#they are fundamentally mean girls at their core

[biboomerangboi]

I feel like Robin would jokingly call Steve homophobic and Steve would look her all big wet puppy dog eyes like, “Was it… Robbie I..”

And Robin would panic and be like “No, No Steve you weren’t, I’m messing around… your a good person now…”

Until Steve starts cackling cause he was messing with her back, then Robin would throw a pillow at him and call him “The worst most homophobic man alive!”

#they are fundamentally mean girls at their core #stranger things #steve harrington #robin buckley #platonic stobin #stobin #platonic stobin headcannons #platonic with a capital p #the irish twins

[arguablysomaya]

Nightwing's weird fem-coding

! LONG POST !

Finally got around to jotting down my thoughts on the weird way that Dick Grayson (Nightwing) often occupies female-coded roles without being a particularly feminine guy. This is entirely due to me procrastinating on my finals. Okay!

Dick has often been cited as the hero who plays into the "female gaze", and he takes up some key roles that are typically reserved for women characters.

A large portion of Dick's fem-coding is contingent on his being with his family, and when he's not with them, this fem-coding kinda drops away, such as when he's with his various teams or acting solo.

His most prominent (and imo, complex) femme-coded role is:

-> Eldest Daughter + Widow

Eldest daughter syndrome means " frequently feeling like you’re not doing enough, like you’re struggling to maintain a veneer of control, like the entire household relies on your diligence." It's born out of the unique way that first-born girls are expected to take on adult roles around the household before they've had an opportunity to fully experience childhood (an opportunity their younger siblings will have, in part due to this sacrifice). It creates a strong sense of independence and a desire to be a good role model, but also leads to undue pressure and perfectionism.

Dick acts as a central emotional pillar for those in his family. To the point that when he fakes his death, it breaks something fundamental in the family dynamic:

Not only is it repeatedly made clear that Bruce depends on Dick to act as a lifeline for his own mental struggles, but moreover, his siblings do as well. In a very literal sense, the maintenance of the batfamily rests on Dick's shoulders. Bruce is so rarely available for emotional support that these children turn to the next best thing, which, to be fair, is better than what Dick had growing up. He has to clean up so many breakdowns, it's honestly pretty staggering.

As the OG sidekick, Dick receives quite a bit of hero worship, particularly from younger heroes/sidekicks, who look toward him for guidance. As a naturally upbeat and welcoming person, Dick ends up in the position of bringing light to everyone, not just Bruce. For example, here's Cassandra:

This balancing effect is unique to Dick's skill set. However, this can (and does) backfire very easily. The same pragmatism Bruce engages in hurts extra bad when coming from Dick: like when Dick had to take Robin away from Tim. Not to mention just how intimidating Dick's legacy is, which can create resentment when his successors aren't able to play this role so easily. For example, Jason both before and after his death expressed insecurity that he felt he was constantly being compared to Dick, and falling short.

As the original character that people think of when they think "sidekick", DG Robin (and his successors) had the advantage of not losing prominence even as his contemporaries (Kid Flash, Aqualad, Wonder Girl, etc.) were de-prioritized in favor of independent teenaged heroes (like Cyborg, Beast Boy, Raven, and Starfire). But that means Robin as a concept now has to deal with questions that weren't so prominent in the earlier decades, such as: "How do we justify a grown-ass man using a child (and in fact, children) as emotional crutches?"

It's icky to think about, but there's no denying that early Batman and Robin got side eyes for homosexual subtext. I mean, they literally call each other "partners". So while that "subtext" was, and remains, just audience speculation, given Dick is literally Bruce's adopted son, there is room, I believe, to call into question how healthy it is for Bruce's oldest kid to be taking on a nearly-parental role and be a core pillar of Bruce's emotional regulation.

Hot take here, but I think Dick's relationship with Bruce was/has been pretty emotionally incestuous for a long time.

-> Emotional incest

"Emotional incest[...] is a type of emotional abuse performed by a parent. In cases of emotional incest, parents rely on their children for significant emotional support, which is a reversal of roles. Emotional incest is more than just relying on your kids on occasion—rather, it is an extreme dependence on them." (There's a pretty good argument to be made that Bruce has been emotionally incestuous with all his Robins, especially Dick and DEFINITELY Tim, but y'know. Small steps.)

Emotional incest is a semi-common consequence of eldest daughter syndrome; the natural conclusion of deputizing a child to manage the other children combining with an inability to see the child as a child, still in need of emotional guidance, but more like an adult capable of shouldering the burdens of grown-ups dumping their traumas on them.

To be clear here, while emotional incest may not be incest in the most traditional, taboo sense, it is still abuse. It's putting a burden on a child they shouldn't have to carry, even for children that aren't dealing with such extreme burdens as "grown-ass man running around in a fursuit needs me to keep him from getting himself killed". It's a perversion of a healthy parent-child relationship, where the child is treated more like a partner than a child. In Dick's case, it further exacerbates the parentification he already experiences. This is made more explicit when Bruce "dies" and Dick is cast into a sort of "Widow" role.

Dick reluctantly dons the cowl in an attempt to bring order to his family members. He's also left to parent Damian, alone. He has to make the decision to take Robin from Tim, and try to deal with the fallout from that decision. He has to put a stop to Jason's fratricidal rampage. He's made into the de-facto head of the family.

And the thing about this is: Dick's not even bad at it. In comparison to Bruce's litany of disasters-in-parenting, Dick does a pretty bang-up job of managing his siblings, heading the Justice League, and being Batman. But the crucial point is that he does this at the expense of his own mental health, which is the crux of eldest daughter syndrome. There's no denying that at the time, Dick was most certainly the best choice for New Father Figure, but it was a choice he was pushed into, and a sacrifice he had to make. When this sense of responsibility to the point of self-sacrifice is pushed to its logical conclusion, it has the effect of making Dick a Martyr-type figure.

-> Protector/Mama Bear/Avenger

Dick has shown repeatedly that his hot button is his family. From Tony Zucco to allowing Blockbuster to be killed after the villain targeted Haley's Circus, going after Nightwing's family is a pretty good way to earn yourself an asskicking. Probably the most infamous example of this is when Dick thought the Joker had killed Tim, beating the clown to death to avenge both Tim and Jason.

And while this role isn't particularly feminine, I do think it's interesting that Dick protects his family members from each other with almost the same frequency that he protects them from outside threats. He's pretty notorious for wrangling Damian and Tim, foiling Jason's murder plans, and most importantly, beating the shit out of Bruce whenever he crosses a line, such as when Bruce asks Dick to conceal being alive from their family to join Spyral or when Bruce wanted to abandon the Bruce Wayne persona after the murder of Vesper Fairchild. Or of course, more recently after Bruce's latest MK-ULTRA shenanigans.

This basically puts Dick in the position of being the glue that holds the family together, at basically all times, but especially in times of conflict. This also means he's put in the dangerous position of bodily defending his younger siblings from Bruce's wrath or irresponsibility, a position made even more awkward given the whole emotional incest thing.

That's not to say that Dick's relationship with his family is 100% unhealthy. Dick and his family members (including Bruce!) feel legitimate affection and care for each other. There are times when the dynamics here are indeed healthy. And like most people with eldest daughter syndrome, the unhealthy nature of this dynamic is usually understated. Oldest sibling syndrome is often just an unavoidable consequence of how parenting works. So while I am of the opinion that this dynamic is often unhealthy, hot take: I'm fine with that.

