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stonedregulus · 2 years

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hey! i’m cis and i was just wondering if you have any tips for writing non-cis characters? i’m sorry if this is rude or stupid i’m just kind of new to writing and i wanna make sure i’m as inclusive as i can be and accurate in what i’m writing, i wouldn’t wanna say something wrong just out of pure lack of knowledge and the way you write is really cool and i admire it a lot

so if you have anything to share about like how to go about writing non cis characters into a story in a way that doesn’t come across blaring obvious as like AHHH look at this!!!! a diversity card character!!!! cause i would hate that, and i just wanna be as respectful as possible :))

(and if this makes no sense or is rude i’m rlly sorry, feel free to ignore it)

Definitely not rude, I would do much rather you ask for help than possibly do something offensive without knowing, you know?

Thank you for complimenting my writing 🫶🏻🫶🏻 I hope this list helps you!

This has become a really long post, so I’m putting tips under the cut :)

I recommend talking to your friends or online acquaintances about their experiences with their gender. Are certain words/topics triggering to them? Personally, I have a hard time reading/writing about body dysphoria. It makes me super uncomfortable, especially when I know the person writing it is cis it just… it feels wrong to me. I want trans content, and I think everyone should be able to write it, but there are certain ways I feel like in general (and I’m being very broad here) when cis people write trans content they tend to use terms and phrases that they think is how we feel, when in reality it’s just rude and has a transphobic edge to it.

Find a sensitivity reader. There are some discord servers that offer sensitivity reading as a role and there are tons of people who will offer to help you out. Please just do it. I lost a friend over this. She had plenty of noncis acquaintances at her disposal, was in multiple discord groups that had sensitivity readers available, and yet she didn’t utilize them. She wrote an extremely transphobic fic that she thought was fine due to the time period the fic was set it, and while yes, technically it was, because she didn’t have a sensitivity she had no one to point out the flaws. When she posted, it lacked several critical trigger warnings, and unfortunately myself and several of my friends were sent into dissociating & dysphoric spirals that lasted for several days. All of it could have been avoided with a sensitivity reader, is what I’m saying. Even if you’re not writing something extremely dark, it’s important because they can catch the little phrases you might use that to you are totally fine, but to someone who is not cis sets of alarm bells.

trigger warning the shit out of your work. this is for everything: it’s always better to over warn than under warn. but, if you are writing a noncis person who is having even the slightest bit of dysphoria(their shirt just doesn’t sit quite right because of their body shape and they decide to completely change their outfit)—trigger warn it, being misgendered—trigger warn it, being dead named—trigger warn it.

do not give your characters dead names unless you are having another character dead name them and it is absolutely essential to the storyline (i.e. orion with regulus in wyidias). they do not need a dead name. your readers don’t need to know it. you don’t need to know it. it does not matter because it is not their name.

Please don’t use transphobia as a plot device if you can help it. i know in some situations it’s not entirely avoidable, but there are times when people just seem to think sprinkling it in adds flavor when really all it does is ruin it.

Do your research! It’s soooo easy to find information and terms and blogs that talk about experiences, you just have to take the time and do it!

Reread, edit thoroughly, have a beta if you can, and give yourself grace. You know how many times when I set a characters pronouns as they/them in a fic, I fuck up? The answer is a lot. I’m writing multiple fics where one character is he/him in most fics but they/them in the final. I fuck it up. All the fucking time. I edit and miss it. My beta edits and misses it. It happens. Someone comments on my fic “hey dude you missed this pronoun in this sentence” I curse, stamp my foot, fix it, and thank them. It happens. Don’t beat yourself up over it too much, you’re trying your best, and I’m just excited you want to be more inclusive in your writing.

Last but not least, I would probably put a disclaimer at the beginning of your work just stating that you are cis and if anyone sees anything wrong to bring it to your attention because you don’t want to upset anyone.

I hope those helped!! 🫶🏻

#ollie is answering asks #tw dysphoria #tw transphobia #writing #writing help #writing advice #writing things #ao3 #ao3 writer #ao3 author #nonbinary #trans

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post-futurism · 3 years

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logging onto jstor dot com to see if someone has written an ackademique essay on transgender representation in Angel Sanctuary (1994-2000) by Kaori Yuki.

#there was this class in my first degree where you had to write a mini phd #i failed it twice and scraped a pass the third time around all because i had no fucking clue what to write #now 7 years later with 2 degrees im like ok time to have a million ideas about Essays I Would Like To Exist #in this essay i will discuss the various levels of transgender representation #where the author went so right probably accidentally and where the author went wrong #like for one thing there's setsuna's soul posessing a body of a woman for like more than half?? of the series #and on the same side of that alexiel possessing his body and many previous bodies before that #characters constantly blurring the line between strict male and female #actual transgender characters #and trans characters that are purely a plot device #for the sheer number of characters in this story i could legitimately write a 10k essay lmfao #there's so much to cover

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toxicsamruby · 3 years

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i understand the impulse to flesh jess out as a character but idk unless ur actually adding something to the thematic relevance of sam's time at stanford i dont think it makes a lot of sense, especially to make her gay or trans or whatever. the fact that she is a white cishet middle class conventionally attractive generically supportive fiancee that he met at an elite university is like...important. she represents the only american dream that sam ever had access to and her death represents that he will never have access to it again. and like yeah its kind of misogynistic in that she's not a character in her own right and she's purely a plot device but like. idk all i can say is that if ur trying to address misogyny in supernatural it makes more sense to talk about bela or ruby or mary's late seasons storyline or billie or charlie or the consistent and insane misogyny that the main characters show or the writers' habitual inability to write interesting one off women. bc jess's total lack of personality her void of character is directly representative of a really important thematic point in the story

#like imo it comes down to the fact that if sam was a cis woman jess would be a cis man #txt

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dreifragememes · 3 years

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Pls canon authors hear me out & give me some powerful female representation 🥺 suggestions:

Monique Carrera. She's a badass tall trans karate champ and cat lady who quit her office job to be an artist and whose first single "Devil Dancer" instantly made it to the top of the charts. Oh, and besides, she helped to defeat a man who kidnapped and caged small children AS WELL AS two fraudsters who did not shy away from attempting to *murder* the Three Investigators.

Aunt Mathilda. It's not that she does not get any representation - it's the HOW. We get it, her cherry pie is the best and that's amazing. But that is by far the least impressive fact about that woman. She raised her orphaned nephew while running a business with her husband. One time, she faked the voice of a dead woman (a friend of hers!) to help the Three Investigators with a case. Oh and she once successfully pretended to be psychic and delivered one hell of a performance to a bunch of rich widows. Think again where Justus got his acting skills from. Pure talent? I THINK NOT. We already know that Mathilda Jonas is capable of way more than just being the worried maternal figure whose most important tasks include a) baking cherry pie or b) giving our male main characters some chores to distract them from their dangerous hobby.

Also, can we get more of Caroline Cotta? I bet she could contribute more than just caring about her brother. Apperently, worried female relatives are a pattern. Caroline has a good connection to both Justus, Peter, Bob and her brother, so she could mediate more often when things get weird between them (which happens on a regular basis). But what about her job? What does she do? Is she a barista, a paramedic, a politician? Is she a good athlete? Does she help out at the animal shelter in her spare time, where she found Bubbles one day - an old shy cat who nobody wanted to adopt, but she instantly fell in love with? Why do Cotta and her live together, what is their family backstory? GIVE US MORE INFO ABOUT HER OK?

Brittany. This one might be a little controversial, I just appreciate her ambiguous role. Don't get me wrong: What she did to Justus is utterly f*cked up! But I like how clever and independent she is from male characters. Even if she does the dirty work for Hugenay, she follows her own agenda most of the time. Along the way, she manages to outsmart both our three young master detectives AND the notorious master thief himself. Now if that does not qualify her for more exposure, I give up.

Jelena ofc. This one is not even controversial, since she is already portrayed as the ultimate female counterpart to Justus. Just give us more Jelena content!? This quick-witted, beautiful BOSS lady not only plays the violin like a pro, she is also a chemistry nerd who invents her own substances for cryptography. (I'm a little obsessed with her). Time and again, she proves herself equally if not more capable than her able-bodied companions and opponents. Despite her little rivalry with the boys, she is a fiercely loyal friend who regularly bails them out of trouble.

Guys, I KNOW you are able to create well-rounded female characters (Clarissa Franklin, Allie Jamison, and even characters with one-time appearances like Mrs. Holligan, Madeleine Bainbridge, a lot of women in those widely hated BJHW's episodes, Maria Svensson, and even Lys and Kelly sometimes). Just give them more exposure and/or make them less dependent from male characters. So for the next sports episode (which will inevitably come, I am afraid), consider an all-female Basketball team or a paralympic swimming champion. Make the next art theft about a female artist (I know that already exists - you can do it more than once, even with a Black woman, I promise ;)). For the next guest appearance, think about the badass female characters that we already know, instead of creating another one day wonder who just serves as a plot device.

Girls and women are so much more than just mothers, aunties, girlfriends, or interchangeable plot devices. They can be saviors, villains, heroes, athletes, nerds, thieves, witches, bosses, frauds, actors, COPS (duh)... They can be smart, kind, snarky, evil, ambiguous, mysterious,... They can be anything you can imagine, really. Oh and while I'm at it, LGBTQIA and BIPOC folks can be that, too, of course. If you just let them!

#this post got a little out of hand #i'm sorry #I actually surprised myself that I found so many positive examples #but there's still some wiggle room don't you think?#drei fragezeichen #meme #female representation #my feminism is shining through #although I know nobody in charge of the canon stories will read this #I'm glad I got this off my chest #I will rely on fanfiction anyway #I know I can count on the drei fragezeichen fandom with this <3

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elamanteyelamado · 3 years

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no but seriously, the writers of lcdp don’t need to constantly rub in that it’s a “progressive” show. we knew that the show was progressive when they featured a gay character, whose sexuality isn’t a plot device and who isn’t a stereotype of any sort. or when they added another gay man, who once again had way more to his character than just being gay. or when they featured bisexual characters. or when they added a trans character. and it was done so subtly, and with such little relevance to the true plot of the show. that’s why it wasn’t annoying and it was actually quite refreshing. but they do Not have to spoon-feed us how open minded they are. we already know that. the intentions are pure but the execution was horrible. at this point it kinda feels like they’re parading it to some level, with the bogota vs gandia fight scene or palermo’s speech about being the dregs of society. it’s simply not as sophisticated anymore

#la casa de papel #lcdp #lcdp s5 #didn’t even think about this when watching the new season but alice got me Thinking

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lais-a-ramos · 4 years

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On Lovecraft Country and the way the narrative presents queerness

"No masters or kings when the ritual begins

There is no sweeter innocence than our gentle sin

In the madness and soil of that sad earthly scene

Only then I am human

Only then I am clean"

Hozier, Take Me to Church

oh, boy...

i knew some of these deaths could happen in the finale, but i definetely wasn't prepared for any of this, wow.

