#we now have less queer representation

[infiniteaugends]

The Tommy/Buck break up came out of no where and makes no sense. Did they think we would celebrate or enjoy losing queer representation? Especially in such a cruel way! I don’t get it. It feels icky that for the first time Buck’s love interest doesn’t get closure is when it’s the queer man. Especially a man who has expressed feeling alone and isolated. This is by far the worst of Buck’s breakups and it means a queer character’s arc ends with isolation and heartbreak. What message are they really sending with this?

For me as a bi person it feels even more icky. “You’re gonna break my heart.” “I’m your first, but not your last.” These feel like illusions to the bi stereotypes that we are indecisive, cheaters, and greedy. Like Bobby married the first woman he dated after the death of his family. Athena married the first man she dated after getting out of a very long marriage. They didn’t need to ‘explore their options’, but Buck is Bi so that must mean he can’t just choose a person. He needs to demonstrate it, onto the hamster wheel we go.

I was so excited about a well done Bi character (they are few and far between) and Oliver Stark said they were doing it with care. This is not with care! This is horrible, and harmful, and it makes me so upset. This is literally the second time this week that a piece of media that was supposed to be safe (that I was excited about), became a source of shame and borderline biphobia. Along with the results of the election, I’m just so tired and heart broken.

I’m sure many Buddie shippers are going to be cheering on the downfall of queer representation in the name of getting what they want. The hate and vitriol they have spouted at a queer character and an actual real human being has just been rewarded. They were right Tommy Kinard was just a plot device, another in a long list of used and abused queer characters. It all just sucks so much and makes me want this week over that much faster. This was a cruel decision done without care for queer viewers.

[walker-lister]

I just have to remind myself sometimes that no matter what anyone else says, the way a piece of media makes me feel and the positive impact it has had on my queer identity is valid, and that tearing myself apart thinking I have to defend it or questioning my own place within queer communities is not at all important when compared to the almost tangible sense of 'rightness' that piece of media helped me to feel about myself.

[thesearchforbluejello]

With the popularity of Ted Lasso, I'm genuinely just so glad that we got such a phenomenal show that has made an impact on so many people, and of course now we've also gotten the first season of Shrinking, which also knocked it out of the park.

But I still mourn Whiskey Cavalier every time I watch an episode of either of those.

There hasn't been a whole lot of tv I've actually enjoyed in the past several years, and these three feel like an absolute trifecta, but WC feels like the holy ghost at this point because there is SO MUCH of it in Ted Lasso and Shrinking-- it's so many of the same writers/directors/producers, but they're also just so similar right to their foundations. All three interrogate tv tropes and relationships (of all kinds!!!!!) and mental health through comedy, and Ted Lasso and Whiskey Cavalier actually interrogate an entire genre. I'd say that WC is more on that side than Ted Lasso even is, because although they definitely interrogate some of the tropes of sports fiction (toxic masculinity, anyone?), WC actually parodies spy fiction while playing itself as straight.

It just makes me absolutely feral to think about what more of Whiskey Cav would have looked like. A second season? A third? The development of the show from the original(-ish, one of the drafts) pilot to what was actually filmed shows so much growth and an acknowledgement that they could really work with what they had-- it turned from a show about a guy (hence the name) to a show about an entire team. Frankie took the spot as the second main character with Will once they cast Lauren Cohan (I don't think that happened before she was cast but I may be wrong) and another character was completely rewritten into Jai when Vir Das was cast. They had an entire plan for how to flip the TV trope of the will-they-won't-they relationship to a how-will-they-make-it-work relationship!!!!!! It would have been so good!!!!!! The amount of character development we got in just one season was far above and beyond anything else I've seen besides Ted Lasso and Shrinking, and honestly I think more actually happened specifically because they didn't have the assurance of more seasons (good thing they didn't assume, I guess) to build on things like the Ted Lasso Method™ but they still managed to do it without rushing it.

Honestly I feel like I could make a venn diagram of how all three of these shows all overlap and it would be hilarious. Excellent theme songs by well known artists without it feeling cheap? ✅✅✅ Excellent episodic music by well known artists also without it feeling cheap? ✅✅✅ Really well executed character development for ALL of the characters? ✅✅✅ Interrogation of tv tropes? ✅✅✅ More specifically, hilariously camp villains who still manage to take advantage of tropes to work? ✅✅ Incredibly well developed character relationships OF ALL KINDS that don't all hinge on only one romantic relationship as the centerpoint of everything? ✅✅✅ Queer characters who don't exist for the butt of a joke or solely as token queer characters? ✅✅✅ Every line is delivered with perfect comedic (or dramatic) delivery and timing? ✅✅✅

Anyway, this has been a barely coherent and very meandering way of saying that the fact that ABC put the episodes out of order really screwed things up, but Whiskey Cav really hit its stride there with the second half of season one and absolutely nailed the vibe they'd been working towards with the foundational episodes that came before them, and I just get SO ANGRY when I watch Ted Lasso and Shrinking despite the fact that they're both so good and I enjoy them so much because it makes me think about just how good a second (and third, damn it) season of Whiskey Cavalier would have been.

[mishtershpock]

.

[blazinghotfoggynights]

Can Team Tuck and Team Buddie please agree that both can exist and serve as positive spaces for queer male representation?

I've been thinking. Let me run something by you.

Oliver says he has always felt Buck was a bi-coded character? Right?

Does that mean when TK thought Buck was hitting on him, he was?

If Buck was always bi, but just didn't know it, are we supposed to believe he never flirted with Eddie just because his first kiss was with Tommy?

Was Tommy his bi awakening or was Tommy the embodiment of the attractive traits he has seen in a man he's been falling for over five seasons?

You can like or even love multiple people. Even at the same time! 😮

Believing that Buddie is or should be the endgame does not negate or disrespect Buck's arc with Tommy in any way. I question if Tommy was just a convenient character. He's a safe guy to explore Buck's evolution with. He has a history with members of the 118, but he is not integral to the cast. If it doesn't work out, he is easily explained away. Remember Natalia?

