout post-age up Jon is the idea that Jon is just as burdened by the expectations placed upon him by his blood as he is comforted by what the mantle represents.

(I know I use this panel like every analysis but its a GOOD PANEL, SHUT UP) And there's of course the fact that... y'know. Well. Y'know.

Y'KNOW.

I think there's a potentially strong story in either Jon walking away from the mantle entirely, or redefining it to be his own. But first, he's going to have to suffer for the fact he wasn't ready for what many people call his DESTINY, including his abuser.

And where does this leave Jon and Clark?

Here.

The last note before Absolute Power of these two is this bittersweet moment where Jon still isn't fully heard. Where he still doesn't get a full say in what he and Clark's relationship will be. And judging by THIS interview from Mark Waid, this particular idea is about to finally come home to roost:

Lastly, there's of course the Most Found Family Thing Of All that i basically see NO one talk about: The fact that the Irons and the Kents just. Share all their big life events with each other. They're literally not related to each other by blood at all, but throughout PKJ's Action Comics, they ARE family!

Teamwork makes the dreamwork guys!

The superfamily is a wonderfully diverse cluster of relationships and examinations of the way family finds each other. Even moreso than the Batfam, which is often defined by their father-son relationship with Bruce in fanon, the Superfam displays a wide array of the various ways non-nuclear families can build each other.

This is all to say you guys should read PKJ's action comics run. It rules.

(This is also to say Superman 2016 sucks ass.)

[haikyuupaladin]

The new Spiderverse movie is coming out Friday (and I’ve seen that some theaters will be having afternoon showings on Thursday) so please keep in mind that this movie is completely inaccessible to people with photosensitivity issues.

Please hold Sony accountable for this inaccessibility. I’m not saying you’re not allowed to enjoy it but be vocal about how it would be better if it were more accessible. Do not call it perfection or say that everyone should strive to match its animation style, as the stylistic choices are why the movie is dangerous, even if any explicit flashing lights were taken out, the speed and high-contrast colors of the movie would still be an issue.

And please tag properly. Anything gifs or clips that could be dangerous, please tag with “flashing lights” and please tag any posts about the movie in general as “Spiderverse” because while you’re allowed to like it, a lot of us have very strong negative feelings about the first movie and by extension this movie due to a combination of its inaccessibility and the amount of uncritical praise the first movie got, and so would like to be able to avoid the topic.

[comicaurora]

What are your thoughts on guardians vol.3? (If you have watched it) I went into it, expecting it went to the garbage like the rest of the mcu, but I was pleasantly surprised by its creativity, trope subversion, and how it wrapped up the previously unresolved arks of its characters.

That's what I've heard!

The thing is, Guardians 3 could be the most transcendent work of cinema ever made, and I'd probably still feel little to no motivation to watch it at this point. It's not Guardians's fault - it's just suffering from the same problem that superhero comics have been struggling with for decades: no matter how good an individual arc or run is, absolutely nothing good lasts or matters in the long term, and the stories are shaped in such a way that "the long term" is the only thing anyone gets to build towards.

Whenever I complain about the MCU I get a handful of people loudly complaining about my complaining, with the general thesis that if I don't like it I shouldn't watch it or talk about it - if I'm not having fun, just stop engaging with it. And the thing is, I have. I am intellectually interested in why this massive franchise is fumbling the bag so hard, which is why I still check in on it sometimes, but I've long since stopped turning to the MCU for uncritical entertainment. And even the good movies or shows with a lot of interesting ideas - good character arcs, fun concepts, interesting planting for future payoff - don't draw me in anymore, because they're hooked into a massive moneymaking machine that will scrap and squander anything if they think it'll make them more in the quarter. It doesn't matter how good the writing is, because the writers are not allowed to tell a complete, finished story, and they have no control over what happens to their characters outside of their own script.

Captain America's arc was set up from literally minute one to answer one burning question at the core of his character: does a world without a war still need Captain America? After that incredibly basic tee-up at the end of First Avenger, half a dozen movies failed to come up with a reason to say "yes," and now Steve is retired for good after getting fumbled through four different storylines that couldn't even pretend that they needed him (the unused Chekhov's Phone from the end of Civil War still haunts me). The foundational arc of his entire character never happened because nobody bothered to keep track of it past a single movie.

