#you don’t have to like their characters but don’t be a jerk about their queerness

[karaspal]

you honestly don’t need to like every queer character that exists, and i truly mean it. at the end of the day, if you don’t like them, you have every right to. but you don’t get to say they are bad representation simply because you don’t related to them. not every character will appeal to you, but that doesn’t make them a bad representation. feel free to critique them and their personalities, it’s your right to, but don’t be a jerk about their queerness unless they are falling under a harmful stereotype.

some people take it on the next leave too, and say that a character who isn’t queer in canon is better representation. in what world? you might feel connected to them and see your queerness in their journey, the same thing has happened to me too, but that’s not the same as having a literal queer story. queer characters are there to make you feel seen, but not only that. they are also here to challenge the status quo, to normalise queer people just existing and to make bigots uncomfortable. remember when jon kent was first announced to be bisexual with the cover of him kissing his boyfriend? yeah, a headcanon will never have such reaction.

my point isn’t made to attack people for seeing parts of themselves in “straight / allo / cis” characters. it’s wonderful that you found a character you could relate to and make you feel less alone. it really is. like i said, i see parts of my queer identity in characters who “don’t” have my sexuality too. but don’t put down actual queer representation for characters who have never been confirmed queer. it’s wrong of you to. at the end of the day, these are the characters who actually make the difference.

[scoobydoodean]

I was wondering if you, as a Dean fan have opinions about the different writers? Mostly because I see a lot of Dean fans really strongly dislike Dabb for some reason and I don’t really understand why. I’ve never seen a concrete explanation beyond “he can’t write Dean/doesn’t understand Dean/actively hates Dean” but with no examples as to what he does that’s so bad. And I see this in every shipping lane. I don’t have a strong opinion about him as a writer one way or the other.

I'm exploring this more as I rewatch the show (currently on season 6) so I'll speak mainly from that perspective on my most recent thoughts. I am not a big fan of Dabb or Loflin, but have tried to be fair about things so far when talking through each episode. I am a fan of "Alpha and Omega"—it's my favorite finale (it's also... a finale for a season Carver started as showrunner? So I don't know what the implications are there as far as storyboarding). Also points for having demon Dean stab a guy through in 10.02.

I'll focus on the negatives you asked about in this post, but in the links you'll find me moving the narrative this way and that toward much more charitable readings... I think. (I do have a tag #dabb disk horse which you can either peruse or blacklist at your leisure). What I can tell you is something almost always strikes me as a off about Dabb/Loflin episodes so far in this rewatch in terms of character work.

Dabb/Loflin's first ever episode was 4.06 "Yellow Fever". In the aftermath, Kripke felt the need to release a definitive interpretation of their episode to the public, stating, "Dean is not a dick... he's a hero." The whole episode toyed with, to an extent, the idea that all the victims of the MotW were bullies. You can take this other directions—for example, queer meta, or meta about Sam as the real bully. However, the story a lot of fandom latched onto was that "Dean is a jerk and deserves to be humiliated and punished for that" which obviously didn't make Dean fans watching live in season 4 happy��and this theme of Jerk!Dean continues into their next episode, "After School Special", where they once again parallel Dean with a bully literally nicknamed "Dirk the Jerk" by Sam, and throw what I think is transparent shade at Kripke's issued statement from before the Christmas break (post here)... or maybe they mean to throw shade at the Dean fans who got angry. In this episode, they also make illusions to Dean wanting to have sex with barely legal high school cheerleaders, which also did not ingratiate them to Deanfans at the time. I said on my last rewatch, "In After School Special, Dean seems more unlike himself than any episode ever in the history of Supernatural up to this point" (post explaining that here). I carry similar sentiments about portions of 5.06 "I Believe The Children Are Our Future". Yes—I am aware of performing Dean meta. I just... feel like they try a little too hard. It feels hamfisted—desperate. To the point it doesn't feel like Dean anymore sometimes. In 5.06, they also have Dean (guy who is generally very protective of kids) suggest to Jesse that he'd be good to have in a fight???? I can see how they got there, but again—it just feels... off. The last episode I rewatched that they authored, 6.04 "Weekend At Bobby's", also leaves a bad taste in my mouth—not in what it's trying to do with Bobby or what it's trying to do on a meta level—but once again, with dialogue from Dean that just makes me think "he would not fucking say that" (post here). I think looking at all of these, you can probably see deangirl ire toward Dabb has a long history. It's been around as long as he's been around, whether he deserves as much ire as he gets or not.

I haven't circled back yet on this rewatch, but Dabb and Loflin also penned season 7's "The Girl Next Door"... do I need to say anything specific? Maybe I'll just link my entire #amy tag. What narrative did they want you to get from that episode? Who the fuck knows. And that's often the problem:

When you watch various episodes I've mentioned, you can work around to a meta that tells you something different than you might at first think the page conveys—something hidden and maybe contradictory. The thing is... you could also... not do that? And that wouldn't be so bad, except that sometimes the two narratives you can most easily grasp completely contradict each other. "After School Special" can be an episode that points to Sam's envy of Dean and John deep down and foreshadows Sam becoming a bully, but on a meta level, it also just as easily says Sam becoming a bully is somehow Dean's fault, and Sam is some poor captive baby. Dean is a creep and a bully and a cheater but we should all coddle him because he saw his mom die when he was a child and he's sooo sad. "Yellow Fever" can be a queer meta story and might also foreshadow approaching Bully!Sam in 4.14, but it also very much does call Dean a jerk (should we take that seriously? should we not?) and implies Dean should be punished for the outcome of three decades of reality-bending torture. Even if it's a queer meta underneath... it's just as easily one about how closeted men should be humiliated for cowardice or how being closeted turns you into an asshole.

Jumping way ahead, I have to mention 15.10 "The Hero's Journey" just because. Yes, it is full of jokes and Garth goodness, but also tries to sell you the story that nothing about Sam and Dean is real, to a degree that feels like you are being flipped the bird for ever watching this show. And again—you can make meta that it's all a ruse! But is it? Or is Dabb actually just telling you to go fuck yourself? Like he totally wasn't when, after the SPN finale when fans were Not Happy™️, he tweeted a sign reading, "Don't feed the baboons"? Yet again—we play into the motif of the "hero" who isn't a hero at all but some pathetic loser who deserves to be publicly humiliated, bookended with Dabb's opening episode in his opening season. I'm not saying that's what it is on purpose—but I am saying you can make these arguments easily, and that leaves me consistently annoyed with Dabb for being fucking sloppy and leaving me to deal with some of the most insufferable meta imaginable that carries little support outside of episodes written by Dabb or the Dabb/Loflin writing team.... Yes—I am in fact saying that Dabb and Loflin's hamfisted episodes (regardless of their intentions) are largely responsible for some of the most insufferable, loathesome fandom metas about Sam and Dean's relationship around.

Look at 5.16 "Dark Side Of The Moon", and 7.08 "Time for A Wedding!" and 8.14 "Trial and Error", 11.17 "Red Meat", and 15.20 "Carry On". Along with 4.13, while they might or might not say something deeper or contradictory on a meta level, on a surface level, every single one of these episodes sows the narrative that Dean is needy and clingy and needs Sam more than Sam needs him—something I intensely disagree with for a multitude of reasons... but I'll just link this. Many of these episodes also follow a surface level narrative of "normal life obsessed Sam" (and here I'll link my entire #sam the hunter tag and #in which sam is not a helpless little waif with his hands cast over his eyes being carried along by the tides of the immutable sea). When I look at this episode list, I also don't find it at all difficult to believe that Dabb wanted Dean to die in the finale. There is nothing at all shocking about that. And yes—you can argue he's pointing to the opposite—that this fate should be subverted and that's what makes 15.20 the dark ending, but I think you can just as easily argue that yes it's a dark ending and yes Dabb has always dreamed of this ending. A "tragic" ending where Dean dies and Sam goes on to have a white picket fence... while also leaving you little hints along the way that maybe it's all a big ruse because how could he not? He never has to explain anything. Someone else will pick up the story and make it make sense. He's already fucked off to piss all over fans of Resident Evil.

That said, when I mention what I feel is off character work, I mainly mention Dabb/Loflin episodes from my recent rewatch, which suffer from the two of them being newer to the series (coming onto the writing team in season 4) and also leave questions about whether, perhaps, they had conflicting ideas about characterization. Was Dabb the one penning these lines? Was it Loflin? Was it both? Did they trade out who took the lead? I didn't really say anything negative about "Sam, Interrupted" or "Jump the Shark"... (though "Sam, Interrupted" also calls Dean "codependent") who wrote those? Is it possible that the messiness of the meta comes down to two writers at war? I have to imagine though, that they got along, or else they wouldn't have written together for four fucking years. If they didn't get along...? My mind always comes back to their first solo episodes, right after splitting up in season 8. Dabb's first solo episode is "Hunteri Heroici"—the only episode to lend any perspective to season 8 Sam's reasons for abandoning everyone—paralleling him checking out with Fred's catatonia, which Sam has to save Fred from. It is the only episode that lends Sam sympathy in the early part of the season. He follows it up with "Trial and Error"—where Sam promises to save Dean from suicidal thoughts. Loflin's first solo episode is what I would regard as the most scathing solo episode commentary on Sam in the entire series—"Citizen Fang". Then he writes again right after Dabb's "Trial and Error"—penning "Remember The Titans" where Sam tells Dean to get over the promise Sam so passionately made in Dabb's episode and face reality.

This is why we're exploring this rewatch.

DISCLAIMER: Now I just devolve into bitching because I'm writing at 3AM. Proceed at your own risk.

It seems like these days, everyone demands an explanation for disliking Dabb (something about some sort of destiel battle... I don't know what that flamewar is and I don't give a damn tbqh.) I guess I've just been wondering what's actually so great about him. Because it feels like people have overcorrected to basically acting like he's god's greatest gift to mankind. People point to how meta his episodes can be, but I think other writers easily best him on that front on multiple occasions (particularly enjoyed by me so far on this rewatch: 3.10 "Dream A Little Dream Of Me", 4.04 "Monster Movie", 4.12 "Criss Angel Is A Douchebag"), and without leaving their meaning so up in the air that you don't even know what the hell they were actually trying to tell you because there are two different completely incongruous narratives you could just as justifiably claim were the intended one. Some people may find that duality praise-worthy. I don't. I find it sloppy—and when I add in mediocre character work, I just land on the side of him being, at the very best, mid.

Add him in as showrunner, you have... at least two of my least favorite seasons (13 and 15). Add that he's a one-trick pony in terms of the Sam and Dean conflicts mentioned above that he continuously rehashes rather than come up with anything new or fresh, and the same conflicts between Dean and Cas being played out until they both die (shut UP I'm not talking about canon destiel as the alternative—I am literally just asking for more diverse conflicts). I can't say I understand what I''m supposed to find so impressive.

(Before anyone so much as breathes this near me, Berens also sucks and I am going to tear off your nose hairs if you start bringing him up as if disliking Dabb for some reason means wearing rose colored glasses about Berens. Berens can eat a whole cactus raw over "The Trap" alone.)

[jbaileyfansite]

Interview with the Los Angeles Times (2024)

“This is where all the cruising happened.”

Jonathan Bailey and I are standing in Pershing Square on a bright, blustery spring afternoon, nearing the end of a homemade queer history tour of downtown L.A.: One Magazine, Cooper Do-Nuts/Nancy Valverde Square, the Dover bathhouse, the Biltmore Hotel and this, the city’s former Central Park, a haven, since before World War I, for “fairies” and “sissy boys,” servicemen on leave and beatniks on the road.