i guess that, with the events of the finale, including atticus' death, there really is no point in getting the show renewed for a season 2, as as i hoped and wished before, because all of the conflicts that were set up were resolved. i mean, there's always the possibility of using time-travel to do a retcon and bring all the dead characters back, or, at least, two of the protagonists and the villain, but, maybe it would take too many alterations in the narrative, because it seems like the whole thing was planned for a mini-series.

so, now, all we have left is to do a breakdown of what worked and what didn't in lovecraft country's limited series run.

i think that, overall, the message of black ppl taking back the power of ancestry that was stripped from them by white supremacy and structural racism was well-done, and the symbolism was very well-crafted in the final takedown of the season's main villain, which was a representation of how the racism based on indifference born out of white privilege is almost as bad as the racism based on pure hate and despise, which is a valid message, considering the former is a bystander to the abuses and rise to power of the latter.

although i still find the timing was poorly chosen because, well, as of now, all over the world, it's not white ppl who dub themselves "liberal" or "progressive" and claim themselves to not be racist but refuse to act anti-racist that present an actual threat to our human rights, but literal, actual fascists and neo nazis...there are bigger fish to fry now...

but i digress...

on the final score, i guess that when it comes to queer/LGBTQ+ representation, the show fell actually felt real short for a product that crafted so well the race issues, proving that there is still a lot to go before we get to see intersecting identities being portrayed in media the same compex way they exist in the real world.

no, lovecraft country is not guilty of queerbaiting, unlike some of the same ppl in fandom that are the firsts to either erase the half of a couple that is a BIPOC or to deny a canon cis het biracial ship to hype up a fanon white wlw ship and other problematic stuff plenty of times in LGBTQ+ fandom spaces might say.

but that doesn't mean that the treatment of LGBTQ+ issues was satisfying or can be considered good rep, and it actually repeats some of the same tired tropes about queerness and blackness.

while we can say that the show did a relatively good job with montrose as an individual, the same can't be said of the other characters and the final messages.

like, for example, introducing a trans/non-binary indigenous, the Arawak two-spirt Yahima, only to kill them on the next episode was insensitive, to say the least.

while it's true that misha green apologized for the mistake, and said she and the writers tried to make a point that even oppressed groups are capable of oppression, the final score was that a trans/non-binary character was introduced as a plot-device and brutally murdered before having even a chance to properly develop.

in other words, used as a prop.

in a world in which trans ppl are brutally murdered at alarming rates, and most of the victims are BIPOC trans ppl, that is something that we can't let it slide just because the general message of the show was good for cis het black ppl.

the same can be said on the treatment of sammy in the narrative.

while it's true that montrose being aggressive and acting the way he did, pushing ppl he cared about away and shunning every chance of vulnerability due to internalized homophobia, toxic masculinity and misogyny, as this very interesting critique by amani marie hamed of nerdist pointed out, his characterization nonetheless falls into the same old stereotype in american culture of accusing black ppl of falling behind when it comes to queer acceptance and associating black masculinity with homophobia.

also, the author of the article says it better, but, overall, sammy's existence ends up being just another plot device, serving to say to the audience that the producers and writers know that queer ppl existed in the 50's, but, at the same time, repeating some of the same tropes as usual, like associating being queer with being clandestine and deviant instead of showing it as a natural thing that was perceived as deviant at the time, as we can see by that scene of sammy having a sexual encounter in the alley behind his bar.

the author even mentions that queer ppl overall had houses, and most of the encounters actually happened there, and that scene reinforces the idea that queerness is inherently animalistic.

the article also points out how sammy is mostly there just to be shutted out, first by montrose and latter even atticus, and, ends up being another prop to lift montrose to deuteragonist status, being rejected and abused by montrose solely to highlight tic's father journey with his personal issues that apparently he simply wrapped up in a span of 2 episodes.

the fact that sammy was a also a more feminine gay man, even participating in ball culture as a drag queen, and yet most of his appearences involved him being degraded or shut out or overall mistreated by montrose, even tic, and that scene in which atticus forgives montrose after he revealed he never acted on his homosexuality and cheated on tic's mom, even though it's implied she did cheat on him with his brother george, just reinforces the idea it's ok for black and brown men to be gay, as long as they are not THAT GAY™️.

the introduction of thomas in episode 1x09 only to be murdered in the riots is another example of how queerness seem to come with a price in this show if you act on it.

once again, a gay character was introduced in the narrative to further montrose's pain and trauma.

and his introduction was absolutely not necessary, because being a survivor of a massacre like the tulsa riots and a survivor of parental physical abuse is already was already enough for making tic and the audience begin to emphatize with montrose's pain, there was no need to kill another queer character just for that.

not to say we should agree with everything the nerdist article says, of course.

at times, it felt like the author was saying that addressing these issues in the black community is a problem on itself, and that is definetely not the solution.

but, when we consider the setting of a limited series with a plot-driven approach to the scripts, the way the topic is addressed ends up being superficial and rushed, and what could have been a delicate approach to a complicated man discovering his sexuality if the show was an on-going series, ends up being just a narrative built to put montrose in the spotlight in an attempt of getting a few emmy nominations for outstanding performances, and that's about it.

now, what really serves to cement the LGBTQ+/queer representation in lovecrat country as a disservice is the treatment of ruby, christina and their relationship.

i did a few metas explaining christina's and ruby's characterizations, including one i posted before the finale started explaining why ruby was so important to queer black and feminine-aligned nbs being a dark-skinned fat black queer woman discovering her sexuality and figuring out there was more to life than the social roles that were pushed into her, and how the parallels between her and christina, two different women separated by race and class but with the common feeling of being interrupted by social restraints that binded them, were a way for a character like ruby to be treated by the narrative the same way white women get to be treated in fantasy stories, as someone worthy of being courted and romanced as a light-skinned and thin black woman like her sister leti.

but with that finale, and the way the whole thing played out, with not only christina and ruby dead, but also with christina killing ruby, felt, ironically, like the very same trope that's been the norm for queer characters for a long time.

if we consider the tropes of the genre the show and the source material draw inspiration from, pulp fiction magazines, a medium that was very popular until the rise of the cinema and TV in the 50's and 60's that also served as an inspiration for them, then we know that in this medium some of the harmful tropes about queerness that exist until this day were particularly prevalent, including that of the queercoded villains.

to talk about this, i'm going to refer to this amazing article by tricia ennis on the history of queercoding for syfy wire.

first, a definition:

"queer coding, much as the name suggests, refers to a process by which characters in a piece of fictional media seem — or code — queer. this is usually determined by a series of characteristics that are traditionally associated with queerness, such as more effeminate presentations by male characters or more masculine ones from female characters. these characters seem somehow less than straight, and so we associate those characters with queerness — even if their sexual orientation is never a part of their story."

between the hays code in cinema going from 1934 to 1968, the comics code authority in the comics industry from 1954 to the early 21st century (with dc comics and archie comics being the last to break with it in 2011, mind you), the code of practices for television broadcasting from 1952 to 1983 and its predecessor for radio NAB code of ethics, the authors all over mass media couldn't approach the topic of queerness and portray openly and proud queer characters under the risk of being persecuted by the censors, and so, begin to hide queer chracters under the disguise of subtext.

and given the content creators couldn't show any form of positive queer/LGBTQ+ representation under the risk of being punished by the censors, the alternative they found was to portray the queer characters as the villains or antagonists or degenerates, and punish them with death.

the syfy wire article says it better than i ever could:

"even dangerous LGBTQ tropes rose out of this time period, as the depictions of pulp noir femme fatales and other deadly women rose in popularity. these women were usually written as promiscuous and sexually devious, both with men and sometimes with women. they were also evil and usually met their end as a result of their sins. While depictions of LGBTQ characters were frowned upon, depictions of them in this specifically negative light were not. you were not endorsing an “alternative lifestyle” if your gay characters always met an untimely demise. Instead, they were merely paying for their poor choices. this trope would eventually give way to what we now refer to as 'Bury Your Gays.' "

and the thing is, all those censorship laws are over by now, but the tropes/clichés that arised on that era are still prevalent in pop culture 'till this day, consumed by the audiences and reproduced by content creators, in the industry or in fan spaces, whether they are aware of said trope/clichés or not.

now, that is where ruby, christina and their affair on the show enter.

to explain how problematic and harmful the way these characters have been portrayed is, and what kind of message it sends about black queerness, i first have to explain christina's function on the story.

christina, as a character, was basically the texbook pulp noir femme-fatale, checking most of the boxes of the tv tropes description of the trope, from the "red equals evil and sin" imagery to being a wild card, that character who changes sides according to their own desires and individualistic goals.

in her specific case, helping the white supremacists and the black heroes alike in her pursue for unlimited power to protect herself from the oppression that comes with being a white woman, particularly a wealthy one, in which the very same presumption of innocence that gives them privilege over BIPOC is used to infantilize them and strip them from their agency, putting their bodies and choices under the tutelage of cis het white men.

so, her function on the show was basically to manipulate the characters on the two sides alike.

and that is where the problems in queer representation come in, because, to manipulate them, she acts as a sensual seductress.

and what does the script uses to highlight that this is a character willing to go to the most immoral places to achieve her goals? it makes christina a sexually fluid and gender fluid character.

that is basically playing a move straight from the hays code era.

not only does the show plays christina's sexual and gender fluidity as her being "freaky" and a proof of her deviant nature, but it makes her seduction of ruby as a central part of the scheme that positions her as the main villain of the show.

this portrayal of christina as a textbook femme-fatale with a touch of white feminism is already very problematic on its own, especially when we consider her death and how brutal it was, because, yes, while it's true she is privileged because she is white and wealthy, she is still a woman and a queer one at that, and giving her the same traditional treatment for femme-fatales in pulp fiction ends up reinforcing harmful stereotypes about gender and sexuality.

but, when we consider what it means for ruby as a character, it gets WAY worse.

ruby is a character that's been shown to feel very frustrated about the ways in which societal structures of power interfere in her life, not only on a professional level, but even on a personal level as well, making her feel "interrupted".

dealing with the same issues that all black women and feminine-aligned nbs who don't fit into the eurocentric standards of femininity and of beauty do, and not matching the criteria for being hypersexualized by society as the black women considered conventionally pretty -- with thin bodies like the white women or hourglass body frames, being light-skinned and so on --, ruby has her humanity stripped from her because everyone expects her to be stronger than it's humanly possible.

everyone seems to expect something of her at home, her younger sister took advantage of her money for years, and not only all of her goals in the professional realm seem to be frustrated by social structures of oppression, but even her relationship goals as well, given that most of the men that she gets involved with, whether they are black or white, seem to believe they have the right to abandon her and treat her like trash because she doesn't feel a thing and is "strong" enough.

ruby feels frustrated and tired, and she has every single right to do so, because, as what happens to most black women and feminine-aligned nbs, she is disrespected and disregarded by everyone, white and black alike.

so, when christina comes in with an offer of improving ruby's life with magic, of course she takes the opportunity.

and it seemed like the show was willing to deal with the moral complexities of christina's shapeshifting potion and validating ruby's feelings, or at least, sort of validating.