I think it is possible to have a Buck and Tommy centered arc, focused on Buck becoming comfortable with his sexuality and exploring it in a healthy, positive way and still have Buck and Eddie eventually realize they have been each other's person for years. Having both doesn't make the other any less important. How many people have dated others when their eventual life partner was right there? They had no idea they saw that person in that way.

Now that we know Buck is bi, it could lead to different interpretations of scenes:

Buck is looking at Eddie. Tommy is not there and we don't know for sure who Eddie was speaking to.

2. Look at that smile and his eyes at the end. Buck positively beams and bats his eyes when he realizes Eddie is going to look at him. That's how platonic friends look at each other?

3. But we can take it all the way back if we have to. Look at Buck when Eddie compliments him.

3b. Do you know what that reminds me of?

4. If Buck has subconciously been into guys for a long time, then this scene takes on a whole new context.

Moving closer to the other man? Check.

Eye contact? Check?

Smile and shy head duck? Check.

*I'd like to state that I have no doubt Edmundo Diaz knew Buck was into him. Look at the reaction.

5. When I'm into someone, you know what I don't talk about? Someone else.

6. Wow. Look at how Buck looks at Tommy.

6b. We have never seen that before have we?

Buck x Tommy and Buck x Eddie can coexist in harmony. Life stories are long and have jumpscares, plot twists, plot holes, etc.

Buck being genuinely attracted to Tommy doesn't mean that all the scenes from the past five seasons that made us all side-eye Evan Buckley didn't happen.

If we never get Buddie, let's just take the win. ABC said, "There are queer men in the world who are masculine, hot, and relatively stable. Let's show that."

Do we really need to talk about how the LGBTQ community was represented on their former network? I could stand on that soapbox and go off for days. Let's just say I know others who also felt some way about it, whether they were straight, queer, or allies.

I am just going to enjoy what is shaping up to be an amazing season. Moving to ABC breathed new life into 911 and I am excited. (Season six? Can we just not talk about it?)

[leidensygdom]

The ways in which being asexual feels isolating

I've been pondering whether to post this or not, but I figured out I wanted to explain a bit of this experience.

So, I could go on a very long tangent on how being asexual is usually a lonely experience, and how much I've been otherized here and there- Specially in real life. How the same people that claimed to be queer (or allies) had been much weirder about my asexuality than they were about me being bi/pan or whatever.

But I think I wanna talk about how something like that bleeds in every aspect of socializing, even down to something like fandom. I stay away from fandom usually- I like to look at cool fanart and that's about it. I hate discourse, I hate drama, I hate reading people getting worked up because they're treating fanon as canon. But there's one thing I've noticed, over and over, that just sends me off my rails.

And it's how fandom tends to treat asexuality (or aromanticism). So, you get a character in some piece of media that explicitly, unequivocally, states they're either ace, aro, or both. "I do not have interest in a partner", "I don't desire to have sex nor do I enjoy the topic", whatever. And as an ace person, I do appreciate being able to see myself in media- There isn't many chases where something is established that bluntly.

Now, you decide you want to check some fanart for that. Fandoms have this tendency to make absolutely everything about shipping, even when the media they're basing it in does not revolve about that (and it's annoying, because a lot of times people aren't interested in the actual themes- It's all reduced to shipping). Suddenly, you notice people treating the aforementioned character as anything but aro or ace. It's all about shipping. "This person interacted with this other person in a way two friends would, but we gotta make this their entire personality now". Some people may instead go for "well, maybe the character is not having sex, but they're probably an absolute freak about it, studies it extensively, has encyclopedic knowledge about it-"

Now, there's of course sex-favourable aces, and that's completely valid, but it's already straying from what, canonically, the character had mentioned. Asexual or aromantic characters aren't really allowed to exist as themselves. People often see them as a blank slate to fill, to change, to fix. I could talk forever about how people react to real life aces like that. I've had people asking me incredibly invasive questions because they saw my lack of sexual attraction as something broken, something they could fix.

And I hate that! I think I'm allowed to say that I hate that! It's hard and unusual for media to cement an aro/ace character, because they're defined by the lack of interest for something, which is often hard to show. But when it does- No one seems to care. It's all shipping, it's all "well, he's gay in denial", "well, she's probably super repressed". If you took a canonically gay character and made them straight on a fanfic, you'd get angry people. Which is bound to happen when you erase representation that people identify with. But aro/ace characters are NOT even seen as queer, they're not even seen as "representation" by most people. You can erase that bit of it, put some god awful shipping on top, and people will applaud you. And it sucks!

I wish people would see being aro or ace as an identity worth respecting, not an identity that needs overwriting. It feels a bit too close to how people often treat aro/aces irl, and it sucks. It reeks of this sort of exclusionism, where "aro/aces are technically queer but it's queer lite at best, it's less interesting than being gay, and we kinda don't want them near us anyhow". Again, I've had far worse experiences about being ace than I have about not being straight.

Sorry if the post got long, but I hope this experience may at least resonate with other people who have been struggling with this, too. It has always felt just kind of lonely to be ace, and see how little people do even consider it an identity, even when it comes down to something like fandom.

[gnawing-suspicion]

So I’ve had two days now to collect my thoughts and I’ll say this

I think the Agatha All Along finale was incredible for a Marvel show. Every MCU series falls victim to the Flat Ending - the penultimate one is always brilliant (7 and 8 of AAA were amazing), and then they get bogged down by executive notes and having to tie into the larger Marvel Universe. Think of Kang at the end of Loki S1, monologuing all over the show/dynamic we were actually there to see tie up.

If we set aside the Wiccan Needs To Be In Movies of it all, my only major issue was the missing backstory for Agatha and Rio. Not just because I love them, but because we needed even one scene of why their connection was so strong. How did Death discover her? It couldn’t have been at Nicky’s birth - they were already “my love”-ing each other. Did she watch Agatha for years, observing the deaths she caused, eventually revealing herself? Did she appear after Agatha drained her coven?