“Is it still happening now?” he asks.

“Probably not as much,” I venture.

“Well, you let me know if it’s happening,” he teases, a mischievous smile lighting up his face.

Bailey understands the uses of the charm offensive. As Sam, the handsome Lothario of Phoebe Waller-Bridge’s delightful pre-”Fleabag” curio, “Crashing”; Anthony, the romantic hero of “Bridgerton’s” second season; and John, the jerk of a protagonist in Mike Bartlett’s love triangle play “Cock,” the English actor, 36, has swaggered up to the precipice of superstardom. With roles in such studio tentpoles as “Wicked” and “Jurassic World” on the horizon, he may just break through. Yet he delivers career-best work in Showtime’s queer melodrama “Fellow Travelers,” as anti-Communist crusader-turned-gay rights activist Tim Laughlin, by leaving behind the self-assured rakes and tapping a new wellspring: soft power.

Tim may be, as Bailey puts it, “an open nerve,” but as it turns out, the devout Catholic and political naïf — who falls for suave State Department operative Hawkins “Hawk” Fuller (Matt Bomer) just as Sen. Joseph McCarthy tries to purge the federal government of LGBTQ people — is formidable indeed.

Stretching from the Lavender Scare to the depths of the AIDS crisis, in scenes of tenderness, cruelty and toe-curling sex, Bailey’s performance communicates that little-spoken truth of relationships: It takes more strength to submit than it does to control. The former demands discipline, courage, trust; the latter requires only force.

“In ‘Bridgerton,’ [Bailey] is like a Hawkins Fuller character — he is very sexy and has lots of power, has that kind of confident charisma that absolutely is not Tim at all,” says “Fellow Travelers” creator Ron Nyswaner.

But any doubt about Bailey’s ability to mesh with Bomer, who boarded the project early in development, was put to bed with the actors’ virtual rehearsal of a meeting on a park bench in the pilot. “‘Well, that’s a first,’” Nyswaner recalls an executive texting him. “I cried in a chemistry read.”

‘Am I inviting people in?’

Bailey grew up in a musical family in the Oxfordshire countryside outside London, and this, coupled with an appreciation for the morning prayers, choir practice and Mass he attended as a scholarship student at the local Catholic school, fed his precocious talents. (“I loved the performance of it,” he laughs. “Not to diminish the celebration of religious process, but I did love the idea of wearing a gown.”) By age 10, he’d appeared in the West End, playing Gavroche in a production of “Les Misérables,” an experience he now recognizes as an encounter with a queer found family — albeit one shadowed by the toll of the AIDS crisis, which peaked in the U.K. in the mid-1990s.

“When I’m asked about my childhood, there’s so much I don’t remember, and I think that’s true of anyone who’s been in fight or flight for 20 years,” he says. “I would have been in a cast of people whose friends would have died in the last seven years. I think of where I was seven years ago. I had all my gay friends then. It’s only retrospectively that I can retrofit a real gay community around me [in the theater], that I just wasn’t aware of [then].”

During the late 1990s and early 2000s, American and British culture presented queer adolescents with a bewildering array of mixed signals. As beloved celebrities came out in growing numbers, and the battle for marriage equality became a central locus of LGBTQ political organizing, the media continued to propagate harmful stereotypes of gay men as miserable, lonely, perverted or worse — and, Bailey remembers, callously turned George Michael, arrested on suspicion of cruising in a Beverly Hills restroom in 1998, and Irish pop star Stephen Gately, who revealed his sexuality in 1999, fearful he was about to be outed, into tabloid spectacles.

No wonder Bailey, like many LGBTQ people of his generation, should feel the “chemical” thrill of “validation and acceptance” during London Pride at age 18, then embark on a two-year relationship with a woman in his 20s.

“Dangerously, if you’re not exposed to people who can show you other examples of happiness, you think that’s the easiest way to live,” Bailey says. “It’s funny. You look back and you can tell the story in one way, which is that I always knew who I was and my sexuality and my identity within that. But obviously at times, it was really tough. I compromised my own happiness, for sure. And compromised other people’s happiness.”

Disclosures about his personal life have become particularly thorny for the actor since the premiere of “Bridgerton,” the blockbuster bodice-ripper from executive producer Shonda Rhimes.

“The Netflix effect does knock you off center completely,” he says, recalling the experience of finding a paparazzo waiting outside his new flat before he’d even moved in. “Suddenly, you do start having nightmares about people climbing in your windows... Even now, talking about it makes me feel like, ‘Am I inviting people in?’”

He is also critical of the media for churning out headlines about the smallest details of celebrities’ private lives, often detached from their original context. In an interview with the London Evening Standard published in December, Bailey described a harrowing encounter in a Washington, D.C., coffee shop in which a man threatened his life for being queer — and, in recounting the experience, offhandedly mentioned the “lovely man” he’d called, shaken, after it happened. Although Bailey acknowledges that the original story handled the subject with aplomb, he felt dismayed that more attention wasn’t paid to the intended warning about rising anti-LGBTQ sentiment: “The only thing that got syndicated from that story was that I had a boyfriend, and it wasn’t true,” he sighs. “It was kind of depressing, if I’m honest.”

Still, Bailey, who once turned down a role in a queer-themed TV series because it would have required him to speed along revelations about his personal life he wasn’t ready to make, is prepared to embrace the power of vulnerability when it feeds the work. Although a member of his inner circle expressed doubts about “Fellow Travelers’” steamy sex scenes, for instance, the actor intuited that they were what made the project worth doing: “I was like, ‘I’m telling you, they are the reason why this is going to be brilliant.’”

‘He’s changed my trajectory in my own life’

To those who would complain about the state of sex in film and TV, “Fellow Travelers” is the perfect riposte. All of it matters, from Tim’s first flirtation with Hawk to the finale’s closing minutes, because the series, at its core, is about the importance of soft power: the strength required to bend, but not break; to adapt, but not abandon oneself; to survive without shrinking to nothing in the process.And depicting that through sex, specifically gay sex, makes “Fellow Travelers” radical indeed.

Bailey understands that baring so much comes with certain risks. When I tell him that research for the story has filled my algorithmic “For You” feed on X (formerly Twitter) with speculation that his onscreen relationship with Bomer has a real-life element, he notes that “shipping” fictional couples and costars alike has long been part of Hollywood fantasy. But he bristles at the implication that he and Bomer are anything but skilled actors at work.

“I would love for people to know that the success of our chemistry isn’t based on us f—. It’s actually about us leaning into the craft,” he says. “It’s a vulnerable situation to be in, talking about it on record. I don’t want to rob people of their thoughts. But I do have a set of values, and as an artist, you don’t need to be f— to tell that love story.”

Underlying that craft, Bailey adds, is the confidence to speak up, as with one scene in “Fellow Travelers” that was adjusted because he said, “I don’t want to be naked today.” He learned to use his voice the hard way: In his early 20s, he recalls, he was once “bullied” on set when “someone was threatened” by him and vowed to himself, “I’m never going to do that to someone. I’m never going to allow that to happen.”

This impulse to direct his influence in support of others has blossomed further with “Fellow Travelers.” On the day of our interview, Bailey enthuses about an upcoming meeting with legendary gay rights activist Cleve Jones and shares his idea for a docuseries recording the stories of elders in the LGBTQ+ community while they are still here to tell them. He describes lying in a hospital bed on set on World AIDS Day, in character as Tim, surrounded by gay men who had lost friends and lovers during the crisis, and finding himself thinking, “What do I want to leave behind?”

“I think he’s changed my trajectory in my own life,” Bailey says.

This is, perhaps, the most common reaction I know to diving deep into queer history — the understanding that we, like our forerunners, are responsible for shaping the queer future, whether in politics, society or art. No one is going to do it on our behalf.

As we stand on the nondescript corner now named for her, I relate the story of the late queer activist Nancy Valverde, who was arrested repeatedly while a barber school student in the 1950s on suspicion of “masquerading” because of her preference for short hair and men’s clothing, and later successfully challenged her harassment by the police in court.

“What a hero!” Bailey exclaims, wondering at Valverde’s bravery. “The thing that’s so interesting with power battles is, ultimately, identity is the thing that gives you the most strength and power in your life, isn’t it?

“Because that’s one thing people can’t take away from you: who you are and how you express yourself.”

Source

[spirkkock]

Queer Text/Subtext in Shallow Grave (1994)

CW: BLOOD, STABBING, MURDER, NON-SEXUAL NUDITY, DRUG USE

I guess I wrote a rough essay... about the queer subtext in Shallow Grave... Here... have the rough draft if you'd like...

Overt references to queerness:

When we look at contemporary movies, we often have a knee-jerk reaction to dismiss any “funny” references to queerness or sexuality to be taken as jokes and nothing further than that.  Unfortunately, this has become all too common, and does a disservice to the films we watch. So I will be taking every moment of referenced or implied queerness as serious, even if it is delivered in a humorous way. Especially because this movie is not meant to be a comedy (despite some humorous moments).

Furthermore, references to queerness in movies should be taken seriously because they establish not only the existence of queerness (in universe, as one might say), but can also demonstrate the character’s attitudes towards queerness.  Its important to notice that at no point in this movie are any references to queerness played for a laugh – they might be humorous, but we are not meant to laugh at the character for being queer, which indicates that queerness is taken seriously within the universe of the movie (or at least between the characters).

The first overt reference to queerness is when Juliet asks an interviewee if he is having an affair with a man or a woman and the man is not given screen time to answer. This same man bursts into tears after Alex, a man, says, “When did anyone last say to you these exact words, ‘you are the sunshine of my life’?” (this is a reference to the Stevie Wonder song of the same name). While it is technically (according to the script) said by Alex to a different interviewee, the arrangement of the shots does not indicate that, as it cuts directly from Alex asking the question to the man crying. This could imply a number of things.

The second overt reference to queerness comes at the charity ball, where a Scotsman says, “ladies and gentlemen, and those of you who are neither or both,” which is then met with a drumroll. Alex immediately responds, offended, “where did they dig him up?” implying that Alex finds the joke to be outdated and, perhaps, distasteful.

The third overt reference is when Alex dresses in drag. He also appears in the same scene, on the tape recording wearing some rather flamboyant costumes.  The fact that Alex is in drag is not addressed by any of the other characters, nor by Alex, indicates that this is either a usual occurrence, or, for some reason, entirely unremarkable to the characters.  Specifically, it is interesting that David does not comment on it, as he walks into the scene unsuspecting.

The fourth, and final, overt reference to queerness is when, upon being told of Juliet and David’s relationship, Alex says to Juliet, “I’d do exactly the same thing except I don’t think I’m his type.” If the line is interpreted sarcastically (which I think most viewers will) then we can assume that he is jealous of David for being with Juliet. If it is interpreted as earnest, then we can assume that he is jealous of Juliet for being with David. It also could be an ambiguous combination of both.

Queer Subtext:

Now let us dig into the subtext, which I actually find to be much juicier....

The Squash Scene and the Car

Directly after the interviews have concluded, we are given a scene which helps frame the relationship between the three characters as one built on dynamics of domination and submission and gives us a baseline to understand each of the character’s roles within this dynamic. This scene takes place on the Squash court.

There is a deviation here between the script and the film, as several lines have been cut, but I will include them as they add some context to the scene.