Now, though I've just listed some tropes that he only falls into around family, Dick also falls into some fem-coding all the time, regardless of who he's with, and these have to do mostly with his sexuality.

-> Sexual Assault & Harassment

Yeah, so nobody is surprised that this is a factor. Look up any list of the top ten hottest/sexiest/most attractive male superheroes, I guarantee 9/10 times Nightwing is number 1. However, unlike his father, whose attractiveness is usually played as a part of the male wish-fulfillment fantasy, something people aspire to be, Dick's attractiveness more often makes him an object of desire- very similar to how most attractive female characters are perceived.

And as an object of desire, Dick Grayson is constantly having to deal with being objectified.

Now, Dick Grayson being an attractive character is not the problem. Dick Grayson being sexually assaulted isn't even the problem. the problem is that he keeps being harassed, assaulted, and raped in ways that are flagrantly nonconsensual, and yet it's not treated with the seriousness it deserves. In fact, it took a full decade for Devin Grayson to retract her previous statement and admit that yes, the rooftop scene with Catalina Flores was in fact rape, and it's never been acknowledged in-universe (though, comics have always been atrocious at calling out sexual abuse of all kinds, let alone that which targets men).

Hell, even when he in-universe calls it out, he's dismissed immediately and the story continues like nothing happened.

Like???

Dick's adult sexcapades (which were consensual and enthusiastic) have long contrasted with the numerous times he's been harassed; times in which he comes across as bored, exasperated, and even frustrated with his own attractiveness and the vulnerable position it often leaves him in.

This puts him in the rare (in comics) position of being a male character who consistently and near-exclusively has his sexual agency and boundaries violated by women - a position that authors uniformly refuse to examine despite writing him into it all the fucking time.

Other characters around him frequently make comments passing off this harassment and assault as a natural consequence of Dick's own attractiveness, making "jokes" that essentially amount to "I understand why someone would want to assault him". Which- UH?

There is also, of course, the unavoidable reality that as an acrobat and an aerialist, he receives a very specific type of sexual harassment

the nature of nightwing's fight style necessitates a type of tight-fitting suit that male heroes typically don't go for: an extremely slick suit with bare-minimum armour that again, makes him vulnerable in a way most male heroes aren't, but a style female heroes wear all the time, whether it makes sense for them or not. This of course then allows artists to draw attention to this fact by posing Nightwing in poses usually reserved for femme fatales:

And unlike the Hawkeye Initiative, these poses are (largely) unironic, and not played for jokes. Dick isn't arching his back or looking over his shoulder to poke fun at how female heroes are treated; he does so because the artist (clearly correctly) sincerely believed these poses would play into the unironic gaze of the audience, and also probably thought it was hot. It's the same line of thought artists use when posing femme fatales.

He's even been known to use his sexuality as a bargaining chip, much like more traditional Femme Fatales. In Batman and Harley Quinn (2017), he refers to sleeping with Harley Quinn after being kidnapped by her as one of "the things I do for Gotham", to which she responds "I'm taking that as a 'yes'." And that's uh- not how consent works.

And this particularly sucks because- HELLO? The opportunity to explore the very real and tragically underacknowledged phenomenon of sexual violence against men is literally invaluable, especially with such a prominent character. It's one thing to ignore that men face sexual violence, it's another, entirely more unforgivable thing to continuously and explicitly depict such scenarios and play them off as jokes or not as serious as they clearly are. But what did I expect from an industry that has never had a good track record on sexual violence anyway.

-> Queercoding?

There's also of course the fact that DC has been, as of late, dropping hints that Dick might be bisexual.

That on it's own doesn't mean anything, but when paired with the fact that DC has been angling toward giving Dick a similar playboy persona that Bruce has, just with men included, it's just very interesting.

(BTW: The likelihood DC actually commits to making Dick bi is, uh, not a lot, but if they're gonna stick with this weird closet stuff for a while, let's hope they do so in a way that doesn't make him sound like a cross between Donald Trump and Harry Styles next time? Please?)

Anyway, all of this is basically to say I am forever fascinated by the gender dynamics of Dick Grayson, likely due to the fact that I'm projecting all my eldest daughter traumas onto him, and that someone who's background is in Gender Studies needs to get on this shit if they haven't already. I just love this character sm.

#this ended up taking/being way longer than I thought it would #but its done now so i can stop procrastinating yayyyy #shut up somaya #batfam #dcu #dc universe #batfamily #batman #dick grayson #nightwing

[gay-dorito-dust]

hey!! if requests are open can u write a luke x jealous!reader?

The ending is a rushed pile of dogshit cuz I didn’t know what to do. 🦦

‘Luke?’

‘Yeah babe.’

‘Are you happy with me, like genuinely happy?’

Luke looked at you confused. ‘I’m the happiest I’ve ever been in my entire life.’ He then reached to grasp one of your hands in his, intertwining your fingers and pressing a kiss to your knuckles. ‘What’s going on inside that pretty little head of yours.’ He utters softly, eyes shining with worry and concern.

You bit the inside of your cheek, all of a sudden feeling a little stupid in what you were feeling since this morning and shrugged your shoulders sheepishly. ‘It’s nothing, really. I’m just getting inside my own head.’ You attempted to play it off in hopes that it will all be forgotten, but you also knew that Luke would want to get to the bottom of what was causing you to be anything other then happy and solve it together.

‘It’s not nothing if it’s you sweetheart.’ Luke said as he then used his free hand to lift your chin so that you would look at him instead of your shoes. ‘Talk to me, please don’t shut me out. I know somethings wrong and I want help, so let me help you.’ He adds and you finally felt yourself crack. ‘I saw how some of the girls kept looking at you during training and kept hanging off of you the entire day and how you kept playing up to them.’ You eventually told him, not wanting to keep anything secret from him anymore. ‘So I ended up getting a little jealous that I might not be making you happy anymore…not to mention how busy we’ve both been with camp activities lately…’ you finished, staring deep into his dark, captivating eyes that seemed to see and know you at your core.

‘Hey, there’s no shame in what you’re feeling, and despite what we’re raised as, we’re still fundamentally human in every other aspect. Okay.’ Luke said as he tried to squeeze every ounce of his assurance into your interlocked hands, hopeful that it would bring you at least some peace of mind. ‘I hate how busy we’ve become, more than anything and I just wish we could go back to the days where we would hideaway together by our secret spot at the lake. For being with you during those moments when unrest would take over camp was always my antidote, my soothing balm for my overworked mind in trying to keep camp sane.’ Luke then rested his forehead against your own so that he was the only thing you could see and vice versa.

‘You mean that?’ You asked and Luke let out a chuckle.

‘Mean it? Sweetheart, I live by it.’ Luke said, gingerly pressing a kiss to your brow as though to ease the tension within it, leaving you to melt into him a little bit. ‘So I don’t want you to ever think that you’re not enough. Especially not when you’re the sole thing I think about from the moment I wake up -wishing you were cuddled up in my arms- to the moment I drift off to sleep. I cant get enough of you!’ Any ounce of insecurity you might’ve had beforehand had been discarded afterwards upon hearing his sweet words, so much so that you couldn’t seem to stop smiling nor stop the warm feeling within your chest whenever Luke said anything remotely endearing; it was your biggest weakness and he knew just how to exploit it for his one benefit.

‘There’s that gorgeous smile I love.’ He coos, stealing a kiss from your lips to emphasise his point, leaving your smile to widen against his lips; humming in content as any and all notions of jealously were completely forgotten alongside the campers those feelings were aimed towards.

