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timeagainreviews · 6 months ago

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The Twist of a Stiletto

Back in the ‘90s there was a very famous TV show. 120 Minutes, don’t act like you don’t know. But for those of you not in the know, “120 Minutes,” was a show on MTV hosted by Matt Pinfield. There were other hosts, but Matt was my guy. Being a showcase of music videos from artists MTV wouldn’t dare play during the day, it was relegated to a late Sunday evening timeslot. Growing up, I never really had a personal relationship with music. It was the stuff in the background of movies. My dad would play CDs of his faves. Kansas, Jethro Tull, Chicago, Led Zepplin, The Beatles. Music could be fun or cool, but I could take it or leave it. That is until April 14, 1996, when 120 Minutes aired Rage Against the Machine’s “Bulls on Parade,” and my 12-year-old brain erupted. A fire was lit inside me that day and Zach de la Rocha was more than happy to pour gasoline on it. I was suddenly, without any kind of warning, in love with music.

The spontaneous combustion of music hits us all differently, but I’m sure my story made you remember yours. How could it not? Music is a part of our lives. We wrap our memories in song. As such, some songs become painful. We then lock those songs in our past where they can’t hurt us, but a passing car with its windows down can bring us back. Music is personal. “The Devil’s Chord,” is a story about our relationship with music. How we hold music inside and when we let it out. It is a celebration of song as well as a lament. While the episode often achieves harmony, it also falls a bit flat. Are you picking up on a theme? Is this striking a chord with you? Ok I’ll stop. Probably.

I’ll get the obvious out of the way first. “The Devil’s Chord,” is precariously close to “The Giggle,” plot-wise. The TARDIS lands. The Doctor finds the world behaving oddly. He discovers it’s all to do with a magical gay American who chews scenery for breakfast. The American sends the Doctor through a themed gauntlet of insanity. The Doctor banishes the American using their own tricks against them. The American disappears with a warning about the next guy. Bish bash bosh. I’m getting that all out of the way ahead of time, because that would be a really boring article to read. But I will say this- if this is the Pantheon’s only gambit, I’ll be disappointed.

Ruby’s explanation of how she discovered the Beatles through her mum’s girlfriend’s vinyl collection was charming and didn’t make me feel old at all. Not to be all “kids these days only care about Tik Tok and Roblox,” but I was fairly certain most young people hate the Beatles. That is, if my Facebook feed is anything to go by. It really shows you just how on the pulse Russell T Davies is these days. Hello fellow kids. Have some trans inclusion while I court problematic people on social media. Kids like Deftones, Russell. Do a Deftones episode. Have the Doctor fight robot pigs with Chico Moreno. (Man, nü metal is having a moment in this article.) My point being, it’s weird to choose The Beatles now.

I harp on a lot about how metatextual Doctor Who can be and how it’s the secret of its longevity. They need to replace their actor? Regeneration. They need to get the Doctor into a building? Psychic paper. But I think I’ve found the exception that proves the rule. Russell T Davies said in an interview “...The Beatles music is so expensive. Even on a Disney budget, we couldn’t afford that…And so I thought imagine you’re visiting The Beatles, and you couldn’t have The Beatles music. What would you do? And that’s the story. It kind of created itself”. In true Doctor Who fashion, Russell T Davies saw a limitation and folded it into the narrative. It’s a shame then, that it doesn’t work at all.

It started with their shots of Abbey Road and EMI Studios. The zebra crossing at Abbey Road isn’t that wide. I’ve been there. And since when did EMI Studios have a red brick entrance? Where are its classic Georgian-style box frame windows? It’s one of the most visited tourist spots in London, and you’re not going to actually go there? You can’t get the music. Ok. That’s sort of understandable. But they couldn’t film on location? What exactly is the Disney budget doing here? Remember when they flew the whole TARDIS crew to Utah? And then the next season to New York City? They managed to shoo tourists and locals away from Umpire Rock. You mean to tell me they couldn’t hold back traffic on Abbey Road for a few hours? Hell, just composite it. Shoot it on a soundstage. You don’t have to go “Angels Take Manhattan,” when you could go “Daleks Take Manhattan.”

This may seem like a weird gripe from a person who said it would be boring to complain about how two episodes are similar, but it is the crux of the matter. Why use The Beatles in an episode about The Beatles if you do nothing with them? Why highlight edifice in a story about being vulnerable? Yes, the episode is predicated on the very idea of not having the rights to The Beatles music catalog, but this also denies the audience a payoff. Let me explain. Ruby and the Doctor get dressed to the nines to go back to 1963 and watch the Beatles record their first album. Great so far. They have a cute little moment with the tea lady while they sneak into EMI studios. Still great. However, as they roll record for the Fab Four, it’s immediately apparent that something is very wrong. The Beatles' music sounds awful. Like how I imagine my friends on Facebook think they sound all the time. And still, things are going great. What this does, however, is set up expectations for the moment when The Beatles' music is finally back in its full glory. I’ve seen the shot from the trailer of Ncuti in the recording studio full of smiling perfects. It’s gonna be high energy. What a payoff. Right?

The Doctor and Ruby also pop in to listen to Cilla Black lay down a track. It’s the same crappy atonal music that only a trans woman with a collection of circuit-bent instruments could love. Something is amiss. The Doctor and Ruby do a bit of digging. It’s time to go talk to The Shitty Beatles. This time, it’s more than a clever name. With as much respect as I can muster, these have got to be some of the worst Beatle lookalikes I’ve ever seen. Except Paul who was spot on as the real Paul McCartney before he died and 1966 and was replaced with Faul. See my 9-11 Truther Anti-Vaxx Birds Aren’t Real grouphat for more information. The Doctor takes Paul and Ruby takes John. George and Ringo get zero lines, which tracks with history. They learn that both Paul and John don’t actually know why they play music. It feels silly, really. They should just pack it up. But something deep in them is still drawn to music, even if what comes out is a song about a dog that was only slightly better than “Rocky Raccoon.” But before they can slap them out of it like John with his first wife, they’re interrupted by visions of the Maestro.

Enter Jinkx Monsoon, who actually opens the episode but I’m using time travel to talk about things as they become relevant. Now, before they were cast in Doctor Who, I knew nothing about Jinkx Monsoon. I know she was on Drag Race, but I don’t watch that shit. No shade if you do. Ru Paul is totally not problematic and has never done anything weird. Everything I skimmed in Jinkx Monsoon’s Wikipedia page indicates they’re pretty cool. They relish in the role in a way that will make midwest dads shift in their chairs, and I’m here for it. They’ve got an oral fixation that’s impossible not to notice. When they eat the music from Timothy Drake’s soul, they let out a moan that sounds a lot like a climax, and not in the musical sense. Also, how sad is it for Tim Drake that he’ll never meet Batman? RIP Robin. 1925 was too early. Speaking of 1925, isn’t it interesting that the Maestro appears right around the same time as the Toymaker sold the Stooky Bill puppet to Charles Banerjee? Is there some significance with that year? Handily, no World Wars were happening at the time. The Scopes Monkey Trial occurred. Babe Ruth received surgery for an ulcer. They broke ground on defacing Mount Rushmore. But really, kind of tame considering the bookends of the era. The Lorcano treaty was doing a lot of the heavy lifting though.

The Maestro’s whole deal is a sort of crazed sense of ownership over music. To hear them describe it, music belongs to them. They are music. In this way, I was pleasantly surprised that they didn’t song and dance people to death. It’s nice to be surprised. I rather liked their motivation. Monsoon doesn’t need to do a whole lot of acting. It’s all very panto. Very drag. It’s the kind of performance you hope you get. I’m not saying it’s a bad performance, just an elevated one. Both Jinkx and Ncuti get a chance to overact a bit in this story. Once again, I don’t mean overact in a bad way. David Tennant is the biggest overactor in Doctor Who save for Soldeed in “The Horns of Nimon,” and he’s consistently voted favourite among Doctor Who fans. Add “tendency to overact,” to the pile of personality traits I’m beginning to love about the Fifteenth Doctor. I love it when the Doctor really sells the energy of a scene, even if it requires him to speak forlornly into the middle distance.

Attempting to get the world’s groove back, the Doctor has a piano hoisted to the roof of a building. This is, of course, a reference to The Beatles’ final public performance from the rooftop of Apple headquarters in Central London. Only instead of Billy Preston on the keys, it’s Ruby Sunday. As she plays a Ruby original, the inhabitants of neighbouring buildings begin to shake out of their fog as music descends on them like sunshine. It even inspires a granny played by Doctor Who legend Laura June Hudson to dust off her piano to play Debussy’s “Clair de Lune.” It’s a lovely moment which is about to get stomped on by the Maestro’s honking drag boots, but for a brief moment, music swells.

I was glad to see them taking time to slow things down a little in this episode. The Doctor even talks a bit about himself and Susan over on Totter’s Lane. Couple that with Carole Ann Ford’s presence at the Doctor Who premiere last year, and it feels like it might be more than a reference. I’ve seen Whovians of weak faith construe this to mean Susan is dead, but in my experience, when a writer says something isn’t, it is. That’s just my two cents. Who knows if any of it means anything. It could just be that it would be weird for the Doctor to visit London in 1963 and not mention him living there with his granddaughter. Or it could be that Doctor Who is finally getting a better Doctor/Susan reunion than “The FIve Doctors.” Who could forget the moment when they’re reunited?