In the above text, Alex indicates that he sees this game of squash as a struggle for dominance. In this case, the game between Alex and David is won by Alex, who then, despite having called David a “bad loser,” demonstrates that he is a sore winner when he gloats over David by saying, “defeat, defeat, defeat – sporting, personal, financial, professional, sexual, and everything.”

David is clearly annoyed by this and storms off. This scene sets up the ongoing power dynamic between Alex and David in which Alex is the dominant one in the relationship. It also is the first time that we see David being emasculated by Alex, which will continue occurring for the first half of the movie.

Immediately after David leaves the court, Juliet takes his place to play a match against Alex.  In this scene she is wearing a rather masculine outfit which is similar to that of the two male characters. She also sports short hair throughout the movie, but this is the scene in which she appears the most “boyish.”  When she enters the court to play, Alex begins to make the same statement (“Did you know squash is-”) that he made (in the script) earlier, to David. Thus he is using this exercise as a way to exert dominance, not only over David, his male sexual rival, but also over Juliet, thus implying that she is on equal footing – therefore also a sexual rival. However, Juliet cuts him off and tells him, “Alex, just serve.”

The action of cutting off Alex denies him domination in that moment, thus establishing that the two of them are on much more equal footing, or possibly that Juliet is in fact the dominant one between the two of them.  This scene serves to establish that typical gendered dynamics are somewhat blurred between these three individuals, and that David, instead of Juliet, takes on the most feminine/passive role in the group.

The next scene once again highlights the complicated gender and power dynamics within the group.  Juliet drives the car (masculine) while Alex and David bicker with one another from the back seat and passenger seat, respectively.

In this scene, addressing Alex’s win, David says, “Victory is the same as defeat – it’s giving into destructive competitive urges,” which distances him from competition, and could be interpreted as him rejecting the masculine urge to dominate.  Alex, in return, emasculates him by belittling his reliance on a “discussion group,” (implied to be therapy). During this scene, Alex and David are looking at one another, however, the rear-view mirror blocks both of their eyes. This symbolizes their unwillingness to see “eye-to-eye and perhaps a certain level of repression between the two of them.  Also in this scene, Juliet physically dominates Alex by elbowing him in the chest, and attempts to emasculate him verbally by implying that a woman that he is interested in hates him. She does this specifically in response to Alex’s emasculation of David, thus establishing that while Alex might be dominant over David, she is dominant over him.  During this exchange, however, in her attempt to protect David from Alex, David is further emasculated because he relies on someone else to defend him.

Discovering the Body / Three Friends, Three Bodies

When the trio discovers Hugo’s body we see some more of this interesting dynamic.

David stands by shocked while Alex ransacks the room searching for paraphernalia, while Juliet (the doctor among them) attends to the body.

Hugo’s nude corpse in this scene represents male vulnerability. He is prone and exposed on the bed, having overdosed on heroin, and can do nothing while his privacy is violated (by the dominant, Alex).  The injection of drugs into the body, in this case, could also be said to symbolize emasculation - the breaking of the body barrier through penetration of a syringe (phallus). This exemplifies a significant cultural fear at the time – death of the male body via penetration, which had become a major concern due to the HIV/AIDS epidemic. (If I was writing this essay for real, this is where I would insert articles that demonstrate horror’s preoccupation with AIDS and gay stuff during the 80s and 90s, but this is just for fun)

David, of course, is enamored by this display of the fragility of the male body. I would suggest that he identifies with Hugo’s vulnerability in death, and that the treatment of Hugo’s body by Alex and Juliet mirrors the way that they treat David. While Alex takes advantage of Hugo’s vulnerability in death by violating his privacy (thus dominating it), Juliet emasculates Hugo’s corpse by tending to it.  In one shot, we also see Juliet’s fingers dangerously close to penetrating Hugo’s mouth.

We can also expand upon this by recognizing that the two male characters that are pursuing Hugo and the trio in search of the money, are parallels to Juliet and David.  The two men are able to dominate Juliet and Alex through violence, only then to be killed by David. Thus, the three bodies that the trio end up burying are parallels to the trio themselves.

David Overcomes Emasculation, Alex Becomes Emasculated.

Alex’s emasculation of David continues throughout the first half of the movie, culminating in David being forced to dismember Hugo’s body (the very body that he identifies with).  When this occurs, he becomes the violator/aggressor/dominator.

This occurrence proceeds the change in the group dynamic. Around the midpoint of the movie (during the charity ball) we see David transition into a dominant role in the trio, while Alex becomes submissive.

This is demonstrated first by Juliet dominating Alex while they dance. Alex falls to the floor, drunk, and Juliet takes that moment to step on Alex’s mouth, forcing him to lick the bottom of her shoe.  He then willingly kisses her ankle, meeting her eye contact submissively. It is made clear through his facial expressions and laughter, that he finds joy in this act, thus embracing the emasculation (whereas David had always responded poorly, rejecting it).

Alex then attempts to re-exert control over David by forcing him to toast when he doesn’t want to. David eventually concedes after Alex yells at him, demanding that he toast to “love and happiness forever.”  (Alex also humiliates and emasculates Cameron in this scene).

David finally exerts control when Brian McKenly (a man keen on pursuing Juliet) interrupts their conversation. David responds by standing on level with Brian and stating, “If you want to talk to my girlfriend, you talk to me first. If you want to dance with her, you apply in writing three weeks in advance or you end up inside of a fucking bin bag. You didn’t apply – so you don’t dance!”

While David shrinks a bit afterwards, admitting that he found the interaction stressful, both Juliet and Alex embrace him, in high spirits (one might say… aroused…). Alex exclaims, “He [David] was really good – fucking bin bag – I really liked that. You really explored your maleness to the full there! You were magnificent.” This statement indicates that Alex, who has rarely had an encouraging word for David over the course of the movie, is invigorated upon seeing that David has stepped into a dominant role, exerting his masculinity onto others. Immediately following this, Alex is assaulted in the bathroom by Cameron (who he had emasculated twice prior) and two other men, who beat him quite badly, thus emasculating Alex.

The following day, Alex’s emasculation is made complete when he dresses in drag and spends the day in debauchery with Juliet. The framing of his and Juliet’s bodies during this scene is also worth noting, as they are often visually indistinguishable from one another – with Alex being noticeably more feminine than Juliet in several shots due to his makeup, jewelry, dress, and rather delicate shoulders.

(Notably, during the entirety of the ball scene and much of the drag/video scene, Alex is often pictured smoking a cigar instead of his usual cigarette, which could be said to stand in for a phallus.)

From this point on, David is almost always dominant over Alex. (One notable exception is one moment where Alex leans in close to David during dinner and orders, “now swallow,” while making very intense eye contact. David regains control by reminding Alex that David was the one who dismembered Hugo’s body.)

After this point it is clear that David is undergoing some extreme psychological stress, and has become paranoid and aggressive.  His shift in demeanor is most clearly symbolized by this shot, where he calls out of work so that he can begin making plans to protect the cash.

The Wickerman

During one scene, an injured Alex lays on the couch and watches the final scene of The Wickerman (1973). 

The Wickerman tells the tale of a conservative Christian police officer who goes to a Scottish isle to investigate the disappearance of a girl, only to discover that the locals are practicing a form of paganism that involves human sacrifice. The police officer discovers that he is in fact the sacrifice.  It is implied that he is the sacrifice because he is a virgin and a heterosexual, and he is unwilling to have sex with Christopher Lee’s character.  Christopher Lee was most well known at the time for playing the lead in Dracula (1958) – another movie with extremely well documented queer subtext. The audience of The Wickerman would have been aware of this.

During this scene, the drumbeats of the pagan ritual, where the police officer is being marched to his execution/sacrifice, synchronizes with David’s steps overhead, a sound that the characters and the audience come to associate with surveillance and dread.

Honestly this scene has me a bit stumped. Who does Alex identify with in this situation? The heterosexual victim? – is the ending subverted because his submission culminates in… the penetration of Alex's body… thus making him queer? Idk it's been a long day.

Surveillance

During the second half of the movie, David moves into the Attic and rarely comes down when his housemates are home.  He is protecting the money, both from his housemates and from the men who eventually come looking for it. While Alex and Juliet are brutalized by the men, David is the one who has set a trap for them, and is able to kill them. He also leads the trio to dispose of the bodies, and drives the van (whereas Alex had driven the van the first time they disposed of the bodies, when he had been the dominant one in the relationship).

During his time in the attic, David drills holes in the ceiling so that he can spy on his housemates. He is literally in a dominant position over them, looking down on them while they go about their daily tasks. In one scene, he spies on Alex and Juliet while they are sleeping. In this scene, he is shown first to be watching Alex. David is also in a state of undress that we have not seen before, implying a certain sensuality to the observation. We do not get to see Alex in a state of undress, but the scene finishes with Alex putting his shoes on, the camera looking down from above, implying David’s Point of view, and that he had watched the whole time. After Alex leaves, David moves to watch Juliet, in a scene that is much longer and more explicitly inappropriate and sexualized, especially because we come to understand that David’s temporary attic bed is located directly over her bed. However, before she begins undressing, he looks away and holds his head in his hands.

This scene simultaneously offers us a leveling effect between the two objects of David’s gaze (Alex and Juliet), while simultaneously prioritizing the heterosexual coupling. However, the implication that there is shame associated with the heterosexual gaze, complicates the situation.

Penetration with the Drill (Phallus)

When Alex goes into the attic to look for the money (and finds it in the water tank), he climbs back down the ladder only to be confronted by David, who is holding a drill (phallus) as a weapon.  Alex’s hands are wet from the water, and he frantically wipes them on the seat of his pants, behind his back, visually placing his hands as a barrier to his anus. The Drill makes contact with Alex's head and breaks the skin in an act of penetration (the body barrier is broken). This is the first scene in which David directly engages in domination (and penetration) of Alex.

David’s Glasses and Alex’s Photo

Lenses, mirrors, and portals/doorways are deeply significant visual aids in this movie, but I want to highlight the one that stood out to me the most. When Juliet and David have (implied) sex, at which point they solidify their status as a couple, David removes his glasses, and places them on Juliet’s bedside table.  Underneath the glasses is a photo of Alex in costume, a cigar in his mouth, framed through the lens of the glasses.  The photo was taken on the day in which we see Alex at his most feminine, at a point where he had been thoroughly emasculated (beaten in a bathroom by a man that he had emasculated multiple times). The framing of the photo, through the lens of David’s glasses implies that this is how David sees Alex – costumed, emasculated, and with a phallus in his mouth.

This photo is also shown once more in the film; David holds the photo of Alex as he lies in his attic bed, and he pins it above his head so he can look at it. The scene cuts to Alex, also in bed, who then gets up. It once again cuts back to David, who also gets up, and we see that Juliet lies asleep next to him. This follows a pattern of shots that we’ve seen before in the film (see the Surveillance section), where we see David watching Alex in what could be interpreted as a sexual or romantic way, before the camera reveals Juliet and lingers significantly. The implication is that whatever there is between David and Alex always gives way to the relationship between David and Juliet.

Returning to the glasses - the final time that we see them is during the climax of the movie. The three characters are struggling against one another, and David’s head is forced into the refrigerator so that Alex can try and smash him with the door.  He manages to throw Alex off, but not before his glasses are caught on the shelf of the refrigerator, thus knocking them off his face.  Having David’s glasses be knocked off would not typically be significant in a fight scene such as this, however the camera goes out of its way to linger on this shot, indicating that the symbolism here is important.  The other time that we have seen David remove his glasses has been before he has (implied) sex with Juliet. In this case, the removal of the glasses occurs just before David pins Alex in his final act of domination, which then culminates in the ultimate symbolic act of sexual penetration – David stabbing Alex with a knife (phallus).