Taika did something interesting with Thor in Ragnarok - take away Mjolnir, force him to recognize what it means to be the god of thunder, give him a very Odin-y missing eye - and the very next movie undid all of it. Just kidding, never mind, here's an eye and a new weapon and also his old weapon again, and in one more movie we're even gonna give him his hair back, probably as an apology for all the completely unironic fatphobia we're gonna slather him in for two and a half hours. I'm not even surprised Love And Thunder was such an overblown mess that barely took itself seriously - why would Taika bother trying to give Thor another arc when the powers that be will just roll it back in six months anyway?

I hear Rocket Raccoon has a fantastic arc in this movie. That's great, and demonstrates that he's being written by a writer that deeply cares about him. But he's part of the MCU, and the MCU doesn't let anything end, so if current patterns hold, Rocket is going to continue to serve as quippy plushie-bait for the next dozen movies and none of that depth is going to come through in the long term. Hell, since they're making Kang noises for the Next Big Threat and Kang's entire gimmick is rewriting timelines, literally none of this is guaranteed to matter. By next year, it might not have even happened anymore.

The MCU has successfully shaped itself into a paradigm where the bright spots of good writing are overridden and lost as soon as the writers room turns over, and that makes it really hard for me to muster up the enthusiasm to watch even a really good movie that's locked into the exact same grist mill as everything else. I'm glad people liked it, I hope it gets to stay good this time - I just have no desire to watch it.

[inkskinned]

im gonna start a fight; and, at the same time, i need you to take this in the most good-faith way possible, but:

videos that involve body-checking and intentionally (and uncritically) show a mealplan of an unhealthy number of calories are just a revamped version of pro-ana food diaries.

and yeah, i know there's arguments. i address some of them under the cut. but at the end of the day, we're just coming back to romanticizing mental illness; we've just found a better platform for it.

this is already something we've done. we knew it was wrong and tried to stop it. and tbh. it just wasn't enough.

there are people who argue "well, what if you have an eating disorder, you can't help it if you don't eat!" except that as someone with an ED; we are not infants. we know what we're doing. part of having an ED is that you are like, maybe too self-aware. even if we can't help our own food choices, we don't need to fucking romanticize the disorder - something we've been warning you about since 2013. there are hours of setup, filming, and editing that go into these videos. they do not happen to fall into place randomly. there is a reason they are pieced together to be beautiful, bright, inspiring.

there's this woman who pretty much only posts daily plans under a normal amount of calories, and everyone defends her saying but it's better than nothing! and i'm like. except she opens those with images of her showing off her body and provides no context in the video or caption that suggests that she believes what she's doing is unhealthy. she has hundreds of thousands of followers on a platform designed for young kids and teens. i refuse to believe that by accident her content just happens to be cheery advice on "healthy" versions of starving.

for any other symptom of mental illness, we would be incredibly enraged by this kind of placid acceptance of a "tips and tricks" fast-start guide. imagine if people posted pink & pretty videos saying "best places to cut yourself" as if it was a fucking storytime. we, as a society, are so fucking fatphobic that we would rather accept blatantly harmful displays of self harm than admit that we are obsessed with a hyper-thin body type.

i am not suggesting someone never talks about their disorder. i talk about mine. actually, it's a plot point in my book.

here's the difference: i recognize it's a fucking mental illness. i am very careful to never mention a specific weight, eating pattern, or calorie plan. i always make sure to position it as something that ruined my fucking life. i do not put cheery music in the background and hearts and sparkles over my worst moments. i do not film it in bright light. i do not start each passage with an image of a thin body followed by "here's how to look like her."

eating disorders should not be framed as aspirational. and the problem is that society worships the "after" image, so long as you don't get too sick. there is a reason so many people who quit being "influencers" will later admit - i wasn't eating well that whole time; an obsession with food was completely destroying my life.

we let any uncredited, uncertified person write the most backwards, fucked up shit about how to get the body you desire! because the underlying, secret belief is: well, at least they're thin! and the real thing that fucking gets me each time - they make fucking money off of it. their irresponsibility and societal harm literally pays off for them.