but, by killing her at the end, it just played out as if ruby's feelings meant she was merely a traitor to the race, and not a woman who was tired of feeling frustrated with all of these impossible obstacles society sets for black women and feminine-aligned nbs, especially dark-skinned and fat ones like her, and justified in her anger and frustration.

she did everything right and accomplished nothing, and, when she finally decided to rebel and focus on herself for a change, she met her demise.

but that is just the tip of iceberg, really.

what makes this situation with ruby so frustrating is the fact that, when the show presented christina's queerness as another sign she was "on the wrong side of the tracks" and a villian that should be defeated by the black heroes, which consist in a family, the narrative is implying that a person has to choose between their queerness, on one side, and their blackness and community on the other.

of course, one might argue that the fact montrose was turned into a gay man himself in the adaptation prevents this from happening. but, when we consider montrose was forgiven by tic only after reinforcing he never did cheated on dora and acted on his queerness and lived his gayness, when he really had every single right to do so, especially because it's implied dora slept with his brother george and the three of them knew she was just montrose's beard, then we have the message that it's ok to be queer as long as you don't act on your queerness at all.

there is a part in the review for nerdist that i mentioned above, in which the author says that one of the book's best qualities was that "the source material also illustrates the importance of family and community ties between Black protagonists", and that the TV show ruins it when it "introduces abuse, alcoholism, and family dysfunction, and strips Black characters of their own magic."

that is a part of the article, published in october 14 2020, that now no longer makes sense after the finale, because that message is there.

but, the actual problem is that the ideas of family and community shouldn't be taken for granted bc they are always under political dispute, and are oftenly used to reinforce backward messages when it comes to gender and sexuality, serving as a tool for the control of the bodies and authonomy of ppl of various marginalized groups and intersecctions, including women, BIPOC and queer ppl alike.

while these things are not inherently good or bad, and they are also part of the culture and identity for plenty of BIPOC ethnical identities, the concepts of family and community are usually weaponized by conservatives and used to justify things like queerphobia and the restrictions over reproductive rights.

queer ppl in all walks of life and skin colors all over the world have to deal with plenty of conflicts about coming out because, by deciding to live their own truth, they can never know for sure whether coming out will put them at odds with their families and community until they dare to do so.

so, ruby's dillemma for not knowing what to choose, her family or a life with christina, plays out as the type of experience queer ppl have to deal on a daily basis, and when we consider the intersection with race/ethnicity, it gets even more cruel because our gender identities and sexual/romantic/aesthetic orientations, that are natural parts of us, make us being invisibilized and silenced in our own cultures and feel like we have to give up on our own communities in order to be able to live our queerness.

there are few things more gut-wrenching than that feeling of fear that you might be disowned by your family and relatives and your community -- whether is it a neighbourhood, a village, a small town etc -- because a part of yourself is considered at odds with your heritage.

and when we consider all the christian imagery in the show, the final result is a really troubling one.

while it's true that being christian and believing in god doesn't authomatically makes anyone a bigot (i actually still retain some of the beliefs i was raised into as a catholic latin-american), it's also true that now, more than ever, we can't ignore science, including history.

the entire way in which they referred to magic as a devil's work was very troubling and evocates the same discriminative rethoric that white european colonizers used to justify the destruction of the ancient old religions and beliefs of BIPOC in their own homeland, the ancient culture of our ancestors, and also the oppression of peasant women in europe.

while we can't generalize, given each culture had its own particularities, there's an agreement in the scientific community that, overall, the cultures of the first nations and indigenous folks from the american continent, the african continent, the asian continent and oceania/pacific islands were far more accepting of different manifestations of queerness.

that means that queerphobia was part of the colonial project, once the traditional family values of christianity were used as a tool for the white colonizers to regulate the bodies and sexuality of the colonized and keep them under control.

and that is why the association of these ideals of family and community as inherent to blackness ends up being problematic, because we can't discuss racism without discussing colonization, and we can't discuss colonization without considering the ways in which queerphobia and religion were used as tools of colonial oppression.

the worst part is that, when it comes to ruby, the producers and writers really didn't need to do kill her at all.

and while the show did right in not showing how christina killed ruby, sparing the audience from watching another black body being brutalized, it's also true they didn't have to kill the character to get her out of the way from the final confrontation between christina and tic's family.

they literally went and changed her background from her book counterpart and made the woman a musician, and a blueswoman at that.

all they needed was to have her share a goodbye scene with christina the same way she had with leti, saying that she wanted to be with christina but couldn't fight her family and friends like that, grab a copy from the safe travel negro guide and set off in a bus to travel all over the U.S., singing very sad blues songs about falling in love with a white devil once.

that's all the producers and writers needed, to use the "sent in a bus" trope.

but the choice was to portray ruby as a character facing the consequences of following her desires , which ends up feeling like a punishment for a dark-skinned and fat queer black woman for daring to question the position society has placed her because of who she is.

this is in no way an attempt to "cancel" the producers or the writers, because a) their work is still important as a team of mostly black creators and b) canceling doesn't seem to have significant consequences, and seems to lead only to more social media wars than anything else.

but now that it finally seems diversity is getting more space in media, this type of discussion gets more important.

there is a slow increase on more representation of queer/LGBTQ+ characters in media and more productions involving queer/LGBTQ+ creatives, but, most of the time, the characters and are white, or, when there are biracial couples, the characters of color are just token minorities, and the same happens with the creatives involved in the production.

there is a slow increase in BIPOC characters representation in media and more productions involving BIPOC as creatives, but, most of the time, the characters are cis heterosexual, and the same happens with the creatives involved in the production.

but, for pop culture and media to be truly diverse, there has to be more space for the narratives of ppl that exist and belong to the two groups to raise our voices and be heard, whether is it in the entertainment industry, society at large or even in fandom spaces.

because she shouldn't be forced to pick between one identity over the other.

our existences shouldn't be interrupted just because society doesn't know how to deal with them.

and if that make us sinners, then so be it.

#lovecraft country #ruby baptiste #christina braithwhite #ruby x christina #rubtina #rutina #montrose freeman #lgbtqiap+#lgbtq representation #queer representation #poc representation #woc representation #moc representation #black women representation #representation in media #representation in fiction #tv representation #it's ok for non-BIPOC queer folks to reblog #and it's ok for non-queer BIPOC folks to reblog

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algrolo · 4 years

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Homestuck 0.3

Alternative title: Ev Fixes Homestuck by taking custody of it from Hussie

This is gonna be a LONG piece but essentially, the entire plot of the story’s under the cut

Characters (no names yet, just classpects):

Sylph of Doom: Main character, has interests in coding and technology. Has a neutral personality, mild depression (will expand upon later), and just wants to fix problems, including their game.

Thief of Rage: Headstrong, confident leader of the group. Always trying to protect others without fully valuing their own well-being. Interests in weapons, fighting, and culture.

Bard of Mind: Sleepy and insightful friend of everyone. Constantly dreaming of a new idea and ways to achieve that dream. Interests in space, planets, and reality.

Mage of Blood: Stuck-up know-it-all of the group. Snooty and opinionated, but still a good person. Tends to let problems happen by not thinking through their own words. Interests in biology, nature, and evolution.

Act 1: Our four heroes are, naturally, all stuck at home. The first couple pages help introduce characters, personalities, and relationships. Everyone seems good friends except the Mage who the others more or less tolerate. They can be fun /sometimes/ I guess. [Since homestuck has natural ties to the years it was written in, I think it would be apt that the kids are stuck at home due to some global event, aka a virus and stay at home orders. Obviously this would be kept vague but would tie the narrative to a relative time.] Sylph gets a package in the mail with a video game with an almost cryptic letter. “Complete the loop. Escape the Doom. Good luck and I’m sorry.” After mulling over what this could mean with their friends, they decide to boot up the game and see what this mystery could be. SBURB initializes, completes its boot up, then waits for its server player. Confused but highly intrigued about this game and set-up, Sylph asks everyone if they know about this server client, which of course they don’t know what it is if they didn’t know what the game was, moron. Sylph cracks open the game to find its code to see if they can replicate the client and send to one of their friends. Their computer begins to glow, spreading to their entire house, and with a flash of light, their house completely vanishes from the world. EoA1

Act 2: Sylph has the game’s “code” open but it is not on their computer. Instead, their entire house has been transported to this liminal space where code circulates constantly around the house. Sylph can still chat with and contact their friends, who all believe they are losing their mind. The code is like nothing Sylph had ever seen before. Upon mentioning that it seems alive, like the code is constantly changing and evolving, Mage gains interest. Sylph is able to pull enough pieces out of the circulating code and develop a barebones server-side SBURB copy. Conveniently, since messaging still works so does file share, I guess, and they send the code over to the Mage. The Mage runs it, and the Sylph’s, SBURB comes alive. Still trapped in this aether, The Sylph keeps tinkering with the client-side copy, eventually coding in its ability to actually move objects in their house and place the special objects the game is flagging as important. Sylph begins to hit a dead-end, not knowing what all these objects are meant to do. Mage suggests sending the copy of player-side SBURB to them, but its file size is literally infinity. Sylph ends up recoding the player-side, utilizing what they learned from coding the server-side, and sends the files to the Mage. The Thief and the Bard are both skeptical of everything transpiring, until Sylph uploads a video of the code circulating outside their house while giving the camera the middle finger. The Bard suggests that instead of whatever the heck is happening there, the Sylph should designate some sort of place for each house to go. After helping them with planetary development, The Sylph sends out the copies for the newest client-side and server-side codes to the Mage and the Bard. They both activate their copies and the Mage’s house is transported out of existence. EoA2

Act3: The game keeps evolving in this fashion as the Thief also eventually joins this nonsense. Each person’s interests help shape the fundamental base of the game. The Sylph is the master architect and coder, the Mage is obsessed with evolution and how the game is actually alive, the Bard creates planets and life, and the Thief gives these planets purpose and conflict. Before the Thief enters the game as the server side, the Sylph has gotten annoyed at how slow this process is with the entire group always waiting on them. Pulling out pieces of the code, they find this bizarre machine that enables the others to modify their sessions without requiring code. However, since these machines seem to only affect the client-side copy, the group has to work together to change their sessions. The server-side individual just needs to type in a command and the game tries to react. [these machines become the same devices used by the Exiles.] With even that process being deemed slow and tedious, the Thief suggests joining all their sessions together so they can travel between them and essentially work on their own projects while all modifying the same game. The Sylph completes the loops by pulling the Thief in, and suddenly all four planets are now enveloped by the circulating code of the Sylph’s session. EoA3

Act 4: With each person working on different components of the game, the game evolves at an exponential rate. However, the Sylph points out that no matter what they do, they are not replicating the original game’s code as their “code” is completely static, unlike the code that surrounds their session which seems to be constantly changing. The Mage proposes a radical solution: let the game evolve itself. As the four continue to add their influences, the game will also develop its own, resulting in its living capacity. With a single line of >if:problem, solve, the code circulating their session stops moving. In the eerie silence, the code fades away leaving only the void. The game has achieved its objective, have someone else create its living properties. With an almost somber attitude, the four continue to work on, now with the intent of returning back to their world. When the game weaponizes the ring of meteors that the Bard had developed, the four realize their mistake. The game has set the meteors to the only other place it knows, Earth. With no home to escape back to, the only way forward is to create a new world. The only way to do that is to play the game. EoA4