My guess is there was probably a plan for this that got nixed or lost to notes. Marvel is notorious for patting themselves on the back publicly for queer/diverse representation while doing everything they can to tamp it down behind closed doors. I’m guessing the AAA team gave us everything they could and I salute them for it. The leap from America Chavez’ blink-and-you-miss-it pride pin to Kathryn Hahn making out with Aubrey Plaza onscreen amidst an entirely, canonically queer cast is astronomical.

The whole show was so well-thought out and written that I just don’t buy leaving Agatha and Rio’s history as a blurry question mark on purpose. Story-wise, we needed the Why. Not just why she hates Death (we got this) but why she loved her. The betrayal means a lot less when we have no reason to root for them.

This isn’t me saying “bad job, show” because it’s a miracle it exists at all and it gave us SO much and I love it!! Best MCU show to date, and incredibly groundbreaking! I’m excited to rewatch it given the twist at the end. I just wish we’d had a little more of that.

And so off I go to my keyboard to log into the archive of our own and fill in the gaps!!

[the-breath-in-air]

Just saw a post of someone saying that Daniel (from Interview with the Vampire) is so far into the closet that at the time of the Dubai interview he doesn't even realize he's queer.

And I really don't think that's true for his character.

He wrote articles about AIDS in the 1980s (later published in a book). He frequented gay bars in the 1970s (and possibly later). He's had sex with men. He's not repressed. (ETA: not repressed about the gender of people he's attracted to, anyway)

Now there's a lot we don't know about Daniel's life, so it is open to interpretation, I'll admit. But it really feels more to me that he's written to be someone who's, like, a 1 on the Kinsey scale. Like, his longest romantic relationships were with women. His primary motivation for being at gay bars in the 1970s really was to score drugs. (Tho that wasn't his only motivation). When he tells Armand "I can be on my knees in a minute" it really is just him "bargaining with desire" not expressing his own desire. He was definitely attracted to and intrigued by Louis (and flirting with Louis) in San Francisco, but the promise of sex alone probably wouldn't have convinced him to go to Louis' apartment. And for sure there is so much tension between Armand and Daniel in that Dubai apartment, you could cut it with a knife...it's just, y'know, both sexual and angry.

Daniel's a character with a lot of nuance in his sexuality. His sexuality is fluid. He's a character for whom his motivations for having sex are not always purely about desire (though desire is wrapped in it). And I love that! Finally a character whose sexuality is muddled...who doesn't fit into any boxes (not even those created by other queer people)...and yet who doesn't seem to be at all confused by himself. By the time we get to Dubai, he knows who he is, in terms of his sexuality.

And that doesn't make him less queer. His muddled queerness isn't a problem to be fixed. Hell, that's true even though Daniel might not even call himself queer or bisexual. This show has earned having a character do that. Like, the beauty of there being so many queer characters on this show is that no single character has to carry the weight of representation. So their sexual identities can be muddled and stay muddled.

[aroaceleovaldez]

one of the things i'm most disappointed in HoO with is how the series sets up a really beautiful continuity to the first series but now extending from a primary focus on disability to a wider focus on intersectionality (which in itself is a REALLY fascinating place to discuss particularly Percy's character and the overlap between his experiences as a disabled student and how many readers interpret his experiences as him experiencing racial bigotry in part due to his racial ambiguity and how those experiences have overlap and what does that look like for specifically a disabled student of color, etc etc) - like, there is so much set-up for so many things: we have the introduction of a bunch of new major characters, the majority of whom are explicitly not white. We have set-up for queer intersectionality topics (Nico, Jason's bi-coding, Piper being mspec as well eventually). We have set-up for gender intersectionality (all of the girls and the intersection of their disabilities and gender and for everyone other than Annabeth also the intersectionality of gender and race). We even have other forms of disability than just the primary focus of ADHD/dyslexia coming to the table with stuff like Frank having dyspraxia coding, Frank and Hazel both having childhood terminal illness survivor coding, Hazel having seizure coding, Leo having autism coding and Nico's autism coding making a comeback, Percy's book 1 PTSD even gets some references in Son of Neptune, Leo and Nico's depression get big spotlights, also Nico's general grappling with becoming weaker and new physical disability. Heck you could even dive into Jason grappling with gifted kid syndrome and how that plays into his experience with ADHD/dyslexia versus someone like Percy whose same learning disabilities present differently. There's so much set up right at the beginning of the series to dive into...!

...and then Rick does literally nothing with any of that. and it sucks. and then in TOA he does even less with it and just drops nearly all of the disability stuff in general which sucks even MORE. Also it's all made even worse by dropping or magicing-away the existing disability coding because Rick changed his mind about it (Frank's dyspraxia and Hazel's fainting episodes going away, etc etc)

Like, TKC emphasized the themes about how the Kane Siblings grapple with colorism a lot! MCGA talks about queer topics and disability and how those intersect with homelessness! The entire first series has SUCH in-depth metaphors about disability! But HoO and TOA just totally drop the ball about it and don't even try! The most TOA ever gives is the world's blandest directly-spoken-to-the-audience one sentence blurb and pretends that qualifies as representation and that they've fulfilled their quota. TSATS is even worse about the disability erasure and speaking directly to the screen and calling that representation, not to mention how little the TV show erased the majority of references to disability from TLT alongside Percy's PTSD and made Sally an autism speaks mom while they were at it. And while I haven't read it yet I hear CoTG is equally not great about how it handles Percy's disabilities (or Annabeth's).

HoO could have given us so much but it didn't and i will never forgive it for that 😔 also the fandom could stand to talk more about intersectionality cause it's a really interesting topic and there's so much opportunity to explore it in the Riordanverse that does not get nearly enough discussion.