First Doctor: "Oh, er, this is Susan."

Fifth Doctor: "Yes I know."

How could you not get choked up? What a reunion. I can’t imagine why people would want something more. The Doctor told her all those years ago “Someday I’ll come back,” and he did. It was brief and without any of that pesky emotional connection we usually get from television.

Ruby pulls the classic “But the world didn’t end in 1963, I exist,” so the Doctor shows Ruby what the world would look like without music and it’s grim. It was nice of them to show us a bombed-out London as many of us are still feeling the sting from Fallout: London’s delayed release. Thanks, Doccy Who. But the two are not alone as they’re interrupted by the Maestro and their Looney Tunes brand of scary sexy. As with their first interaction, the Doctor runs. I love that aspect because it’s very Davies Doctor Who. The Doctor runs from the Time Vortex. The Doctor runs from Gallifrey. The Ninth Doctor refers to himself as cowardly, but what it really is is he hasn’t anything to prove. He’ll live today to fight again tomorrow, and yesterday. Timey wimey.

While the Maestro finds the Doctor both hot and timey wimey, they are still very much a threat to him and the Doctor knows this. You can’t fight the Pantheon. You have to abide by their rules. How do you fight someone who can control the TARDIS with music? The Doctor rips the TARDIS console a new one in order to flee back to 1963, where the world has yet to end. I found it cute the way he kisses the console to say sorry for the way he treated her. It not only suits the Doctor, but this Doctor with his brand of compassion. The TARDIS gets it, but you’ve gotta kiss a boo-boo or it won’t get better, everyone knows that.

The Doctor’s only plan with his limited resources is to somehow find the opposite of the Devil’s Chord, a sort of lost chord, if you will. Of course, this draws the Maestro to the Doctor like my cats to the sound of the tin opener. The Maestro captures Ruby, wrapping her up in sheet music. The Doctor stares down the Maestro as they allow him the opportunity to prove his musical genius. Can the Doctor find the lost chord? With each new note appearing above the piano, the Maestro writhes in twisted agony. But the Doctor hits a bum note and the Maestro is back on their feet ready to suffocate the Doctor in a drum and choke the life out of Ruby. But the song within Ruby’s soul from the Christmas Eve where she was left on that church stoop is stronger than anything the Maestro can muster. The Maestro may own music, but Ruby owns this song in that moment. Like before in “Space Babies,” the snow begins to fall indoors and the Maestro recoils in horror.

This gives the Beatles enough time to discover the piano and play that final note. Alone, they may not be geniuses, but the combination of McCartney and Lennon is enough to find the lost chord and banish the Maestro. They could have also achieved this with Harrison alone. He wrote “Here Comes the Sun,” after all. With the lost chord now found, the Maestro gets sucked off back where they came. Was the note they found the same one from the end of “Day in the Life?” RTD said they used a single Beatles chord. Was that it? I don’t know enough about music to answer that. After a quick re-listen, I'm going to say yes.

London is once again filled with music. Now, we’ll finally get the chance to see the Beatles play their actual music, right? They fixed music, right? God I wish. After cryptically looking into the camera and saying “There’s always a twist in the end,” the Doctor and Ruby are suddenly thrust into what I can only describe as the worst song possible. I’ve said in the past that I am not a huge fan of Murray Gold’s music. There’s nothing wrong with it, it’s just a bit safe for my tastes. But this song… I loathe it with every fibre of my being. It’s cloying, it’s corny, and it’s a repetitive ear worm you don’t want stuck in your head. I’ve said I was interested in Doctor Who doing a musical number, but this was god awful. I try to be as fair as possible when it comes to my reviews, so I think I’ve earned enough good faith to openly say this song is terrible. I would rather listen to the crappy dog song from earlier in the episode, and I don’t even own any circuit-bent instruments, and therein lies the problem.

How can you say the Doctor saved music when the way you present it is with a song that is simply not good? We need a good song in this moment, and that was not it. If ever there was a time to reach into the coffers and pay for a song, it was this. I mean, he said “There’s always a twist in the end,” and “Twist and Shout,” was right there. It wasn’t even written by the Beatles so it might have even been cheaper. They could even re-record it in the same Glee style in which they filmed the big song and dance routine. Hell, how expensive are Cilla Black songs? Do one of those. Instead, we get another fake Beatles song, in fake EMI studios, on fake Abbey Road to imply that we saved the future from a world of fake Beatles songs. By the time this insipid tune wears out its welcome, the Doctor and Ruby skip away across Abbey Road, lighting up the zebra crossing like piano keys. But instead of it being charming, it caused both my wife and I to say “Oh God, it’s still going.”

After the episode, I did a little bit of reading. I figured the two people dancing with the Doctor and Ruby were guest stars as they singled them out over the other background dancers. Evidently, they’re judges or competitors on Strictly. I dunno, I don’t watch that shit. So I really have no idea if that song was written to be in the style of something you would see on Strictly. But what I do know, is that it was brave of Murray Gold to show his face during that exquisite train wreck. I guess this episode really did pull a “Daleks in Manhattan,” à la “My Angel Put the Devil In Me.” In that respect, you can add contemporary music to the list of things Doctor Who should do well, but can’t seem to get right. It’s in good company with pirates and westerns. “The Gunfighters,” even fails at two out of three. Impressive!

I do admire the hell out of RTD and company for throwing their whole ass into that ending. It takes real chutzpah to fail so spectacularly. And honestly, as harsh as I’ve been, I didn’t totally hate the scene. In some ways, it's a clever pastiche to '60s music. In that light, I could maybe come around to it, over time. They’re also trying new things. But I think we found the ceiling pretty fast. I can’t say I’d like to see that sort of thing a lot more in the future, but here and there? Sure. As it is, it feels unrestrained and masturbatory. And truthfully, I would have preferred an actual musical like Buffy’s “Once More, With Feeling,” or Star Trek: Strange New Worlds’ “Subspace Rhapsody.” They somehow gave me what I wanted while simultaneously failing to deliver.

Now of course, the real question is- what was the twist at the end? Was it the appearance of the Maestro’s “son,” Henry “Harbinger,” Arbinger? Or maybe it was a meta-reference to actress Susan Twist, the woman who once again has shown up in the background. I find it even more interesting that in every episode where she’s appeared, they give her a line to read. Or maybe it’s a Susan twist, as in the Doctor’s granddaughter. They mention Susan in the same episode with an actress named Susan Twist where they sing about twists while doing the twist. It’s like “Who’s on second?” or “The Doctor’s daughter who plays the Doctor’s daughter in ‘The Doctor’s Daughter,’ marries the Doctor.”

Despite the ending and the rehashed story, I rather liked this episode. Jinkx Monsoon and Ncuti Gatwa had great chemistry. The mysteries continue to unfold. Along with my hope for the Rani, I can now add hope for Susan into the mix, and as with the Rani, I won’t get my hopes up. In the same vein, I'm grateful that Maestro wasn't a code name for the Master. We've seen enough of him for a while, thanks. Ncuti and Millie continue to impress as the Doctor and Ruby. I also admired Ruby's restraint in not telling John Lennon to avoid chubby guys in glasses. I loved the Maestro and the fact that their laugh was vocal warm-up. So much fantastic attention to detail. But that ending is not my bag. It felt tacked on, poorly paced, and obnoxious. It reminded me of that line from Fight Club- “We are the all-singing, all-dancing crap of the world.” Emphasis on the crap.

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doberbutts · 2 years ago

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Hope this isn't a weird thing to say but thank you for articulating your feelings on the "why would trans men want to be cis" ask, since mine are similar, and I've been feeling a bit alienated by how commonplace it became to either be bewildered by or outright mock trans guys who have a less positive and more stereotypical experience. It's been making me feel extremely lonely and kind of guilty. So it's nice to see someone express some things I'm scared of talking about.

Honestly I really don't know what's happened to trans social media. It's always been a bit of a shitshow and a train wreck but it just seems like nowadays we're so disconnected across generations rather than weaving our interconnected lives together and recognizing that with changing attitudes and culture comes generational changed approaches to trans-ness.

The trans woman who mentored me had such a compelling story, that nowadays I feel if she had her story played out as a movie people would consider her very character transphobic and transmisogynistic. But she's real, that's her life, her past and her present and her future, and she existed during a time that many my age can barely remember and those younger than us can barely comprehend. That was just how trans people existed back then.

And I personally harp on this every pride with my own experience. It took me until 2014 for me to see a trans man in mainstream media. I could go and deliberately seek out LGBT media and find one, sure, but just out there in the wild on a game that I'd bought? On a wildly popular franchise that most people had at least heard of if not played? Seeing him explain who and what he was, was amazing to me. I wish it'd come before I turned 22.

We still have a long way to go, but now there's nonbinary characters on cartoon network and lesbian weddings and gay kisses on nick. Disney announced their first homosexual couple scene or character every couple of months. I accepted, when I decided I wanted to transition, that once I changed my gender marker that I wouldn't be able to get married. Now I can, and I'm still not sure how I feel about it, because I'd made my peace with marriage being a probable impossibility.

My mentor wrote a letter for me that I will never need, to prove that I really am transgender. Instead I walk into a gender clinic and walk out with a new testosterone prescription and a 6-month 12-month plan for top surgery and a hysto.