‘Just remember that it’s your arms I want to be held by and that it’s your smile that I want to be the reason for because getting to see you smile, laugh, or just being your authentic self is my guiding light in this life and I’d be stupid to ever give that up. You’re it for me, for if I can’t have your kind of love, then I don’t want to ever experience love at all.’ Luke spoke against your lips, keenly kissing them whenever he felt as though you needed that extra bit of proof of his love and devotion.

You didn’t because Luke never failed to reaffirm his adoration for you in the little things he did for you, but you couldn’t help but allow yourself to drown in his vast displays of affection, for your love for Luke was considered your Achilles heel but you’d happily let that continue to be the case for the rest of your days.

#pjo x reader #pjo imagines #pjo imagine #pjo fanfic #pjo tv show #pjo series #percy jackson and the olympians #luke castellan x you #luke castellan x reader #luke castellan fluff #luke castellan imagine #luke castellan imagines #luke castellan fanfic

[beemovieerotica]

goddd ok this article was such a breath of fresh air and I'm glad somebody put into words the issue I have with a lot of well-meaning trans activism on this site

people put so much effort here into trying to debunk any claims surrounding biological sex and athletics, and it is so fucking far from the point of trans rights to spend your energy arguing about an issue that measurably affects the 0.0001% of the population who make their living as professional athletes

and people are fundamentally not realizing how engaging in these arguments is directly affirming the division of sex as a multi-billion dollar system - down to the fears over high school girls losing out on scholarships ($$$) to go to college (the privilege and access of which we have restricted) - and instead of rightly criticizing the fact that education shouldn't be paywalled behind Being Good at Throwing Ball, or addressing the behemoth in the room that professional sports leagues are, at their core, something the public and corporations throw massive amounts of money at which of course creates incentives to regulate it in a way which reflects the dominant cultural powers, we're sitting here talking in circles sharing scientific papers about what hormones can or can't do to someone's body.

like...the solution to arguments about "biological advantages" isn't to deny that any differences exist, it's to ask why legislation that regulates the lives of over 300 million people should be centered around the profitability of a single career path

do you see it

#trans rights

[burst-of-iridescent]

now that i've finished my re-read of the hunger games books, it’s even more baffling to me than before that people compare everlark to kat.aang when they are so incredibly similar to zutara.

a fundamental aspect of everlark’s characterization is that they are star-crossed lovers. and while it's true that that is a gimmick the capitol forces on them, it’s also a reflection of the reality that peeta and katniss were never supposed to fall in love, let alone make it last.

from the very beginning, the odds are stacked against katniss and peeta. their class division keeps them apart in district 12, and in the games you're naturally not expected to do anything but kill your fellow tributes. what peeta does in loudly declaring his love and respect for katniss from the beginning is revolutionary because it goes against everything he's been told his entire life. saying he's in love with her and valuing his life over hers is absolutely radical in a situation that forces you to prioritize yourself and dehumanize your fellow human beings. and this framing of love as resistance is something that repeats itself in zutara's arc, in the catacombs where zuko and katara reach out to one another against everything that tells them to do otherwise, and again in the final agni kai when zuko gives up everything for a girl he had been told was nothing.

they’re love stories because they stem, first and foremost, from love for your fellow human beings — especially in the places where it shouldn’t exist. love for a starving child from a lower class whom you’re supposed to kill. love for a weeping enemy who represents everything you were told to despise. both zutara and everlark are about the importance of unity amidst division, about coming together when the entire world is trying to force you apart. about looking at the person you're supposed to hate and saying no, i refuse, and reaching out in love, in compassion, in empathy instead because you understand that they're not as different from you as you were taught to believe.

and this carries on to the other theme that both ships represent: the need to break the cycle of violence.

one of the main themes that underlies each of these characters’ narratives is how easily (and even justifiably) they could’ve perpetuated the harm that was done to them. peeta, katniss, zuko and katara have all suffered without cause, and it would have been understandable if any of them had let that suffering twist them into vengeance and inflicted it back upon others. it would have been encouraged even, in the societies they live in, for them to unleash their rage upon those seen as deserving of it. to become like zhao or hama or gale or president coin. but what defines each of these characters is that instead of allowing their suffering to overcome them, they choose to help — not harm — others, even the people they would have every reason to hate. that’s why katniss and peeta refuse the chance to hold another hunger games with the capitol’s children, why zuko helps an earth kingdom town, why katara risks the invasion itself to free a fire nation village from tyranny. all of them have been victims of unjust violence and oppression, sometimes even at the hands of other victims, and that’s exactly why they refuse to stand by or be complicit as others suffer the way they did. both everlark and zutara are about looking at the darkest version of yourself, the person you might have been, and refusing to go down that road. to understand that you are more than what your circumstances make you into. to choose kindness over hatred, peace over war.

at their core, both ships exemplify the themes of love and unity and holding onto your humanity against impossible odds. but more importantly, they exemplify hope. the dandelion in the spring. the fire that means rebirth instead of destruction.

choosing to do better, be better, make something better, together.

#zutara #everlark #the hunger games #idc how cheesy it is something about everything always coming back to love just gets me alright

[lakesbian]

ok Worm Bigotry Breakdown in more detail for @silverflyingpikachu

tl;dr: author is Cishet White Guy From Canada In 2011. he ostensibly thinks he is progressive. this does not change his proclivity for tossing his Cishet White Guy From Canada Biases into the books and then saying even more bigoted things in defense of those writing decisions on forums. wildbow is just some cunt on the forums with bad opinions on wildbow's writing. the book is 1.7 million words long but i believe in my ability 2 categorize this shit with decent accuracy. everyone who has ever said worm's CWs can't be categorized, including wildbow himself, is a lying ass bitch. this will include some vague spoilers, because i can't really go in-depth without a few examples, but i'll stay away from anything too plot-critical.

racism:

- worm is fundamentally a book abt systems of power and the ways in which they suck. some of the critiques worm issues--e.g, its depiction of how school systems enable bullying, inspired by wildbow's own experiences w/ the school systems as a deaf kid--are viscerally accurate and incredibly compelling. but wildbow fundamentally doesn't understand how certain systems of oppression work--e.g policing--and subsequently, his attempts at depicting them occasionally fall flat onto their face and land in racist territory. this gets particularly nasty when combined w/ the White Guy Author propensity for racist stereotypes--for example, his chosen face of police brutality is a black girl portrayed as predatory & animalistic.