Act 5: Dissent sets in. While the players are still powerful and can change the base coding of the game, the game has now spiraled out of their control. They develop the capatchalogue system for convenience, as well as the weapon and building systems inspired by the Thief. The machines become more advanced, able to be modified by seemingly everything and only limited by the individual’s creativity. But the toll of the game creation is setting in. The Bard has little interest in continuing coding and has been spending much time sleeping and dreaming. In doing so, they unintentionally create Prospit, Derse, and the dreamselves. The Sylph is shocked to learn that their dreamself is actually a girl and not a boy. He attempts to keep this secret but eventually the others find out; like everything else in the game, they shrug and let it exist without too much of a thought. The Mage has nearly locked themself away in their room, determined to solve the problems through evolution and biology. They create the frog breeding system and the game’s ability to create a totally new universe. The Thief has set out to conquer the game and its plot. The Sylph continues to find an out through coding. The group’s struggle creates the classpects and godtiers, as the game deigns each with a class and aspect. The first to die is the Bard’s dreamself, killed in a Derse assassination plot. Without the escape of their dreamself, the Bard begins to truly spiral out of control. The Thief goes god tier purely to power themselves up for fighting the game, which has gotten more and more difficult. Fearing for his dreamself’s safety more than his own, the Sylph switches himself with the dreamself and continues his coding operations on Prospit. His fears become actualized as he finds his door busted down and a gun pointing at him. He leaps towards the bed and is shot in midair, still landing on the bed. As the Derse assassin approaches to finish the job, the bed begins glowing, as the second half of the Sylph’s plan is realized; they switched their bed with their godtier bed. The Sylph raises his head to see the assassin who’s in shock and flashes a quick, sly smile at having outsmarted them. The light grows brighter, and the entire room and tower explodes. EoA5

Act 6 Act 1: With the game actively assisting the Sylph in realizing she’s trans, her attitude towards the game changes. She believes the game is not, in fact, malicious and out to get them. This realization comes too late as the other three have already gone too far. The Mage is the first to fully die. After not hearing from them in weeks, the group decide to pause their own causes and check in on them in person. They find them lost and disillusioned, believing that they have found a way out of the game. Clearly, the isolation and pressures of the game were too much to handle and after a flip of the switch on the newest line of code they developed, the Mage’s existence is consumed by the game, as the three friends watch in horror as the Mage’s body is turned into code right before them and stripped away. [This creates the existence of the horrorterrors.] After this, the coding machines are locked away with only the Sylph continuing to work on the code due to her knowledge of actual coding and experience with the game. Reeling in shock, the group decides to actively keep track of each other and stay connected to prevent a similar case of isolation from happening. When the Thief goes to their denizen for guidance, the metaphorical and actual rage that they had been stealing from their enemies and friends is finally unleashed due to the mounting pressure and stress. Consumed by rage and with a new goal to destroy the game, including the code, the denizen lashes out and kills the Thief before they can act. Their death is seen as Just. The Sylph, learning of these events, rushes to find the Bard who is out on the fringes of their session staring out into the void. When she turns around, her eyes are alight and dazzling and she has a somber smile on her face. She knows of the Thief’s demise, but she is not as distraught as the Sylph expected. They tell her about how it doesn’t matter anymore, how nothing matters, and all they want to do is dream. In their dreams they see everyone, still alive and happy, not trapped in this stupid game. Behind her, bubbles start appearing with these visions, of versions of the group in different scenarios, the infinite timelines where they are happy and alive. When the Sylph attempts to reach out, the Bard shakes her head and slowly floats away into the bubbles, as the bubbles float away from the session. [These become the dream bubbles if it wasn’t completely clear.] The Sylph is now alone, in a doomed session. EoA6A1

Act 6 Act 2: The Sylph refuses to die. With her realization of her own identity, she is more than ever determined to beat her own depression back and live, at any cost. So she continues coding. She made the mess, the prison shes currently in, so she is adamant she can break out. Time begins to pass to the point it begins to feel unreal. The consorts start dying out and the kingdoms begin to fall in old age. On the fringes of the session, the Sylph notices that the game is starting to break apart. tiny fragments of what appears to be static have started to form, as the game starts to show physical signs of its own deterioration. As the static expands, the Sylph realizes that she herself is not enough to solve the game. First, she writes a letter to herself, and send a copy of the SBURB client-side disc back to her past self, effectively closing that loop. She then sends out the game all across the universe, in every reality, willing even doomed timelines and realities into existence through her classpect. She turns her house into a bunker, and sets up a computer and screen system utilizing the previously locked away coding machines [this facility is remnant of the facilities the exiles used.]. And then she runs her simulation. She uses the game to beat the game, trying to find a session where the players succeeded. And she is only met with failure and doom. Yes, some sessions succeed and the players escape, but the entire universe just remains doomed. The billions and trillions of timelines, following different people and species, are all deemed failed by the game and the computer. All she can do is wait. Let the simulation run. Do not give into Doom. The static does not cease its expansion. Soon the entire outside of the session is consumed. Then the kingdoms, followed by the planets of the Bard, the Thief, and the Mage. The Sylph preoccupies her time by waiting, watching the static, knowing that if she gives in, the static will consume her planet too. All she can do is wait. At some point in this struggle, she locks herself away in the bunker, the static too much to bear and too much a reminder of her lost friends. The computer still runs, looking for the answer. The static is shown consuming more and more of her planet. As she lies with her head down on one of the computer panels, static starts to appear in her eyes with a single tear. Then a single beep rings out. It echoes through the endless caverns of computers and servers attempting to find an answer. She bolts up as the beep rings out a second time, the static disappearing completely, and runs to find its source. She takes the simulation and runs it into the computer to see why this timeline has saved her. And she finds a group of 12 aliens, called trolls on the planet of Alternia, playing a version of her game called SGRUB. As she runs through the timeline, she questions what makes this one different. They scratch the session. A new group of trolls take over. These ones successfully create a new universe, but its fundamentally broken. Humans play their own game of SBURB in this universe, and they too have to scratch their game. But the Sylph realizes something she never thought to try before. She watches these kids break her game. Not in the way that the Thief sought to destroy the game, but they refuse to play the game and instead make their own rules. They jump out of their own session into their scratched session, make a new sun and a literal god, only to take down that god, and beat the game with a group from three different sessions. And that’s her answer. She has to break the game. Suddenly, the light starts flickering. She nervously looks ahead to what could be the cause of it, and sees the split timelines after they have beaten the game. They had won, they had made it, but something was causing change, causing it to fail all over again. She needed to prevent this. This was her only chance at freedom. Attempting to see how much time she has, she goes to her bunker door, opening it to find only static, a wall of black and white. She quickly slams the door shut in fear, realizing time is up. As she leans with her back on the door, panting in fear, she sees her old self. He is younger, and looks at her with an almost blank expression. He then smiles, and gives her a thumbs up, and instantly she understands what she must do. There’s only one way out, only one way left to break the game, she releases a sigh. She opens her eyes and her past self is gone. She opens the door again to the static, and walks in. EoA6A2

Intermission ????: You are the MSPAreader. You have just watched the Sylph walk into the void and now all you see is static. There is no next button. There’s no where else to go. You are confused. That confusion is only magnified as the static on your computer seems to glow brighter and become more erratic. The monitor begins to shake and then your whole desk. You back away as the light grow brighter and brighter. The screen starts to crack and you duck behind your chair for cover. The creaking only magnifies until you hear a loud shatter as your monitor explodes in a dazzling, white light. When you open your eyes, you see her. Before you stands the Sylph, except, she not a Sylph of Doom anymore. She has a completely different outfit, covered entirely in shades of white, with the symbol of SBURB where her aspect should be. She lands in front of you and you broken computer stops glowing. She is dazzling and beautiful. She looks at you and just says “Thank you for doing your part.” And then she is gone.

Act 6 Act 3: A group of Hussies are all in a room together. You see them frantically trying to write Homestuck. They all have blank eyes as each version of Hussie is dead and doomed. The door suddenly flies open and the Ascended kicks it in. Papers go flying and all the Hussies stop dead in their tracks. She looks around at the madness, at the notes and scribblings on the walls. And she sighs. In trying to fix this timeline, he himself had ruined it. More accurately, he had doomed it. She raises her hand and snaps, and suddenly all the Hussies are now wearing shirts with Doom aspects instead of Space. No matter what you do, no matter what your write, it will always be doomed, she tells them. This time, it’s my turn to fix it. And with a wave of her hand, she disappears. The Ascended reappears on Earth C, just before the split of the timelines. She busts in on the picnic and tells John and Roxy to gather all the kids and trolls on Earth C for her announcement. When everyone has arrived, she introduces herself, and explains that she has come to finish this timeline. She tells them of everything she’s been through, and explains how she is now the manifestation of SBURB, a literal, actual god of the universe. And there is one thing left in their story. The humans must fight Lord English to complete the timeline and the last loop. She tells them outright their fate, but warns them if they do not, then John would never have been able to gain his powers, thus dooming this and all future timelines. There is no other answer. But she still gives them a choice [albeit heavily stacked] and the kids decided to go fight LE. The Ascended appears after the battle to the weary and beaten Alpha Kids. She thanks them for their sacrifice and brings them back to their timeline with the trolls and cherub. As a final gift, she offers them their loved ones back, John, Rose, Dave, and Jade, at the cost of the four human’s god tiers. They will age and die, just like the trolls, and the universe will continue on as it always should have. The group accepts this offer and the Ascended brings back the kids at the sacrifice of godhood and immortality. With only one god left in the universe, not doomed or trapped in a blackhole for all time, she bids them all goodbye and leaves Earth C. EoA6A3

Act 7: The Ascended puts down her glass on the table and concludes her story. Across from her sit Sollux and Aradia. Sollux is clearly annoyed and has something to say while Aradia has a big grin across her face, enamored by the tale. Sollux starts protesting at the transpired events, calling them mostly bullshit, and especially calling bullshit on the Ascended being literal SBURB and god of the universe. She just shrugs him off with a smirk. He follows up his disbelief with asking why if she took the godtiers of the humans, why hadn’t she taken Aradia’s. She replies that Aradia is not truly connected with the story of, what the Ascended has nicknamed, Homestuck. While she and Sollux do originate from the successful timeline, they are more or less harmless observers of the dream bubbles and their actions do not disrupt the natural order of the universe. She shows them a dream bubble in which Dirk has gone evil, proclaiming to be the new bad guy of the narrative, and Aradia and Sollux seem to understand the point she’s trying to make. Aradia, who had been largely silent, asks what the Ascended will do now if she is everything and the universe. She shrugs and answers “I don’t know, I’ll probably watch some anime or something. I heard the newest season of BNHA was pretty good so maybe I’ll watch that.” Sollux loses his damn mind at the prospect of the universe deciding to watch cartoons to which the Ascended chuckles and responds “Why must I continue to do something important? Is it not enough for my story to be over, but for me to continue to exist? I believe I exist even after my story has concluded, so what I decide to do with that existence is pure freedom. I have all of eternity to do whatever I want and quite frankly, 1. I deserve it and 2. I’m going to do whatever makes me happy.” Aradia nods and smiles, completely understand that answer while Sollux tries to desperately protest. As the camera pulls away, from the table, we see Aradia and the Ascended chuckling at Sollux’s protests; further back, we see the dream bubble they are currently in; still further back the screen goes black as the bubbles fade out of sight. Left in the void by the Ascended, we see, in her penmanship, the words “To the living, to the dead, the doomed, and anyone else in-between, thank you for listening to my story. This is the Ascended, signing off.”