Transitioning means something different to me than it does to people only a few years younger. To some of them, my life, my perception, my reality is transphobic and misogynistic. I've been told that to my face. I've been blocked over it. I've been harassed over it.

But it doesn't change anything. I'm a binary trans guy who wishes he was cis, who if I thought I could go stealth and actually succeed I would in a heartbeat, and I'm only open about it because I don't think it's possible for me to not be. None of that is shameful. That's just what being transgender looks like to me.

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carolingarts · 2 months ago

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I was looking for a very specific photo to attach to a post as I was going back and tagging which required me going through pictures of Walt Disney.

somebody posted a "hear me out" about this dude and it felt like they were talking about my own father for reasons (job related reasons.) but honestly thinking about it...

I really really really want an explanation for this image

and while I'm at it this image:

I think one of the hardest things about history is trying to wrap your mind around how these were actual human beings who had thoughts and hopes and dreams and ideas.

Mostly because history has recorded these guys as 3 martini lunch dudes who spent those same lunches sexually harassing women who just kind of had to stand there and take it. Like these are men who were like "haahah duck fell over in water that's hilarious now he's all wet and yelling hey dolores c'mere cutie so I can harass you."

But like. Did they stand there and make jokes, did they look at pictures from their own pasts and be like "wtf this is uncomfortable to look at like ugh thinking about napoleon boneparte or Colonel Sanders is just weird."

The running joke that gays don't sit properly is just up in my brain every time I look at pictures from this period and seeing *walt fucking disney* doing this got me like:

"My brother in Christ you are either flirting with queer thoughts, neurodivergent, or just a giant weirdo or some combination of all three and obviously compensating for that and on top of it an asshole but *why are you sitting like that*.

I'm not saying the dude was (no fucking way in fact) but neurodivergent walt disney is one of those real world headcanons that people sometimes get about celebrities or circumstances of being a human being. When you think about:

the man was famous for only eating certain kinds of foods. Like traveling to foreign countries and only bringing his comfort foods (chili. This is in fact such a huge deal that on his birthday it is still eaten at the parks and behind the scenes. This was a texture comfort food I will die on that hill.)

Dick Van Dyke told a story about how the dude was apparently super quiet until you started talking about animation and then he'd pop the fuck off like a kid with a fnaf hyperfixation.

the obsession with order, with trains, with organization and natural space, the over attention to detail, the difficulty relating to other human beings.

weird about relationships. I think this might be the only one I know because I've read Walt Disney: An American Original and the way the book describes how he handled the strike and how he handled the studio before Snow White makes me think he really just wanted a place to have lots of captive friends (make of that what you will) and when people were like "nah bro we're people with families - he kind of lost it.

walt's also famously recorded as being an abrasive jackass to almost everybody and very self deprecating and overly critical of himself behind the scenes.

Anyway if I die tomorrow and I somehow meet the dude somewhere I want to ask him three things:

why were you such a dick to your employees.

Why'd you dress like that was it really the style at the time wtaf.

Why Chili. is it a comfort thing.

Also for the record: I respect a good "hear me out" but completely omitting my own feelings about work - the man ain't it. He looks like a ferret to me.

#where it's like "if this isn't real #I'll eat my hat #and all evidence points to Walt falling somewhere on the spectrum #walt disney

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speciallysapphic · 1 year ago

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I was 8 years old the first time I kissed a girl. Not because I was dared, not because I was replicating something I saw on TV, but because I wanted to. I didn't understand why yet, and I wouldn't for several years after that. I was just a kid playing house. I'd never met a lesbian that I knew of, don't even think I really knew that word. And yet somehow, for 8 year old me, the "right" kind of house for me to play a mom in, was one with two moms instead of one. Flash forward to 9, and I'm the one at the sleepover who starts truth or dare. Subconsciously hoping that someone dares one of the girls to kiss me. I'd never seen a pride parade or been told that some women date women. But I always suggested truth or dare at the sleepover. Moving on to 12 year old me, all my friends have crushes on boys at school. "Who do you like?" They ask. Not wanting to feel left out or different, I picked the first boy I saw walking past our lunch table. The other girls giggled because apparently no other girls liked that boy. Neither did I. When I was 13 I got a "boyfriend", because that's what all my friends were doing. We hung out on playgrounds, and he'd carry my backpack for me. One day, he kissed me in the orchestra hallway, and I remember not being nervous or excited about it. But I remembered what it was like when my friend's hand brushed against mine or she tucked the tag into my shirt. The Disney princesses never ended up with another princess. The love songs were never about their friends. And the stories in class never told of a girl who liked other girls. But here I was, 13 years old, asking her if she needed help tying her shoes, helping her braid her hair, and "getting cold" at the sleepover to get closer to her. I was never "taught" to be gay. I was never shown that people like me could be and ARE queer. I was only ever shown straight representation, taught that a normal marriage was between a woman and a man, and I never saw a rainbow flag at school. I liked girls anyway. No amount of rainbow or representation will turn a child queer. Just like no amount of straight representation could turn me straight. But it will tell that child that queer is not a set look, background, or way of life. It will tell that child who's terrified to admit to herself that she isn't straight that she is not broken, weird, and most of all, she's not alone. And that can save a child's life. So, while the rainbows and education might make you uncomfortable, I'll take you being uncomfortable over the loss of a child's life any damn day.

#pride month #lesbian pride #wlw pride #lgbtq visibility #queer #wlw writing #queer writers

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anaccidentwaitingtohappen · 2 years ago

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idk what i was on when i made that kate post. i probably was saving it to add on to later, but posted it instead. anygays, the actual thing i wanted to say.

i adored how the show handled the transition of kate-the-lonely-circus-girl to kate wetherall, milligan’s daughter. the books gave the impression that it was a smooth switch, but the show shined a more realistic perspective

kate is.... definitely not the most popular society member. i’d go far enough as to say she’s the least favourite? she was my queer awakening when i was 11 so i’m a little biased but. people love to talk about reynie and his leadership-related angst, sticky’s anxiety, and constance’s past, but kate is pretty much neglected except for a self-insert or quick plot device when people are captured

kate and martina!! pretty excited to see how that goes. obviously disney wouldn’t greenlight gay ships but that won’t stop me from getting feels about them (more detailed post on this later)

“i do not rely on my bucket for emotional needs” *cut to constance exiting her coma*

no but seriously i’m pretty interested in how the bucket came to be, since i’m sure it started as a preparedness thing but like... it’s definitely tied to how she wants to be ready for anything and be independent/able to do everything herself if needed

on that note, kate has trust issues. “i don’t like people who lie” (to constance when she had left kate’s bucket). the urge to be alone and not rely on anyone else bec there’s a weird, unpredictable factor there

aough kate! being! handy! with mechanics and showing off HER strengths!

tl;dr very very intriguing plot bunnies to follow in this new season! i’m hoping to write some fic but we all know it’ll probably never happen.

#kate wetherall #Sam says stuff #mbs #mysterious benedict society #weather report

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catharsis-in-a-bottle · 2 years ago

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so i ummmmmm really liked andor. like, a lot. holy shit. i need to make a list of Things I Enjoyed

FINALLY, A STAR WARS SHOW WITH GOOD FUCKING DIALOGUE. THE WORDS FEEL LIKE WORDS REAL PEOPLE WOULD ACTUALLY SAY. CONGRATULATIONS.

ON THAT NOTE: a star wars show that DOESN'T try to cover up bad writing with cgi and nostalgia grabs!!!!! the writing is quite good and they didn't throw in fight scenes just for shits and giggles, they all had meaning!!! huzzah!!!

(like. i am floored that i have enjoyed a disney show. what can i say. i have been disappointed in the past because of their incessant desire to Churn Out Content which results in underpaid workers and Loads Of Hot Shit. i am slandering up in this house tonight)

alright let's talk about the SOUNDTRACK. upon my first listen of the main theme, i was like, huh, kind of boring... by my fifth listen i was like, This Theme Is Going To Kill Me, and So Is The Rest Of The Whole Damn Soundtrack. orchestral swells AND weird and fucked up electronic sounds!!!! they were not afraid of a little out-of-tune synth wobbling, and that i can RESPECT!!!!! also not to music theory on main but IV to VI chords in a minor key, which is in the theme, is just a fucking beautiful progression and i will always love it in any context except for pop music. OKAY MOVING ON

this is the first star wars media i've encountered that i felt had something actually substantial to say about imperialism. like a lot of the other shows and the movies themselves have felt idealistic about rebellion against fascism, and then andor walks in and is like, hey, you know how we fight imperialism? Armed Revolt!! you know what enables fascism! a lot of nuanced factors that we're going to delve into with some Rich Character Development!! and obviously the rebellion in all other star wars media is like, openly an armed revolt, but this show puts that into greater context w/ police brutality, prison systems, and colonization, which makes the politics not more obvious per se, but more impactful and in greater dialogue with its audience. in my opinion. okay moving on again:

let's talk about some characters baby!!! cassian andor was bound to join my blorbo library from the moment i began this show. i absolutely fucking love his development from passive victim of empire to "kill me, or take me in [to your violent rebellion]", AND i love his haircut, AND emotionally repressed characters will forever remain fixtures of my heart. he's so!!!!! you know!!!!! i swear to god the writers did SO well on this one

i am not going to pretend that i remembered most of the character's names. my family did not watch this with subtitles and my auditory processing is quirky and elusive. so anyway i really liked [insert name of Guy Behind Major Acts Of Rebellion - you know, stellan skarsgård] because of his take no shit, give all the fucks attitude, and gravelly voice, and stellan in general as an actor (i am totally not biased because of the chernobyl miniseries). GREAT fucking complicated character.