- who is also one of the only black people in the book overall, alongside--for example--an addict portrayed as having less interiority & being less deserving of empathy than A Literal Fucking Nazi. also, the main characters have to team up with the nazis "for the greater good" (defeating the mean asian villains) at one point. it is a mercy to the readers when this part of the story ends. - there are two black characters in the main cast. for the first, wildbow just Straight Up Forgot to include the most compelling aspect of their background + characterization in the text (it was provided via WoG instead, which i provide to all wormreaders like a fuckin' DLC patch when they get to where it's relevant) & entirely forgets they exist towards where the end of their character arc should have been. the second is introduced w/ the most misogynoiristic description on the planet but blessedly has a largely compelling and well-written arc as the book goes on. - depiction of china is just like. fox news level sinophobic "it's all a brainwashed indistinguishable evil cult" shit. not relevant for very long relatively speaking but insufferable to read. asian characters are also like. we got Brutal Yet Honorable Asian Man. we got Fiery Asian Girl With Blue Eyes. it fucking blows it's not good

- oh yeah forgot this one someone mentioned in the tags. #it's an insignificant paragraph and nobody talks about it but the part where it goes #“yeah literally EVERY cape in South America is with a cartel and the heroes are barely distinguishable from the villains” #fuck you #not that the others aren't bad the fatphobia gets really gross but nobody mentions this and that one got me so yeah typical Insufferable Awful Imperial Core Author Understanding Of What Other Countries Are Like - i could make this section one million bulletpoints long but the gist is summarized i think--wildbow's varied racist biases leak fucking everywhere, into character design, into narrative assumptions about who's deserving of interiority/empathy or not, into attempts at Saying Anything About Society, into which characters he prioritizes, into who he offers validity via the narrative, etc etc etc.

homophobia: - theres a girl named amy dallon in it and she is the worst lesbophobic stereotype ever known to man. no other Problematic Lesbian™ you can think of has anything on this girl. the worst part is that she genuinely has a decently compelling character concept and arc, which her being awful is integral to, so you might accidentally find her interesting anyway and then she'll move into your brain - wildbow kept accidentally writing characters that scan as massive dykes and then got really mad about f/f ships for the book being popular in the fandom. he responded by making a deranged forum post involving the phrase "pandering is pandering" insisting everyone (but the bisexual "hedonist") is straight and writing a scene into the book where one of the characters literally turns to the camera and tells the readers "not to get the wrong idea" about her hugging her friend. - over the course of 1.7 million words he finds excuses to loudly inform you that all of the relevant female characters are straight and it's sooo shoehorned in you can always tell when he's doing it - basically worm is like if naruto was about homoerotic teenage girls who do violent terrible things, in terms of levels of unintentional homoeroticism, and the author responds to ppl going "lmao gay" about the unintentional homoeroticism with poorly restrained seething rage

fatphobia: - generic brand of fatphobia you'll see in p much all mainstream media where only side/bg characters are fat and it's obliquely used as a descriptor to indicate that someone has negative personality traits or should be viewed as sort of gross

anti-addict shit: - wildbow generally likes writing about how social circumstances--i.e neglect from society, oppression, failure on behalf of systems--causes crime. he generally likes demonstrating the ways in which the villainous main characters are traumatized teenagers failed by society fumbling to keep existing & holding each other up through The Horrors. unfortunately all of this intelligent writing flies out the nearest window when addicts are involved. there is a gang comprised entirely of addicts, all of whom are portrayed as disgusting, violent, dangerous, and of course often racially stereotyped. it is a mercy to the readers when they're no longer relevant to the story. - on a more subtle level, characters are every so often just like. a little more anti-drug than they would realistically be and you can tell it's wildbow's opinions leaking into their characterization. this is largely what the anti-addict writing is kept to after The Addict Villains leave the story iirc.

if youre wondering wellwhy does anyone read this book then. to that i would say that unfortunately despite it all it'sa fucking excellent book. so we all carry on reading the parts that suck and thinking about how they suck and then reading the parts that fuck and going "ouuugh my god" and rolling down 20 flights of stairs about how hard they fuck.

#sorry if i missed anything this entire post was written while so tired #parahumans #apparenty people lke this one so ill maintag it in case anyone finds it useful its very slapdash though

[hererafjastori]

The movie Barbie in Princess and the Pauper is deeply misunderstood. In this essay I will…

No but like, seriously. I have come across too many people making fun of “I’m just like you” and fundamentally misunderstanding both the meaning of the song, and Annalise as a character, by acting like Annalise is a rich brat who doesn’t know to be grateful for what she has. So we are going to take an in-depth look at the song, Annalise, Erika, their situations and their character, and make a few things clear.

Let’s start with the above mentioned song, and the widespread opinion, that the girls and the movie act like there is no difference between Annelise living in constant luxury, and Erika suffering the life of an indentured servant. But what is happening has a lot more nuance.

First of: Annelise is not the instigator for this compare and contrast. Note how it’s Erika who starts comparing their lives, not Annelise, who reacts very perplexed. Annelise would have been fine with Erika never figuring out she was a princess, and only starts talking about the luxuries that being a princess grants her, after Erika prompts her. This is not Annalise bragging about her life, downplaying the privilege she enjoys or whining about how hard her situation is. This is her replying to Erikas enquire by both, acknowledging the vast difference there is between their lives, but also by underlining the ridiculousness that is such luxury. We can see later, in the movie, when Erika gets her breakfast, that there are no fucking minstrels. And Erika is totally on board with that, she even plays around with her, look at the way she interacts with the ‘omelet’ Analise presents her with. And later in the song, Erika acknowledges that the ‘married to a total stranger’ situation sucks.

But let’s take a look at the ways they recognize that they are the same. What are their similarities?

“I’m just like you, you’re just like me, there’s somewhere else we’d rather be. Somewhere that’s ours, somewhere that dreams come true, yes I am a girl like you. You’d never think, that it was so, but now I’ve met you and I know. […] ”

“I would never tell my mother. I wouldn’t wanna disappoint her.” “I completely understand.”

“[…]We take responsibility. We carry through, do what we need to do, yes I am a girl like you […] It’s something anyone can see. A heart that beats, a voice that speaks the truth”

So, what are their stated similarities:

They are in a situation they desperately want to escape. They see no option of realizing their dreams and fulfilling their desires or even have a perspective of leading a happy life.

Others lean, depend on and draw from their strength, so they have little to no opportunity of sharing that burden

They recognize that there is a reason they have these duties, and their conscience won’t allow them to even try and shirk said duties. They take up this responsibility that they never wanted, fully aware of the sacrifices that they will have to make.

Throughout it all, they make the active choice not to complain, to stay optimistic, to not loose hope and to carry their burden with dignity and integrity

Nobody disputes that they life very different lives. The first minute of their interaction makes that abundantly clear. Erika even sings “You’d never think that it was so”. Them coming from very different places was never up for debate. What they are comparing is the way they deal with it.

This willingness to endure under the pressure and expectations placed upon them without allowing to loose themselves, is the very core of both of these characters!

And we can see all of this throughout the movie, especially in ‘Free’.

[1] I don’t think I have to explain Erika. We see the direness of her situation in the way Mdm. Karp treats her the times she finds her singing, her threatening to use the excuse of interest to keep her prisoner for basically the rest of her life, the way she treats Annelise, thinking she is talking to Erika after she fled, the fact that she locks her seamstresses in often enough, that there is a routine in place to allow at least Wolfie an escape.

But Annalise is just as worked to the bone as Erika, if in a different way. Her day is planned through, down to the literal minute. Just listen to the start of Free. Her greatest wish is to have one day without work, because she hasn’t had that in living memory. And yes, most of it is studies and keeping up appearances, but in “to be a princess” we get an impression of how much thought and energy that takes. (“be charming, but detached and yet amused […] Never be confused”, “Never fall, don’t ever stray from protocol. All through the day, there’s just one way you must behave” “Never crack” “Never show a thing you feel inside. Glide.” “to be a princess is to never get to rest” “Never squirm […] Speak and be clever, never at a loss for words” “Never show dismay and be there when people call, be prepared whatever royal life may bring” “Never ever turn your back. There’s a time and place and way for everything”)

She has to be flawless, confident, and composed throughout the day without the  slightest hint of being imperfect. She has little to no privacy, she is constantly observed, perceived, judged by far more metrics than pretty much anyone else, and is she falls short of them and say, worsens relationships with another kingdom, makes a bad decision in ruling the kingdom, makes the kingdom appear weak in any way, her people will be the ones to pay the prize. And all that is without taking the marriage into consideration. She doesn’t know who Dominic is! We know that he is a great guy, but for all Annelise knows, he could be the kind of person Preminger reveals himself to be. Even if he is a decent guy, it would likely be a loveless marriage. That is a sacrifice (as we can see when her mother is forces into the very same position), especially if it means sacrificing her relationship with Julian, her childhood friend, who shares her interests, helps her through all that nonsense, and understands her better than anyone. On screen, he is the only person she truly opens up with, other than Serafina (who is a cat), and Erika (who she only met that day, and has little emotional investment in the whole thing). Erika and Dominic sing a whole duet about the importance of knowing each other in order to have a functioning relationship, and she has had that with Julian for years. They both (Julian is clearly just as devoted and self-sacrificing as she is) accept to let this unspoken thing between them slip through their fingers, with no hope of ever finding something comparable, and the prospect of drifting apart with time, all for the sake of the kingdom.