[danielsarmand]

ugh yes you get it it’s not ABOUT ships being endgame i feel like ppl have come to expect that nowadays and it’s really weird. whatever happened to scraping for crumbs of interaction and running 20 miles with whatever we got?? and even if a ship does become ‘canon’ it’ll usually never happen in the way you personally want anyway. they’re NARRATIVE FOILS babe it doesn’t get much better than this i am eating it UP

i swear the new season has been EXASPERATING from a fandom standpoint. i think in retrospect it was like this with season one and the whole mel thing, too, but enough time has passed that my brain conveniently forgot about that.

i don't want to make this about age, but when i was growing up in fandom we used to have maybe a 1% canonization rate when it came to queer ships, which forced me to develop an array of skills i don't see much of anymore. queercoding and queer characters were there still, regardless of how canon or not a ship was, and everyone agreed that canon love interests mattered very little when the dynamic of two characters was the core of said characters.

i genuinely could care less about mel and jayce when they uh. got together i guess??? and i say i guess because we barely know anything about their relationship and dynamic. which is the point! we know way more about him and viktor, so that's where my thoughts go.

people were making a fuss over jayce and mel fucking, meanwhile i was going insane over their sex scene being paralleled to viktor coughing blood, and about how afterwards we see mel waking up in bed alone because viktor wakes up in bed and jayce is beside him. now, people are making a fuss about viktor and sky and i'm over here thinking of what sky is: a symbol, a representation of viktor and jayce's dream, of viktor's humanity and of his remorse. because that isn't even grief—he barely knew sky, didn't even look at her once in season one, he cannot grieve someone he didn't care for; he grieves her POTENTIAL, what she could have been had he let her, he feels guilty for being the cause of her death and he clings to his humanity through her.

arcane is all about visuals. every single frame. none of it is left to chance. and this is unfortunate when its viewers seem adamant on not turning on their brains whilst they watch.

[wen-kexing-apologist]

Can I ask, why do you love BL romance better than het romance? What makes them better? I did not mean anything negative, and I know everyone have their own like and dislike but I want to know your thoughts....

Also what do you think that made Asian MLM (BL manga/manhwa/manhua/tv series/movies) romances better than western MLM romances?

Hello! Yes you are more than welcome to ask :) I truly, truly love getting asks in my inbox and have been having so much fun with the fact I’ve actually been getting some recently! Warning this is long (but i have TL;DRs for everything)

___

I think the fastest answer for me is that I am queer, and therefore I find I have a lot more enjoyment and interest in watching queer stories compared to heterosexual ones.

Also, I find a lot of heterosexual romances to be steeped in misogyny, and have low-key or high-key abusive dynamics. And again, do not get me wrong, there are plenty of queer shows where there are abusive dynamics in play, but it is much harder for misogyny to be committed between two men than it is for misogyny to be placed on a male/female pairing. (I love GLs cause, you know…women, but there are a lot more complex dynamics going in to stories written about two women and those can get much trickier for me, and unfortunately many narratives love punishing lesbains with death so.... Anyway, I’m trying to stick mostly to BLs since that is primarily what this ask is about.)

Additionally, I love BLs more than heterosexual romances because of how BLs treat men. Men in heterosexual romances, especially in the West are extremely masculine, often unable to be in touch with their emotions, jaded, misogynistic, they have to be extremely muscular, and we almost never see femme boys or men.

BLs have such a vast range of men, they have twinks, they have femmes, they have gym bros. They have the clowns, and the super masculine boys. There are shows that let boys be boys, be stupid, and stinky, and fucking gross (hey Pat from Bad Buddy), they let boys be angry and aggressive and express their emotions that way (Sean and Yok’s fight in Not Me, Han Baram and Im Hantae’s conversation in the boxing ring in Sing My Crush, Lom and Nuea in The Wedding Plan, Patts in La Pluie), they let boys fight and wrestle and play (Bad Buddy, My School President, Moonlight Chicken, Only Friends). I love queer stories that let men be gay and ensure through the story that that never undermines their masculinity. I love that there are shows that focus on the progress older men can make in their relationships (What Did You Eat Yesterday?) THEY ARE ALSO ALLOWED TO CRY!!!!

And though it is still kind of rare, Asian BLs actually do have femme boys, and while I am sure femme boys exist in Western shows, I think Pose and fucking Glee are like…the only two shows with queer people that I have seen in the last decade that have an femme boy representation at all. On the flip side, I love how often GMMTV puts their boys in drag and that doesn’t even have to be in a queer show. I also generally love the fact that most of the male actors in Asian BLs, and again, especially in Thailand embrace their femme sides in photoshoots and whatnot, that they wear earrings, and jewelry, and makeup and they look hot as fuck, because it helps me with my own gender identity. I feel and see myself much more masculine (and have less dysphoria) when I have an earring or a necklace or makeup on, now that I have seen so many boys do the same. 

TL;DR: I am queer, and heterosexual romances are frequently misogynistic, and men are extremely masculine and rarely allowed to be soft. Asian BLs give us a very broad range of masculinity, but often let boys be boys while also kissing boys. And actors embracing their femme sides helps me feel more masculine when I lean in to my femme side.

___

As for Asian MLM romances compared to Western MLM romances, obviously this is not a cut and dry thing, not all Asian BLs are going to be better than Western BLs but I find I have a tendency to enjoy Asian BLs/queer media more for a few reasons, generally in order of most to least important for me:

Reason One- Family

This may seem somewhat surprising because the first, and honestly biggest reason I tend to like Asian BLs more than Western BLs has much less to do with the queer aspect. It's actually the family dynamics. I think Western media very frequently has a tendency to be very binary in their portrayal of family dynamics, if family is at all included in Western narratives the relationships that characters have to their family is either almost wholly good, or almost wholly bad. You either have a very abusive household that a character is trying to avoid or flee, or you have a traditional, happy, nuclear family, and when characters have a strained relationship to their family, I have noticed a lot more narrative support for leaving that family behind. But for the most part, family does not play a huge role in most Western shows (and, wild concept to me, it’s part of why I think shows like Succession are so successful, because that is all about complex, fucked up, and loving relationships within a family). 