i did find the writing of vel and cinta so fucking hilarious though. like if you google "vel and cinta", there are questions about if they are a romantic pairing. i appreciate the effort here, and i appreciate the glimpse of an actual nuanced lesbian dynamic in a mainstream company, but star wars is still very wimpy about gay people on the surface. we still have the beneath the surface homoeroticism though so we're good

mon mothma and tay [insert last name] only straight people i can get behind

THE FUCKING PRISON. EVERYTHING ABOUT THE PRISON ARC. first of all: what a fucking physical and psychological horror show. i mean, my god, electrified floors, no escape, nobody ever leaves. all the rest of the horror comes directly from real life, of course - prison slave labor, unfair sentences, shit living conditions.... i don't know the name of andy serkis's character so i will just call him andy serkis. what an EXCELLENT turnaround! from complacent hopelessness to violent hopelessness, and we know which one is more useful!!! FUCK YEAH!!! ALSO: "ONE WAY OUT" OHHH MY GOD!!!! JUST WOW!!!!! and "i can't swim"........ at least he got to see the sunlight... god this is a side comment but i think it's a crime to have to be stuck somewhere where you can't see the fucking sun this INCLUDES places of work UM ANYWAY

i am Tired so i will now sculpt my concluding remarks: i am pleasantly surprised!! i am delighted, even!!! i have gained another character to rotate in my head!!! that is all good night/day/insert time here

#not to star wars on main and also this came out months ago but.#i am reeling!!#andor #andor show #star wars #star wars andor #cassian andor #luthen rael #THATS that guy's name #sw #.txt

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alittledizzy · 2 years ago

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It's so nice to see normal people who understand normal fandom culture. Like seeing dteam post snaps then trying to figure out where they are based on the background is normal in other fandoms.

I just feel like there's a level of common sense that people here just blatantly ignore - both common sense from the public figure/content creator (they aren't going to post something they are genuinely keeping locked down) and common sense of fans. Most people are rational beings. Will there always be fringe people that don't ahere to common sense, or feel entitled? Yes. Will that be true whether or not the majority of fandom is discussing a transitory location that they've posted? Yes. No one is seeing someone on tumblr posting about dnf being at The Abbey and having an entire change of heart on their stance on privacy invasion. The people that would want to do that are already doing it.

And there's a level of common sense about what you can/should discuss publicly and what you shouldn't. A restaurant, a bar, a hotel room - transitory. Not a permanent location. Restaurants, bars, clubs - very public, too. Very recognizable.

When they're all going to Disney Springs to eat there are a number of people that instantly recognize it and say it and maybe this is just my limited exposure to the fandom but I don't see anyone screaming about that. For some people, The Abbey was instantly recognizable. A street in LA is recognizable. A shopping mall is recognizable. A hotel in Chile is recognizable. I feel like for most people one thing that happens here is familiarity breeds comfort. If you know what the inside of an IHOP looks like and you see them at IHOP, you have this feeling like because you didn't go looking for it, it's fine to say hey they're eating at IHOP. If you don't know what the inside of The Abbey looks like and you just see someone say "oh, they're at this specific gay bar" it feels Bad Wrong Danger because you didn't come into the situation with that knowledge, you were told it.

The same way with Disney Springs, like I mentioned - people have seen them there enough times that it doesn't feel wrong to say but if it's a location they're at for the first time despite the technicalities of the situation being the same it gets more negative response to identify the new place. And this fandom thrives on restrictive responses to things and public condemnation related to that, this sense of the division between two halves of fandom being so strong and people existing in such fear of being canceled or labeled if you happen to be accused of being on the wrong side of it.

It's a weird fucking situation, man. idk. Like I genuinely don't know if it's a response to the puriteen bent of younger fans or specific to Dream being doxxed in the past (which obviously I have a huge amount of compassion for, and is a much different and more serious thing than identifying locations based on voluntarily posted snapchats) but learning the ropes here feels much more dangerous than any fandom I've been in before.

#anon asks #dnf asks

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makemycitybreak · 2 years ago

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i saw some of your posts so i'ma comment on them real quick because idk, i wanna talk lol

skins was honestly such a big comfort for me but for some reason i couldn't really get past the 2nd season because at a certain point, i just stopped getting attached to the newer characters. cassie and effy will always have a place in my heart though. they just like me fr. also, i kinda felt like it started to go down hill at that point as well because, like you mentioned, the whole skins giving gay people stalkers thing with maxxie and sketch... like i feel like stalkers definitely are a big issue or whatever, but that entire situation and the episode that mostly focused on sketch was just extremely uncomfortable and felt highly unnecessary? like i know they're hard on all of the characters, but it just didn't seem like it fit in with the rest of the show despite there being frequent dark themes.

i love listening to, like, rich failsons talk about their drama and i absolutely adore shows that are like... dramas about elite students or whatever. i don't know, it's just very entertaining lmao

Yes thank u I love this I'm gonna answer to you now yes cool

1. Yeah honestly the first two seasons are the best the characters are more relatable and like more lovable honestly also kinda more diverse(?? I think?? Or I guess that depends) and like I especially like Cassie she is me honestly I relate to her on another level. I've seen 3 ½ seasons so I wouldn't know all ofc but yeah. On the stalker thing I just feel like its so odd bc maybe its just me but like who knows anyone who has been actually stalked?? Or now that I think about it I do know some people but that was literally in elementary school so... and not to spoil but in season four there is a girl that gets like obsessed with Naomi (who is a gay character) and it's a small thing but like after doing that with Maxxie in season 2 its just weird. Maxxies was weirder tho and like creepy like it made me so uncomfortable and it didn't really link with the other characters in ANY WAY. it was just weird. Like is that how you think queer people work?? Cause wtf u know

2. Yess I love watching these kids its so funny and like interesting for some reason cause their drama just seems so much bigger cause they have their whole like family line behind them lol. Also in like my specific case with the tiktoks its so funny cause some of them have the funniest last names ever think like royal last names like the ones in Frozen the disney movie literally and everyone in the comments are like "damn what in the lastname" and "where is this school I need a new jacket". Also just rich kids amuse me for no reason. I'm not even poor but they always think they're like middle-class its hilarious lol

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thebreakfastgenie · 1 year ago

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🍀 <3

🍀 - What thoughts or emotions that didn’t make sense to your past self make sense now that you know you’re queer?

Okay I'm sure I can think of more for this one.... I think I had kind of this sense of being different and not knowing why, but I had enough confidence it kind of turned into a superiority complex. Not being interested in boys and thinking dating was trivial was kind of normal and rewarded in my smart girl circles into middle school. We were independent! We had more important things to think about! And I don't think this is a bad attitude for young girls to have in our society, but sometimes it's something else. In high school, several of my friends didn't date, because honestly most of our school kinda sucked and we did in fact have a lot to do and not a lot of time. So I was able to ride that "I'm not interested in boys yet" wave longer than I should have, but it started to waver. When I was around 15 or 16 I was looking at rage comics people had made about their relationships and for the first time I thought "I actually like the idea of being someone's girlfriend" and then I immediately thought "of course I don't want a boyfriend, though." It took a very long time after to that to figure out what I actually wanted in that situation which is very funny. When I was younger, I always felt totally out of the loop when girl talked about their Disney channel and boy band crushes. I just didn't get what they were so excited about. When I was in about 6th grade (give or take; my grade was an unknown quantity for years) our teacher had us do this game for Valentine's Day where we named a celebrity we'd like to get a Valentine from. I like that teacher a lot and she had good intentions but looking back... Valentines at that age are at least quasi-romantic and that's a whole can of worms. I said Chessie the manatee, tapping into my romance hater reputation, and it's not like I thought of a girl and was afraid to say it. But still, I think I remember that because I was gay. The only other kid's dream Valentine I can remember was a boy said Taylor Swift (she had just become known; I think this was the first time I heard her name) "because she's hot" and the teacher cautioned him. I was really paranoid about coming across as romantically interested, both in girls and in boys. I panicked when I accidentally sent a girl a kissy emoji on yahoo chat when I was 13ish. I had a weird friendship of sorts with a boy in middle school where we couldn't admit we wanted to be friends, so we "hated" each other and attacked each other in various harmless ways. I cut him off without explanation because people kept relentlessly saying we were flirting and calling us lovebirds and it freaked me out. Later I did have boys I was friends with develop feelings for me and interpret my friendship wrong, so that one wasn't totally irrational. One I've been thinking about a lot recently is I was always drawn to tomboy characters. The girls who hated all things girly and wore dirty jeans and backwards ball caps and only played with boys. I adored Leslie Burke in Bridge to Terabithia because Jess couldn't even tell if she was a boy or a girl at first. There was a part of me that related to these tomboys. I was not a girly-girl. I was brash and outdoorsy. But I was in-between. I had long hair and I liked pretty things and dolls and pink. I did relate a lot to the girls who passed as boys in historical fiction, but that was because their options were pretend to be boys or not be allowed to do anything. I thought I'd do that if I lived in that setting, but I'd prefer to just have adventures while being a girl. I guess I always admired tomboys, but I think a lot of it was also attraction, in whatever way kids experience it. I still like jock women, so.