And in terms of hope for the future, Annelise is just as bad of, if not worse than Erika. Erika has been working continuously to escape her situation, and never given up hope (“My determination’s strong. People will gather around the world to hear my song! Soon I will forever be free). And in the meantime, she has found small ways to fight back against Mdm. Karp (She can never stop my schemes). How realistic it is to ever pay off Mdm. Karp is a different matter, but she still has a fighting spirit. Annelise meets Erika, while in the process of making peace with the fact, that this was it for her, and there will be no coming back from this (“Now I fear I’ll never be Free” “I’m savoring a first and last taste of freedom”).

[2] In terms of hope and determination, Erika is doing the emotional heavy lifting for both herself, and the other seamstress. And Annelise is putting up a strong façade for even her mother, because in the face of the lack of options, she doesn’t want to burden her mother with the knowledge that she is damning her daughter to an unhappy life.

[3] I already explained Annelise’s situation in detail. Because she was born in royalty, she is tasked with a lot of responsibility, and even though she had no choice in the matter, she still accepts her cross to bear, and does so silently knowing the great personal cost she’ll have to pay. For Erika, they kind of fumbled the ball with the duties she chooses to accept, seeing as pretty much the sole person to suffer from her just, running away and ignorin her 'duties' would be her active abuser. Even if she has yet to pay back all the money her parents borrowed from Mdm. Karp (something she had no say or choice in), she has more than done her time in emotional suffering, and saying that staying in this toxic environment is her duty is not a message I agree with. But in-universe she explicitly states such convictions, so any and all points on the matter of her dutiful behavior still stand. One might be able to twist her duty to be to not leave the other seamstress to suffer alone, but that has no textual evidence. But we see this willingness to sacrifice for the sake of duty and responsibility most strongly, when she agrees to help Julian out and take Annelise’s place. There are two ways this could play out: she get’s away with it, or she doesn’t. We see both, her options are being thrown into the royal dungeon for treason, or being locked away by Mdm. Karp for running away, and knowing those where her prospects, she still chose to do this for the sake of both Annelise and the kingdom.

[4] Just, listen to free, watch the movie. These two girls prove their inner strength and endurance time and time again. They always keep going, searching for solution after solution, no matter what obstacles lie in their way (Being sent away at the palace gates, escaping Mdm. Karp, escaping the mines, escaping the dungeon, etc.). Their drive, determination, endurance and unbendable spirit are admirable.

“I close my eyes, and feel myself fly a thousand miles away. I could take flight, but would it be right, my conscience tells me stay. I’ll remain forever royal. I’ll repay my parents debt. Duty means doing the things your heart may well regret. But I’ll never stop believing/ she can never stop my schemes. There’s more to living than gloves and gowns and thread and seams, in my dreams, I’ll be free”

This is the end of free, the core of them, and the thing they recognize in each other, and I will no longer allow any slander against either them!

#barbie #barbie princess and the pauper #princess and the pauper #barbie movies #character analysis #erika and annelise #annelise and erika #Annelise #Erika

[raidenenthusiast]

obviously fu hua n otto's partnership is completely transactional on the surface but i really like to think about it in different emotional lights bc it's just so. yeah.

hua is an incredibly straight shooter, in part due to how long she's been alive, n she lives with this constant aching loneliness n the burden of immortality she must shoulder alone. regardless of whether she makes friends in her time in the current era, she knows she will always lose them eventually, doomed to outlive them and continue marching forward. her duty is most important to her, but that doesn't mean her heart is made of stone. although she's been alive for almost 50,000 years, she was only seventeen when she initially stopped aging.

n then u have otto. a flawed, corrupted, flippant mortal who only stumbled upon the means to prolong his life in hopes to eventually use the experience gained to return kallen to the world of the living. every word he speaks has a different, secret motive behind it, every deal he cuts hides an ultimatum. selfish n arrogant, juxtaposed against hua's selfless nature. his active attempts to bury his own feelings (unrelated to how successful they are) prove his dedication to his cause; a cause he would do anything to achieve. a cause he CHOSE.

although they have so many oppositions to each other, there's a lot of similarities, too. a long life that acts as a means to an end. a deep, unbearable loneliness n grief. loss at the hands of the honkai.

i think otto n fu hua's relationship is so interesting bc of how they interact with each other through their respective narratives. hua, the chosen celestial, the immortal heralded to guide humanity into their next phase of existence. vs otto, the false savior, self appointed and with selfish motives, imposing himself upon humanity in order to bring to them what he believes will be their salvation (kallen).

i also think despite hua's maturity n experience, otto can see beyond that. not for any positive reasons; i'm confident that her identity deep down being that of a lonely, vulnerable girl made it all the easier for him to rope her into his scheme. it comes down to his ability to assess the people around him and use them as he sees most beneficial.

but, despite everything behind a business transaction between these two, there was a moment in time in which fu hua trusted otto, in some way, as well as one in which otto respected fu hua.

parts of them are SO similar, but they're fundamentally different at their cores. hua has a duty to humanity, n otto has a duty to one human woman. mind u, he sees all of humanity in her, but that's not the point.

n ironically, everything otto did led to kiana n the others ultimately gaining the power to face finality n shatter the samsara. the intentions vs the outcome; otto saved kallen, but lost his life. hua fulfilled her duty, but lost her friends.

especially, when u think about the fact that, at the time of his defeat n death, kevin was the only known flamechaser still living. despite hua's memories being constantly muddled, the principle of being the only survivor on top of the fact that the very act required to protect the current era as duty dictates ends in MAKING yourself that sole survivor.

this started n ended in very different places n i'm just rambling now but i just really love n appreciate how fu hua reacts n contrasts with SO many different characters in this game. i love her.

#hi3 #fu hua #mika.txt

[strawberry-circus]

I think the fundamental core of what makes BBC’s Ghosts work character-wise is that a lot of the tragedy comes from the fact that nearly every character met their fate before their story could truly begin

Because in most fiction—the part where they died would’ve been the miraculous turning point to some great adventure. The titular unlikely hero would’ve uncovered the big murder plot, or got the girl, or went to the ball, or chased after their love in the pouring rain for one final goodbye (or perhaps a new beginning)

But no.

Kitty’s sister was always cruel to the bitter end. She never found a way to go to parties, never found any kind of true love, and never made a true friend.

Thomas played right into Francis’s trap and was left to die alone. Never knowing about his requited love or getting recognized for his art.