"why do you care so much." "don't like it don't look." "so what if people experiment with new ways of thinking of food?"

thank you for asking. we're about to get extremely personal. it's because when i was 18 i discovered "thinspiration"/"thinspo." and it absolutely influenced, shaped, and codified my pre-existing eating disorder. i went from having some troubling habits and traits to being incredibly unwell within what felt like a matter of days. there were actual pages designed to train me on how to have an ED correctly. it was all so suddenly easy. i was sick; and the nature of the illness meant - i wanted to be sicker.

it takes an average of 7 years for a person to fully recover. i know this personally - even now, 10 years from the worst of it, i still fucking struggle. i am so much happier now and i eat what i want and i literally don't think about food at all (19 year old me would shudder) and yet - i still fucking know the calories of plain toast with butter.

an eating disorder is one of the deadliest types of mental illness. over 1 in 4 people with an ED will attempt suicide.

and i'm sorry. i just do not see the exchange rate of "high rate of engagement" versus "the value of a human life."

[sokkastyles]

I have a question, I know we know that shipping does not equal morality. And I get that, and I really like that. However, on my other blog, that should have been my main blog (yes I am that dumb). I have talked about Aang's non-consensual and criticized how Kataang is written, however, if you ship Kataang I won't come for your throat because that's not my style. I know the few misogynists/antis on here and on Twitter, and I don't want to let a few bad apples be my impression of a fandom, that's not fair, So now I'm side-eyeing myself over my past remarks. Likewise, I know shipping is not equal to morality, but I also want to criticize Kataang because of how flawed it is and how wrong that kiss was (and other things). I have no idea what I'm saying because at this point I'm rambling. What do you think?

Well, there is a difference between criticizing a ship and criticizing canon. I don't honestly care what people ship. I use the antikataang tag because I don't want to argue with people who do ship it, but that doesn't mean I won't be critical of what is in the show. I think expecting people not to engage critically with media is absolute nonsense. But there is a difference between engaging critically with the actual media and criticizing people's fanon or headcanons, which is where you get away from critically engaging with canon and move into the area of criticizing other people's opinions, which is how arguments start.

Like, there isn't really any actual concrete argument you can make to criticize zutara, because zutara does not exist in canon. It's all fanon and headcanons and speculation. And criticizing other people's opinions just makes you look like a dick.

You also have to take into account the intention behind something. The thing about the way Katara's relationship with Aang is presented is that we're supposed to root for Aang to get Katara, and every obstacle towards that end is just there to create dramatic tension for the male point of audience identification. That's the real problem with the noncon kiss, and people who are critical of it are right to point it out.

In contrast, when I say shipping isn't morality, I'm talking about people who write, let's say, dubcon zutara fics. Fanfiction as a genre is largely female-centered fantasy. Yes, even those lurid fics you're thinking of. People write and read these fics for completely different reasons and have completely different expectations than when watching a series like ATLA. Trying to say that someone can't criticize the way the show presents Aang kissing Katara after she said she was confused as a mistake to be glossed over (that is forgotten as soon as it happens) because they also happen to like reading darkfic is nonsense. There's also a long history of women's interests being policed that informs my views here, vs the fact that consent has only fairly recently become a conversation in mainstream media. You have only to look at the way the show itself portrays Katara having interests (especially in boys) outside of Aang as dark and dangerous to see this happening in ATLA itself. Or the way the creators got away with saying that zutara shippers are doomed to end up in abusive relationships while painting Aang as a typical Nice Guy stereotype who expects Katara to magically become his girlfriend (and gets angry when she doesn't) and seeing nothing wrong with it.

The thing is that zutara, if we look at the way it's written in canon as a metaphor for a romantic relationship, follows the same tradition of how fanfiction has historically existed as an exploration of romantic and sexual dynamics. Those conversations about consent are actually happening and being explored in fanfiction, even the dark stuff, whereas relationships that are presented as "wholesome" often push us to NOT have those conversations. So when I say shipping isn't morality, what I actually mean is that noncanon shipping and darkfic actually has more of a moral leg to stand on than uncritically engaging with relationships on the grounds that Aang is the hero so his goodness and worthiness to get the girl should just be assumed. Zuko has to work for his right to be in a relationship with Katara because he didn't start out from a place of goodness, and that, on its own, is very female centered because instead of starting out from the perspective of the male hero deserving a relationship by virtue of being the hero, we see the idea that a man has to work to gain a woman's respect and affection.