NOTE: David is also pictured without glasses at the beginning of the film, where he is lying on his back, and halfway through the film, after he has dismembered Hugo in a symbolic act of violence against his own vulnerability.  In the first scene we hear his monologue; “I’m not ashamed, I’ve known love, I’ve known rejection. I’m not afraid to declare my feelings. Take trust for instance, or friendship. These are the important things in life. These are the things that matter, that help you on your way. If you can’t trust your friends well, then what then? What then? This could have been any city, but all the same.” It is unclear until the end, but it seems that the first time that we see David, right at the beginning, we are actually seeing him postmortem in the morgue. Meaning that the monologue is a lament on his life... (You're not ashamed of what, David? Being a bit gay, perhaps?)

Penetration with the Knife (Phallus)

At the climax of the movie, after David’s glasses have been removed, we arrive at David’s final act of domination over Alex.  David pins Alex to the floor by sitting on his stomach, with Alex’s legs pinned underneath his knees in a position that could be interpreted as sexual.  He then holds Alex by the throat, and stabs him in the shoulder, slicing clean through and penetrating the floor.  The act of stabbing (penetrating) a victim with a knife (phallus) is one often noted in analysis of horror films, as having sexual implications (again – I’d find some article about it here if I was a serious writer lol).

Before David can stab Alex again with a second knife, David is stabbed with a knife through the throat from behind by Juliet.  Thus Juliet, who has been a dominant character throughout the movie, is symbolically penetrating David with a phallus. Furthermore, the location of the stabbing in the throat and from behind, implies that David has now suffered, once again, an emasculation, just as he had just preformed on Alex.

David collapses and dies, just as Hugo did, from emasculation through the body barrier being broken from penetration. Thus, David’s identification with Hugo’s corpse and the vulnerability that it represented, is complete in this moment.

Juliet then kneels over Alex, taking up the same position that David had just occupied, and places her hand on the knife in Alex’s shoulder, pressing on it, thus taking David’s place as the one to dominate Alex.  She then removes her shoe, and in an act that mirrors the scene from the charity ball in which she dominated Alex by having him lick her shoe/foot, she uses her shoe to hit the knife three times, driving it deeper into his shoulder, further penetrating him.  Thus, in her final interaction with both David, and Alex, she has penetrated them.

As she puts her shoe back on, we can see inside of the refrigerator, where we once again see David’s glasses, recalling once again that this scene is coded as sexual in nature through the movie's visual language.

As the movie closes, we discover that Alex is alive (probably), and that he has hidden the money underneath the floorboard. In the ultimate irony of the movie, the character that spent the second half of the movie being coded as the submissive (homosexual receiving) partner, has come out on top, despite the other two character’s attempt to dominate (and kill) him.

Uhhh the credits roll, and they're all shown as they were in the first scene of the movie, smiling, laughing, and the love song "Happy Heart" plays...

[bloggingboutburgers]

I need some help.

So, I have this friend who’s Aro/Ace, and we have a very close group of us and like 2 other people. He recently came out to this group, and we’re all super supportive. He actually came out to me before the others, and I helped encourage him to tell them.

I am demisexual, and was planning on telling these same people around that time, but he got there first, and I didn’t want to be a jerk so I waited like a day to tell them, but I’m not sure if I waited long enough. He‘s also being weird about me being demi, and kind of treating me like I’m not really part of the same community, like, just little comments, not malicious or anything, but lots of little things.

I was the one to introduce him to all the fun ace memes, like, garlic bread, and such, and I’m the one who explained the difference between romantic and sexual attraction to him, and I introduced him to qprs, but he still treats me like I’m not the same.

I don’t know if I’m overreacting, but I’m already insecure about being aspec, but not fully ace, so it’s just kinda freaking me out. Should I talk to him about it? Just deal with it? I don’t know. I don’t want to „me too“ his identity, but I don’t want to be erased.

Thanks.

Is that like... Ace gatekeeping of sorts...? Man I'm sorry you're going through this, that sounds awkward.

Sorry I'm replying so late, I hope I'm not too late, but... Yeah, personally I would recommend talking to him about it, to find out why he's doing this. I have no idea what's going on here, but I'll give him the benefit of the doubt and assume he might have felt your coming out might have undermined his in ways, even though that wasn't your intention at all and now HE's undermining yours...

Coming out is a very personal experience that should be up to a person's choice on when and how it's best to do it, so it's important for him to be able to respect yours like you did your best to respect his.

Being queer, and being on the asexual spectrum, is also very personal and CAN lead one to being defensive after having been othered for so long, not sure why, maybe 'cus we're afraid we might be damaged in the process or reduced to an image we don't wanna be reduced to. I mean... I don't know if it's a universal experience, but for instance, while I'm always happy to meet other aros and aces, I have trouble engaging in aroace-dedicated communities (welp... mostly 'cus I'm afraid of groups) but also and mostly, every time I get recommended a work with aro or ace characters in it, it hardly ever fails to give me a massive nervous stomachache and make me want to put off checking out said work forever, 'cus... I think I'm scared of finding out the many ways my identity can get undermined in the process, ironically.

I'm not sure what causes this. Maybe growing up in a reality that's so hostile to being on the aro and ace spectrums fucked me up. And maybe there's something like that going on for him too, though I don't wanna project at all. I can only ever speak about my own experience.

Either way... Both of you are valid in both of your ways, he shouldn't be gatekeeping anything, indirectly or not, especially when you've been so open to sharing your experience, and yeah, you're not the same, but you're on the same spectrum, and there are part of your struggles that you share, and he should respect that. Just because your experience doesn't 100% align with his doesn't undermine either of you. You're in this together and you should be able to have each others' backs. I sincerely hope you can talk it out and I hope he doesn't get too defensive about it... But yeah, I hope you can get your feelings across to him as well, 'cus you don't deserve this. I sincerely wish you both the best.

[steddieunderdogfics]

This week’s writer spotlight feature is:  dartlekey! @dartlekey has 11 fics in the Stranger Things Fandom and 9 of them are in the Steddie tag!.

Our anonymous nominator recommends the following works by @dartlekey:

If you were church (I'd get on my knees)

RUSH! (T4T REMIX)

At a medium pace

With great power

"I read the "with great power" series not long after I got into the Steddie fandom and was instantly like "I need to raid this author's other fics" and subscribed to them. No regrets for that choice!!" -- Anonymous

Below the cut, @dartlekey answered some questions about their writing process and some of their recommended work!

Why do you write Steddie?

For me, Steddie hits that sweet spot of strong characterization but woefully underexplored details, both for the individual characters but also their dynamic with each other in canon. That makes their relationship the ideal writer's sandbox - since they're both so fluid, you can explore the characters through each other, showcasing many different and even conflicting facets of each other while still retaining their original characters and behaviors. Either of them can be rich or poor, famous or an everyguy, Gay or Bisexual, Dom or Sub, Top or Bottom, Trans in any direction - the details are up to you! 

What’s your favorite trope to READ?

I love a good slowburn friends-to-lovers fic. It needs to be a specific kind for me though - I'm not much one for prolonged pining, but I love it when the friendship is explored in such depth that the next step feels like an inevitability. Watching that deep platonic affection turn not-so-platonic, that's the good shit. 

What’s your favorite trope to WRITE?

My specialty as a writer, I think, is crack treated seriously, or crack with a twist. Usually the first question that sparks one of my fics is “If X happened, would that be hilarious or what?” and then the second is “But if it was because of Y, would that be fucked up or what?” I think you can see it best in If you were church I'd get on my knees (what if Steve was a stripper at Eddie's stag party BUT it was actually a social commentary on queerness and sexuality in the face of religious oppression), but it's in At a medium pace too (what if Eddie couldn't move his arms because of injury so Steve “has” to jerk him off, but it's actually about how growing up queer can warp your perspective on healthy sexuality) , or even in Don't look back (What if Eddie had to dom Steve for plot reasons, but it's all body horror and trauma and spiraling codependency). 

What’s your favorite Steddie fic?

I don’t think I could name one all-time favorite, because what I enjoy most about fanfic is that different writers bring different character interpretations, storytelling styles and plot ideas to the table, which I find incomparable. I have enjoyed many of the well-known classics, of course (pukner I owe you my life--), but let me use this chance to give a shout-out to some less well-known masterpieces! My top three underrated fics are Three Days on the Red Planet by CaptainHoney/@grandmastattoo on tumblr (retro scifi, gritty but humorous hopepunk, every single fic of theirs is a certified banger but I love this one the most for some reason!!), Love dirty men alike by wrenowich (chef au, an ode to kitchen culture in all its griminess, I love a detailed backstory plus Steddie being wonderfully weird about each other), and That’s just wasteland, baby! by fastcardotmp3 (post-s4 apocalypse survival, sweet and aching and tired and yet hopeful, made me cry in the best way). 

Is there a trope you’re excited to explore in a future work but haven’t yet?

One that's pretty unique to the steddie fandom, or perhaps general stranger things fandom, is “if canon event x had happened differently/hadn't happened at all/had happened to a different person, how would the rest of canon change?” I still need to work out a lot of details in my head, so that's all I'll say for now, but it's something I'm very interested in exploring.

What is your writing process like?

Much to the horror of fic writers everywhere, I don't do first drafts, I just write out everything in detail, scene by scene in chronological order. I edit as I go, and consider the many-numbered, often unplanned writing breaks an important part of my process - when I let the written portion sit for a while and the unwritten ideas percolate in my brain for a bit, I often end up with new plot points or solutions for problems I've been having! And when that inspiration strikes, I can write anywhere - on the train, during lunch break at work, in the vegetable aisle of the grocery store… I have gdocs on my phone and I use it liberally; I'd say I write at least 80% of any given fic on my phone. 

Do you have any writing quirks?

Apart from the hot mess I just described, I'd say it's that I never use Beta readers. I'll occasionally ask friends to help with specific details if I need an expert on certain subject matter, but I've found I get very grumpy and fussy if someone pokes at my plot (even if or rather especially if they’re right lol), and I don't want to subject anyone to that. 

Do you prefer posting when you’ve finished writing or on a schedule?

For oneshots or series comprised of single-chapter fics I like posting as soon as I'm done, but for multi-chapter works I've recently found that starting to post only after I've finished most (if not all) chapters beforehand improves the quality of the story! Since I tend to integrate new ideas or shift around plot points a lot while writing, I often end up in completely different places than my original concept, so if an early chapter isn't posted yet I can retroactively edit it to add foreshadowing or tone-match the end of the work, remove loose threads and suchlike. Don't look back is a good example of how this has worked out for me; comparatively It don't bite (Yes it do) - which I wrote and posted chapter by chapter - is tonally all over the place. 

Which fic are you most proud of?

Naturally I love all my babies, but I consider Don't look back my magnum opus - both because it is the longest fic I've ever written (13 chapters and 90.000 words in total, that's practically a novel!) and because it's the most plot-rich, labor-intensive, and overall serious in tone. I even worked in subplots about the rest of the cast, so it almost reads like its own season. I wrote it for last year's Steddie Bigbang, which means there's also a gorgeous accompanying artwork by @the-chilly-kat. 

How did you get the idea for With great power?

