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little-pondhead · 8 days

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Your Ancient History, Written In Wax

Danny knew he should have put better security around the Sarcophagus of Eternal Sleep. It wasn’t even Vlad who opened it this time! The fruitloop was too busy doing his actual mayor duties because for some godforsaken reason, the man got re-elected.

No, it wasn’t Vlad. And it wasn’t Fright Knight, either. Nor the Observants. Who opened the Sarcophagus, then? Danny didn’t have time to find out as Pariah Dark promptly tore open a hole in reality and hunting Danny down.

The battle was longer this time. He didn’t have the Ecto-Skeleton, as that was the first thing Pariah had destroyed. The halfa had grown a lot over the past few years, and learned some new tricks, but apparently sleeping in a magic ghost box meant that Pariah had absorbed a lot of power. The bigger ghost acted like a one-man army!

Amity Park was caught in the middle of the battle, but the residents made sure it went no further than that. Vlad and the Fentons made a barrier around the town to keep the destruction from leaking. Sam, Tucker, and Dani did crowd control while Danny faced the king head-on.

Their battle shook the Zone and pulled them wildly between the mortal plane and the afterlife. Sometimes, residents noticed a blow from Pariah transported them to the age of the dinosaurs, and Phantom’s Wail brought them to an unknown future. Then they were in a desert. Then a blazing forest. Then underwater. It went on like that, but no one dared step foot outside of Amity. They couldn’t risk being left behind.

It took ages to beat him, but eventually, Danny stood above the old ghost king, encasing his symbols of power in ice so they couldn’t be used again. He refused to claim the title for himself. Tired as he was, Danny handed the objects off to Clockwork for safe keeping and started repairing the damage Pariah had done to the town. The tear he’d made was too big to fix, for now, so no one bothered. They just welcomed their new ghostly neighbors with open arms and worked together to restore Amity Park.

Finally, the day came to bring down the barrier. People were gathered around the giant device the Fentons had built to sustain it. Danny had brought Clockwork to Amity, to double check that they had returned to the right time and dimension.

Clockwork assured everyone that they were in the right spot, and only a small amount of time had passed, so the Fentons gave the signal to drop the shield.

Very quickly did they discover that something was wrong. The air smelled different. The noise of the nearby city, Elmerton, was louder and more chaotic. Something was there that wasn’t before, and it put everyone on edge.

Clockwork smiled, made a remark about the town fitting in better than before, and disappearing before Danny could catch him.

Frantic, Danny had a few of his ghost buds stay behind to protect the town while he investigated.

He flew far and wide, steadily growing horrified at the changes the world had undergone. Heroes, villains, rampant crime and alien invasions. The Earth was unrecognizable. There were people moving around the stars like it was second nature and others raising dead gods like the apocalypse was coming. Magic and ectoplasm was everywhere, rather than following the ley lines like they were supposed to.

Danny returned to Amity.

The fight with Pariah had taken them through space and time. Somewhere along the way, they had changed the course of history so badly that this now felt like an alien world.

How was he supposed to fix this?

In the Watchtower, The Flash was wrapping up monitor duty while Impulse buzzed around him, a little more jittery than usual. The boy was talking a mile a minute, when alarms started blaring an alarming green. Flash had never seen this alarm before, and its crackling whine was grating on his ears.

Flash returned to the monitor, frantically clicking around to find the issue, but nothing was popping up. No major disasters, no invasions, no declarations of war. Nothing! What was causing the alarm?

Impulse swore and zipped to a window, pressing his face against it and staring down at Earth. “Fuck! It’s today isn’t it? I forgot!”

“What’s today?” Flash asked. He shot off a text to Batman, asking if it was an error. The big Bat said it wasn’t, and that he would be there soon.

“The arrival of Amity Park. I learned about this in school; the alarm always gives me headaches.”

Flash turned to his grandson, getting his attention. “Bart,” he stressed. “What are you talking about?”

Impulse barely glanced over his shoulder. Now that Flash was facing him, he could see a strong glow coming from Earth. “The first villain, first anti-villain, and the first hero,” he said anxiously. “They all protect the town of the original metas. They’re all here.”

“Here? Now??”

“Yeah? They weren’t before, but they are now. The first hero said there was time stuff involved, which was what inspired me to start practicing time travel in the first place.”

“I’m not following.”

“It’s okay. We should probably go welcome them before they tear apart Illinois, though. The history I remember says that some of them freaked and destroyed a chunk of the Midwest during a fight with each other.”

“WHAT?”