Fanny never became a mathematician or saved the family. She didn’t stay inquisitive and imaginative but instead fell into the mask society made for her. By the end of her life, she was about as alive as the portrait on the wall.

Pat never learned about the affair, never got to see his son grow up, he never strayed from routine or saw his hair go grey. He missed out on so much that is so human. One trick arrow took him out of the world when all he truly wanted was a full and peaceful life.

Humphrey spent his adult life cold and trapped in some unloving marriage. The bone plot happened beneath his nose and before he truly can start a friendship with his wife, or even live his own life, he dies and it’s not even a hero’s death.

The Captain never runs out to Havers, never has the quiet conversation about everything that needed to be said. He watches him go and buries their project beneath the earth like everything else in his life, and he walks away. He never even came out—even to himself. And beyond that, he never found a way to be a person outside of the war.

Julian never has some big epiphany about all the wrongdoings of his life. Never puts any care into his wife or child. Never even recognizes that he has hurt others. Instead, he lived as he died.

Mary was just some pawn in a system she wasn’t allowed to understand. Her skills and talents all went to wish-wash for one reason or another, because the townspeople decided that she was different enough to suffer.

And Robin has been here so long there’s no telling why he isn’t allowed to move on. What was unsaid or untold to hold him here? All he has is endless time to hold onto.

Because that’s what this story is about. This isn’t about the heroes who saved the day or escaped by the skin of their teeth from some huge tragedy. This story is about the side characters who are nothing more than a footnote in history. Their deaths aren’t some big climax in a film or the answer to some big question. Because for most, death is random and unforgiving, it doesn’t wait for the right moment or hit the right people at the right time. It comes for everyone when it wants to, and it leaves a hole that will be paved around their absence.

A lot of what keeps the ghosts here is a million things that were left unsaid. Countless years of untapped potential, the would’ve’s, could’ve’s, and shouldn’t have.

But here’s the thing,

All of them keep moving forward. They all found each other one way or another, and now are finding support systems that just weren’t available to them in life. Now it’s not the most stable support system by any means, (see the murder plots and general set propriety of never talking about feelings ever) but they’re improving slowly! They’re stuck as flies on the wall to the living world but they make the best of it.

And with Alison and Mike added into the mix, their worlds are just growing brighter. And sure, they wouldn’t dare to talk to each other about their true feelings. That would be ridiculous. But they’ll be damned if you want to fuck over any of their weird found family. In a lot of ways, the ghosts seem to help Alison avoid the same mistakes they made. (even if they don’t always have her best interests at heart.)

They’ll try and call the police about a robbery, get Mike’s attention through frankly inventive ways, and thoroughly investigate any new people that come into the house like dogs barking at strangers.

And the soft way they all help each other in such obtuse manners. While they snipe and laugh at one another, there’s this underlying caring attitude they have about it all. From interrupting or distracting Kitty when she’s about to uncover something about her past, to spending all day looking for Fanny’s stuffed dog, to Robin’s moon rituals, or Pats clubs, or even the way they simply allow Captain the space to work out his feelings from time to time.

They were never the heroes of their stories in their lifetimes, but it doesn’t mean that they never had value. They’re just as sweet, wonderful, and annoying as any other human on this planet. And I think it’s that combination of heart and tragedy that truly highlights the comedy in Ghosts.

#bbc ghosts #thomas bbc ghosts #pat bbc ghosts #kitty bbc ghosts #julian bbc ghosts #captain bbc ghosts #fanny bbc ghosts #mary bbc ghosts #robin bbc ghosts #humphrey bbc ghosts

[youdontneedhenry]

It's been a whirlwind day for fans of this show, and it's clearly been a better day for some more than others. I do want to acknowledge that I see and hear and understand the disappointment fans are experiencing.

I would like to speak to my own feelings, which are ones of excitement and cautious optimism because the parts of the show I enjoy the most are still intact for Season 5. I am really excited to see where this show goes. I'll put the rest below the fold so as to be respectful to the variety of emotions.

I enjoyed the episodes that didn't feature the Duke for a variety of reasons. He often talked down to Eliza, or tried to knock bring her down in a variety of ways, and so he seemed to be fundamentally incompatible for her. By the end of season 3, I started to wonder how they could course correct to make William/Eliza believable and work for me. I just couldn't see it because I didn't like how the core issue with Eliza's ambition. That's not something I could get behind.

My favorite parts of the show were always Eliza working with partners who respected her- partners like Nash and Moses. I really missed Moses in Season 4, and one thing I hope we see more of is the diversity of Victorian London that we got to see in earlier seasons.

Look, I am obviously a hardcore #ScarNash shipper. I have loved the character of Patrick Nash since his introduction in season 2. The romantic possibility was there in season 2, and then by episode 3 of season 3 (Hotel St Marc), the chemistry was rather distracting! I liked how he respected her talents and enjoyed having her take the lead.

By the end of Season 4, it was clear to me that Patrick Nash and Eliza Scarlet made the most sense. They were equals, and he recognized her talent from the beginning. Eliza's character seemed to have more growth through her interactions with Nash while her relationship with William had grown stale. The flashback episode really solidified that for me- they hadn't changed in personality in a decade, why would they ever? I forgot to mention the constant mirroring of WIlliam/Eliza romance with Patrick/Eliza's relationship. Talking about wanting to receive a present in a bow with a box to William and then having Nash give her exactly that in an area she wanted- a boost to her career. The way Nash always wanted her to work for him when William only reluctantly hired her. The way Nash acted in the entire Jewel of the North episode, including being there for Eliza when her office was trashed. And that's not even Season 4 where Eliza flat out says he's the only person who's ever had any faith in her!

I know what the writers have said about platonic relationships. And a Season 5 renewal with no Duke doesn't mean we automatically get ScarNash. But a girl can dream. They writers are SO lucky to have these actors with this amount of chemistry and a relationship that has developed over THREE seasons. There's been a satisfying arc with Patrick and Eliza. Rivals to friends to lovers would be satisfying. We've watched them grow individually and together. It would make sense.

My wishlist for season 5 certainly includes: a female friend for Eliza that isn't Ivy, for Moses to come back (I know this is not happening lol) and for ScarNash to be canon. I think it would be incredible, and I hope others can come around.

As a side note, it's been absolutely delightful to share this news with ScarNash fans and to find NEW people who have quietly shipped ScarNash. I sometimes felt like there were only a few of us, but truly there's so many people that love the idea of them. So while I think it's not at all guaranteed that it'll be canon, I certainly continue to hope this has opened the door to it. We'll wait and see! I'm looking forward to the new season with more excitement than I've had for any piece of media in awhile.

#miss scarlet pbs #miss scarlet and the duke #scarnash #patrick nash #eliza scarlet #that's progress real progress

[brokenchainsforgedbonds]

[lost characters as crane wives characters. lets go]

[jack shepherd - know how]

[fundamentally a song about anxiety and not being able to move on, feeling trapped and resistant to let things change even when it should be for the better. jack can't move on, it's a fundamental driver of the story, he always feels like he can't be done with anything.]

[kate austen - easier]

[ive talked about this before but. its literally her. girl who feels like she cant ever find peace staying in one place. girl who just wants to settle down but can never find a way to cure that aching in her chest to move.]

[john locke - new discovery]

[john felt like he was stuck, a sad old man with nothing to live for, just going through the motions without purpose. so, he searches for something to give him meaning, but even when he finds it in the island, he feels like he has to keep pushing and keep forcing on to preserve that sense of purpose, because he has to be moving towards something, or else it was all for nothing.]