Whereas, in Asian media, far more frequently family and family dynamics play a huge role in the character’s lives, behaviors, and can influence the story. And because filial piety is such an important aspect to many Asian cultures, you get a lot more interesting parent/child relationships out of Asian media than you do with Western content. And I am a white Westerner, but I am fundamentally, culturally a Southerner and despite no longer being a woman, I will never shed the mantle of Eldest Daughter. And that has resulted in a sense of family responsibility and piety that ends up making it very very easy for me to understand the motivations of the characters that remain loyal to their family even when their family is asking for things from them that run counter to their own desires or happiness (I’ve actually had this conversation a lot with @waitmyturtles about the intersections of Southern culture and Asian culture).

And similarly, I find that a lot of Western media with queer characters at least in the time frame that I have been able to find content with queer characters is either wholly homophobic, or wholly accepting. And do not get me wrong, we get family dynamics like that in Asian BLs too, but we also get parents who are upset about their child’s queerness, and will voice that, and yet who still take care of their children. I’m thinking of the film I watched just the other day called Margarita with a Straw where the main character’s mother can barely look or talk to her daughter when she comes out, but because she is disabled, her mother is still there preparing food for her, bathing her, etc. because even if she is upset about her child’s queerness she can’t stop taking care of her. And those aren’t dynamics I often see in Western media. 

I don’t see relationships like Sawismol and Wang in Western media, where a mother can look at her child and say, out loud that she is disappointed, and to be upset, and to still, despite everything, be the person that her son goes to for comfort when he is absolutely devastated, and I don’t see Western parents sitting there and performing that comfort even when they are disappointed in their children’s queerness.

TL;DR: Family dynamics feel a lot more built out, realistic, and complex in many Asian BLs/media that I’ve seen, than they do in many Western shows. Until I started watching Asian media, I had not seen the dynamics I have with my mother or my father played out on screen. 

Reason Two- Casual Trans Inclusion 

And, as a trans person myself, part of what makes Asian BL shows, Thai shows much more specifically, so important, interesting, and influential to me when compared to Western BLs is the casual inclusion of trans people. Like, that is just something Western media is barely ready for. It’s not non-existent. We have and have had shows like The Fosters, Sense8, Pose, The Owl House, and Heartstopper that have some trans rep. But a lot of those shows have a hefty component to them that shows the struggles of being trans.

In The Fosters we have to watch Cole nearly die trying to get his hands on testosterone, in Sense8 we have to watch Nomi be kept as a medical prisoner and stripped of her autonomy and almost lobotomized, in Pose we are constantly exposed to the very real dangers that trans women of color experience including murder, in Heartstopper we are spared from having to witness the transphobia Elle went through, but it is mentioned. I think the only one of these shows that doesn’t have some element of struggle because a character is trans is The Owl House and let us not forget that Raine Whispers goes through fucking hell in that show. And these conversations, and the demonstrations of struggle to just survive and thrive despite that is vitally important in a society that is pushing closer and closer towards genocide against trans people. Stories that show the struggles of trans people exist for the sake of realism but also serve as an attempt to try to garner empathy towards trans people by cisgender viewers. 

Thailand does have stories where a trans character experiences transphobia (3 Will Be Free, The Warp Effect, Secret Crush on You), but they also have so many stories where trans people are literally just vibing. Do you know how revolutionary it was for me when I watched KinnPorsche and saw Yok, and she was happy, and beautiful, and fun, and her entire plot centered around her running that bar, flirting with boys, and playing surrogate mother to Porsche? Or just to see trans women existing, who aren’t even central to the plot, but are just there? (Payu’s secretary at the auto shop is a trans woman, Golf Tanwarin was at the inclusive cafe in The Eclipse, Golf Kittipat had an illustrious career as a music producer in My School President). Like that shit is SO important to me, and I never, never see it in Western media. 

TL;DR: There are many Thai shows especially where trans people just exist, and they have plots that aren’t always centered around them being trans. Which is revolutionary, coming in as a trans Western viewer where the majority of trans rep in Western shows makes me eventually have to watch trans people suffer. 

Reason Three- Passion Projects

The film industry is huge and pervasive in Western culture, and in the US especially, and with that comes big budget projects that stretch out as long as they can squeeze a cent out of a fan base. As a result you get shows that are too long, you get shows that ruin their premise in the last season after five to fifteen years of dragging the shambling corpse of a story along. And again, do not get me wrong, there are plenty plenty of Asian BLs that are cash grabs, that are terrible, where the actors aren’t really in it. But, most BLs in Asia are one season, they get in, they get out, and you forget it if it’s bad, or you hate it forever if it’s objectively bigoted. But the time commitment to terrible pieces is a lot shorter. 

That said, when you have a low budget, and a story you want to tell, it makes my love so much more. Because it means the crew, the writers, the director, and often time the actors are there because they want to be there, because they like the story they are telling, because they have a story they want to tell. It’s part of why I love shows like The Eclipse so much, because that show was made with a budget mainly comprised of pocket lint and hope, because Golf Tanwarin had something they wanted to say.  Most if not all of Aof Nopparnach’s shows give genuinely, inherently queer stories that speak to queer people. Jojo Tichakorn makes pieces that are so full of queer lenses you could never deny the inherent queerness in his shows, even if the story is primarily focused on a straight person/relationship (Mama Gogo). There are so many shows in the Asian BL world where you can just tell that everyone is having fun. LIsten, Fish Upon the Sky is an extremely problematic show, but for me it felt like everyone had a great time goofing off on that set. You can tell EV-ER-Y-BOD-Y in the cast of Mama Gogo  was having the time of their motherfucking lives. 