#dpxdc #pondhead blurbs #liminal amity park #I’ve seen stuff like this in the mhaxdp fandom and I eat it up every time #basically the fight with Pariah caused the town to jump through time a little #and while they THOUGHT they were keeping everything in #shit leaked out and tainted those points in time #so technically #historically and genetically speaking #Amity Park is the origin point for the meta gene and Danny made history as the first hero #because Clockwork is a little shit #everyone embodies a basic ability and it has grown from there #the flash family are direct descendants of Dani (speed force Dani for the win)#Dash is the reason super strength exists #so on and so forth #go buck wild #bart learned about it briefly in history class in the 30th century #practically hero worships them #booster gold knows about them too but in contrast to Bart’s excitement #booster is fucking terrified because there was a period where Amity Park rebelled against the US government #and he’s from that specific time #he learned to fear phantom because he lived during that part while Bart is from farther in the future when those issues got resolved #guess who’s chosen to welcome the town? >:)#if you’re wondering what happened to the GIW #they turned into the branch Amanda Waller runs #Danny is the first hero #Vlad the first villain #and Dani the first anti hero #there’s an arc where Danny is trying to fix things but clockwork won’t let him into the timestream and all the heroes are horrified #because yeah Danny is the OG but if he goes back in time to fix his ‘mistake’ what will happen to them?

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ineffectualbookseller · 8 months

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The way Azirphale is underestimated and practically infantalized by heaven is so closely tied to his femininity and I think we should talk about it more because I just want to shout about how relatable the way he's treated in his workplace is as a woman working in a traditionally male field

It's in all the little niggling comments from your boss about personal things that hold no bearing on your work

and the assumption that what you're doing must be simple if it was assigned to you

your work is trivialized

and you get these the placating smiles when you're told plans and proposals are rejected and passed over

or when your complaints are dismissed

and you get more of the same from upper management

it all feels so frustrating and draining but you're at work so all you can do is take a breathe put on that mask and move on with your day

It is all so deteimental to your emotional well being and textually, so much of this is tied to Aziraphale's softness, his gayness - his femininity

The thing about working in an environment and gives you this feeling - of being simultaneously destrought watching your belief in yourself get chipped away but also just so irate becuase you know you don't deserve it - is how it builds. It sinks under your skin and feeds into this indignant dejection until you can have a moment of release - but Azirphale doesn't get to bitch about it over drinks with friends, he doesn't get a lunch break where he can go for a walk and listen to an angry scandi death metal playlist, he doesn't even get the chance to cry about it in the bathroom for 5 minutes before confronting it again

(And I talked a little bit about it in the tags of this beautiful photoset but this all comes into play whenever Crowley dismisses his plans or calls him an idiot. These are purely emotional reactions; I really don't think Crowley means much by it - he respects Aziraphale's opinion and genuinely thinks he's brilliant - but Crowley is so quick to use this terminology when Aziraphale is making a decision Crowley thinks is wrong and he doesn't know how much this hurts Aziraphale. Just like Aziraphale doesn't understand the true impact the Fall had on Crowley, Crowley doesn't understand the ways heaven has been tearing away at Aziraphale's self worth)

Aziraphale has been facing this constant drip of denigration since before the beginning of time and has never released the pressure valve. At this point, he's a bomb waiting to go off

#(I want to note that I am coming at this from my personal experience as a woman #but I know femme neurodivergent and disabled folks of all genders face these same issues)#along similar lines I have tons of feelings about how often Aziraphale hides his hands when talking to other angels #to hide his stimming #and look I try not to tie everything back to explaning why Aziraphale ended s2 the way he did but apparently I can't #its just the juiciest character moment to me #also thinking about how angry Crowley was at Gabriel when he was treated like this once #granted shut up and die already IS the worst thing Gabriel has said to Aziraphale but if Crowley knew how much of this was going on...#aziraphale #good omens #go2 spoilers #good omens meta #Thanks to folks who responded to my tags on that post because you really motivated me to find these screen caps #and finish this post which has been sitting in my drafts for ages #also sorry so many of gabriels faces are funny I cant help that jon hamm is comedy gold - i refuse to let it undermine my point

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diver5ion · 1 year

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#rabbit hole #hailey winton #lolz she's funny #but i also don't trust her #meta golding #//#another day another show

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marley-manson · 2 months

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Hawkeye and Frank are the two most diametrically opposed characters on Mash. They clash politically, ideologically, emotionally, intellectually, and even physically on more than one occasion. There is virtually nothing they agree on. But they do have one significant similarity: both Hawkeye and Frank are notably, pointedly effeminate.

Hawkeye is the central protagonist, so he's written to be likeable, even admirable, especially in the first five seasons of the show when satire dominated rather than character drama. He's the character who makes the correct political points and voices the show's ideology, and male audience members are encouraged to identify with him and aspire to be like him. He's witty, he's smart, he's charismatic, he dodges consequences a lot, he's highly skilled in his work, and he has a strong personality and natural leadership qualities.