#i have another story but i think i'll save it it's kinda mmmmm #ty!!

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opinated-user · 2 years ago

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Lily is so weird to me because she just insists on deep throatng ceos and corporations and throwing regular workers under the bus for poor decisions. Like it's the reporters fault that Disney is always claiming to have their first gay character, even though the company could easily make their own media posts correcting them. It's the designers who released the new pokemon game early despite that not ever being their call, but instead the higher ups in the company. She never brings up how the ceo of blizzard is one of the worse out there, or the real sexual predators that worked in the company, but instead wants to beat the lady who wrote her fictional wifu wrong with a rock. Its Suagers fault for SUs shitty realse schedule not the network. Like it's really weird to me that this woman who prides themselves on being super progressive apparently hates workers and either straight up defends or ignores the real people in power.

All I can think is that, remembering her posts about other breadtubers, and complaining that instead of blaming everything bad on racism they blamed things on class struggles, she somehow came to the conclusion that corporations really aren't that bad and people are just lying about how little say they have when working for them. It's also easy to see that her lack of ever having a job outside YouTube has severely impacted what she feels workers can get away with. Like she believes if they get told do something they don't agree with they can/should just say no, as if that's a thing they can do. So instead of it being the higher ups fault, it's the lower ranking people's fault for not standing up to them. It's really a gross mindset, kinda victim blaming mindset.

i have been informed in the past that apparently she worked on a fast food restaurant some time ago, but otherwise you're right on point, anon. there's only one thing i want to remark and is this: "Like it's the reporters fault that Disney is always claiming to have their first gay character, even though the company could easily make their own media posts correcting them." if someone out there believes that the reporters just made those articles without any input from the company or their marketing team then they don't understand what marketing is. companies hire those writers to write about their movies, products, etc. if you have ever been on youtube and see an ad break of the youtuber suddenly explaining all about a new service or product they want you to try out, it's basically the same thing. they could not write anything that Disney doesn't want them to say, it would literally be impossible without there being some big consequences for whoever it was responsible for the mistake. the publisher gets paid by the company, the company recieves more potential costumers, the website where the article is written gets clics. it's a perfect arrengement for everyone. the only outlayers are indie publications and random reviewers just talking about the media, but if the article was on any kind of official publication then it was most certainly agreed upon before hand. someone had to approve that, just like sponsors have to approve the ads youtubers do before the video is published. this is already a known fact when it comes to most movies of big companies or trendy products, but when it comes to disney it's absolutely absurd to suggest that they wouldn't do this. disney as a company has spend 5.5 million dollars on advertisement last year alone. they had the resources, the time and the people to make Strange World into a success and they didn't because they didn't want to. when the movie with a main queer character of color fails they get to say "well, at least we tried!" and move on to keep making cisheteronormative movies that they'll promote to ensure that those are wins for the company. meanwhile LO'll either completely ignore the movie ever existed or insist that the movie was bad by itself so of course nobody cared for it. she's a capitalist at heart so when she sees a big company like Disney of course her first instinct is to praise it first, because something right and smart they must be doing to be on the position they're in. workers, on the other hand, don't have that power so that must mean they're doing something wrong and it's actually their fault.

#lily orchard

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luxshine · 4 years ago

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“Yo a ti, Cas” Or how mexican dubbing gripped us tight and raised us from Despair.

Ok. So I promised a big meta about the dubbing thing and so while I don’t have all the answers YET, here’s a bit of perspective on the differences between Despair and The Truth.

First, a little background. I am a former professional dubbing translator. While I worked on anime series from Japanese to Spanish, rather than in live action ones from English to Spanish, the process is not that different. Also, I worked in Mexico, where Supernatural is dubbed, so that’s why I can make the assumptions I make. Finally, my specialization in college was translation from English to Spanish, so I guess I know what the hell I’m talking about.

So let’s start on HOW you translate something for a dub. Back in the day, you got a ton of VHS tapes with the episodes on them with time codes, and, if you were lucky, a shooting script. This is to say, it was not a transcript of the actual words said in the episode, but the script BEFORE the actors, directors, and everyone else had a hand on what was said and changed. And thus, anything adlibbed? Is not going to be in that script which, at least for the anime side of things? Was a nightmare as the script was usually “And here X actor can say whatever they want” and I had to go and listen to the scene ten thousand times. Now a days, you get either a video file or a streaming link, and sometimes, the shooting script. If you get a script, btw, you can also not get a script in the original language. I know that the person who had to translate Sprited Away to Spanish was working off a German script, not the Japanese one. So yeah, some things can be lost in translation there.

THEN you get to translate. BUT you can’t just translate word by word. You have to adapt it so that it will sound like something a person will say, and sometimes, literally is not the way to do it. And in particular, Mexican dubbing has a reputation to uphold as the “Neutral” dub that is send to most Spanish-speaking countries in Latin America, so we can’t use certain words (I don’t have the list at hand, but I remember that I couldn’t use “Llanta” for Tire, and so I had to use “Neumatico”. And no “sweaters” or “hotcakes” or stuff like that), AND we have to match the lips of the original video. Which is like, the worst nightmare ever because of what we call “labiales”, that is to say, the letters where lips close.

I can’t tell you how much we all loved when a character gave a long winded speech with their back to the camera due to those damned closed lip letters.

All this is to say that sometimes, the line could be “We are all in this together for good or bad”, and the translation become something more like “Estamos en esto, por las buenas o las malas” (We’re on this, the good way or the bad way) or “Estamos juntos en las buenas y en las malas” (We’re together in the good and the bad), depending on the translator, dub director, and voice actor.

Depending on the client, that is, the original owner of the series, sometimes they will review the translation once it’s all dubbed and edited. I know that in the Avengers movie, a Disney rep was present on the cabin and forbade any changes from the script, which resulted on a couple of awkward lines in the end result. I don’t know if that’s the case for Supernatural, but I honestly doubt it. Still, translators can’t make huge changes for the dialogue. One couldn’t just ADD a relationship that wasn’t there, no matter what.

(As an aside, due to the very conservative mindset of some tv stations, it’s more common that gay relationships become more ambiguous, by changing “I love you” to “Te quiero” which can be more of a filial love than a romantic one. And well, that one case in Sailor Moon where a gay character was changed into a woman because the dub director honestly thought the character was a woman. But that was in the nineties)

Now, let’s go to how Castiel’s speech was translated.

The original, according to Superwiki, went like this:

Castiel: You're the most caring man on Earth. You are the most selfless, loving human being I will ever know. You know, ever since we met, ever since I pulled you out of Hell, knowing you has changed me. Because you cared, I cared. I cared about you. I cared about Sam. I cared about Jack. I cared about the whole world because of you. You changed me, Dean.

Dean: Why does this sound like a goodbye? Castiel: Because it is. I love you. Dean: Don't do this, Cas. Cas.

And the translation, as it was aired, went like this (And people, you have no idea the war flashbacks transcribing this gave me, so I hope you appreciate it):

Castiel: Eres el hombre mas amoroso sobre la Tierra. Un hombre sin egoismo; el hombre mas generoso que haya visto, y que jamas vere. Sabes que desde que nos conocimos y desde que te saque del infierno, el conocerte me ha cambiado. Porque a ti te importa. Y a mi me importa. Me importas tu. Y me importa Sam, me importa Jack, me importa todo el mundo. Y fue por ti. Tu me cambiaste, Dean.

Dean: Porque suena esto a despedida?

Castiel: Porque asi fue. Te amo.

Dean: Yo a ti, Cas. (The empty appears and Billie opens the door) Cas…

Castiel: Adios Dean

Dean: No!

Ok. So… At first glance, they’re pretty much the same until we get to the I love you. BUT let’s dissect it a little bit.

Cas begins with a “Eres el hombre mas amoroso sobre la Tierra” which is not how I would’ve translated “The most caring man on Earth” since “caring” is more like “Cariñoso” rather than “amoroso” which would be “loving”, and yes, there’s a difference. Plus, “el hombre mas amoroso” sounds a bit clunky, so Personally, I’d have gone with “Eres el hombre mas cariñoso en la Tierra”, that would’ve given us more time for the rest of the speech, but I wonder if the translator choice for Amoroso instead was more due to the fact that “amor” (love) is more clearly romantic than “care” (cariño, in a sense, more on this later) and so it foreshadows the end.

Again, with the literal clunkyness we have “Un hombre sin egoismo” (A man without egoism) which sounds weird no matter what language you speak, and it should’ve been “Un hombre dadivoso” (A giving man) or “un hombre desinteresado” (a selfless man) although the second could be mis-construed as “a man without interests” so “dadivoso” would’ve better. But the more puzzling is that the Spanish separates the selfless man from the next, which is REALLY confusing as the English is “the most loving man”, which would be “el hombre mas amoroso” making it quite redundant, so the Spanish changes it to “the most generous man”, “el hombre mas generoso”. To add to this, Cas continues with “that I have seen and I will ever see” instead of “That I know”, because it’s far more poetic. And loving.

So yeah, Mexican Cas is basically saying that Dean Winchester is made of love and puppies.

Ahem.