The End

#this is my art #holy fuck i cant believe i finally wrote it all down

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blxckdamask · 5 years

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Trashcan’s Fic Rec: July ‘19

i know this is really late but i was busy so i couldnt really get this done. an yway,,, yall know the drill by now,, this has a bunch of bnha (mostly bkdk) and some rairpairs aswell as some drarry, odaat and b99.

BNHA Fics:

{bakudeku}

When Izuku's insecurities about his scarred body hit him full throttle, Katsuki is there to show Izuku just how beautiful scars can be.

Katsuki's reflection above the sink stared back. Eyes still drowsy with a hint of a shadow beneath them. Hair more of a mess than he would prefer, but he was plenty awake now.

All because of Deku.

Katsuki reflects at 4 am.

Pride has always had a special place in Midoriya Izuku's heart.

"I trusted you and you had me murdered!” Midoriya wailed, anguished. Bakugou twitched focusing on the spell that made him capture Midoriya's soul.

“Shut up! You got yourself killed!”

“I didn't! You said you had my back and I thought you had it! But you didn't! Kacchan! My body!” Midoriya cried as he watched Bakugou lug his limp body through the forest.

This is what happens when Bakugou tries to become best friends with Midoriya again.

Katsuki doesn't know what's wrong with Izuku. Is he mad? What is he mad about? What did Katsuki do!? All he knows is that he can't let Izuku break up with him. Not while they're still keeping their relationship a secret.

Izuku forces Katsuki to apologize for everything he's ever done to hurt him.

Bakugou and Midoriya have been best friends since... well, since either of them could remember. But both harbor unspoken feelings for the other, will this be an end to their friendship?

Izuku, a dog hybrid, has lived with his owner Toshinori, a retired hybrid psychologist, his whole life. He takes on some of the shelter’s most difficult cases as fosters, and so Izuku has learned to be the best foster-mate possible for scared and abused hybrids. At first, Katsuki, a cat hybrid who’s been kept in a tiny apartment nearly his whole life, seems just like any of the other awful cases they’ve seen, but somehow, Izuku and him grow a lot closer than usual over the course of his stay. Eventually, the question becomes: could he stay forever?

“Izuku knows what the Hanahaki does. He knows what his options are, and sure, they aren’t great. In fact, they’re pretty horrible. The list is short and daunting. There are still flower petals on his pillow."

In which Izuku has Hanahaki Disease, and Katsuki's furious.

And you're crushing on him, and he's just so cute, and the baby's cute, and what's a guy to do, anyway?

Ever since they were little, Izuku and Katsuki’s families have had family dinners. It’s just them and their parents, and that’s fine. Until more people get dragged in. (And try to set Izuku and Katsuki up.)

for twinstars week day four - family

{todobaku}

It started from a normal evening to a small argument that made them go on vacation that made Katsuki realize that he wanted something more from Shouto.

Bakugou, Denki, Midoriya, Momo and Todoroki all end up in a McDonald's one early morning. A suggestion of a movie and a credit card reveal later and the teens are off to spend the day together.

They all know that it's Todoroki's father's credit card, but none of them care.

Bakugo and Todoroki both find themselves living together with disabilities, helping each other get by. In doing so, they fall in love.

{rairpairs & other ships}

“You haven’t changed at all, have ya?” he observed, pinching her cheek affectionately.

Ochako batted his hand away from her cheeks for the second time that morning, wondering if he had a thing for them. “That doesn’t even make any sense, Bakugou. I’m from the past. Of course I haven’t changed.”

“Makes perfect sense,” Bakugou countered, closing his teeth around a bite of eggs. “You were doing this same shit yesterday morning.”

My entry for the day 2 prompt of Kacchako week: otherworldly.

Bakugou watches with something akin to affection when Shinsou starts playing with his dog until she jumps all around him and is barking excitedly. He has never seen the both of them so content before. The Sergeant is always so concentrated at College grounds, either that or she’s calm but still looking out for him. Bakugou has seen them during lectures, at lunch at their usual table, during their ways to Bakugou’s dorm and to Shinsou’s apartment off campus, he has seen them through their late-night-skyping sessions and in countless pictures on Sergeant Barkowitz’ Instagram. He has seen their best but not their worst, and that makes Bakugou wonder if he’ll ever be such a great companion to Shinsou like the Sergeant is.

"Shouta could have never imagined reaching this point in his life. He honestly expected to die at some point when he was younger, alone somewhere in an alleyway, killed in action during his hero work maybe."

Instead he's in a warm hospital bed and surrounded by some of the people he cares most about.

Shinsou Hitoshi had never had a family before, and he refuses to screw it up. But when a villain attacks him and his new little sister, he may have lost the only family he's ever had.

Bakugou never wanted to be mated. Especially not to a villain but it didn't look like he had any choice in the matter. The only question now was: will he ever escape?

OR,

The author loves Bakugou and loves to make him suffer so Dabi kidnaps him and forces our favourite blasty boy to become his mate. It goes from bad to good to bad and back to good.

While working together as pro heroes, Iida, Bakugou and Todoroki are taken captive. The situation is strange: none of their Quirks work, and they aren’t tortured or killed – in fact, they never see their captors. There is nothing to do but wait.

Things are tense between the three of them, but Iida finds the situation bringing him closer to Bakugou than he thought possible. But who knows how this will change things between when they get out…

Quirk: Infatuation - The user of this quirk affects two people by touching them at the same time, they then fall into a state of infatuation with each other; they could be affected by this for up to a week.

Iida and Bakugou get affected by an infatuation quirk that makes them be sweet to each other. So sweet, that it could give you cavities. Warning: This story will contain an excessive amount of pet names, hence the title.

Other Fandoms Fics:

Recently married, Harry and Draco are tasked with raising a four-year old Teddy, whose emerging gender identity brings up an array of questions, fears, and revelations for them when they realise that Teddy might be transgender.

When Draco learns he's pregnant again, he blames his husband. Harry, however, couldn't be happier.

Jake dated two guys in college, but doesn't realise until he introduces one of them to Amy.

The family learns a secret about Schneider

alex said the far scarier sentence that at the same time was more comforting than anything the teenager had ever heard before. “she,” alex mumbled under his- no, her- breath, voice beginning to choke up, “was sitting on her bed, in her room. her,” he- she, she- sighed and spoke just a little louder, just a little surer. “her name is alex, and she’s a girl.” alex smiled to herself, so small it was probably barely considered one. she didn’t care; she finally felt whole.

or: in another world, elena isn't the only alvarez daughter (but it takes alex some time to figure that out)

#monthly fic rec #fic rec #bnha #bkdk #tdbk #kacchako #bakushin #bakuiida #bakudabi #erasermic #Harry Potter #drarry #odaat #b99 #peraltiago

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k01018018 · 5 years

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About

Mun

My name is Jamie and I am 18+! He/him or they/them pronouns.

I won’t rp with furries or any animal sort of muse, purely because it really wouldn’t make sense with my character.

Karr is difficult to ship with as a muse but I am down for that sort of thing if you’re willing to put in the time and effort.

Most importantly just message me! I don’t have many triggers and I’m more then happy to discuss plots!

Muse

Name: Karr

Birthname: Ilya (he is unaware of this name as he was kidnapped at the age of 3 and chose a name for himself at the age of 14)

Age: 22

Sexuality: Open to everyone

Gender: Cis man

Languages: Russian, English (struggles a bit), Japanese (only a little) !!Mun personally only speaks English!!

Birth place: A village on the outskirts of Nahodka, Russia. He is half Japanese (mother’s side) and half Russian (father’s side)

Backstory: Ilya was born in a quiet village by the fishing docks, where he grow up in a tight knit community. At this time a war had broken out all around the world with Soviet Russia becoming the leading super power. Many villages were being raided for potential new soldiers, and soon his was too. Karr’s mother and father were shot to death and he was taken into custody and assigned into a newly developed program called the Triple S; Soviet Super Soldier Program.

He was chipped in the neck with a device that numbs his ability to react to pain. It also erases any sexual desires he may have, and in general his emotions become detached and hazy. The chip can be turned off, and needs to be so it doesn’t over work his mind. But if it’s turned off for too long he will experience withdrawals that result in flashbacks and severe self harm.

He was assigned to a kind general who quickly grew attached to Karr. They built a father/son sort of relationship and at the age of 8 plan to escape the base together. This plan fails. The general is brought to court and electrocuted to death in front of Karr. Karr’s right arm is cut off at the elbow.

He was then given to a new general by the name of Lyle. Karr became his own personal play thing, and often kept him locked up within his room. He was sexually abused for a duration of 11 years. At the beginning he fought back, but over time, when his attempts to get away appeared futile, he gave in. Several of the more traumatic experiences are listed below (tw for non con)

Lyle hired a man and a woman to pretend to be Karr’s friends and gain his trust. Being the touch starved, and severely lonely man he is, Karr believed them. He fell in love with the man, and the man fell for him. As soon as Lyle discovered that they were actually starting to care for one another he sent the man and woman on a suicide mission. Reminded Karr that he would never have anyone but him.

When Karr was being especially defiant, Lyle dropped acid on the left side of his lip and cheeks.

Video taped everything. Sent these recordings to all the generals so they knew Karr was available for that sort of thing.

Made up various lies about his parents. Telling him how his mother was a whore and his father was an abusive prick. How they plucked him from that desolate village and saved him from that hell.

Continued to manipulate and abuse Karr to the point that by the last few years before his escape, he started to believe Lyle. He was convinced that this was all he had, and that regardless of how hard he fought it, nothing would ever change.

At 19 Karr finally breaks free from the base. Lyle is still alive, and very much capable of returning to Karr’s life. In canon i have his whole story outlined but for rp purposes he is roaming the world. Working as a hit man to earn money in the hopes that he can locate someone who can safely remove the chip in his neck.

Faceclaim: Sen Mitsuji

Additional features: He has a piercing through the bridge of his nose and through the tip of his penis. These were both attempts at feeling pain with the chip lodged in his mind, and they both failed. He has an acid scar along the left side of his lips and upper cheek. He wears a metal cyborg prosthetic on his right arm; elbow down. It is detachable.