At the time I'd seen a few marvel AUs floating past me on the tumblr timeline, usually with Steve as Spiderman and Eddie as the human component of Venom, and having just recently seen the Venom movie depicting the rich relationship between Eddie Brock and the symbiote, it surprised me that most left the symbiote as its own character, and not substituted one of the ST main cast. The symbiotic relationship of Stobin immediately came to mind, though I also still loved the idea of Steve as Spidey - then I remembered that in the Toby McGuire movies, the two are not mutually exclusive, and it all spiraled from there. Eddie as Deadpool just made sense - immortal wild-card with a dubious moral code but a heart of gold? Obviously! Plus Spideypool is, of course, a classic ship. 

When writing With great power, what was something you didn’t expect?

I actually got several curious comments about the sex toy Steve uses in Because the night - a grindable or grinder, which is a flat-ish silicone structure, usually ribbed in an interesting way, that one can grind against to get off (as the name suggests). I thought it was pretty common, but apparently it's not very well known!

What inspired  RUSH! (T4T REMIX)?

Oh, it's my time to gush! Because the idea for the first work actually came about from a late night conversation I had with the beautiful, amazing, wonderful @maikaartwork, back when we were, how should I say, in the courting stage? Seeing as we met through the Steddie fandom, I decided to write Baby Said basically to seduce them - and I am happy to say it worked, as we've been dating for over eight months now and are planning to move in together next year! Both works from RUSH! - T4T REMIX (and the secret new WIP, shh) are thus somewhat inspired by our conversations and our t4t relationship, but also by the many interesting and different trans people I've met over the years, and trans solidarity and relationships in general.

What was your favorite part to write from At a medium pace?

The small-talk in between position changes - no, really! I love a mindless marathon-fuck story as much as the next person, but there's something very sweet and intimate about those little breaks in sex, the pass the lube, move your leg a bit, what's for dinner later of it all. That's where you see that emotional connection - there's no admission of crushes or big love confessions in this fic because it's right there in the details.

How do/did you feel writing RUSH! (T4T REMIX)?

Honestly, it's just really really fun and self-indulgent. The Steddie dynamic in it is so bitchy, all the bickering makes me laugh even as I'm writing it. It's also just really fun to write about the trans experience in a way that is curious and loving, and reflects all the very different and yet similar ways people experience living in a body that defies expectation. I've loved all my fellow trans people sounding off in the comments about their own transition experiences, it's wonderful to have such a fantastic community!

What was the most difficult part of writing If you were church (I'd get on my knees)?

Curiously enough, not the many religious trauma bits! Much like Eddie in the fic, I'm only church-freak adjacent - I grew up in a non-religious household but with extended family that were extremely catholic, so the odd juxtaposition of being occasionally close to but definitely not involved in what is pretty much cult behavior inspired much of this fic. The most functionally difficult part to write was actually the wedding - as an aro-spec & trans relationship anarchist, church weddings have never been relevant to me, so I had very little idea what actually goes into one! Very little of the research I conducted on the topic actually made it into the fic, but hey, the more you know. 

Do you have a favorite scene and/or line from any of your fics?

People keep asking me that, and I never know what to answer! If I had to pick one, though, maybe the last few paragraphs of Don't look back - where you can see the tragedy coming, but there's no way of stopping it, because it was always going to end this way. And then Eddie's last words before the end of the fic call back to the title as well as the general theme of the fic - it just all comes together for such a crescendo of an ending. 

Do you have any upcoming projects or fics you’d like to share/promote?

Yes, actually! Coming soon in the SteddieBang'24, me and my lovely artist @hawkinsleather have been working hard on a 20k post-s4 fic called A glimpse of your canvas, which is about closeted transfemme!Eddie, women's solidarity, and Steve's very confusing no-good trip to the gay bar. Both With great power and RUSH! (T4T REMIX) have another WIP pending which I'll eventually finish (I promise, I'm just easily distracted!!), and for those who are still mad about Don't look back’s open ending, I'm almost done with the sequel, which features a lot of bad decisions by all characters involved, the healing power of community, and a bit of accidental child acquisition. 

Outside of these questions, Is there anything YOU would like to add?

Given the chance of this platform, I would like to notify my readers that I'm a terrible procrastinator when it comes to replying to comments, but I read and cherish every one of them - and repeat commenters, I see you, I love you, I am chewing on your arm like a dog with a bone!! I would also like to thank the steddie fandom in general for giving me the hottest partner known to man or God, and for the many friendships I've been so fortunate to build here. Talk about transformative works, am I right? <3 

Thank you to our author, @dartlekey, and our anonymous nominator! See more of dartlekey's works featured on our page throughout the day!

Writer’s Spotlight is every Wednesday! Want to nominate an author? You can nominate them here!

[o-wild-west-wind]

tumblr algorithm stop feeding me takes that this show is just a silly goofy comedy that shouldn’t include death or that Izzy is the token disabled elder queer on the show where an actual disabled elder queer is literally the romantic lead or that Lucius and Pete being called “mateys” is diluting their gayness because it’s not “husbands” or that it’s sexist that Zheng lost her fleet and later prioritized her love for a man or that Ed is Izzy’s abuser because we conveniently forgot all of season 1 or that trauma is never followed through with because sometimes actions are used instead of words or that Ed learned nothing because the inn was apparently a whim as if he hasn’t been obsessing over retirement from day 1 I swear did we even watch the same show?? I literally feel like I’m in backwards land?

I have a really novel concept for y’all complaining about character’s arcs not being fully resolved or healed and that’s called there is supposed to be another season of this show

I also have another really novel concept as to why every single character did not have a one on one trauma apology session and so much time was spent on Ed and Stede and that is because this is literally the Ed and Stede show and also sometimes parallels are meant to be inferred and extrapolated because that is what efficient storytelling does instead of spoonfeeding you

And my most novel concept of all as to why some beloved characters had less screen time is because Max is a massive jerk and cut the budget

Y’all this wasn’t personal and maybe this show was never about Izzy maybe the show called our flag means death is actually about death maybe sad does not equal homophobic letdown maybe the brown gay character introduced as the love interest from day 1 gets to outlive the angry white guy that had a redemption arc after actively bullying and trying to break up every gay couple for a season I don’t know what to tell you just can you please let non-white people have this arc for once without assuming it’s an attack on you I’m BEGGING y’all

[badass-queer-couples-battle]

Gay wrongs tournament, finals of the minor bracket

Propaganda:

For Root and Shaw:

Canon queers. They start out as enemies (Root even threatens Shaw with a hot iron during their meet cute), they even both kidnap each other at some points, but they end up ready to sacrifice everything for the other. Shaw is a self diagnosed sociopath, who is only on the side of ""good"" because she's bored and they've got a cute dog. She has no qualms about killing or even torturing people. Root is kind of unhinged, torturing and killing people in order to find and then protect a Machine that she thinks is a god. Eventually the Machine teaches her the value of friendship and life (kinda), but she's still a psycho at heart. They work so well together, even if they're like a four alarm fire.

For Lord Hater and Commander Peepers :

Lord Hater is the self-proclaimed "universe's awesomest evil-doer", an immature, attention-seeking manchild with electric powers and a short temper. He rules the Hater Empire with Commander Peepers as his second-in-command (technically third, after his beloved pet spider-xenomorph, but who's counting), however it soon becomes *very* clear that the cunning, remorseless, hardworking Peepers is the *real* brains behind the empire. Peepers might be frustrated at Hater's incompetence at times and isn't above manipulating him to reach an end goal, but he'd never dream of usurping him because, well, he's really gay and in love with him (as much as he can be in an early-10s Disney cartoon, anyways). Hater might take Peepers for granted a lot of times, but as his oldest friend and closest confidante he's the one who Hater is closest to. Whether it's invading other planets or kicking puppies for fun, these two are *delightfully* terrible jerks and the epitome of gay wrongs. 

Commander Peepers is both Lord Hater's right hand man in villainy AND his jilted stay-at-home-wife-guy (Also in villainy. Hater is really good at getting distracted from productive and efficient villaining.) Lord Hater was the greatest villain in the galaxy thanks to how well he and Commander Peepers worked as an evil team to run the Hater Empire!

Lord Hater conquers planets and is such an edgy bastard. Peepers is the actual brains behind the operation. Peepers is often pushed aside by Hater, they are besties and yet Peepers is always pining for this guy who will never notice. Peepers is so horribly gay for him if you watch the show he wants his stupid boss so bad. Peepers is so scared of him season 1 but then starts yelling BACK in season 2 and has to deal with him like a babysitter or something and yet STILL idolizes him and that’s just such a fun dynamic. His password is H8RNP33PRS43VR (Hater and Peepers forever). They are so evil and everyone fears them and they are villains and they are gay and the side of the fandom that draws them as a married couple that needs counseling is absolutely correct. The fanart of Hater openly liking him back is wonderful but I swear you don’t even need that. They are so gay and villain you have to love them they are

Villains that conquer planets and do evil stuff, my favourite characters, not really canon but they are the best :)

[wanderingwomanwondering]

911 Season 7 Critique

This is a long post. If you don’t make it to the end, I totally understand.

I know we all have lots of feelings about this season and most of what I’ve read from others in the fandom here on tumblr has been overwhelmingly positive, but I have serious and persistent concerns. Here me out, if you’re willing and able.

This entire season something about 911 has felt off for me in a big way. I couldn’t quite put my finger on exactly what the problem was until recently. All I knew was that season 7 was weird out the gate. Now I finally think I have something coherent to say about this season now that it’s over. The whole season’s main plot(s) have been overblown and overworked. All season long, the characters have felt bodysnatched by extraterrestrials being just similar enough to our beloved characters to not raise total alarm - at least initially - but different enough to snatch some epic side-eye outta me. Then ep 4 happened and the whole time I was a mix of elated and confused. Anybody who’s been paying attention for the last 7 years knows that Buck is queer so that wasn’t the shocker. For me, it was the way everything went down in ep 4 with the characters that felt heavy-handed and untrue to who they are. The weird strange bizarreness through the season just kept on coming like a freight train with no breaks or relief. By the finale I was scratching my head and kinda irritated because the tiny bit of actual character work that we saw over the course of the season was odd as hell and now it’s over and I’m not really excited about much of anything that’s supposed to be coming in s8. The characters feel too ooc and the plots feel too uncharacteristic of 911. Like for a bit there I thought I was watching Days of Our Lives meets Miami Vice meets The Walking Dead, and that’s not what I signed up for with 911.

Season 7 left me earnestly wondering: Where are the family feels, the tight bonds, the heartfelt connections, the vulnerable conversations, the healing community that is the 118, the fucking togetherness? Everyone feels like they are adrift and alone without the found family support that they enjoyed in previous seasons. This season has been a trauma fest with little to no emotional payoff. Drama for its own sake. Problems resurrected, rehashed, blown way out of proportion, repackaged, and sold as authentic current issues. This season I felt like I was watching a completely different show.

Yes we are on a new network. Yes Tim is back. Yes a bit of shake up can be good. But this doesn’t feel like a good shake up. I feel like I’m being jerked around for sport. Like past BS is being thrown in my face instead of laid on the table and worked through by the characters that I know and love. Season 7 was mostly just trauma porn and I did not enjoy it.

Yes we could argue that Tim is trying to grab the attention of new viewers on a new network. But honestly that kind of feels like a cop-out explanation given what he delivered. If I were new to this show, I would not feel like I have any idea who these characters are beyond the wild crap that happens to them. I feel like I know more about how to sink a cruise ship or how to traverse the desert than I do about how the characters relate and connect with one another.