The next part “You know, ever since I pulled you out of hell, you’ve changed me” is more or less word for word, and the only thing that changes is that the English sounds more like a question and the Spanish one is an affirmation. YOU KNOW that ever since I pulled you out of hell, you changed me.” Little verb tense play, that doesn't change much except Cas’s resolution to say what he has to say.

And then we get to the part that made me squeal out loud. Because we go from

“Because you cared, I cared. I cared about you. I cared about Sam. I cared about Jack. I cared about the whole world because of you”

“Porque a ti te importa. Y a mi me importa. Me importas tu. Y me importa Sam, me importa Jack, me importa todo el mundo.” Which at first glance is the same, but NOPE.

First change: The original is in past tense “I cared”. Spanish version is in present tense: “I care”.

Which is a little non important thing except when you remember that simple present means “immutable absolute truth that won’t change with time”

Second, the choice of word for care.

I mentioned before that Care can be Cariño, as in filial, non romantic love (Or romantic love pet name, as it can also be Darling. It’s one of THOSE words). Other translations for care include “cuidado” (as in attention, concern, keeping, and worry), and of course “interesarse” (Which also can be care), “preocuparse” (care, bother, trouble, mind, fuss), and yes, “importar” but “importar” ONLY translates to English as a verb as “import”, “matter” “amount to” and notice how none of those words include “love”.

Mexican Cas is not saying “you love the world, and so I do”. Mexican Cas is saying “The world matters to you, and thus it matters to me, but my feelings for the World (and Sam, and Jack) are not in the same league as my feelings for you.”

And then Dean asks “Why does this sound like a Goodbye”, just like in English, in present tense…

And Mexican Cas replies in PAST tense. “Porque asi fue”. And THIS is important because it means that everything he said before WAS the goodbye, and not what comes next. All the rest? Is in the past. “Because it was”. Not “Because it IS”. And the next part? Is their future.

I love you.

Te amo.

Simple present. No ambiguity like “te quiero”. Spanish Te amo is for romantic love. Not brotherly, not family, not bro-mantic. ROMANTIC.

It’s like “I’m IN love with you” (Although that’d be “Estoy enamorado de ti” and I doubt that would’ve fit in the time Misha spoke)

And of course, the answer. “Yo a ti, Cas”. Not “And I, you” as I’ve seen it before (And I also thought it was, until transcribing the scene) but a simple “I, you, Cas.” Which ok, pretty cave-speak, but the meaning is pretty clear. Dean Winchester loves his gay angel.

It is also telling that the empty doesn’t appear until AFTER Dean confessed, so no, Mexican Cas is not “happy with the saying”, he had to get to the “happy with the having”.

And when Billy appears, it does seem as if he wants to say something more, but Cas is a love-sick selfsacrificing dumbass and so we all get our hearts broken.

I did get in contact with Dean Winchester’s mexican voice actor, and am waiting for answers to a small interview I did with him which includes the question “did that And I you, Cas” was in the script, and am trying to contact Castiel’s mexican voice actor. So I will be updating you on that. But I hope this clears up some of the questions about how Mexican dubbing made Destiel Canon :D

#dean deserved better #castiel deserved better #they silenced you #bi dean #supernatural mexican dubbing #y yo a ti #te amo #destiel #destielforever

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mangora · 2 years ago

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I’ve waited long enough to do one of these so here are my cast predictions now that the name dropped

Priya: A big sweetie but an early to mid boot, probably gets taken advantage of somehow, I don’t think she’s fully gonna snap but she probably does get to throw something at someone so good for her. Her design is a bit bland, I think she could maybe use a small detail like a hair clip/headband or something to make her stand out more, but it’s cute :0

Millie: Very responsible and kind, sort of “mom-like”, but learns she doesn’t have to be so nurturing to everyone/deal with the problems of others once Priya is voted out maybe? I think she at least gets past the merge. She has one of my favorite designs I love her everything

Ripper: A sarcastic little asshole but not to the point Noah was, he’s just like clever and witty but doesn’t really piss people off and he’s way more chill to try stuff. Idk how far he gets maybe an early boot maybe like middle post-merge. He’s a cute lil guy

Damien: Very easy-going, that’s really all I have to say about him. I think he’ll be kind of an early boot but he’s cool. Love his designs tho, the shades of blue and green w yellow accents. Yasss.

Axel: Very tough, very jaded, but also like a little unhinged as she deserves. Sort of like season one gwen if she got to be feral. Definitely going to go far (at least I hope pleaseeee go past the merge Axel ily). She’s so cool easily one of my favorite designs, very fresh and grunge

Chase: Already like him. He seems very milquetoast and just like your classic supportive friend but I like that and hope he gets around the merge. His design has just enough spice, I love his hair and head shape. He does dress like Cameron tho which, sorry cameron, is not a compliment

Zee: Funky, very funky, seems very chill and happy. I think they have a silly voice. They probably get voted out early but they have a good time. Everyone shits on them for their weird shapes but I love them. Very weird /pos

Scary Girl: Probably gonna be another top 3 antagonist with some mysterious sympathetic past. Goblin-esque but more in like an eerie way than a manic way. Obviously I love a good goth, the dark Lolita dress is very like rare in the td style and I love it actually

Caleb: Early boot, a bit dumb, idk that’s most of what I have to say. He’s chill, pretty normal. His design is cool tho I love the pastels on the clothes mixed with the sort of ruddy/cool skin and hair tones

Nichelle: Hot take I think she’s gonna be an early boot. She’s a blogger maybe? Or an influencer? Idk. She’s pretty chill though, I think she and Julia are either good buds or natural enemies. Her hair is so cute tho and her color scheme

Julia: I know people think she’s a villain but I think she’s gonna be more of a chill Bridgette type who’s just trying to get through. Definitely post-merge. Smokes weed. Her design is very basic but it’s alright, it’s recognizable, I like the more muted colors as opposed to the old td bright yellow blondes with neon clothes. She does feel like a shitty modern disney edit by a tik toker as a person tho

Bowie:…Definitely gonna be a stereotypical gay character. I mean. Come on. But whether they do it in a fun way or a shitty way is yet to be revealed. Maybe mid season? Also is an antagonist at some point. He’s okay, punchable face and ugly green pants but his color scheme and jewelry are nice

Wayne: The more outspoken one of the pair. He and Riu are like Katie and Sadie but more chill idk. Kinda just a guy

Riu: Takes the backseat to Wayne but still a nice guy, just shyer. I feel like Wayne gets voted out and Riu has to adjust without him like how Sadie would’ve in season one if the writers weren’t cowards. Also just a guy tbh their designs are okay but like forgettable

Emma: Sweet pushover horse girl. She and Priya are also friends but Emma’s more observant idk when she gets booted but I hope she stays for a bit I like her. Her design is sooo cute tho she’s very warm and friend shaped and has just enough detail

MK: A little judgmental and a bit gremlin-y but overall chill. I know they’re gonna get the early boot due to a misunderstanding or rumor. Very nice colors I love the warm cools and cool warms (this is minus the weird bright yellow skin which…mmmmm yuck), love their layers, why are they so smalllll

#total drama #new td seasons #heheheh I love their names

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shititbe · 3 years ago

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Anyway, HSM2 is about internalized homophobia, and no one can tell me otherwise.

High School Musical is one of the most beloved franchises in the world. Teenagers all over the world grew up watching Troy and Gabriella harmonize together. Three movies, and nearly a decade later it’s still beloved by all. The first film easily forgotten in the ashes of the early 2000’s, the third film stuck in a purgatorial limbo of the rather unfortunate late 2000’s. The second film on the other hand sticks out between the ruckus.

The second High School Musical film takes place at Sharpay and Ryan’s family country club, during the summer between junior and senior year. The Wildcats are working summer jobs on the country club, often forced to the beck and call of Ryan and Sharpay themselves. Sharpay uses all her prestige to help Troy with college instead of starting at the bottom ( or rather, in the kitchen washing dishes) with his friends. In the time she’s helping Troy, she is also pushing her brother away; replacing him with Troy in their musical number for the talent show, and refusing to hang out with him in preference for Troy. Ryan becomes vengeful to his twin and starts hanging around the Wildcats in the kitchen. At first, he was met with some distasteful looks and words (most of which from Chad). With the help of Kelsey, and her neutral party, Ryan fits in smoothly with the other teenagers, eventually giving the WildCats all dance lessons.

Throughout the movie, the main conflict continues to be the internal conflict of Troy Bolton. He debates over and over again if he should go through with Sharpay’s shenanigans, or if he wants to “listen to my own heart.” This of course involves Gabriella, as she is Troy’s love interest. She’s not in the second film except for the beginning, then, where she leaves in the middle of the film - in order to create angst for Troy - then when she shows up again in the finally to sing/rejoin Troy.

The conflict in the second film is the combining of Troy’s two worlds. His first - his main world in the first movie, that hence became his secondary world - which is represented by Chad. Then his secondary world - which becomes his main world in this movie - which is represented by Ryan. Chad represents Troy’s masculinity, or his more idealized version of himself. Ryan represents Troy’s femininity or his current version of reality. These two worlds collide in the iconic song “I don’t dance”.

Since this movie - and hence this scene - came out in the early 2000’s, a lot of the innuendoes went over people's heads. Luckily, as the children who watched this movie grew older and more experienced, and the world became more accepting, we’re able to see this song for what it is.