Rules

- I will allow minors on this page but I will not rp nsfw with you if you are a minor. If you lie to me about this and I find out I will block you.

-Mun is trans. Please respect my pronouns. No hate on this page!

-There will be violence and non con themes. If this is triggering I can tag it, but I do urge you to consider unfollowing. I do not want anyone to feel uncomfortable.

-Have fun!! Feel free to talk to me! I love making new friends and hearing about your characters!!

#//about #//backstory #//reference

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discyours · 5 years

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I finished watching the latest season of Shameless and it’s reaffirmed to me how terrible this show is at LGBT representation so I’m gonna complain about it. Spoiler warning, obviously.

Okay so first of all, Ian and Mickey were one of the best parts of this show. I’m not a gay man so my opinion on this is not that valuable, but as far as I know it was very well received by the gay community. Their relationship was as raw and as realistic as everything else that’s good about this show. How uncommon is it, even now, for media to show that guys like Mickey can be gay? How uncommon is it for them to show a genuine connection between growing up being shaped by an environment like Mickey’s and the way he deals with his sexuality, rather than just creating a character that never took on any part of their upbringing because they were simply too camp to fit in. The way Mickey and Ian both felt about their sexuality very much shaped their relationship at the start of it, but it grew from there. The writers didn’t make the mistake of making the relationship about the fact that it was gay. Neither character was killed off, the relationship was very on-and-off but wasn’t intentionally cut short, and they didn’t shy away from showing on-screen affection while also (in my opinion) not coming off as fetishistic either. Mickey and Ian was everything that is usually done wrong done right, and unfortunately the only real example of that on this show.

The Kash storyline actually came before Mickey, but I wanted to start this post off with a positive example so I didn’t sound too salty. I have mixed feelings about how realistic this one was, and since I’m not a gay man I really don’t think it’s my place to state whether it was or not. But one thing is for sure; it wasn’t positive. I mean, it’s an affair between a seriously underage Ian (I think he was around 15 in the first season?) and his significantly older, married with children employer. Kash is also middle-eastern so this story fed into both homophobic and racist stereotypes.

In season 2 Ian sleeps with yet another married man: Ned/Lloyd (Jimmysteve’s father). Lloyd is even older than Kash (likely 50s/60s) while Ian is still underage. Lloyd describes his sexuality as “anything that walks” meaning this isn’t actually bad gay representation, but terrible bi representation.

Jumping ahead to season 6 (after Ian has been working in a gay club and had many hookups, but no real relationships aside from Mickey so nothing worth mentioning), Ian started dating Caleb, a black firefighter. Caleb turns out to be HIV positive but the show (in my opinion) handles it extremely well, making it a point that it’s possible to manage it with medication to the point where you can’t transmit it to anyone. It was a genuinely great, healthy relationship, until they decided to make Caleb cheat with a woman. Again, terrible bi representation, and once they’ve broken up the experience leads to Ian attempting to have straight sex too. It’s something a lot of gay men go through so I don’t think it was necessarily bad to add it to the show, but I do take issue with that even being needed as a plot device to show that Ian is truly gay, as that’s the way a lot of society views homosexuality too.

Shortly after this, Trevor is introduced. Like I said, I’m not a gay man so my opinion on all of the former was of limited value, but I am a trans man and dear fucking god I hated Trevor’s story. Trevor is the embodiment of a character whose only defining trait is that they are LGBT. He’s overly sensitive to anyone not being immediately understanding about trans issues, and his relationship with Ian infuriated me. Trevor was offended that Ian lost interest upon finding out that he was trans, and the show made it seem like he was in the right for it. Ian apologised and they end up dating. They end up fucking. All this right after having shown that Ian tried to sleep with the opposite sex and absolutely hated it. Pure virtue signaling and my personal annoyance that every trans person in Trevor’s friend group was shown to be an “SJW snowflake” who had to introduce themselves with their pronouns is worthless next to the genuine harm that was done by showing that gay men can and totally should sleep with the opposite sex as long as they’re trans.

I don’t even want to move on from that because of how genuinely terrible it is, but let’s do so anyway because there’s more. Further building on the pattern of terrible bi representation, there was the minor season 1/2 character Jasmine. She’s married but unfaithful, and her showing interest in women is seen as a part of her being so “free spirited”, if you can call it that.

The “throuple” between Kev, Vee and Svetlana is another example. This post is getting long but I mean, for god’s sake can this show have a single bi character that isn’t super promiscuous if not a fucking unicorn? Every bi woman who’s ever used dating apps deserves to be mad at this storyline.

Now for the thing that actually got me to write this post; the lesbian representation in this show. The first lesbian we see is Bob/Roberta, in season 1 and 2. She’s a literal stereotype as an extremely butch truck driver, dating a woman who is generally presumed to be straight. She and Monica try to take Liam away on the basis that he’s black and needs a black parent. Just like with Kash, this is doubly negative representation. She’s a minor character and all she does is “turn” a character by being so butch, and try to steal a fucking baby.

In early season 9 this stereotyping stunt is repeated. Debbie meets Alex, another black woman so butch that she’s introduced as someone who’s passing as a man. Alex makes Debbie question her sexuality (though Debbie is later revealed to be bi, she wasn’t at this point so this was still falling into the “straight woman is ‘turned’ by an ultra-butch lesbian” trope) and they move in together right away. When they have lunch together after an argument, Alex spends hours talking about all of her exes, eventually reaching a point where Debbie can’t take it anymore and leaves.

Also introduced in season 9 is Carl’s girlfriend, Kelly. When this character was introduced it was immediately obvious to me that she was coded to seem like a lesbian. She's the daughter of an army officer and plays softball, and just about everything about the way she looks and acts seemed gay. I initially thought that they made this character date Carl to kill any suspicions of her being a lesbian before they could begin, but then they actually turned “queer baiting” (not my term) into a plotline. They made her character flirt with Debbie, made Debbie try to “steal” her from Carl (again, a bi character not respecting established relationships), and very much hinted at a relationship happening. The preview for season 9 episode 13 showed them kissing, and they still ended that story with her being straight and apologising for accidentally leading Debbie on.

I’ll throw in an honorable mention to Lea Delaria’s very brief appearance as a character so minor I can’t even remember what it was called; Lip’s potential AA sponsor; another ultra-butch stereotype, and an asshole. Oh and there was the whole gentrification plotline, where a bunch of rich lesbian couples (you guessed it, stereotypes!) moved into the southside. And Ford’s exes that Fiona met when she went bowling, which were barely actual characters and more of a joke about how gay they looked and how Ford clearly had a type. With Kelly being revealed as straight, the closest this show has ever gotten to a lesbian character that took actual part in the plot beyond being a stereotype was the lesbian couple in Fiona’s apartment building, and they still had one of them sleep with a man (off-screen, luckily) as a Totally Necessary Measure to get pregnant.

Shameless was genuinely one of my favourite shows and it wasn’t too hard to look past most of this at first, considering so many characters are terrible people anyway. But I can’t ignore the flaws at this point. This goes beyond comedy and I’m almost angry that Shameless has ruined itself for me just by being homophobic.

#OP #shameless #shameless US #LGBT representation #ok to reblog #long post #this post is non-exhaustive btw I'm 99% sure I've forgotten a few things

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ladyloveandjustice · 5 years

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Fall 2018 Anime Overview: Double Decker! Doug & Kirill

Double Decker! Doug and Kirill follows a special police force devoted to dealing with cases involving “Anthem”, a highly dangerous super-drug that can be both fatal and grant uncontrollable superpowers. The squad is divided into three pairs of partners. The eponymous Kirill is a enthusiastic newbie who partners with a deadpan, “kind of an asshole” veteran named Doug.

It’s hard to say when a show crosses the line from “dumb in a fun way” to “just mind numbingly dumb” but I’d say Double Decker crossed that threshold around about the midpoint of the series. Which is a shame, because I was rooting for it. It seemed like an anime with a lot of potential- it was humorous, irreverent and bombastic, it seemed fun and colorful with a varied cast, it had a nice variety of ladies in the squad, and two of the ladies, Max and Yuri, were heavily coded as a couple right off the bat-

-with Max (on the left) in particular going putting off some Impressive Lesbian Energy with her aesthetic...and early on Doug announced that his life goal was to “eliminate poverty and class”, indicating the series intended to deal with social issues.

It IS possible to be a cheesy, fun show that is also inclusive and deals with social ills, but Double Decker’s clumsy, simplistic attempts to balance this with the larger goofy plot ultimately meant it fell short of being an truly entertaining romp AND was utterly disastrous at being socially aware.

Double Decker acts like it wants to say something about tolerance at points, but is ultimately gutless, toothless and halfhearted, sometimes verging on offensive. It became apparent the show wasn’t going to be truly LGBT inclusive with a character’s uh, “gender reveal” scene midseries that is a just...a mess. Some characters reactions to the “revelation” are just blatantly transphobic (thinking its hilarious, saying the character in question should “tell the truth" about their sex, etc) and this was never called out or challenged. It’s finally explained (baffllngly late in the series) that rather than actually being trans, this character is a cis man who just disguised himself as a woman for flimsy plot reasons, it doesn’t make how the reveal scene was handled and how it was painted as being “funny” any better. It’s not my lane so I won’t really go into it, but this article at Anime Herald covers the whole mess in detail. The whole thing is SO stupid and honestly there was no reason for it to be a plot at all.

If that “reveal” episode had me feeling wary about the show, the episode following sunk any hopes I had for it. Double Decker didn’t even have the guts to have Max and Yuri be explicitly romantically involved, instead just giving vague, baity hints. What’s worse, the episode focusing on Max was boring as sin. It was painfully bland and on the nose “critique” of high school proms SO rote it even had the girl who wanted to be popular transform into a literal “queen bee” (GET IT). The only thing we actually learn about Max in her supposed focus episode is that she hates proms because a bunch of kids rejected her trans friend at one which caused her friend to turn to drugs and disappear forever. Yep, not only can the show not bother to give us actual lesbians, trans people are just tragic props (and the attempt to say a thing about how trans people are treated badly would have felt a LOT more sincere if transness hadn’t been treated as a joke in THE EPISODE JUST BEFORE THIS ONE).

Doug also only became aware of poverty existing because of a tragic prop- his backstory amounts to a dead little shoe-shining street girl so one dimensional and cliche I’m surprised she wasn’t found frozen in an alley clutching a book of matches, and that one incident made him realize Poor People Shouldn’t Be a Thing so now he’s, uh....well, he’s not really doing anything about it, but he says he wants to, and that’s good enough right?

Yeah, that’s about the level of nuance we’re dealing with here. It’s nice that Double Decker tried, I guess, but if this was going to be the level of its effort, I wish it had just stuck to being a goofy sci-fi show. As it was, even the “goofy buddy cop” aspect felt really hollow because the show didn’t give us a reason to be invested in these partnerships or these characters.