I also think the West is very self-congratulatory and tends to hold themselves as the standard of televisions and acting, when I am over here watching Asian BLs with some of the strongest acting from young people I have ever seen, and having it be written off because its a) low budget b) gay and c) in another language. Like, when I try to get people in to BL I start with shows like KinnPorsche (which I know drives @bnegiyo mad) cause it has a much higher production value than many other Asian BLs without being prestige and therefore can’t radically alter the perception of what BL is (hello ITSAY/IPYTM and 180 Degrees), Thai BLs especially. And I figure that is the only way to show someone the level of absurdity and camp that comes from a lot of BLs, while also maintaining their interest because it has a higher production value, so that if they end up enjoying that they are more willing to watch the low budget shows. 

TL;DR: Many Asian BLs are pretty low budget, compared to like any Western show, which I find to mean we have more stories in Asian BL that people actually want to tell. (there are still very many shows that people seem to just kinda show up for, or get bored with partway through [looking at you Tee] but.)

Reason Four- Abundance

There are 

So 

Many 

Asian 

BLs 

Here's a fraction of my watch list

I have watched 81 in roughly the last year, and there are so many more on my Plan to Watch list, and there are more coming out all the time. The West has given me like…two, maybe three. And when we do get good queer shows in the West, they are frequently canceled before completion. Especially if they are on Netflix. 

We lost Sense8, fans had to fight for Out Flag Means Death to get renewed, The Owl House got cancelled by Disney after giving their main character a girlfriend, ND Stevenson had to write two ending to She-Ra and fought tooth and fucking nail to get the gay one, Legend of Korra had to save the gay kiss until the end just like She-Ra had to. If you want to get depressed here is a link to an article ‘50 TV shows with Lesbian, Bisexual, and Queer characters cancelled after one season’. Because most Asian BLs are meant to be only one season, we actually get complete stories, rather than ending with unresolved tension, or cliffhangers. 

TL;DR: there is a metric fuck ton of Asian BLs

Reason Five- Sex

The West, especially the US, tends to have a very puritanical view of sex (which makes sense because the Puritans were some of the first colonizers…I mean colonials…to murder everyone and occupy…uh, I mean settle the United States (I would also like to place blame on the Italians and Spanish [hey Columbus] and their Catholicism AND PROTESTANT CALVINISM that also influenced the pervasive societal views of sex and especially gay sex in the United States).  

With ever increasing homophobia and transphobia, so many shows are trying, in my own personal opinion, to garner empathy, sympathy, and acceptance for queer characters by cisgender and/or heterosexual viewers by making their queer characters flat, two-dimensional, virginal, perfect people. But homophobes and transphobes consider holding hands to be just as grotesque and inappropriate as full on porn. With Western, and especially US based, views of sex, many queer characters are sanitized, sex scenes are rare, and if they do exist at all they are usually in shows that have mature ratings. 

That is not the case with Asian BLs. Like, do not get me wrong, there are plenty of pure, virginal, don’t kiss, barely touch BLs out there, but because there are so many BLs, there are also plenty of shows with lots of physical intimacy and multiple make out scenes that aren’t maturely rated, as well as plenty of maturely rated shows that have multiple sex scenes AND CAN INCLUDE KINK WHICH LIKE!!!!! I rarely see in the Western media I’ve watched. Hell, Sense8 is a sexual liberation show that includes multiple orgies, but there is not even a hint of any other kink (besides whatever Dani, Lito, and Hernando have going on).

gif by @radishayuan

Meanwhile, The Warp Effect has fucking puppy play, Bed Friend has pet play, Laws of Attraction which has a couple pretty chaste kisses shows handcuffs to at least imply kink, there’s a ball gag and a fucking leash in Big Dragon, I haven’t seen it but Unforgotten Night has a lot of BDSM themes in it, Rain and Payu have a dom/sub dynamic going on, we have daddy kinks abound, I also haven’t seen this one but I know there is some belt bondage in War of Y. And even if it isn’t shown, kink and bondage specifically are often referenced in passing in shows with sex.

Also, there are very very very few Western shows I have seen that treat sex workers kindly, and Jojo Tichakorn is right there giving us sex workers as main characters multiple times in a row. Taiwan has great physical chemistry, the very few things I have seen from the Phillipines are so fucking queer, Japan even when they aren’t including sex at all have some extremely queer narratives, and when they are including sex? Holy fuck. South Korea is developing, but I have liked what I’ve seen so far, and it’s been fun seeing very rapid progressions in the level of physical intimacy characters are allowed to have, Thailand has been making a name for itself.  

TL;DR: There is a very broad range of physical intimacy in Asian BLs from no sex to lots of sex, but the abundance of content means I am seeing more shows with gay sex in them in like…a month or two, than shows I have seen in the West with gay characters at all in like…the past year. (This is of course, subjective, don’t ask me for real numbers). 

And, you know, in case this response wasn’t long enough, the amount of queer content, the types of stories being told, the rapid and continued development of BL is super interesting to observe in its own right. Sure, it may be driven by marketability and sales, but that doesn’t mean there aren’t some truly important, realistic, vital, and beautiful pieces of queer media being created and shared with the world, a lot of which is much more accessible to audiences than Western media. I go heavy on the Thai shows in part because they are available for free on YouTube. 

I also think the West seems to think that having gay marriage is the be all, end all of queer inclusivity, and that they do not realize that countries without gay marriage are creating some of the most realistic queer content out there right now. The West has a lot it can learn from Asian BLs, but in my opinion, we’ve got our heads too far up our asses to be following their lead.

[autistic-ben-tennyson]

I have a lot of things to say about this character. I used to identify with her a bit but I no longer do and a lot of the writing in her “arc” has aged poorly. The narrative wants to portray her as just someone who longs to be understood. What we got though is a character who never grows and remains selfish and inconsiderate. I respect and understand that she’s important to a lot of people who are queer and neurodivergent as I am too but I don’t think she’s as good as her stans say.