As someone who’s watched 911 from the very beginning live and in real time, the plotting, pacing, and character choices in season 7 feel like Tim is putting on a show instead of telling stories. Shows are a wacky wild ride with little cohesion and/or progress; characters take a backseat to whatever the ptb can cook up for the weekly plot. Stories center characters and what’s happening to them is processed by them and moves their arcs along in mostly coherent ways. A show is ‘shit happens’. A story is ‘shit happens TO ME AND I DEAL WITH IT in ways that show the audience who I am and what matters to me’’.

Maybe season 8 will feel more like a story since it won’t be a truncated season, and season 7 has reintroduced people to - aka dredged up long-past but somehow present again - character issues. I don’t know. I hope season 8 is more coherent, character-focused, and progress/healing-oriented like previous seasons have been. Honestly the show has been running too long to act like rehashing the past over and over again is enough to carry it for 7 more seasons.

Anyway, my specific concerns with season 7 are below the cut.

The main plots have just been hilariously bad. Soap opera levels of wtaf.

The cruise ship disaster had pirates, cheaters, and poorly-developed conflicts between lovers all of which (mostly) came out of the thin blue sea air and/or were handled in incredibly ooc ways. MIssing groom because of viral encephalitis. Hospital wedding like its a good thing and preferable to the warm fuzzies that Madney deserved. Long-dead wife put on such a high pedestal by Eddie that she walks the earth once more. Bobby chasing a random man from his past into the desert to say/do what exactly? All while mixing it up with a literal Mexican cartel. A desert crossing complete with traumatic flashbacks, a car crash, and a makeshift stretcher. (Bobby should have left Amir where he was after the crash and just walked the mile to the road without him in tow. But instead he slowed himself down and risked sunstroke in the process. That was a drama choice made by the writers, not a paramedic/firefighter choice made by the character.) Post-house fire Bobby’s heart stops for 14 whole ass minutes and he wakes up fine and perky as meringue. Athena Grant choosing cold-blooded vengeance over holding vigil for her allegedly dying husband. Racist and misogynistic Gerard returning for absolutely no narrative or character-related reason at all, at least not for one that couldn’t be more effectively accomplished by some/any other means.

The women have been side-lined in their own stories, and/or their characters altered in problematic ways.

Hen dismissed the councilwoman’s son in the season’s opening arc and ignored his potential injuries because he was being an asshole. A lesser paramedic would do that, but NOT our Hen. Also that plot point was unrealistic af because if someone is not in their right mind to make a life-saving decision for themselves, like in the case of intoxication, medical personnel can ethically treat them anyway. It was such a weird plot/character choice to Hen use that guy’s intoxication as a reason NOT to treat him when it’s actually a great reason to go ahead and check him out. She should have and would have worked the problem (poised and professional) instead of storming off in a huff (emotion-driven and unethical) because that guy was being a dick. Hen is not easily unsettled, nor is she unprofessional!

Hen and Karen were oddly clueless about Mara’s trauma and the fact that it was actively relevant to her behavior when they took her in, despite the fact that they have fostered several children at this point in the story. They considered “returning her” before they considered the trauma factor. Unreal. Our Hen and Karen were not born yesterday, are no strangers to hard times with foster kids, and have hearts the size of the 7 seas. This writing choice made no sense to me and made Hen and Karen feel like extraterrestrials to me. Ignorant ones at that. In the finale, Hen didn’t tell Karen she was going to see Mara. Like. Why? They talk about everything. Hen claimed it’s because Karen would have tried to stop her but we all know that would have been a half-hearted comment while she put her shoes on and grabbed her purse. No. Hen and Karen are partners and they act like it. The one woman show era between them has been over for a while. Especially when it comes to their family.

Athena and Bobby had a conversation at the end of season 4 about cutting each other out and leaving each other emotionally stranded and since then have been actively committed to communicating and staying a team. So what the hell was that vibe between them on the cruise. Athena was evasive and weird the whole time and in the most banal gender stereotyped way possible. In addition, Tim seems obsessed with women as damsels in distress this season which is not and has never been Athena’s vibe. Even with the Jeffrey arc in season 5 while she coped with the trauma of that encounter, she displayed agency. So I’ll never understand her indirect approach to dealing with Bobby running off to ‘Step 9’ Amir or her decision to turn right around and talk to Amir about Bobby instead of talking to Bobby directly. Athena is a direct person, especially about her family. She cuts to the quick and gets to the heart of things. The drama I needed was Bathena working through Athena’s fears for Bobby and Bobby working through his trauma/recovery with Athena…not a Mexican cartel and shenanigans in the desert. Then there was the way Harry talked to Athena when she discovered that he ran away from Miami. Athena’s response to Harry would have been understanding but corrective. She wouldn’t have stood there and let him disrespect her. Not in a million lifetimes. She also wouldn’t have left her allegedly dying husband at the hospital to reenact a revenge plot from some B movie. Plus what was up with her blaming herself for Amir supposedly burning the house down, and her doing no police work to puzzle out what happened? She just went on an emotion-fueled rampage. That’s not how Athena operates. Remember her namesake, goddess of WISDOM and warfare. Come on bffr.

Maddie. Oh where do I even start. From ep 1 she was treated like a means to an end instead of the first responder former nurse badass that she is. This whole season, she comes across as ‘just another dispatcher’ instead of the focused problem-solver and active agent that we know her to be. Prior to season 7 Maddie would have had her thinking cap fully on right along with Hen in the first episodes as they worked out a way to get in touch with the cruise ship. Calling Tommy could have even been Maddie’s idea since Chim and Tommy are still in touch but Hen and Tommy don’t seem to be. Then there was the whole Maddie hearing what she expected to hear with the abuse victim on that one call. Like. What?! This is not Maddie’s first rodeo, she is not easily unsettled, and she’s a damn professional. She would have done what she had to do to emotionally regulate and help the woman in danger before she let herself ‘hear what she expected to hear’. Admittedly she would have cried the whole time because that’s JLH’s jam and she’s good at it but Maddie wouldn’t have fallen down so hard on the job (especially not after what happened in season 3 with Tara and Vincent). And the wedding stuff! Maddie was just watching and waiting instead of using what she knew about her partner in life Chim to deduce where he might go or what he might do. Instead of collecting information about their previous calls and how they might be playing into Chim’s disappearance, she was busy being insecure about whether Chim actually wanted to marry her. Mind you, Maddie was the one who was originally reticent about marrying again AND she’s the one who proposed to Chim. After all the drama with the ring, there is no world in which Maddie would have imagined Chim was running from her. She would have known something bad was up and that it had nothing to do with their love for one another. In the finale Maddie calls Chim to talk about Athena’s suss behavior but Maddie has more connections and professional wherewithal than just ‘call my husband he’ll know what to do’. She would have called the precinct and asked about 727-L-30 in a discreet way and put most of the pieces together herself and then actually sent Chim and Hen to stop her. And she would have been ready at a moment’s notice to call the cops on the rogue cop. The way that scene actually played out felt more like gossip on the high school bleachers than Maddie doing her actual job.

The relationships seem plain odd/ooc, distant, and/or superficial. Very few vulnerable emotional conversations happened and when they did they felt generic, shallow, and/or incomplete.

Bobby and Athena on the cruise. Athena just didn’t feel like herself because she refused to talk to Bobby. When they did finally talk it was when they were about to drown and it was more of a mini-therapy session for Bobby. After Amir was introduced, Bobby pulled away again and Athena let him. Then Athena chose to approach the traumatized stranger rather than have a talk with her own damn husband. When they finally confronted each other about that situation, she walked away from Bobby almost like she was punishing him for walking away first instead of them both leaning into the conversation as partners. Really? Bffr.

Buck and Eddie having a bro convo about womanizing in the early episodes of the season. The ‘hey pal please talk to my kid bro because you have experience with these issues’ rather than the all important ‘there’s no one in this world I trust with my son more than you’ vibes of it all. Eddie making limited eye contact with Buck and ignoring him in ep 4. Eddie’s physical demeanor in ep 4 being bro-ed up and distant. Yeah I know we can argue that was all from Buck’s perspective in the moment but that explanation seems insufficient to me because it was so extreme, and was kind of maintained in some ways throughout the season. The ‘i’m gonna maim my best friend’ energy of the bucktommy origin story despite the fact that buck is not violent at all and definitely not towards loved ones. (Tim seems determined to ruin everybody just enough to generate unnecessary and ooc drama.) Buck’s weird dudebro conversation with Eddie while on his date with Tommy as if the foundation of buck and eddie’s relationship has ever been conversations about women solely to assert their heterosexuality * facepalm emoji * The super textbook sterile coming out scene in ep 5 like these guys aren’t besties and don’t actually know each other deeply. I wanted that coming out scene to have 504 patio conversation energy, not whatever it was we got in 704. Like that coming out conversation could have played out the exact same with one of the no-name background firefighters at the 118 or with Connor or some other rando. It felt so impersonal to who they are and to their particular brand of vulnerable courageous conversations. Honestly even the hug in 704 was weird. I was happy to have it but it was still weird. The kitchen conversation in ep 9 at Eddie’s place felt odd and incomplete for buddie. We get queer sexual innuendo (‘skulking around my back door’), basic mutual acknowledgment of worry about the dead wife doppelganger, and that’s a wrap? Okay I guess * eyeroll emoji * Then we had the finale where Eddie is obviously losing his mind and Buck is just sitting on the arm of the couch like ‘i dunno what to tell you man’. Like they’ve never had a (chris) conversation before in their life. Like buck wouldn’t have been the one to VOLUNTEER to go talk to chris without eddie spelling it out. Like buck wasn’t the person who stayed with chris talked to him and took care of him when eddie got shot and when eddie lost his damn mind in 513. The buck in the finale was not the buck who did all those things. He was so bodysnatched it’s not even funny. Also, in what world would buck have snarked that chris can’t keep eddie out of his room??? Buck, my good sir, if eddie wanted to break down chris’ door he wouldn’t have called you over bc he can do that on his own without a consult. That scene felt ooc af plus the dialogue was just plain dumb.

Hen and Chim have barely had a meaningful friend moment this season. It’s mostly Hen razzing Chim, a polite smile, or nada. Let’s not even talk about the ‘betrayal’ in the beginning with the councilwoman’s son and then the deeply meaningless drama that ensued after. So much so that they commented on it in a joking way on the helicopter. That’s not how Hen and Chim roll. They give each other clear and unapologetic honesty at all times. Not the cold shoulder for sport which is what it felt like when Hen finally said she wasn’t actually mad. The gender and racial implications of how that played out are not lost on me. It felt like a 180 from how these characters normally interact in serious circumstances. Complete waste of time and invented drama for drama’s sake. I don’t blame Hen and Chim for that, like everything else I’ve mentioned in this critique of the season, it’s pure writing room weirdness.

Bobby’s locker room conversation with Buck in ep 9 was more like mentor-mentee than father-son. We’ve stated that as their dynamic several times but that’s not what we got in that locker room. They were standing several feet apart, Bobby and Buck smiled politely, no hug, no shoulder pat. Just textbook sterile ‘you’re okay kid’. Bobby could have given that speech to no-name firefighter number 12 and it would have felt the same.