I wanted to be invested! I was SO ready to appreciate the punk butch and her robot girlfriend, but instead we barely learn anything about them or see them interact. I was READY to be tremendously invested in the straightlaced office girl and her vulgar pink haired partner, but we didn’t learn anything beyond their surface personalities- nothing substantial about what drives them or where they come from or anything. Doug had his eye-rolly dead-little-girl backstory and admittedly sometimes amusing snarky asshole personality, but he spends so much time being insincere there wasn’t much to latch onto with him.

Kirill was pretty much the only one in this show who felt like an Actual Character, and I did find him extremely likable- he was utterly sincere in everything he did, full of heart, dumb and enthusiastic in a fun way, and incredibly sweet and supportive to his friends and loved ones (he was also the only one who was chill and accepting about the not-really-trans character too so that earned him some points) but all the stuff going around him was so empty it didn’t matter.

(ending spoilers here)

The show didn’t put the work into making you connect with these characters, but it DID still expect you to be invested in them. One of the kinda-lesbians appears to have died at one point in the show, but it makes zero impact because you knew basically nothing about that character anyway- it instead just feels annoying, like “wow, you’re just gonna kill that gay without bothering to develop her huh” but the show clearly expects you to be devastated. Then when it’s revealed at the end “PSYCH she’s alive for this ridiculous jokey contrived reason haha really pranked you huh” it’s just even more annoying. Just because I’m relieved you didn’t actually bury the gay doesn’t mean you pretending to bury her wasn’t insulting and pointless. All you did was bring my attention to how little you bothered to develop this character and how willing you are to use her and her kinda-girlfriend’s pain as a plot device, so thanks?

(spoilers end)

The humor of the show basically followed “you thought THIS thing was gonna happen but instead WACKY TWIST haha now the narrator makes a snarky comment about it” and while that was fun at first it just got old without anything going on besides that. And as for the plot, it’s...generous... to call it a plot. At the end it jumps straight to “AND SUDDENLY THERE WERE ALIENS” with almost zero foreshadowing and it just gets stupider from there. Such a ridiculous development would work on a show that was either a) a pure farce or b) something super wacky but with enough heart, drama and character to keep you invested, but DD was neither of those things. It was an anime that wanted you to care, but gave no fucks itself.

(Also this show is supposed to be related to Tiger and Bunny but I honestly have no idea how these two anime are connected in-universe. Is this a prequel? sequel? Are they happening at the same time? WHO KNOWS, THE CREATORS SURE DON’T)

The animation was also nothing to write home about, with a lot of awkward CGI shots and pretty ugly clothing designs- it was colorful enough to distract from it a lot of the time, but definitely not winning any aesthetics awards.

So yeah, Double Decker is very far from the worst anime I’ve ever watched, and I like the concept I think it was GOING for- but what we ended up with was something completely mediocre. The first couple episodes were fun, but by the end it was a chore to watch. I finished it because “well I’ve come this far might as well” rather than any real investment in the show. It wasn’t painful (except for the clumsy attempts at dealing with trans issues), but it was so completely stupid and forgettable, which is sad, because it seemed like it had so much potential at the start.

#double decker #double decker! doug & kirill #double decker doug and kirill #anime #fall 2018 anime #anime overview #my reviews

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meeedeee · 6 years

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Star Wars: The Last Jedi RSS FEED OF POST WRITTEN BY FOZMEADOWS

Warning: total spoilers for The Last Jedi.

After weeks of frantically speed-scrolling through my various social media feeds when anything that looked like a Star Wars spoiler appeared, I’ve finally managed to get out and see The Last Jedi. Despite my diligence, I didn’t go in completely unspoiled: I knew the general shape of the fan discourse surrounding the characterisation, which means I had some context cues and a smatter of details to work with, but not the major plot points. Now that I’ve seen the movie, however, I’m electing to write my own review before catching up on other people’s opinions, so if I touch on something that’s already been dissected at length without referencing said discussion, that’s why.

In broad-brush strokes, I enjoyed The Last Jedi. Assessing it purely on its own merits, there was a lot it did right: the cinematography, special effects and original creature creation were wonderful, I loved Rose Tico, and there was a pleasing balance of drama, emotion and humour, the requisite scenery-chewing deftly subverted by moments of self-aware comedy, especially in the opening exchange between Hux and Poe Dameron. Mostly, it was solid.

Mostly.

But.

The thing is, no Star Wars film is an island. The Last Jedi is the second film in a trilogy of trilogies, one whose core trio were clearly and intentionally mapped to the heroes of the (original by creation-date, second by internal chronology) series in The Force Awakens: Finn to Han, Rey to Luke and Poe to Leia. This being so, it was easy to mark the other narrative similarities between The Force Awakens and A New Hope – most notably, the parallels between the Death Star and Starkiller Base, both of which were destroyed in the respective finales, but not before their destructive power was unleashed. Which makes comparing The Last Jedi to The Empire Strikes Back not only reasonable, but – I would argue – necessary, if only to determine whether the decision to parallel the new with the old has continued beyond the first film.

The short answer to that is: yes, The Last Jedi is structurally akin to Empire, but not always to useful effect. The long answer, however, is rather more complex.

As a writer, there’s nothing that makes me crave a metaphorical red pen quite like a story where, for whatever reason, I can see the authorial handwave of Because Reasons gumming up the mechanics. If The Last Jedi was an original film, detached from the Star Wars universe, I’d be able to tell you that the problem stems from the poorly-forced sexist clash between Poe and Holdo, and that would be that. But because The Last Jedi has borrowed certain key narrative structures from Empire, there’s a clear template against which to measure its narrative choices, which makes it easier to infer the hows and whys of various changers.

A quick refresher in Star Wars, for those who haven’t watched the original trilogy lately. The Empire Strikes back begins with the Rebel forces being ousted from Hoth in a massive battle. After fleeing the planet, Luke goes to Degobah to train with Master Yoda, while Han and Leia spend some time dealing with a broken Millennium Falcon and the pursuit of Boba Fett, kissing and bickering and generally cementing their chemistry before finally going to track down Han’s old buddy, Lando Calrissian, in Cloud City. Frustrated with Yoda, Luke has a premonition of danger and goes to rescue his friends, as Lando, who’s been strong-armed by Darth Vader, hands Han and Leia over to the Empire. Han is frozen in carbonite after Leia declares her love for him, Luke loses a hand and learns Vader is his father, and the film ends with the pair them, plus Lando, escaping as they resolve to rescue Han.

By comparison, The Last Jedi follows a fairly similar arc. The film opens with the Rebellion being ousted from its base and pursued in a space battle. Rey attempts to persuade Luke to help her, while Poe and Finn are left dealing with a fleet that’s low on fuel as they try to outrun Hux and the First Order. As Leia lies injured, Poe clashes with Holdo over command, which results in him sending Finn and Rose on a secret mission to find a codebreaker who can help sabotage the First Order’s ship. Unable to the codebreaker, Rose and Finn return instead with DJ, a stranger who claims he can help them, but who ends up betraying them to the First Order. Unaware of this, Poe mounts a short-lived mutiny against Holdo. Meanwhile, frustrated with Luke and experiencing an odd connection to Kylo Ren, Rey goes to try and turn him to back to the light, only to find that Snoke was the source of their connection. Kylo kills Snoke and his guards with Rey’s help, reveals the truth about her lost parents, then betrays her in turn. In the final battle, Rose is injured and declares her feelings for Finn, and the film ends with the rebellion united but still fleeing.

Based on this, it seems clear that The Last Jedi is intended to parallel The Empire Strikes Back, both structurally and thematically. All the same elements are in play, albeit recontextualised by their place in a new story; but where Empire is a tight, sleek film, The Last Jedi is middle-heavy. The major difference between the two is Poe’s tension-and-mutiny arc, which doesn’t map to anything in Empire.

And this is the part where things get prickly. As stated, I really love Rose Tico, not only because she’s a brilliant, engaging character superbly acted by Kelly Marie Tran, but because she represents another crucial foray into diverse representation, both in Star Wars and on the big screen generally. There’s a lot to recommend Vice-Admiral Holdo, too, especially her touching final scene with Leia: I still want to know more about their relationship. I am not for a moment saying that either character – that either woman – doesn’t belong in the film, or in Star Wars, or that their roles were miscast or badly acted or anything like that. But there is, I suspect, a truly maddening reason why they were paired onscreen with Finn and Poe, and that this logic in turn adversely affected both the deeper plot implications and the film’s overall structure.

Given how closely The Last Jedi parallels the main arc of Empire, it’s narratively incongruous that, rather than Finn and Poe heading out to find the codebreaker together, the pair of them are instead split up, decreasing their screen-time while extending the length of the film. But as was firmly established in The Force Awakens, Finn and Poe map to Han and Leia – which is to say, to a canonical straight couple. Even without the phenomenal on-screen chemistry between John Boyega and Oscar Isaac, that parallel is clear in the writing; and in Empire, Han and Leia’s time alone is what catalyses their on-screen romance.

That being so, I find it impossible to believe that Finn and Poe were split up and paired with new female characters for anything other than a clumsy, godawful attempt to No Homo the narrative. Rose and Finn’s scenes are delightful, and their actors, too, have chemistry, but every time we cut back to Poe and Holdo, the story flounders. Everything that happens during Finn’s absence is demonstrably redundant: not only does it fail to move the plot forward, but in trying to justify the time-split, writer/director Rian Johnson has foisted a truly terrible mini-arc on Poe Dameron.

Specifically: after Leia is incapacitated, Holdo is given command of the rebellion. Seeing Holdo for the first time, Poe looks startled and states that she’s not what he was expecting. When Poe, recently demoted by Leia for ignoring orders, asks Holdo what her plan is, Holdo dismisses him as a hot-headed “flyboy” who isn’t what they need right now. Not only doesn’t she tell him where they’re headed, she apparently doesn’t tell anyone else, either. This failure to communicate her plan to her people is, firstly, why Finn feels he has to light out on his own, which is how he meets Rose, and is secondly why, once Finn and Rose come up with a plan to infiltrate the First Order, Poe decides that they can’t risk involving Holdo.

As we eventually learn, Holdo does have a plan – and a good one. There is literally no reason why, given the steadily escalating fear and anxiety of her crew, who are watching their companion ships get picked off one by one, she doesn’t share the full details with the rebellion. Instead, she leaves it to Poe to figure out that she’s refuelling the transport ships to evacuate – and when he panics, pointing out (correctly) that the transports are neither shielded nor armed, she likewise doesn’t elaborate on the fact that they’ll have a cloaking device to shield them and a destination close by, one where they can land and take shelter while the main ship acts as a decoy.

Because of Holdo’s decision to withhold this information, Poe thinks that she’s given up and is leading them blithely to their deaths, and so stages a mutiny – one in which he’s supported by a number of other, equally worried crewmembers. Happily, Leia recovers from her injuries in time to reclaim control, and only then does she let Poe in on Holdo’s plan. Poe suffers no further consequences for his actions, and even when they talk privately, both Holdo and Leia seem more amused by his mutiny than angry at what he’s done, rendering the whole arc moot. Except, of course, for the fact that Finn and Rose, on their mission from Poe, bring DJ into the mix – and DJ, who knows about the cloaking device, betrays this secret to the First Order, who promptly open fire on the transport ships.