I’m going to contrast her with two protagonists I am fond of. The character I named my blog after, Ben Tennyson, and Akko from Little Witch Academia which I just finished watching. I actually compared the former to Luz in a more positive post back when I liked her but I think a more critical comparison is needed now. Some have said it but TOH is just an isekai anime for queer people. Any development Luz may have had regarding being less impulsive and selfish got dropped in favor of her just wanting to be understood. She gets everything she wants, to be the hero, to date the rich popular girl, and never be criticized or challenged by anyone.

If Lumity was a cishet ship, it would get a lot more flack from people. Amity herself is woobified by her fans when she was often nasty to Luz or Willow for no reason and didn’t do much to redeem herself for the latter. Luz chose to keep lying to Amity and kept secrets even after she promised to do better. Despite suffering from bad writing in UA, Ben/Julie was still better than this. Julie actually held Ben accountable when he lied or screwed up and she never bullied him, Gwen or Kevin. Ben does try, even if he’s not very good at it to be a better boyfriend and spend more time with Julie as seen in “Revenge of The Swarm” after promising he’d do better.

Some other things that make Ben better than Luz is that his hero fantasy is actually deconstructed. He learns he can’t mess around and do what ever he wants. While he jokes around and acts like a brat, he admits it’s because he’s scared because of the stakes that come if he fails in the episode “The Forge of Creation”. This is not to say Ben 10 is great as it does slip into isekai territory as well with that disgusting harem episode in OV, but it does a little better. He’s also actually bullied as shown in the OS and AF which makes him a bit more sympathetic whereas fanon is used to make Luz more likable than what just the show itself tells.

Regarding Akko, she’s similar to Luz in that she’s impulsive, selfish, rude and wants to be a witch to live out some fantasy. The difference is that Akko learns to be more responsible, that not everything is about her and that she can’t just get whatever she wants. While patience is still something she struggles with by the end of the series, she still grows and becomes a better person. Whereas Luz was willing to abandon everyone while wallowing in self pity, Akko ran away for a few hours after learning that Chariot, her mentor, idol and friend was the reason she was struggling but a quick talk with Diana brought her back. The thing is that a character who’s not a noble saint but still very sympathetic can work such as Shinji Ikari but not if they’re framed as heroic like Luz. That’s why a lot of the show’s writing has not aged well.

To recap, this isn’t to bash people who do identify with Luz and like her. I used to as well, but she’s got some flaws that are often brushed away and the narrative seemed like it wanted to have its cake and eat it too. Wanted to challenge traditional fantasy tropes while ultimately turning into a chosen one wish fulfillment for Luz. TOH was praised for its representation as well as by people who view it as the anti SU but its not the greatest show ever and there are some troubling implications.

[lenaboskow]

now that filming for s8 has officially started, a friendly reminder: don't settle for a half baked romance just because that's what we're given, and we're apparently starved for representation (which is true, to an extent, but you can find better representation than what bt is giving us elsewhere). it's okay to want more; in fact, i encourage it! when was the last time we had a slowburn mlm (or any queer) romance that wasn't originally planned? oh, that's right. never

so don't forget that buddie would quite literally be setting a new standard in representation. there are so many straight slowburns that were created because the audience saw the chemistry and the writers picked up on it; having a queer romance because of the same reason? unprecedented. so again, don't settle for less just because it's what we've been given. especially when the showrunner has stated before that tommy is just a plot device, a means to an end.

[mementomoriwithacherryontop]

This article about Dead Boy Detectives and Netflix's stewardship of LGBTQ+ shows is my Roman Empire

I'm linking the article below, and it's one of the best analysis' out there about both the significance of Dead Boy Detectives' being cancelled, but also the bigger picture of why this is so significant to both fans and the LGBTQ+ community at large. Please read (and share!) the article, Why we need more queer art, not less-the case of Dead Boy Detectives, written by Karla Elliott.

A damning excerpt, and article linked below:

"Netflix has long tried to market itself to audiences just like this as an alternative to more traditional media companies. Yet its cancellation of Dead Boy Detectives is another in a long line of queer shows and shows with queer storylines – such as Sense8, Julie and the Phantoms, and Shadow and Bone – to be axed by the company before their time.

The showrunner of Warrior Nun, another of Netflix’s prematurely cancelled shows, even revealed that Netflix pushed back against the writers developing a queer romance for the show’s second season.

Meanwhile, the streaming service continues to platform performers such as Dave Chappelle, who used his latest Netflix special (his seventh on the streaming service) to double down on jokes made about the queer community, particularly targeting transgender folk.

It seems, then, that companies such as Netflix are still largely only interested in token queer representation, and only if and when it aligns with ever-shifting profit goalposts."

She goes on to talk about the crew and fans rallying around Dead Boy Detectives and taking a grassroots approach to save this show. She links IG and Twitter posts (it'll always be Twitter, to me), and she includes The Petition in her article.

She also accurately addresses the NG elephant in the room, pointing to his limited involvement in the show and how Dead Boy Detective fans have "resolutely condemned his alleged actions and stood with the women speaking out against him. Their outrage perfectly aligns with the core lessons of the show, which counters harmful gendered stereotypes and advocates for men to take responsibility for their actions, hold one another accountable, process anger, and open up to feelings like love and empathy."

She concludes, and I must admit, this brought a tear to my jaded 'lil heart, that "[t]hrough its community-building, energy, and activism, the fanbase is proving to be the living embodiment of the lessons Dead Boy Detectives has to teach us about solidarity, love and care."

So, go us. Keep at it. Don't loose hope. And please check out this article. I gave you a sneak peak, but it's chalk full of really good information and I promise you'll be glad you read it.

[jesncin]

Hi! I'm sorry if this an inappropriate question to ask, but I was wondering if you had any advice on how to accurately portray characters of color? I'm White and my creative fiction includes a lot of diverse characters, and I don't want to just ignore how their races impact their stories but at the same time being a racial/ethnic minority isn't something I've personally experienced and I don't know how to walk the line between good representation and some White dude telling stories that aren't his place to tell. Do you have any advice on how to accurately present characters of color without appropriating?