So it's not so much that I hate KA, but I hate the idea that we should engage in it uncritically. And that would be true even if it really was the most wholesome relationship in the world. The same thing cannot be true of zutara because even the darkest of darkfic are about women centering themselves in the narrative and engaging with power dynamics in ways that are subverting patriarchal norms about relationships by definition.

[utilitycaster]

what are those 5 things? 👀

Seeing people start admit that maybe Imogen and Laudna did in fact pressure Fearne excessively hard to take the shard. I think it's good Fearne took it in the end, but yeah they really made it difficult for her to express her doubts and that was shitty of them. I got extensive hate for saying that at the time from people who are literally saying the same thing now. It's very funny.

The (entirely valid) complaints I've seen that people care more about imo/dna as a ship than Laudna as a character and are making her book solely about the fact that Imogen will show up in it. I pointed out this exact same problem occurring while Laudna was dead, almost two years ago.

Caleb considering leaving the Nein means they aren't really bonded. Imogen considering leaving Bells Hells means she's so perfect and caring and selfless and noble and good. Anyway yeah sure I definitely believe that if Imogen were a man played by Liam everyone would definitely be totally uncritical and love everything she did. (This is also a layered one, given how Twitter has been bashing Orym nonstop for over a year).

I know it's been a month and I've said this repeatedly so this is a bit tacky but I'm still riding the absolute Irony High of people being like "STOP TALKING ABOUT HUBRIS STOP TALKING ABOUT HUBRIS anyway of COURSE Bells Hells would NEVER see the gods as a messed up family, just like them" and then jump cut to Laudna literally saying that. It's just genuinely so funny that people mad at everyone calling Aeor full of hubris proceeded to get their wax wings straight up vaporized at the top of episode 102.

People calling imo/dna the bestest most organic most slow-burn sapphic ship ever (it's not even the longest slow-burn f/f ship on Critical Role; even if you're stupid enough to count the two years we know virtually nothing about just for the purposes of padding out the time to eliminate Beauyasha on a technicality - nevermind that slowburn is about the length of the story itself and not the length of time the characters have known each other, since it's obvious that if someone said 'here's Jane and Kate, they've known each other for 300 years, now they are kissing' this would not be a satisfying slowburn unless like, you went back and filled in the 300 years - Kimallura STILL wins) but as someone who received a decent amount of harassment for saying it wasn't very interesting and as such kept tabs on the people engaging in that harassment...they've been dropping like flies. If it's the best sapphic ship ever and it's canon and you're in the top 5 ships for the show of all time on ao3 and Delilah's gone and they're going to get their cottage, funny how a good chunk of the shippers haven't even managed to stay interested in CR. Also why are half the people who HAVE kept up like hmmmm what if I threw Fearne or Ashton in there. Like believe me, I support a poly hells situation, but uh. quite a tumble for what people used to call the Beating Heart Of The Campaign (TM).

Bonus! This is below a cut because it has spoilers for next week's Re-Slayer's Take that's only out for Beacon subscribers but

we see Devexian, and he meets Frog (an aeormaton PC) and his overall statement on Aeor is "it created us to serve, and we fought for our autonomy. It was both a beautiful and terrible place. Anyway the past is past, what's important is that we as aeormatons take our chance to live now, and my personal goal is not just to bring back as many aeormatons as I can, but learn how to make more aeormatons." He is completely uninterested, at least in 839 PD, in any sort of action against the gods. Like, I think he regrets the fall of Aeor because a lot of Aeormatons and knowledge died in it but he literally is like "your life is defined by your own choices, not your designation at the time of Aeor." The actual survivors of the fall of Aeor are like anyway, we want acceptance, autonomy, and the means to control our own production in modern day Exandria. Ludinus whomst.