You mean to tell me in the finale that Bobby was just gonna stroll back into work in uniform after quitting like nothing happened? Like he’s still employed. My good sir, you didn’t even call headquarters before showing up to be like ‘just kidding i want my job back’. You mean to tell me Buck and Ravi were at work, in uniform and clocked in, but didn’t already know Gerard was there? You mean to tell me Bobby was supposedly that allergic to having a real emotional/vulnerable conversation with literally anybody that he strolled into work WHEN HE NO LONGER WORKS THERE like he was gonna get to actually work??? I just can’t -

Anyway, this post is long af so if you made it to the end, thank you. Honestly, I'm still processing this season but as of now, in the words of Lady Catherine de Bourgh, “I take no leave of you, [Tim Minear]. I send no compliments to your [season 7 showrunner decisions]! You deserve no such attention! I am seriously displeased!”

[chevelleneech]

‘bucktommy shippers are moving to ody3. awful news for the fandom when they decide avery’s getting in the way of their fated m/m ship’ …as if buddie shippers aren’t the ones who have displayed disgusting behaviour towards both buck and eddie’s past female love interests, not to mention the aggressiveness and violence they displayed against buck’s male love interest. I don’t think bucktommy shippers are going to be the problem here.

I have been vocal about both BuckTommy and Buddie shippers acting an ass, actually, so this isn’t the gotcha you think it is. I mean, I’ve argued plenty with people about how the actress who played Marisol being questionably awful didn’t mean she deserved to be treated the way she was. Particularly when Ryan Gúzman kept his job in the show, despite his actions as well.

However, BT are right now currently claiming 9-1-1 and Oliver are biphobic, claiming the show sacrificed God tier queer rep (ignoring Henren), and calling for Oliver to be fired all because a side character who has a racist and misogynistic past, played by an actor with the same, ended his run on the show.

This ain’t about ships, it’s about the people who love LFJ for literally no reason other than portraying a gay character in a minor role, leaping to the next queer ship they can find as some sort of cancellation prize.

That said, a large many of BT shippers claim to have been Buddies, so you’re talking about the same group of people. You can’t separate former Buddies from current Buddies just because you want to defend BT fans. The same folks who were harassing actresses left and right in “defense” of Buddie going canon, are some of the same people who jumped ship to support BT, and are now the same people “defending” LFJ.

The ven diagram is a circle, so no, I do not want BT shippers moving to Ody3, because aside from them being misogynistic and willing to let racism slide so long as it means being racist toward someone they don’t like (Aka them saying Ryan should have offed himself, yet they’re fine with LFJ and Tommy’s actions), they’re also revisionists. They claim things happened in 9-1-1 that in fact did not, and I do not want to see the inevitable revising of saying Max and Avery never worked or whatever.

And to be clear, I do understand that fandom as a whole is a pretty toxic place to be, but BuckTommy shippers are blatant liars. They have fully rewritten Tommy’s importance within the 9-1-1 universe, sidelined Hen, Karen, Michael, David, and Josh’s relevance as queer characters, and are currently claiming Oliver Stark — a man who has been nothing but happy to portray Buck as bi — is being a biphobic clout chaser for not “protecting” a fictional character that isn’t even his own’s, existence on the show. They are telling a man to “finish the job” in reference to his suicide attempt, because they didn’t want the FICTIONAL CHARACTER he plays on tv to ruin their ship. They accuse Buddies of demanding fan service, yet are petitioning to have Tommy reinstated in the show, and demanding Tim Minear listen. They are accusing the cast of being bullies because LFJ didn’t get a tear jerking send off.

Yes, the way women are treated across the board in fandoms spaces is awful, and should continue to be called out. Which it is, but to act as if BT shippers aren’t and haven’t been awful people this entire time as well, is straight up bullshit, and no other fandom needs that energy. BT fans are seeking a queer ship to latch onto, not a romantic ship to enjoy. They want to see Tristan and Max fuck, not watch Ody3 blossom, and I’m not going to give them the benefit of the doubt. Not when they’ve shat the bed so horribly just because a RECURRING CHARACTER with not even sixty minutes of screen time, was written off.

[respectthepetty]

Be my favorite has got me. I’m down the rabbit hole as it were. I didn’t mean to be here, I fell and I refuse to get out of said hole.

Also….. Is this the first time I am seeing a characters growth and story through self realisation without the love interest?

Like Peesaang went on this journey from seeing the two men kissing in the club, going to the bar, going to see Max, and really taking the time with his feelings. I loved it!!!!!!

Not the ‘ I don’t like men, I just like you’ like….. A to the Men (amen) am I right?!

I'm going to be honest with myself - I've been in this hole since 2021. The initial 2021 trailer (with MIKE!) told me Be My Favorite was either gonna be a mess or a masterpiece, but I prayed it wouldn't be mediocre, so I am THRILLED that My Strange and Obnoxious Fixation™ has paid off. If the second half hurts us, y'all are going to witness a full grown adult have a meltdown on your dash that could rival one of those badass kids in Willy Wonka's chocolate factory, but, so far, IT'S A WIN for me!

And the biggest reason is because of the characters. I am truly invested in JittiRain's evolution here because this is not her norm. I was very prepared for miscommunication, manipulation, and misdeeds, but instead we are getting MAGIC!

I'm sure other shows have done the self-realization journey without it being directly tied to the love interest, but what I'm liking about it here is it just isn't Pisaeng. Usually, the dynamic is one of the leads is pretty solid while the other has to find his way, but both of these guys are figuring it out, and we get to see that evolution. In fact, all the characters are working through their issues.

I read a few posts today of people stating they are feeling better about Kawi now after he showed growth from his initial behavior in the first few episodes. Same with Not. I still dislike that little jerk, but him sending a message to Kawi wishing him good luck was nice to see after he roasted Kawi for trying to find a talent.

Also, Kawi still helped Pisaeng on this journey of self-discovery, but Pisaeng didn't go on this journey to get Kawi. Kawi wasn't treated like the pot of gold at the end of the queer rainbow. Kawi questioned Pisaeng in episode four. He asked Pisaeng why he hadn't been direct about his feelings with Pear. Kawi asked Pisaeng what he was doing when he went in for the kiss. He told Pisaeng to be honest, with himself.

Pisaeng, a guy who believed he was being honest and open, having his actions questioned made him haul ass out of there. Kawi jump-started that reflection.

But Pisaeng is honest and open. He spoke to Pear the next day. He saw the men kissing, and although hesitant, he went to that gay bar. He spoke to Max and decided to confess to Kawi. Then, he returned to the bar.

I hope, and feel, that we are getting the same story from Kawi. He hasn't been honest with himself for a long time, and this statement isn't about queerness. This is about his life in general. However, he doesn't react the same way as Pisaeng. Kawi needs more support. He needs a bigger push. He needs people to guide him. Because for over a decade, Kawi has had nobody and feels like he has nothing.

Pisaeng has known something was wrong with what others believed to be his perfect life, so he was quick to adjust. Kawi has dreamed about what he believed would be his perfect life for at least twelve years, so he is very reluctant to reevaluate the choices he believes will get him that perfect life.

Kawi is doing everything under the guise of getting Pear and more money, but just like Pisaeng, he will have to be honest with himself and realize he is doing all of this because he is extremely lonely. Kawi doesn't need to get laid and get paid; he needs friends.

Both Pisaeng and Kawi need a friend.

And that's what I love about this. You're right! We aren't seeing a story of growth that involves the love interest.

Instead we are seeing stories about change that involve friends.

Because if we are being honest with ourselves, we all need a little help from our friends.

[leighlew3]

Why not admit you don’t like Upstead due to your attraction for Hailey & wanting to feel like you can connect to her better if she hooked up with a girl cause it’s not PD lacking representation as more you find Tracy attractive so you want to see it with her! PD could have made Vanessa & no one screamed for that…

First of all PD seriously lacks LGBTQ representation and has for a very long time. Except of course, this most recent storyline about a young gay man who was tortured, and then eventually killed. Really great rep there… /s

Not that I owe you any sort of an explanation for my personal preferences, I actually rooted for Upstead for awhile. Until they turned him into a douche bag that fully abandoned his wife.

But I connected to the character of Hailey Upton long before they got anywhere near each other romantically due to her childhood abuse background being something very sadly relatable to me, and the incredible performance she gave when they explored it that rang hauntingly true.

Unlike you, I’m not entirely driven by superficiality nor knee jerk reactions to assume people wanting queer content and representation just want to see “hookups”. If your go-to is immediate sexualization rather than understanding a desire for exploration of different forms of love, especially for a character like her that desperately needs to know she’s worthy of it — that’s on you.

For that matter, I actually thought they might lean into Upton and Vanessa at one point because they had great chemistry. They even made them roommates… then Vanessa disappeared, without explanation. The show couldn’t even be bothered to say her name again once she was gone.

And since you want to go there, I have a feeling you probably didn’t “scream” about Vanessa’s sudden and abrupt and unexplained departure the way that you were probably extremely upset by Jay’s. So let’s not play that card.

I will admit Spiridakos is incredibly beautiful though. You got me there. Big win for you!

Now if you’ll excuse me, I’ve had enough of fans of (unfortunately toxic in the end for Upstead) hetero ships randomly drive-by ambushing me over fiction and hurling low-key to blatantly phobic things my way.

It sucks that your fave ship sank in such a random and disappointing way, but that’s on the show, not me.

Please go away now. Thanks.

[22degreehalo]

NGL I was skeptical of WWDITS as a queer show because I’ve gotten so accustomed to not needing the same things from queer rep as other people apparently because even when you get away from ‘all queer rep must be wholesome gays in stable emotionally intelligent couples’ I just am not really a fan of villains as characters (not for moral reasons I just find them boring lol)

But it actually really DOES feel like such a breath of fresh air??? like yeah the main characters are genuinely terrible people factually and gleeful murderers but they’re also giant dumbasses and complete fucking pathetic loser children. They don’t care about wanton murder but mostly the murder is just. they gotta eat!!!!! and they’re mostly jerks but also too easily distractable to be cruel. they’re just Babies and I kkinda love that????

but most of all we get from it two of the kinds of queer rep I most want to see (no aspec rep because. of COURSE lmfao but. separate thing): a queer m/f couple where they’re both so unashamedly and blatantly bi and kinky and poly and they’re so dumb and imperfect but they’ve actually made this shit work for hundreds of years and it’s one of the most believable aspects of the show to be honest??, and also a genuine honest-to-god queer Will They Won’t They where they probably will between two emotionally stunted dumbasses who have been pining for Years probably but are allergic to not only honest communication but even the most basics of self-reflection.

like. those two things I have been wanting for SO LONG, both this overt queerness and polyamory and bisexuality and whatever, and also seeing that combined with an actual romance you can barrack for and write get-together fanfic about and get upset over because they’re so awful!! but you want them to finally kiss so badly!!!!!!! and I’m just. rly happy about it :’))))

[gayelderstourney]

OLD WOMAN YURI BRACKET ROUND 1

Propaganda:

Hanayo Nishida/Yoshiko Dojima:

This story is sooo sweet and heartfelt. I 1000% recommend it. I feel really bad though because it was recently canceled, even though the creator still wanted to keep making it. (#homophobic smh 😔 /j) It centers around a 66 year old newly-widowed woman named Hanayo, who is trying to find new purpose in her life after the passing of her spouse. Her husband was 12 years her senior and often treated her like a child and belittled her interests and hobbies… he was kind of a jerk, and because of this, Hanayo had internalized a lot of his comments and must now learn to undo this self-toxic mindset. She meets Yoshiko, an attractive older woman, who owns a make-up and perfume shop at the local mall, and is immediately smitten. Yoshiko and Hanayo bond over their love of make-up and the importance of self-care and appear to be developing a very lovely relationship right before the story unfortunately was ended. From what was given to us though, Schwinn was setting up interesting commentary on the intersections of ageism and misogyny, the value of support systems, as well as planting the seeds to explore the damage of comphet, and the journey of deconstructing such damage by finding queer love and joy later in life.