Luckily I have time today so I'll give my 2 cents! For one: there is no such thing as "accurate" portrayals of POC. Our experiences aren't a monolith. Something personal I would write and pull from my lived experience might not be relatable to, say, another queer Indonesian. And characters I write that are outside of my identity (Black, disabled, etc.) are inevitably going to be less authentic compared to someone of those identities tackling those characters. That's just something to make peace with- we can only do the best we can with the perspective we have.

With that: the usual platitudes are "do your research" and "listen to POC", I dislike both of these sayings! I get what they mean, but I don't love the insinuation of "doing research and listening" as a means of personal creative benefit. So instead I encourage different mindsets:

Instead of "do your research" (where identities can be treated as subjects to be learned and not people) I prefer "expand your perspective". Art is so cool because it's self expression. Stories are awesome because it's a shortcut to a person's deepest feelings. They get you fascinated and invested in a life so unlike your own. I can't stand "I only read queer books" people because it's an admission that they refuse to engage with identities they can't relate or project onto. There are so many important stories out there outside of your bubble. Get into the habit of earnestly learning about perspectives outside of your own. And not with the mindset of "this'll make me a better writer if I consume the identity and can become them" but with the mindset of getting to learn about a new friend. I think people take "stay in your lane" too literally sometimes where they focus so much on writing about their own experiences that they miss out on empathizing with other people.

Instead of "listen to POC" (I hate this one. Because our opinions aren't a monolith, it essentializes all of us to being media critic savvy experts, and white people tend to cherry pick the POC opinions they like instead of looking at the wider conversation) I prefer "improve your media criticism skills, and supplement with different perspectives". Not only should you "expand your perspective" as my last point said, but you should also be critical of things you read and learn! Learning about how ableism, racism, classism, etc. operates in life helps inform your opinion of how an identity was portrayed in a story. Recognize that earnest, and well intended attempts at representation can still be flawed or performative (the amount of times I'm told "I'm sure they weren't intending to be racist" like I truly believe the writer is a mustache twirling racist villain is too much). It's important to be opinionated! Do the work to find different perspectives to inform your own.

Lastly, don't ask for labor from marginalized people haha. I know that's what you're doing now (and this always happens to me whenever I voice a critical opinion of race representation) but I happen to have time (I'm still waiting on my editors to get back to me, such is the life of publishing). Most people don't, and are exhausted with explaining themselves. I don't bother my other marginalized friends whenever I write perspectives outside of my own. I do as much of the work reading articles, history, criticism, art etc. first. Especially if it's going to be a published work, then find Authenticity Readers and pay them for their labor. Avoid asking general, easy to google answers y'know? A lot of people have done the work writing thought pieces in their own time about a variety of perspectives.

[goodluckclove]

Some Loose Thoughts on Queer Rep (Specifically Aspec Rep)

(Just in advance I'm going to dunk on Alastor from Hazbin Hotel like a lil' bit, as a treat. Mainly the team that made him and what he represents, but still. If that's rage bait for you, I suggest maybe dipping out now)

I have a theory that queer media needs both queer characters and queer genre characters. The difference is very important.

I think a queer character would be a character in a story about their queerness. For some reason the only two characters I could think of are the guy from Love, Simon (What was his name again?) and the protagonist from Rubyfruit Jungle, which should express the weird and complicated relationship I have with this particular archetype.

Queer stories centered around queerness are definitely needed, but at the same time I feel like we're just starting to come to terms with the desperate need for the alternative, which are queer characters in genre media that contain overarching plots larger than their sexuality. Not separate, necessarily (Their queerness certainly influences things), but just beyond. This is more accessible for a variety of artists, which is also the reason why it can be a flop or a massive success.

We get more of this than ever for gay and sapphic characters, as well as some trans folks and occasionally non-binary. It's definitely way less seen in aspec characters, and even less respected. I started thinking this way because the internet is flooded with references to fucking Alastor from Hazbin Hotel as an aroace character and - like - god, I don't get it.

Like you can have your serial killer comfort character, that's fine. But latching onto him as representation for the entire aspec community when he was only confirmed to be aroace through a reference in a livestream and the weakest joke onscreen is pretty disheartening. It definitely reads like this part of his identity was added pretty late in his character development, and by a team of people that didn't seem to consider what the response and reaction would be and how they'd handle it.

I also wish the newest aspec icon in media wasn't created by a team so adamant on encouraging shipping culture above actually respecting the identity they've decided to provide representation for. Like I see it means a lot to people to have an aroace character doing something cool in a fun TV show that doesn't necessarily have anything to do with their identity. Then there's like four other people right behind that person who really wants that person to be romantic and fuck.

And like, yeah, aroace people can do that sometimes. It's a spectrum, I know. But can't we start with a baseline representation before providing proof of fluidity?

I just think we deserve better. Like a character who in the media is established to be aspec, and people are like "great" and move on to fight robots or do magic or whatever. And the person can be morally grey, or even a total dick, but like I'd personally prefer something with a little more depth than Hot Topic genericism.

Like don't get me wrong, I'll take some sort of eldritch horror as my representation, but...make him at all horrifying? Like everyone talks about how he has Eldritch powers, which I know to mean unfathomable and maddening. But I've seen everything he does in the canon of the show and it is both incredibly fathomable and makes me feel normal and sane. Yog-Sothoth this man is not.

But yeah, I don't think there's a solution here besides more aspec artists creating aspec characters in their work. That way people can still like Alastor if they want, but he's not like the only viable option in terms of representation in the media. Let me see lovingly-crafted cool guys and dipshits and chaos goblins and little babies and True Horrors, all of whom have varying degrees of distaste or indifference towards sex and romance.

Do it. We need it. Please.