[james "sawyer" ford - ancient history]

[okay i really love this one. ancient history's so james core its about a traumatic past that you can't help but let color your existence. like james, the singer feels defined by what's happened to them because of how much it still hurts them. he tries to move on, but he's trapped in cycles.]

[sayid jarrah - the wolf]

[well someone sure thinks they're a monster. the singer of the wolf sees themself as something dangerous and violent, something that will inevitably hurt the people they care about. both the singer & sayid feel like they're trapped in cycles that just hurt themself and others.]

[hugo "hurley" reyes - volta]

[very much a song about mental health. specifically it's about improving, finally deciding to do something about what you've been through. fundamentally volta's a song about hope & making a change for yourself in a way that's super reminiscent of hurley.]

[sun-hwa & jin-soo kwon - curses]

[okay yes i know all the rest of the characters got their own separate songs and all but 1. sun & jin's arcs are so heavily defined by each other in a way unique to them, and 2. curses is so incredibly them i dont want to pass it up. the two struggle to find the words for each other, to be open about what weighs on them and their secrets, to the point it nearly destroys their relationship. but, in the end, the two still stay together, they still try to improve their relationship.]

[charlie pace - the garden]

[the garden is in large part a song about catholic guilt. need i say more? it doesn't matter because i will. charlie feels incredibly guilty over his past and his actions, but struggles to respond to that guilt, instead stewing in self-hate and fear.]

[claire littleton - here i am]

[claire forever feels abandoned. in her flashbacks and by people on the island, she is always left behind by the people she cares about, until she feels like her loneliness is forcd to define her in season 6.]

[desmond hume - little soldiers]

[little soldiers is extremely despen coded. desmond insists that he cares about penny, but fears that after everything, he's hurt her too bad. and yet, him and penny still try, they still put in the work to improve and stay together.]

[aight thats all i can fit for now ill add a part two in a bit]

#lost #lost abc #the crane wives #jack shephard #kate austen #john locke #james sawyer ford #sayid jarrah #hugo reyes #sun-hwa kwon #jin-soo kwon #charlie pace #claire littleton #desmond hume

[wordslikesilver]

Seeing the discourse lately on transmisogyny and coming across new terms like tme and tma being used more than I think I’ve ever seen before because of everything going on had me uneasy, not gonna lie, I always do when I find new terminology from the alphabet mafia because I’m thinking to myself oh boy, more stuff to explain to cis people. Looked into it, it all seems pretty reasonable to me tho for including nonbinary femmes and femme intersex people I’ve sorta just always by default assumed “Trans Femme” was really good given the whole “it’s a spectrum and transmisogyny by definition is talking about the people on the femme side of it who didn’t start there” so admittedly I’ll probably be a grump about changing my vocab soon.

But then I see some new shit in the wake of all this TERF nonsense and bigotry being used against trans women? Detransitioned cis women calling themselves trans women and saying WE don’t understand the concept of gender well? The audacity? Look, changing the labels of a community to be less offensive is something I support so loudly and love and adore. This isn’t that. This is people encroaching on our pride and our identities and pretending the flag we nobly fly, the icon of bravery and unifying love in the face of oppression that it is, isn’t clearly “ours” enough. That it’s something they’re allowed to say belongs to them too so we need to come up with something new to call ourselves when we discuss the pain we face in our lives. Erasing and rewording the definitions of who we are til our identity is gone altogether. Moving the goal posts and telling us to teach everyone a whole new set of labels when the average layman still doesn’t even know that “Cis” isn’t a fucking slur, let alone what it means. Never forget that at your core when you fight against this new bigotry and they try to dance circles around you with their words and misdirect the conversation to stupid shit. Alienation from an already unified identity is a classic means of making it so much fucking harder for the oppressed to have their pleas for basic rights be acknowledged. Never let your people’s pain be silenced by someone pretending to they’re too stupid to know who you’re talking about.

To the TERFs and bigots who find this, and I fucking hope you find this, Trans Woman is not yours to fucking claim just because “gender is a construct and complicated” you will NEVER know the pain people like me have been through. I refuse to acknowledge a claim on my people’s identity because someone managed to misunderstand a concept hard enough and it’s now snowballed into a new form of complicating discussions of deserving basic and equal rights. I have felt the pains a cis woman has felt, I have felt sexist and awful treatment from men, I have been catcalled, I have been stalked, I have been made unsafe, I have been expected to be a mother for no other reason than “all women want them one day” and I have been assumed to be less than a man for some imagined frailty of the fairer sex. I am a woman. We can share that label, I WANT to share that label. We can bond over sapphic love and feminine experiences and hardships we both suffer under a cruel patriarchy. In just the same way, I have never known the pain of period cramps. I don’t have a vagina. I will never have a pregnancy scare and I will never feel the side effects of birth control. I wasn’t catcalled by gross men walking home when I was in high school. I was never sexualized by the media when I was in middle school the way cis girls would see happen to them. I am NOT a cis woman and I will never be one. I grew up as a boy, I lived and I loved as a young man, I saw the world through masculine eyes and was raised being treated as one, I will never pretend I know what it’s like to be a young girl being preyed upon and used by an older man. I will never touch that label because it’s simply not correct at the most fundamental level. I am a trans woman and that made me who I am. After all the people I’ve met and all the experiences I’ve shared, it took time to be so proud of calling myself a trans woman. Holding up the sky would’ve taken less strength of the heart, but now I feel the deepest pride knowing I’ve done something inconceivably harder.

But you, you people cannot take that from me and my sisters. I draw the fucking line at saying you think you have the slightest notion of what it’s like to be transfeminine. To be born in a body that makes people see you as a man from the very first glance, to hear you wrong from the first whisper of your voice. To spend the rest of your life working tirelessly in a fight against your own biology and/or the perception of the entire world whenever it casts its ugly eye upon you. Some of us don’t even have the privilege of fighting those perceptions or the things or own bodies have been programmed to force on us. Some of us don’t even want to have to do anything about how we look because it’s bullshit to have to fight for that basic respect from our peers in the first place and their standards just don’t align with who we are deep down in the first place! Gender is complicated but this isn’t. Have you EVER held your breath in the women’s public washroom and tucked your feet in because you were scared you’d make other women uncomfortable, because you’re not sure if you’re in an accepting space? FEARED what might happen if you step into the women’s change room to put on a bathing suit or your work clothes? Have you EVER been threatened with physical violence and called slurs in front of your own mother on public transit? Have you ever had to tell your doctor you’re ready to drop out of school to show how “sure” (re: fucking desperate) you are to be prescribed HRT? Sure, lots of cis women are on HRT, I treat them as patients all the time. Have you ever had a hot flash at the age of 21 because you were late on your injection? Did you pierce your skin with thin metal once a week for years and years to get the breasts you have? Did your body do irreparable things to your bones and your voice that make it so no one will ever see you as a woman at first glance without thousands of hours of effort, of tears, of sheer fucking focus and fixation on achieving the ideal self you see in your mind and dream of being one day? DID YOU HAVE TO BEG YOUR GOVERNMENT TO LET YOU HAVE THE BODY YOU LITERALLY ALREADY HAD AT BIRTH OR DID THEY NEVER EVEN SO MUCH AS TRY TO GET IN THE WAY OF JUST BEING CALLED MISS ON YOUR GOD DAMN LICENSE? Cis women can’t even begin to imagine the feelings I have felt, building my wings of feather and bones and wax, day after day, dreaming of flying beside my sisters who were born with wings they’ll never fear will melt, all the while remembering the last time someone born in a body like mine flew too close to the sun. Maybe they’ll perhaps know what it’s like to bind them to their back and hide them beneath their shirt, maybe they’ll even have sheered and ripped the bones from their sockets and one day wish they could have them back and sing with the rest of the angels like they used to, but they will NEVER fly on wings like mine, fear the heat from the light that makes life worth living the way I do, fear the same slings and arrows screaming up through the air from down below and even at times from above my head to let me know loud and clear they wanna knock me outta this sky, this sky that’s so beautiful and holy I cry when I touch it, the very first chance they get.