Frank is the main antagonist up until the end of season five. He's written for audiences to hate him, mock him, and occasionally be horrified by him. He's dull-witted, incompetent, awkward, easily led and manipulated, and always gets his comeuppance. Few audience members are likely to aspire to be more like Frank Burns.

And yet, while most likeable protagonist/detestable antagonist duos in American popular media would also be differentiated in terms of gender performance as a matter of course - the effeminate villain being a standard stock character, always set against a ruggedly masculine hero - Mash takes a different approach.

From his core personality as a sniveling, weak-willed follower, to the way other characters, including Hawkeye, routinely make fun of him by comparing him to a woman or insinuating that he's gay, Frank Burns certainly fits the part of weak, emasculated villain. What's more interesting, and much less commonly seen in Hollywood media, is that Hawkeye is portrayed as just as unmanly, and just as, if not more prone to having it pointed out in the show.

Often Hawkeye's jokes at Frank's expense include the implication that Hawkeye is attracted to him himself, and not necessarily as "the man." He jokes, "Guess it's a marriage, Frank. I know I can do better, but at my age, can I wait?" in Hawkeye, Get Your Gun; he switches from calling Frank one of his vampire brides to taking the feminine part in post-coital pillow talk after siphoning his blood in Germ Warfare; he kisses or tells Frank to kiss him in Major Fred C. Dobbs, For the Good of the Outfit, and Bulletin Board, etc.

Other times, the jokes Hawkeye makes about himself are virtually identical to the jokes made at Frank's expense - their respective attractions to Margaret as a potentially dominant sexual partner, eg, with both Frank and Hawkeye portrayed as eagerly submissive. For instance, in 5 O'Clock Charlie Hawkeye jokes about tying Frank to Margaret's tent, then dismisses the thought with, "He'd probably love it. I know I would." And Hawkeye/Trapper and Frank/Margaret are sometimes paralleled as dual couples, Hawkeye and Frank usually being framed as the more feminine partner in each.

And of course, unconnected to Frank, there are many, many more examples of Hawkeye's effeminacy, both in jokes and in personality traits.

Hawkeye is a self-professed coward who is loud and proud about how terrified he is to be stuck in a war zone. He's emotionally open and highly empathetic, always willing to listen to others' problems and discuss (or scream about) his own. He abhors institutional violence and faces every enemy combatant with his hands firmly in the air. When authority is thrust upon him he strives to relinquish it, and uses it as little as possible.

More shallowly, he has little interest in sports and exercise, derides masculine hobby magazines like Field and Stream and Popular Mechanics, is incapable of performing mechanical tasks to the exasperation of others at least four times (Comrades in Arms which explicitly frames this emasculating, In Love and War, Patent 4077, and Hey, Look Me Over), mocks traditional masculinity in many ways, and enjoys musical theatre and Hollywood gossip. And he makes and takes literally hundreds of jokes about being unmanly and having sex with men himself, many more than he makes at Frank's expense.

But while the jokes are at Frank's expense and meant to belittle him, they're rarely made at Hawkeye's expense, especially in the first five seasons. Hawkeye doesn't make the jokes out of self-deprecation, he makes them out of pride and a desire to differentiate himself from the army men he's surrounded by. He's almost always in on the jokes others make about him, rather than offended - Potter telling him to file a paternity suit against his rival in Hepatitis makes him laugh delightedly, and Trapper's remarks on his effeminacy, such as Miz Hawkeye in Hot Lips and Empty Arms, are sometimes lightly teasing but always a regular aspect of their dynamic that Hawkeye enjoys playing up. Frank doesn't make any jokes directly mocking Hawkeye's masculinity that I can recall, beyond vague "pervert" and "degenerate" remarks, which, while often historically homophobic, in the show's context tend to be treated as a reference to his heterosexual endeavours.

Frank's effeminacy is a point of mockery and derision, but Hawkeye's is a point of pride, and not intended to make him any less likeable to an audience. Antagonists don't get to score points off of Hawkeye by mocking his feminine traits, but Hawkeye makes fun of Frank regularly by mocking his feminine traits.

This difference in framing can partially be explained by the nature of their respective gender performances.