[cer-rata]

TW: racism

I think the way that comic book media has uncritically pushed anti-Arab racist propaganda (among other kinds) for decades upon decades is an important thing to acknowledge. Like it's not just a couple of bad apples here and there, it's always been pervasive. So many stories, so many villains, so many Arab coded fake evil countries. That kind of thing desensitizes people, dehumanizes entire groups. The politics of media designed for young men and boys (and not just them but for years that was the only audience that mattered, thanks sexism) has consequences.

Seriously, what was this:

As far as I'm aware this never even got an explicit retcon.

I was a little Muslim boy in the mid 2000s reading a Death in the Family because I wanted to know what happened to Jason Todd, and I didn't understand the depths of the propaganda that was being fed to me. I was so desensitized to hearing about terrible things happening in the middle east, and evil terrorists that I didn't question it. And my parents talked to me about what was going on and how it was wrong. But I was still a little kid and I loved Batman and I wasn't at the point where I could really look at the narrative critically, to realize that the authors have worldviews that are biased. I don't think I even grasped that different people wrote the characters. Iran electing known super-terrorist-serial killer-baby eating clown The Joker to represent them because he understood their values is yes, notably crazy, but most of this stuff isn't so loud and obvious, and we didn't leave it in the 80s. Just look at what happened to the depiction of Talia and Ra's post 911 and how they progressive became less human. So just think about the generations of kids reading this crap who had no counter messaging at all. Where does that leave their empathy?

I'm not saying that everything we're seeing is the fault of comic books, that's stupid and reductive and insulting to the complexity of the reality. But what I'm saying is that a lot of these narratives are actively complicit in the kinds of inhumanity we're seeing. Marvel thinking it's appropriate to throw Sabra into a movie in current day is a glaring transgression but it's not some kind of strange outlier. Lots of those films are actively funded by arms of the American military, just look at Captain marvel and Iron Man. And if anyone likes imposing an agenda onto the narrative, it's the military. A lot of this is baked into the fiction, and we owe it to ourselves and others to actively contend with what that means.

I dunno I'm just mad, and disappointed and maybe a little guilty that it took me this long to really realize the full state of things. I spent a lot of time blindly consuming. Like these books were created to be aspirational, to show good people trying to make a better world. But as always happens when art is completely beholden to money, they still serve the politics of the ruling class at the end of the day.

[firelxdykatara]

I actually really don't want to hear anything about how 'overcoming misogyny' is a major theme in Avatar: the Last Airbender when "The Fortuneteller" exists and the ultimate thesis of that episode, in the context of the show as a whole, is that if a girl is in unrequited love, it's cringe and kinda pathetic and she should move on cause the boy will never want her; but if a boy is in unrequited love, he just needs to be patient and wait for the girl he wants to come around cause he's a hero and how could she not?

Its secondary thesis is that you need to make your own destiny and not rely on someone else's words to tell you what your life has in store...if you're a BOY; if you're a girl then what the fake psychic told you will actually determine your ENTIRE life even if you are only fourteen years old.

Meng's existence really would have been the final nail in the coffin for Kataang even if the arc of the ship in Book 3 weren't so abhorrent to me personally (sorry but I have higher standards for romantic relationships than 'the girl is completely oblivious to the boy's advances for the entire show, is actively distressed when those advances become more pronounced, and then her feelings are resolved completely off screen between episodes so that the boy can get his prize in the end')--because her relationship with Aang is deliberately paralleled to Aang's relationship with Katara, and yet Meng, the one-off character, learns a lesson which Aang is quite literally told he must learn in the Book 2 finale... but he never ever does.

Aang has an entire season to internalize that lesson and come to terms with it--that maybe she doesn't have feelings for me and that's ok because I still love and care about her and that's enough--but he never even comes close. His possessive attachment to her gets worse, culminates in the EIP kiss, and Katara just capitulates because we're meant to believe that she went through the entire development of her romantic feelings for the love of her life off-screen between the penultimate episode and the four-part finale.

This was misogynistic even in 2008, and the idea that the show truly had anything meaningful to say about sexism/misogyny when uncritical and unchecked misogyny was baked into its very DNA (assuming we're meant to agree with Brychael that Kataang is 'in the DNA of the show) is just laughable to me. When it comes to 'overcoming misogyny' the show doesn't actually say anything more profound than 'girls can fight too!!!!!'