Hundreds of rebellion soldiers die because Poe and Holdo so disliked each other on sight that neither one trusted the other with vital information – and for the rest of the film, this is never addressed. But of course, Johnson can’t address it, not even to hang a fucking lampshade on it, because the entire scenario is manufactured as a way to justify Poe’s protagonist-level screentime while Finn is away – which is also why, contextually, their antagonism doesn’t even make sense. The film begins with the premise that the entire rebellion, who’ve just been flushed out of their single remaining base, is on the run together – so why the fuck haven’t Poe and Holdo met before now? Especially as both are shown to have a close, personal relationship with Leia, it rings utterly false that they’d not only be in the dark about one another, but start out instantly on the wrong foot.

As such, the coding around Poe’s surprise at Holdo – that she’s not what he expected – is a lazy misstep. Traditionally, when hotshot male characters say this about a new female commander, it’s a sexist dogwhistle: oh, I didn’t know we’d be getting a woman. But why would Poe Dameron, son of Shara Bey and devotee of General Leia Organa, be surprised by Holdo’s gender? He wouldn’t, is the answer. Flatly, canonically, he wouldn’t. But if there’s some other aspect of Holdo that’s meant to ping as unusual besides her being female, it’s not obvious. It would’ve made far more sense to write the two as having a pre-existing antagonistic relationship for whatever reason: instead, we get Poe cast as an impatient, know-it-all James Bond to Holdo as Judi Dench’s M, who doesn’t have time for his nonsense when they first meet, but who ends up forgiving it anyway.

It’s like Rian Johnson looked at the Poe Dameron of The Force Awakens – a character universally beloved for being vulnerable, funny, charming, honest, loyal and openly affectionate – and decided, Hey, that guy’s an awesome pilot, which means he’s a COOL GUY, and COOL GUYS don’t play by the RULES, man, especially if it means listening to WOMEN – they just A-Team that shit in secret and to HELL with the bodycount! And anyway he’s HOT, so he’s ALWAYS forgiven.

Dear Rian Johnson, if you’re reading this: I like a lot of what you did with this film, but FUCK YOU FOREVER for making Poe Dameron the kind of guy who gets a bunch of his friends killed, then has a mutiny, then indirectly gets even MORE people killed, and never shows any grief about or cognisance of his actions, all because you wanted to avoid fuelling a homoerotic parallel that you openly queerbaited in promo but never intended to fulfil anyway. GIVE US OUR GODDAMN GAYS IN SPACE, YOU COWARD.

Anyway.

The point being, the entire plot of The Last Jedi suffers because of a single, seemingly homophobic decision – unnecessarily splitting up Poe and Finn to avoid further Han/Leia comparisons – and the knock-on consequences thereof. Which is where I bring out my metaphorical Red Pen of Plot-Fixing and say, here is what should’ve happened. Namely: Poe and Holdo should’ve had a pre-existing antagonistic relationship, but one that didn’t prevent them from sharing information like grown-ups. Rather than Rose being part of the rebellion, she should’ve been the codebreaker they were sent to retrieve on Holdo’s orders (because two plans are better than one, and why not try both gambits?). This voids the need for DJ, who barely appears before disappearing again, so that Rose-as-codebreaker retains her status as an important, well-fleshed character who interacts with both Finn and Poe, and whose introduction works to map her onto Lando Calrissian. If you really must keep DJ because Benicio del Toro and thematic betrayal parallels (more of which shortly), he can be the dubious guy with First Order secrets that Rose has been trying to recruit for the rebellion, which explains why she’s with him on the casino planet in the first place, and how he’s so easily able to cut a deal with Phasma. BOOM! You’ve just saved a solid 20 minutes of redundant screen-time without degrading Poe’s character or undermining Holdo’s for no good reason and without dumb sexism creeping in. You’re welcome.

(Also. ALSO. Not to take away from how lovely that Finn/Rose kiss was, but let’s just take a moment to peek into the other timeline, the one where Stormpilot gets to go canon the same way Han and Leia did in Empire. Let’s imagine Finn and Poe bickering in the casino, getting all rumpled during the escape while Rose and BB8 exchange Meaningful Looks and scathing droid-beeps about the two of them. Let’s imagine, during that final battle on Krait, that it’s Poe, not Rose, who stays behind to forcibly knock Finn out of that self-sacrificing dive towards the enemy gun; Poe who grabs Finn and kisses him because they should fight for what they love, not against what they hate, before passing out injured, thus completing the parallel of Han going into carbonite after kissing Leia. Let us gaze upon that world, that glorious thematic act of completion, subversion and queer recontextualisation, and then quietly wish a pox on everything in our cruddy Darkest Timeline that conspired to make it unhappen.)

And now, with all that out of the way, let’s address the Rey/Kylo issue.

As I said at the outset of this piece, I tried my best to avoid spoilers before watching the film, but no matter how quickly I scrolled through feeds or closed my tabs, I still knew that a lot of people had come away rejoicing in the idea that Rey and Kylo were being set up romantically, while an equal number had not.

And I just. Look. While I’m not going to stand here and tell people what to ship or on what basis, both generally and at this historical moment in particular, I find myself with an intense personal dislike of narratives, canonical or otherwise, which take it upon themselves to woobify Nazis, neo-Nazis, or the clearly signposted fictional counterparts thereof, into which category Kylo Ren and the whole First Order falls squarely. I don’t care about how sad he feels that he killed his dad: he still fucking killed his dad, and that’s before you account for the fact that he demonstrably doesn’t give a shit about committing genocide. In the immortal words of Brooklyn Nine Nine’s Jake Peralta: cool motive, still murder. Except for how the motive isn’t actually cool at all, because, you know, actual literal genocide.

From my viewing of the film, I honestly can’t tell if Rian Johnson wants us to think of Kylo as a genuinely sympathetic, redeemable figure, or if he’s just trying to improve on the jarring, horrible botch the prequels made of Anakin’s trip to the Dark Side by showing us his complexity without negating his monstrousness. Or, well: let me rephrase that. In terms of the actual script and what takes place, I’d argue that, even if Kylo is given a final shot at redemption in Episode IX, he’s still not being primed as Rey’s love interest. It’s just that the question of how much Johnson wants us to care about Kylo as a person, regardless of anything that happens with Rey, is a different question, for all that the two are easily conflated.

Yes, Rey and Kylo touched hands. They did! And Kylo killed Snoke instead of Rey! This is what we might call a low fucking bar for romantic compatibility, but hey: it’s not like white dudes in cinema are ever really called upon to jump anything higher. More salient in terms of the Star Wars universe is the fact that, after they defeat Snoke’s guards, Kylo’s appeal to Rey to join him and rule the galaxy together is an almost word-for-word callback to the offer Anakin makes Padme in Revenge of the Sith, right before he force-chokes her into unconsciousness, leaves her pregnant ass for dead and turns into Darth Vader. The fact that Anakin and Padme are also sold as a tragic romance prior to this moment is not, I would contend, the salient hook on which to hang the hopes of canon Reylo. Aside from anything else, Rey is mapped to Luke and Kylo, very clearly, to Darth Vader: with clear precedent, Rey’s desire to turn Kylo back from the Dark Side can be heartfelt without being romantic.

(Also, I mean. The connection that Rey and Kylo had was deliberately forged by Snoke to exploit their weaknesses, which is why they each had a vision of converting the other. Though we’re given a hint that the link remains in the final scenes, it ends with Rey shutting the door – both literally and figuratively – in Kylo’s face. I’m hard-pressed to view that as destiny.)

As for Kylo himself, his characterisation reads to me as deliberate, selfish nihilism. Kylo is conflicted over his murder of Han Solo because it impacts him, but at no point does he hesitate to reign down destruction and death on strangers. His desire to turn Rey to the Dark Side is likewise covetous, possessive: she is powerful, and he wants a powerful companion in the Force, but one who, by virtue of being his apprentice, will be subordinate to him – not a judgemental superior, as Snoke was. This is reflected in the way DJ’s betrayal of Rose and Finn is paralleled with Kylo’s decision to first help Rey when it benefits him, and then to turn on her afterwards. Like DJ, Kylo is mercenary in his allegiances, helping whoever helps him in the moment, then discarding them when the relationship is no longer useful.

The death of Snoke itself, however, is rather anticlimactic. He was a looming, distant figure in The Force Awakens, and while there’s an established tradition of Star Wars villains showing up and looking cool without their origins ever being satisfactorily explained at the time, this is vastly more annoying in Snoke’s case. Unlike General Greivous, Darth Maul or Boba Fett, Snoke isn’t just the random antagonist of a single film, plucked from obscurity to thwart the heroes: he’s the reason Ben Solo turned to the Dark Side and become Kylo Ren. Presumably, the hows and whys of Snoke manipulating the young Ben could still come out in Episode IX, but if it never gets addressed onscreen, I’m going to be deeply irritated.

On a more positive note, I enjoyed what the film did with Luke’s arc, for all that it’s not what I’d expected. To me, one of the most fascinating arguments in Star Wars discourse is the question of the Jedi, their morality, and how it all set Anakin up for failure. The Jedi ideology put forth in the prequels is the kind of thing that sounds superficially deep and meaningful, but which looks increasingly toxic the more closely it’s examined. The ban on children, marriage and close relationships outside the Order; the extreme youth of those taken for training combined with a forcible, protracted separation from their families; the idea that fear necessarily leads to anger, and so on. Luke describing the Force to Rey as something that existed beyond the Jedi, an innate aspect of the world, felt both refreshing and intuitively right, even given the necessity of respecting the balance between light and dark. The appearance of force-ghost Yoda felt a little pat, as did his ability to call lightning, but he still had one of my favourite lines in the whole film, delivered in support of Luke’s choice to step away from the Jedi teachings: as masters, we become the thing they surpass.

There were other, smaller niggles throughout than my issues with Poe and the no-homo restructuring of the plot: the handwaving of distances between Luke’s world and the main fight in a story that hinged on fuel supply; the sudden appearance of trenches and tunnels into the caves on Krait when everyone was meant to be trapped inside; the random appearance of an Evil Ball Droid to play momentary nemesis to BB8; the on-the-nose decision to show a random white slave boy, holding a broom he Force-summoned like a lightsaber, at the very end of the film. And as wonderful as it was to see Billie Lourd on screen, the knowledge that Carrie Fisher will be absent from Episode IX – the film that was meant to have been her movie, just as Harrison Ford had the The Force Awakens and Mark Hamill had The Last Jedi – rendered both her presence and her mother’s all the more bittersweet.

Ultimately, The Last Jedi is a successful-but-frustrating mess, which is kind of how you know it’s a Star Wars movie. I’ll be forever angry at the carelessness with which Rian Johnson treated Poe Dameron and Vice-Admiral Holdo, but even if I could’ve wished for a different plot structure, I’m always going to stan hard for Rose Tico, who was warm and kind and intelligent and who stole every scene she was in. LESS REN, MORE ROSE – that’s my new motto.

Here’s hoping that Episode IX delivers.

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