Before getting into the lore and symbolism of the iconic “I Don’t Dance” sequence, context is needed. For most of human history, homosexuality was seen as a sin in all places except ancient times (see: Greece and Japan). The modern age is the most accepting on all fronts, such as sexual orientation, race, and religion. In the early 2000’s, High School Musical director Kenny Ortega was not publicialy out yet. He wouldn’t be till 2014.

Originally, while writing this, my first thought was that Kenny - the director - would be using Troy as a y/n type character to project his insecurities and struggles with masculinity, and what that means in defining his orientation and societal views that would be placed upon him. Then, it came to me later that this is in fact not the case, Troy (and Gabriella - who is in fact a y/n character for the female audience) is more of a character for a man of his time, confused with his own ideals of masculinity and the views of society because, “oh god, I can’t like theater/drama because only queer people and girls like it!” The second point is pushed further with the Troy and Sharpay sub-plot. Sharpay tries to further Troy’s career as a basketball player, though that’s not what he wants anymore, and Troy is no longer sure if that is what he ever wanted to begin with (enter the song “Bet on it” and the hilarious meme “no dad, I’m giving up on your dream”).

Keeping these things in mind - Kenney’s queerness, and Troy’s struggle to realize you can in fact sing and be a heterosexual, wow, revolutionary - it became clear to me that Kenney’s y/n characters were Ryan and Chad.

For those who aren’t into the arts, or find them too difficult after a singular attempt thinking they could write a world class novel on the first go, let me be the first to tell you every author has a y/n character. First, for those who don’t know what y/n stands for, it’s a popular fanfiction trope where a writer will write a story about a character dating, being friends, and so on, with the reader. The y/n stands for “your name” so anyone can be the main character in this story at any time. For a writer of mainstream fictional work, such as High School Musical, Game Of Thrones, Lord Of The Rings, Pride and Prejudice, Harry Potter, Hunger Games, even most comics. Now, most writers or directors aren’t going to be as obvious as having a character not named (or named y/n) or even named Jane (looking at you Jane Austin), the y/n character of many mainstream authors/directors/comic artists and so on is usually the character they feel or have given the most attributes similar to themselves.

It’s the same reason people have favourite characters. You see a fictional character and you either 1. Want to Bob the Builder them, 2. Some sort of weird sex thing, or 3. See more/the most of yourself in this character. Number three - thankfully - is usually the main reason. Some people just create their own favourite characters. An even easier way to think about this, is just projection baby, that’s psych 101.

Before I went off on a small tangent of fictional works and how human emotion plays into creating them (except anything Disney has made in the past decade, and no you can’t change my mind on that) I mentioned that Chad and Ryan are Kenney’s y/n characters. As a queer person myself, it’s clear for me to see the different struggles each of these characters face and how these reflect the queer experience.

So, let’s finally get into it.

Ryan, without it being explicitly said is clearly a character of what people in the early 2000s think a gay man is. He is effeminate, wearing bright coloured outfits with lots of accessories - namely his signature hats - he is also in the theater department doing musicals, and passive/subservient to any of his twin sisters' wills. Yes, now we know gay men aren’t just feminized men, but in the early 2000’s a gay man who can do "masculine" things like change their car oil, like sports, and so on, break the "effeminate" stereotype thus confused many cishet people. Sharpay is painted as more confident - or, for sake of comparability - masculine to her twin in the first movie, and most of the second movie. Making Ryan a bit of her dog who would do anything to get by - painting Ryan as lesser than human, once more, playing into the homophobia of the early 2000's.

Despite the clear stereotypes playing into his character, Ryan is consistently one of the most confident characters in the movie. The other, being his sister of course. This confidence in himself is what gravitates the other characters towards him, either by being intimidated (Troy, thinking Ryan and Gabriella were a thing), or admiration (Chad, by the end of “I don’t dance”).

Chad, on the other hand, is a whole different ball game. While he is confident in the first movie, and the first portion of the second movie, he begins to break more and more when Ryan becomes a more integral part of the Wildcat group. To keep in mind, Chad is also the most vocal about his distaste for Troy’s artistic past-time. When the other Wildcats join Ryan and begin learning how to dance for the talent show at the end of the movie, Chad is also the most vocal about his distaste. The baseball game where “I don’t dance” takes place, is the climax of Chad’s arc and his turn towards acceptance to Ryan/Troy’s hobbies.

Of course, there is more to the “I don’t dance” sequence than just Chad’s realization - the exact one Troy comes to terms with in the second movie as well - of “oh my god I don’t have to be gay to enjoy stereotypical ‘feminine’ things.” That is the main part of the song though, that and all the sexual tension.

Going back to what I’ve stated previously, Chad and Ryan are Kenney’s projection or y/n characters. Let me do a small recap before we get into the nitty gritty of the famous “I don’t dance” video.

Thinking back to the first few paragraphs, I stated that Kenney wasn’t publicly out till 2014, about 7 years after the second movie came out. This could be due to the fact that a) it’s the early 2000’s and everyones still very homophobic, or b) self-doubt that comes with the queer experience. The most likely reason is a mixture of both of these. Because of this, Ryan is the more self-assured version, or idealized version of Kenney that he wants to be. Ryan is confident, never being swayed about his lifestyle (could be read as: sexuality) even though Chad - and most of the wildcats in the first movie - put him through relentless “teasing” and humiliation. He’s confident, almost to a fault, he’s sure of himself, and yet still reaches out a hand to Chad and the other wildcats to show them that they’re just being, kinda dick-ish.

Every queer person wants to be Ryan. Despite his heavily stereotyped characterization, I personally believe he is one of the stronger written characters in the movies, mainly due to Kenney putting the time in to really make Ryan feel like a real person, to give himself some sort of relief of his own anxieties, a chance to see the world through a person who truly has no fear. Unlike Kenney himself.

This is where Chad comes in.

Chad is seen as “confident” in the first movie, the second Troy “leaves” basketball though, all that confidence comes crashing down. His best friend has another hobby - one he thinks is “not right” (it’s okay, you can say gay), - they wont be spending all their time together (first, can you say dependent relationship much, yikes).Chad’s defining characteristic up until their fight that instigate act three of the second movie, is being Troy’s best friend. I’m going to take this as if this were truly the case, and not a decently written character arch. Some people base themselves around their friends and their whole identity on being a friend, that they lose sight of themselves, this mainly in high school of course, when your whole world is really nothing but school, and friends. Newly developed independence is there, but that’s scary, so instead of worrying about the future, cling to something that’s reliable. I’ve seen this happen, mainly at the end of high school, when the “real world” is coming a bit too close for comfort. This could generally be the case if a person is lonely, but for timeline sake I’m going to say Chad has got some anxiety about graduating (considering the second movie takes place the summer of junior year).

His lashing out at Troy’s hobbies and at Troy’s neglectful friendship, make more sense with that background, and are seen more in the second movie where Troy begins spending all his spare time with Sharpay (trying to collect that BAG!). Chad - and others (read: father) - insists that music is not a feasible career option, and Troy should just stick with basketball (like...that is a feasible career option). The tension Chad creates in the studio only grows when the other wildcats decide to take up Ryan’s offer for dance lessons and move from the kitchen, to helping out with the talent show. (Next essay idea: how high school musical two was really about class all along, cause Jesus).

Chad is the less obvious option for a y/n character. Though again, the 2000’s were not as cool people like to pretend they are. Chad - for Kenney - represents what he actually feels, this fear of being rejected for how he is and how he chooses to live his life/lifestyle, so he sticks to something reliable. Ryan is new, and exciting, and confident in a way that Kenney/Chad wish they could be, but in order for that to happen they need to understand that maybe people are complex creatures, and can enjoy multiple hobbies (aka: the same lesson Troy is teaching the viewers, but far less boring). But, for Kenney/Chad facing that thought and that realization is scary, and thus, they lash out at anyone (read this paragraph as: Chad mad jealous of Ryan cause Ryan bomb as fuck).

All this build up, finally comes ahead in the employee baseball match

******

The baseball game is probably the most memorable scene in the whole High School Musical franchise (minus Sharpay’s “Fabulous” solo, but that’s also from the same movie, and it’s kinda rude to give what’s already the best more points); the tension in the scene, and what it implies makes it the best written segment of all three movies, let alone the most entertaining.

Some things to keep in mind from our background information: Chad is missing his bestie and struggling with what being “masculine” really means for him and others. Ryan of course makes this confusing, because the traditional method is being thrown out the window. In short, Chad has internalized homophobia, and Ryan being open - or as open as Disney would let him - is causing all sorts of problems.

Despite the song, “I don’t dance” being logged into our collective skulls for all eternity (you’re probably humming it right now, sorry about that), the very brief interaction of Ryan and Chad before the game is lost on the public consciousness. The two are clearly comfortable with each other, though the distaste seems to be on Chad’s side more than Ryans. So, the two start playfully jabbing at each other before deciding to do a bat toss to see who will be in the outfield first.

Before they begin the bat toss, Ryan says “You don’t think dancing takes some game?” Chad then very clearly checks him out, doing a simple but effective ‘drag-your-eyes-over-them-top-to-bottom-then-smile’ and says “you got game?” (Seen in gif below)

I don’t know how much you know about sex metaphors and how many of those baseball has in it (seriously though, it’s a lot), but with the bat toss, Ryan’s hand ended up on top, and Chad’s under Ryan’s. Let’s ignore this for now, it’ll be implied again later. Ryan’s team starts out in the outfield because he won the bat toss, and hence, the song officially starts.