Navani Kholin/Raboniel:

Sorry submitted twice because I accidentally clicked the button instead of this text box. Navani’s in her mid 50s or 60s with multiple children, graying hair and wrinkle lines, Raboniel is an immortal ancient 12 foot tall crab woman who has died and come back so many times she’s nearly on the verge of developing immortality-related dementia. They’re both scholars but Navani is sort of repressed because of how her previous husband abused her and dismissed her interests, and Raboniel has antiquated views about their two species and how they can interact peacefully. Raboniel helps Navani come into herself as a scholar and scientist, while Navani helps Raboniel see that their war doesn’t need to lead to destruction: as she puts it “you say that oil and water don’t mix, but that’s not scientifically true. They’re different, but they can mix cleanly in the presence of an emulsifier” They hold hands and hum the tune of their souls in order to perform frequency combination science magic, they create a new form of light-energy together, Raboniel dies for the final time by Navani’s hand using a weapon they created together, and uses her final moments to protect Navani’s life. Absolute peak old woman yuri. Somehow they are not cannonically attracted to each other , despite the fact that everything I have described to you happens basically as is in the book. Insane how Brandon Sanderson can make the most accidentally queer characters in fiction.

Scientists working together but also against each other; their deep mutual understanding helps them make very cool new discoveries (in one scene they harmonize together to form a new "tone" - a sort of music with magical properties). The whole time there is so much tension as they are enemies (on different sides of the war), so they don't want to give the other too much advantage in terms of information/inventions.. raboniel wants to end the war (that has been going for thousands of years) by delivering a crushing defeat to the other side, navani wants to win (but is currently disadvantaged)… together they raise the idea of peace but despite wanting it know it wont happen… navani finds so much fulfillment in her research despite knowing it may (and does) aid the other side..

And they were labmates!

[ladyloveandjustice]

Fall 2022 Anime Overview- Gundam: The Witch from Mercury

It’s time to start reviewing the anime I watched in the fall season! There’s some anime I chose to save for later, like Bocchi the Rock! (which I’m watching now and enjoying) and Raven of the Inner Palace, though I’ve heard great things about it and it’s a rare shoujosei adaptation so definitely go check it out! I might do a review of that when I do get to watch it, since it’s been overlooked this season with so many heavy hitters.

But onto what I did watch! And this one has so much to chew on it gets a whole post to itself.

Mobile Suit Gundam: The Witch from Mercury

A top contender for anime of the year for me. It’s not over yet though, so I pray it sticks the landing with the next season(s).

The anime follows Suletta Mercury, a girl who arrives at a new school (and new planet!) with her giant robot Aerial. Quickly she discovers a girl named Miorine, who’s desperate to escape to Earth because her bigwig father has decreed that people can duel with their giant robots for Miorine’s hand in marriage. Mio is not at all on board with this, especially because her current fiance is an abusive jerk. Suletta confronts the jerk fiance, challenges him to a duel and...well, you can probably guess what happens, especially if you’ve seen Revolutionary Girl Utena.

(And if you haven’t, go watch it! Though look up content warnings if you’ve got specific triggers or don’t often deal with darker media. I’ve got an episode breakdown here!)

Anyway, Gundam said Gay Space Rights.

Meanwhille, Suletta’s mother, Prospera (yes, it’s a codename AND a reference to The Tempest) has a thirst for revenge after a horrible wrong was done to her by the terrible corporation Mio’s dad heads, and has secret plan brewing behind the scenes. There’s alson conflict between Earthlings and the space-faring people who are exploiting them. Meanwhile all poor Suletta wanted to do is make some friends and enjoy a couple of dates!

This anime is so good so far, and was specifically targeted for me in so many ways it’s not funny. A fun cast of characters? Well written queer girls? Shadowy parental manipulation? A protagonist who’s sweet and shy yet supremely dangerous? Good action that’s driven by good character dynamics? Lots of cool women kicking ass? Tangled relationships and tons or well written relationship drama?

I’ve definitely enjoyed a few mecha shows (like Planet With),but I tend to bounce off them, in part because I have a hard time telling what’s happening when robots are fighting and the technobabble starts flowing. That still is occasionally an issue in this show, but because the fights are so driven by character conflict and there’s clear stakes I can follow along with (like the fact using a Gundam for too long is supposed to kill you), it’s not as much as an issue as it usually is. And Gundam knew exactly how to lure me in. The second I heard the whole first episode was a Utena reference, it pulled me in and I’ve enjoyed every second since.

The whole first episode echoing Utena does show the show’s pedigree (the series composer actually wrote the Utena light novels) and offers a little reassurance for audiences hoping it delivers on its queer storylines But the show is no rip-off, and it it very much does its own thing from that point on. Suletta isn’t Utena, and Miorine isn’t Anthy and this is apparent from the first episode. Suletta is achingly insecure, Miorine isn’t resigned to being a bride and has a short temper and abrasive attitude. The show isn’t about gender or compulsory heterosexuality (so far), it just has a lot of complex female characters in a wide variety of roles and has a developing romance between two women as the central relationship.

But like Utena, abuse is a huge theme, but very specifically parental abuse. Both Miorine and Suletta are being used as tools by their parents in a complex political game- Miorine is aware of this (though not the full scope of it, probably) while poor Suletta is very much in the dark. The way the parents use their children is chilling, but not without complexity- there are reasons to sympathize with Prospera, even if her treatment of her daughter is unforgiveable. She feels like a person, even thought we don’t know her full story.

The show also isn’t subtle about it’s political themes!

That particular conflict has been bubbling in the background, but handled well so far (there are some great, more subtle moments, like the news showing the ‘weapons’ from the protest above, which included ‘molotov cocktails’ clearly put there by the police, and...an umbrella.) But even if works have themes I like or agree with, what really matters to me is the characters and if they’re executed well. Fortunately, the show has a loveable cast whose journeys I look forward to with both excitement and trepidation.

Whether it’s the wonderfully angry Chuchu and her legendary [redacted] in episode 4, or the unpredictable arc of what started out as the show’s biggest (teenage) jerk, or seeing the funny romantic rivalries Lilique unwittingly gets entangled in, the show makes you care about these kids.

It’s also, as a side note, the best treatment of fat people I’ve seen in anime. There are a ton of plus-sized people in different roles, and they’re never made fun of (except for one mild comment in a later episode that is quickly shut down, and the person apologizes). Lilique is a chubby girl who’s allowed to just be the cute romantic one of the group and is canonically popular with the boys. Considering how anime is usually the opposite of body-positive, it’s really nice to see.

The central relationship of the show is, of course, Suletta and Miorine. And it’s a really fun relationship to follow. Even with the Utena reference and casual acceptance of gay marriage, I was a little worried about being baited by the show. But I’m happy to say I’m really satisfied with the development of the relationship so far. Both Suletta and Miorine are layered characters, and it’s great to watch the girls’ feelings grow as they miscommunicate and struggle and learn more about each other. We watch what starts as an engagement of convenience grow into a real bond, and root for these girls every step of the way. And yes, they’re bringing the gay.

But the relationship, and the show, is not without its shocking twists, and the very last minute of the last episode of this show left me a puddle on the floor and begging for more.This show can grab your heart and rip it out and you’ll thank them for it.

All I’ll say is fans of fascinating, screwed up women will be happy. I’m certainly happy! For now, at least. I like this show a lot, so I hope it doesn’t screw up it’s second season. It’s built up a lot of trust for me, but I’ve had that trust betrayed before. Such is the curse of being an anime fan, and a fan in general.

But for now, I whole heartedly recommend it, and encourage everyone to check it out! It’s got all the good things and there’s a ton to speculate on. Come freak out and theorize over that post credits scene where [redacted] with me.

[grelleswife]

Hi! I wanted to ask your opinion on why you enjoy Kuroshitsuji if it isn’t too much to answer. Recently I have been feeling like I’m being ‘punished’ for enjoying Kuro because I always see people talking bad about it and Yana on twitter. 😅 I am well aware Kuro has a lot of issues but I really enjoy the characters and such but the opinions of people about the series kind of has been hurting me as a fan and thus I have been losing interest🥲 I was hoping I can talk to someone who is a fan of Kuro that can help give me some mindset or something. I have been drawing for Kuro for years so I’m quite passionate towards the series and Yana herself and but this has been bugging me. If you can’t answer this it is totally okay and you can delete this ask❣️

Hi, anon! That’s not too much at all! My apologies for the late response; I wanted to make sure I could sit down to properly get my thoughts in order before answering.

My love for Kuro was originally (and is to this day) rooted in the source material. The manga and anime introduced me to some of my most beloved fictional characters, including Miss Grelle—as attested to by my url! 😉 The story instantly had me hooked with its campy hijinks, tragic undertones, and forays into the dark corners of the human psyche. Even with the current lag in pacing, I’m excited to see where the Phantomfam’s adventures take us next! And, of course, I would be remiss without mentioning the artwork. In a visual medium like manga, aesthetics can make or break your enjoyment of a series, and Kuro’s Victorian steampunk flair is perfectly suited to my tastes, especially with the steady improvement in quality as Yana’s honed her craft over the years.

However, particularly during this dry season of short chapters and plodding plot progression, it’s the community that grew up around Kuro that nourishes my love for it the most. Naysayers condescendingly sneer that the fandom is dead, but the incredible art, funny memes, awesome animations, excellent fics (some of which outshine published novels I’ve read), insightful meta and more that I see across my dash and in the tags suggest otherwise. And when we come together (such as during past fandom weeks or @anewp0tat0 ‘s recent event to celebrate the 200th chapter) that display of talent burns even brighter. As a writer, building up lore in headcanons and fic or reading my mutual’s creative interpretations of Yana’s world is just as fun—if not more so—than engaging with the actual manga. That enrichment alone is enough to keep me invested in the Kuroverse for the foreseeable future.

The series also holds considerable sentimental value for me because it served as the catalyst for my queer awakening and brought friends and loved ones into my life who I would never have met otherwise. Even if the day comes when I put Kuroshitsuji on the shelf in favor of other stories, that positive impact will remain.

However, that doesn’t mean that the series or fandom are perfect. Yana’s sleazy past and irresponsible pandering to the gross side of the fandom are an unpleasant reality with which we must contend, as are the fujoshis, transphobes, and other creeps—some of whom proved to be a genuine danger to minors—who continue to give us a bad name. But those people who blindly label Kuro as wholesale trash and accuse all fans of condoning the problematic content merely betray their simplistic, black-and-white way of thinking. We cannot and should not sweep the objectionable aspects of the series under the rug, but we can interact with Kuro critically—recognizing and calling out the areas in need of improvement while also cherishing the best parts of this cursed butler manga. As long as you’re consuming media responsibly, and in a way that doesn’t actively harm others, then you have no reason to feel guilty. You sure as heck don’t deserve to be punished!

Ignore the haters as best you can, and try to focus on what first ignited your passion for Kuro; don’t let those jerks steal your joy. 😤 Alternatively, if you need to take a break from that onslaught of negativity and just rest for a bit, that’s fine, too! There’s no shame in stepping away to recharge, and you shouldn’t push yourself to participate in fandom if doing so is detrimental to your well-being.

I’m sorry to hear that you’ve been having a tough time over on the bird app, but I hope my answer was helpful and that Kurohell can continue to be a happy, welcoming place for you! 🖤