While Hawkeye and Frank are both effeminate, they're effeminate in many opposite ways. Frank is weak-willed while Hawkeye is strong-willed. Frank is unappealing to most women, while Hawkeye is something of a lady's man. Frank cannot face his fears to rise to a challenge, but Hawkeye can. But on the flipside, Frank refuses to admit to fear while Hawkeye openly proclaims it. Frank strives to attain authority while Hawkeye refuses it or takes it on only begrudgingly. Frank is obsessed with guns to a freudian extent while one of Hawkeye's most famous monologues of the show is a speech about refusing to carry one. Frank worships the concept of traditional masculinity even while he can't perform it himself, while Hawkeye mocks the concept and would refuse to perform it even if he could.

The Sniper is an excellent case study of these contrasts. In this episode, Hawkeye is effeminate and at ease with it, while Frank is desperate to prove himself masculine. Frank and Margaret flirt with strong Freudian overtones while Frank shoots a gun while nearby Hawkeye flirts with with a nurse with a line about "tasting" her. Hawkeye connects with the nurse he's wooing by relating to how scared she is and huddling in fear with her, while Margaret demands that Frank prove his masculinity by going out and taking down the sniper himself. Frank carries a gun while trying to approach the sniper, while Hawkeye carries a white flag. Frank tries to make fun of Hawkeye for wanting to surrender, but he can't bring himself to approach the sniper while Hawkeye does.

This contrast of gender performance is a consistent aspect of Hawkeye and Frank's dynamic throughout the show, but The Sniper makes it a central theme so it's a useful example to show how their relationships to masculinity are a deliberate aspect of their dynamic.

And while Hawkeye makes fun of Frank's femininity, it's significant that he also regularly makes fun of Frank's masculinity - his love of guns (eg The Sniper), his sexual affairs (eg the exchange about Frank as a "fantastic performer" in Yankee Doodle Doctor), his numerous attempts to exert authority (eg Welcome to Korea), his desire for socially approved success (eg Hot Lips and Empty Arms), etc.

Both masculine and feminine sides of Frank are comprised of negative character traits, while Hawkeye embodies the best of both - emotional expression and healthy ways of coping by talking about his feelings; bravery but not machismo; intelligence and skill as a doctor rather than an officer; empathy and a willingness to listen; sexual prowess but largely through his love of foreplay rather than his dick game (which, in the context of the early 70s, is a somewhat feminine attribute that distinguishes him from a typical traditionally masculine man); etc.

Hawkeye demonstrates some of the most appealing and healthy qualities of both masculinity and femininity while Frank demonstrates, or strives to demonstrate, the more toxic qualities of both. Through including a few positive masculine traits in the mix, the narrative is able to depict Hawkeye as likeable, admirable, and desirable in his effeminacy while Frank is depicted as loathesome in his. Hawkeye gets one of many, many women in The Sniper by showing vulnerability, while Frank only appeals to Margaret, and Margaret is portrayed as borderline pathological in her sexual attraction to violent masculinity (the scene where Frank excites her with his gun, for example, also includes an electra complex joke, and there's a running rape kink gag in this episode as well).

Another aspect to consider when it comes to differentiating Hawkeye and Frank's respective femininities is hypocrisy. Similar to how Frank and Margaret's affair is mocked because they can't admit to it while Hawkeye and Trapper's affairs are glorified, part of what makes Frank's effeminacy so mock-worthy, while Hawkeye's feminine qualities are a source of pride and rebellion, is that Frank refuses to admit to them.

Frank desperately wants to be the ideal heroic army man and often play-acts the part, poorly. When Hawkeye mocks him by calling him a woman, for example, he's drawing attention to Frank's failure to live up to his own ideals. And when Hawkeye calls himself a woman, he's mocking those same ideals. The message is that Frank is pathetic not so much for failing to be traditionally masculine, but for wanting to be traditionally masculine at all.

Ultimately the ways Hawkeye and Frank perform masculinity and femininity are pointedly in opposition, from which masc and fem traits they embody, to how proudly they embody them. The show itself draws attention to these gendered similarities and differences between Frank and Hawkeye through a constant barrage of jokes, and even whole scenes and episodes. In this way the show portrays Frank as a hypocritical loser who wants to be masculine but fails to embody all but the worst traits, and Hawkeye as a cool, admirable guy who disdains the traditional pillars of masculinity and embraces his own effeminacy.

#mash #marley on mash #mash gen #mash gs #frank mash #hawkeye mash #since you guys liked that trapper gender meta a lot more than i thought you would here have another one #though this is written a little less formally lol #i have more examples of whole scenes that make these comparisons than just the sniper but i'm trying to keep this from being #even longer than it already is #but eg white gold is another good example wrt how they relate to flagg; yankee doodle doctor; army navy game; george; the gun; etc etc #(also it's interesting that when frank leaves hawkeye gets the pathetic loser portrayal more often... though i think that's a coincidence #the shift from early to late mash could be yet another essay on mash and gender lol)#long post

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