The first lyrics (ignoring the chores of “hey batter batter, hey batter batter, swing”) is

I'll show you that it's one and the same

Baseball, dancing, same game

It's easy

Step up to the place, start swingin

This part is sung by Ryan, who is taunting Chad out in the outfield. Before the game, as stated, Chad was taunting Ryan about his lack of “game” (both sexual and not sexual metaphor are implied), and now, Ryan has turned those tables around. Baseball - is seen as more masculine than dancing, not as masculine as football or basketball, but it’s up there. Chad is someone who cares about his masculinity, enough to the point that Ryan playing baseball makes him loose his mind. Makes him question his own personal definition of masculinity, if you will.

Ryan says, “baseball, dancing, same game,” impyling that, to him, baseball and dancing are one and the same. That is baffling to Chad, cause well, how can something meant for girls even be close to something meant for boys.

Chad comes back with:

I wanna play ball now, and that's all

This is what I do

It ain't no dance that you can show me, yeah

This only proves my previous point.

I had a conversation with myself about this, and I’ve decided not to include it in this essay, but a second essay may or may not be possible. Basically the premise - the dancing/”musical” moments of High School Musical are conjured up images by those meant to see them (ie: like a visual hallucination, but, not really) but this scene kinda poo-poos that idea.

Now, the thing I am talking about is Ryan and Chad’s peacocking at each other during the time they sing these lyrics. The movements they’re making could be mistaken for dancing - as we automatically assume it is because of the title and themes of the movie - or it could be them just getting ready for the baseball game. Ryan swings his leg over the pitcher's mound, tossing the ball up and down into his glove, making wavy hand gestures, etc. Chad brushes off his gloves, swings his legs, hits the bat on each foot, and so on.

For the peacocking, Chad makes a mock of the ballerina foot stance before strutting over to the home plate. Ryan laughs at this, which earns quite the smirk from Chad himself (see gif below).

This is when it becomes a conversation.

You'll never know - R

Oh I know - Ch

If you never try - R

There's just one little thing - Ch

That stops me every time, yeah - Ch

Come on - Ch

When Chad says “Come on” it’s when Ryan throws the baseball at him, starting the game, and giving Chad’s team their first strike of the game (get it, it’s funny). Now, obviously we need to talk about the “there’s just one little thing that stops me every time.” As a queer person, I assure you, two of the things that kept me from living my Best Life were 1) my own ignorance of what asexuality was and 2) the fear that everyone I love would hate me for who I am, and what I have no control over.

Sorry to get deep like that on main, but, can any other queer person say different? Obviously, your first point may differ, but my point still stands. In the video/scene there is a very short moment (to which I have condensed into a gif for you all, you’re welcome, and I’m sorry about the quality in advance), of the camera moving over to Chad’s team (or his friends in this case since it’s an employee baseball game) as he says this line (gif below).

I will not be explaining the use of subtly in this essay, but I’m sure you get the metaphor Kenney is trying to use. If not, let me spell it out for you in very simple words. This song has a lot of sexual innuendos (as mentioned pervious with the baseball bat scene and still, more to come), with that in mind, and clearly queer themes at play (as mentioned before, again), this scene only shows Chad isn’t as straight as he leads on. His fear/phobia of Ryan/the arts come from a much deeper place.

In shorter, and much simpler terms: Chad queer.

But, let’s get back to the boy's conversation.

I don't dance - Ch

I know you can - R

Not a chance, no - Ch

If I could do this, well, you could do that - R

Translation: “If I can do this weird, sweaty, dirty, Male thing without blowing a fuse, you can and should be able to dance just fine.”

But I don't dance - Ch

Hit it out of the park - Both

I don't dance - Ch

I say you can - R

There's not a chance, oh - Ch

Slide home, you score, swingin on the dance floor - Both

I don't dance, no - Ch (This is just the chores, you’ll see it multiple times throughout the essay, I just figured if the song is going to be in your head, go all the way right).

Two-steppin, now you're up to bat - R

Bases loaded, do your dance - R

Here we are with the baseball metaphors you’ve all been waiting for ladies and gentlemen. Girls, gays, and non-binary pals. For those who have somehow managed a sheltered existence with access to the internet, lemme help you. Ryan is talking about “loaded bases” both in the context of the game (where it shows each base has one person from Chad’s team on them) and in the term of sex. While you go out there dating - while it’s mostly douche bags and people using it ironically - your nosey friends may ask you how far you got.

“First, second, or third base?” They may ask. Or something like, “oh wow, did you get to home plate/base?” These are simply the rankings of the stages of a sexual relationship. First - kissing, sometimes just handholding, Second - making out, some light groping, Third - full on groping, no clothes come off, but it gets close. While each person has different boundaries, these are the general accepted definitions for the bases.

Home base is obviously full blown sexual intercourse. Since Chad has his “bases loaded” it means he’s done all these things before, just never gone completely to sexual intercourse with someone - in the terms of the song and the history we’ve already established, it’s most likely a male character. This is only proven by Chad’s uncomfortable nature towards Ryan (internalized Homophobia, thank you, returning theme) but his easy, and cocky personality towards everyone else. “bUt thAt DoEsnT pRovE” hush, that’s the final cherry on top. Remember this conversation.

It's easy - R

Again. Previous points have been made.

Take your best shot, just hit it - Ch

I've got what it takes, playin my game - Ch

So you better spin that pitch - Ch

You're gonna throw me, yeah - Ch

I'll show you how I swing - Ch

Ah, the famous “I’ll show you how i swing” a very strong baseball metaphor for everyone. Keeps queer people from defining themselves to dangerous (straight) people, and, well, that’s it actually. This term is mostly used by bi/pan people, though if you want to stay in the closet or are in a dangerous place, it is also used to subtly tell other queer people you are in fact, not straight. My favourite is when this term came into play when President Buchanan got elected in 1856 (for those that don’t know, he’s the first and only gay president).

You'll never know - R

Oh I know - Ch

If you never try - R

There's just one little thing - Ch

That stops me every time, yeah - Ch

This is again, the same lyric as before it doesn’t pan, and the tone is much different. The camera stays on Chad as he says this line, meaning he’s reflecting, he is now his own problem, the person that is keeping him back. His friends are not on his mind anymore, which is good, Ryan’s Gay Propaganda has been working.

Come on - Ch

I don't dance - Ch

I know you can - R

Not a chance, no, no - Ch

If I could do this, well, you could do that - R

But I don't dance - Ch

Hit it out of the park - R

I don't dance - Ch

I say you can - R

There's not a chance, oh no - Ch

Slide home, you score, swingin on the dance floor - Both

I don't dance, no - Ch

Lean back, tuck it in, take a chance - R

Swing it out, spin around, do the dance - R

I wanna play ball, not dance hall - Ch

I'm makin a triple, not a curtain cal - Chl

I can prove it to you til you know it's true - R

'Cause I can swing it, I can bring it to the diamond too - R

You're talkin a lot, show me what you got - Ch

Again, like the beginning of this song, this is a heavy base for flirting and sexual tension, which this song is drowning in.

Stop swinging - both

Hey - both

This is the part where they all start a flash mob in the middle of the baseball diamond. Again, alluding to the conversation I had to myself earlier, this only proves my own theory as no one takes notice of this. But, that’s not this essay, this is where I mention how close Chad and Ryan are at the end of the group dance.

Come on, swing it like this - both

Oh, swing - both

Jitterbug, just like that - both

That's what I mean, that's how you swing - both

You make a good pitch but I don't believe - both

Here is yet another (and the final) sexual innuendo. This is actually a rather quick one. Pitching in queer culture is considered the person who tops (because queer people even had to straight-ify their sex lives to “top” and “bottom”), this is the person who is giving, if you know what I’m saying.

I say you can - R

I know I can't - Ch

I don't dance - Ch

You can do it - R

I don't dance, no - Ch

Here is where that mosh pit ends, and how they get a little too close to comfort.

Nothing to it, atta boy, atta boy, yeah - both

The rest of this song is simply a mash-up of the baseball game being finished, and this lovely gem.

Now, clearly, Chad’s self conscious nature towards his sexuality is gone, he’s sitting close - if not squishing - Ryan, and talking to him like they’ve been friends forever. Take note of the change of close, most likely due to all the tension at the end of the song, and maybe a little of Chad’s own natural human curiosity built in. Now, I leave you with this note:

If there is anything that confirms all this more, its Chad’s girlfriend wearing the pride colours.

Also note: this could also be seen as a friend helping his bro discover his sexuality and fighting internalized homophobia, but, that’s ignoring the sexual tension, so go off I guess.

Thank you for coming to my TED talk.

Watch the full thing here

#high school musical 2 #ryan and chad #do they have a ship name?#troy bolton #high school musical #the original not the remake or whatever the kids have now #ryan evans #chad danforth #Sharpay evans #troy x gabriella #ryan/chad #that baseball scene #yall know what i'm talking about #i don't dance #the gayest scene ever #and gayest song #Anyways: the series #should I write that second essay?#thanks for coming to my ted talk

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