And that wasn't good enough for me then, it certainly isn't good enough for me today.

[highfantasy-soul]

Again, just so many props to The Acolyte for talking about this stuff with NUANCE!! They aren't preaching at us, they aren't saying 'x group is completely evil, no redemption, you need to hate them' and 'y group is completely perfect and beautiful and has never done anything mean in their entire lives, love them uncritically'.

They straight up show how the Jedi are invaders, colonizers, and white saviors while still showing how they believe they're doing what's right. They genuinely think they're saving the twins and protecting them from some evil. They're wrong, of course, but they aren't acting with malice.

But that intention doesn't matter - they still broke into an oppressed group's home and demanded to take their children and assumed everything they did must be evil because they didn't understand it. Ignorance rather than malicious intent is what caused all that harm and I think that's an incredible story to tell.

Pointing the finger at YOU the audience. YOU might think you're acting as a savior to those you think are being harmed - but YOU might be acting out of ignorance, harming people who are already oppressed. That doesn't make you evil. It makes you human - and you HAVE to recognize that in yourself if you ever want to ACTUALLY help people.

[starpeace]

here for the mandalorian rant ☕️

um well the first episode of the brand new season of disney+’s flagship star wars show was entirely... filler. the dialogue was incredibly bad, not even written badly but as if no-one had written it at all. entirely flat and devoid of life, in a show with a faceless protagonist whose dialogue literally has to carry all the weight. din continues to have no opinions, no emotion and nothing to say

as for the plot, what even happened in this episode? we open with the mandalorian covert ritually giving a child their helmet, but this is not explored at all, it’s only there to be interrupted with a giant monster fight for absolutely no reason, as if this show has been written by six-year-old me livening up clicking my barbies together by grabbing my toy dinosaurs. din has conversations with the armourer and bo-katan purely to rehash the information we’ve already been given, partly because half of it was in a bad show the casual audience won’t have watched. neither of these characters is doing anything.

din visits greef karga, who is now discount lando “gone respectable” but instead of having personality he’s just really into gentrification and this is presented completely uncritically. din, a character most charming for being the beaten up mercenary underdog of the galaxy, suddenly hates pirates and disorder (well, hates would imply he shows emotion—dislikes pirates and disorder? is mildly perturbed by pirates and disorder?), and pals around with high magistrates who offer him a position as a cop/landed gentry (they actually use the words “landed gentry”). there’s a couple of meaningless unfunny comic relief scenes because this is all that grogu is here for now, complete with a reference to, of all things, the rise of skywalker. in what is apparently the main plot of the episode, which is, i repeat, the first episode of the brand new season, din takes up a fetch quest to get a random droid part for an absolutely laughable reason that does nothing but completely negate a character arc from season 1 and everything we have been shown since, just reminding you that not even death will be allowed to have emotion or narrative weight, or prevent disney from dragging back onto your screen anything that will sell. he doesn’t actually do this fetch quest, btw, he just gets given it, because apparently we have to do multiple episodes of this

did i get everything? was that the whole episode? oh wait there was the fight with the pirates in space. i forgot it because there was zero tension. those pirates also earlier wanted to... have a drink in a school with greef, i guess, in a completely baffling scene? i can’t imagine there was any point to this pirate bit except to put fight scenes into this filler episode and force the visual effects people to carry the entire lumbering weight of this show. one has to assume that otherwise the pirates would have had personalities or motivations. oh, also purrgils appeared in this episode, because this is the Star Wars Cinematic Universe, and you’d better watch all the interconnected shows so all your beloved characters can eventually come together to swap lifeless quips on screen, just like you always wanted.

a droid drops a statue’s head on top of a murder droid to stop it, purely so din can say, “now that’s using your head.” if you were wondering what i meant about the dialogue.

i don’t even need to get into the politics of the story they’re telling. i don’t need to humiliate it further by comparing it to andor. it’s just bad to watch on a basic technical fundamental level, and it’s not headed anywhere better, because they will be churning out this story for cash forever with no goal or meaning, under circumstances where i cannot seriously even imagine caring about star wars anymore. hope this helps!