Transphobia won’t ever take the sky from me. My Icarian Wings are made on the foundation of generation after generation of my people who dreamed and yearned to touch the sunlight blue skies and the infinite glittering nights, each of us telling each other, telling ourselves we’ll never fear the light again one day, lifting each other when we fall, soaring higher each time than the ones whose wax melted before we could save them could, warmly teaching each other how to fix our broken wings and freely gifting each other the love it takes to make them stronger for the next flight. Holding each others hands as we dance and show each other how to fly, hand in hand and heart in heart with the angels who call us sister angels. A cis woman having the audacity to flap her never melting wings and saying hers are just like mine, that the name of my people is just a construct so she can say she she’s just like Icarus too, makes me wanna vomit. Pretending she knows what it’s like to watch in terror as all the feathers fall out suddenly in a moment of weakness making her break her bones upon the rocks, listening to everyone around her say “I knew it, I knew his wings were fake, look at him crawl along the ground in the dirt and the mud where he belongs.” Pretending that if two people both have skin, even of a different colour, that since the labels are made up, the sun and society itself will surely treat them the same if the white one calls themselves black.

Transphobia won’t ever take the sky from me. Come and fucking try to take these wings from me and see what happens.

#trans #transition #transfem #mtf trans #trans woman #transwoman #lgbt #lgbtq #lgbtqia #queer #queer community #transphobia #transmisogyny #trans rights #trans community #mtf #my writing #I’m so angry I don’t even have the words #the tme vs tma thing is wonderful but I will burn in hell #before I accept the notion of trans woman meaning any less than it ever has before #I have it EASY compared to so many #and there isn’t a cis woman out there who can empathize with a TENTH of everything I’ve felt

[selene-borealis]

I’mma just up and say it: if it wasn’t for Scott and Tyler Posey, I wouldn’t have gotten into this show.

Scott is the one who pulled me into this show. Yeah, he was sooo melodramatic in season 1, but that was part of his charm for me. He has such a very human, very teenager reaction for somebody who just got bitten by and turned into a werewolf, that to me he actually feels like a teenager. And once he loses that rage after season 1, he has such a big heart. He is adorable. He is the goofball. He is the hot girl.

His entire arc is about selflessness and sacrifice. The Scott we see in season 1 is caught up in his wants and desires. But as he gets older, as he accepts that he has this weird authoritative position in Beacon Hills that can’t really be explained until he becomes the true alpha, he accepts the responsibilities that come with being a leader. He faces danger head on, without question. He forms personal relationships with his pack (Stiles, Isaac, Kira, Lydia, Liam, Malia, and even Hayden!) that I feel like people like to ignore. He stands by his morals, not because they are the easy thing to do (wouldn’t have killing Deucalion been the easy way out?), but because he honestly, genuinely, wholeheartedly believes that standing by them is the right thing to do. That doesn’t mean he’s always right. He’s made mistakes that this fandom loves to rehash over and over and over again. But he is a good person. Fundamentally, right down to his core.

And this was what I needed when I got into this show. I needed a character who had the growth that Scott does, because it’s subtle, but the more you rewatch him, the more it’s there. I needed a character that could make me feel happy on a bad day. I needed a character who could do the right thing without question, who grew into himself and became more confident in himself, who could face the world even when it’d beaten him down so thoroughly.

Scott is the main character of the show, and I wouldn’t have it any other way.

#teen wolf #scott mccall #idk just feel sad at how underappreciated my baby girl is

[burst-of-iridescent]

Hi! First I want to say I love your Zutara dissertation. I was in a convo with a friend who said they don’t like Zutara because it hurts Zuko’s arc. I then linked them to part two of your dissertation where you explain how Zuko and Katara getting together would strengthen their arcs and the themes of the show. They then replied, “I see all these points. I just think this can be done via friendship. I think the idea that Zuko heals the world via friendships fits the show more since friendship played a bigger role then love stories.” Do you have any rebuttal argument for this that I can show them?

please give my commiserations to your friend for the frustration they must have felt when avatar: the last airbender ended with a grand romantic kiss because naturally, the all-important question of the finale was whether the hero finally got the girl after spending three seasons suffering in the friendzone. i'm sure your friend, being such a proponent of the importance of friendship over romance, must be just as critical of kat.aang in the finale as they are of a potential zutara relationship (and if they aren't, then you know where this argument is coming from and it's certainly not a place of legitimate media analysis.)

but on the off-chance that we're dealing with that rare breed of zutara anti that isn't a raging hypocrite: i fail to see why there's this weird dichotomy being made between platonic and romantic love at all. what exactly is wrong with zuko healing the world with both friendship AND romance? his platonic bonds with sokka, toph, aang and suki don't suddenly cease to exist just because he's dating katara, so why are we acting as if it's only one or the other?

atla is a story about the power of friendship, yes, but more than that it's a story about the the power of love. love for your family, blood and chosen. love for your friends. love for your countrymen. love for strangers, for enemies, for humanity. at its core, atla is centred around love in all of its varied forms - and yes, that includes romantic love.

or are we saying that sokka's love for yue, katara's romance with jet, sokka's relationship with suki, zuko's feelings for jin all had absolutely no bearing on their individual character arcs and the overall plot of the show? even kat.aang and mai.ko, badly written as they are, were important to aang and zuko's arcs in helping them realize the people they were truly meant to be (at least, before the finale fucked it up).

i, and many other zutara shippers, have always said that we'd have been fine with atla ending with no canonical romances, or with only a hint of zutara. i wouldn't replace the kat.aang kiss in the finale with a zutara one, even if it made more narrative sense, because i agree that romantic love was definitely not the point of atla - but that doesn't mean that it had no significant role to play at all.

given that your friend seems fine with zuko and katara's friendship, i'd love to hear why said friendship turning into a romance would suddenly be detrimental to zuko's arc. was sokka's arc about unlearning his misogyny ruined because he eventually entered a relationship with suki? was suki being inspired by sokka to take a more active role in the war undercut because she became his girlfriend? if not, then why would the zutara dynamic be the only one negatively affected just because they can kiss now?

zuko is a character who is fundamentally defined by love. his love for his people kickstarts his entire character arc. his love for his mother, and her love for him, is integral in reminding him to stay true to who he is. iroh's fatherly love guides him to the path of redemption. the gaang's platonic love, and the love he holds for them in return, gives him the confidence and support he needs to fulfill his destiny. so romantic love, the right kind of romantic love (and notably the only kind zuko never truly receives in the show) would only add to zuko's character - not take away from it.

#zutara #zutara meta #anti kataang #anti maiko #zutara asks

[chaifootsteps]

There are a plethora of issues regarding Vivziepop's writing, but the one that really stands out to me is her lack of themes. She has ideas, occasionally she has something to say, but she has no themes.

If you don't mind my ramblings; I have been considering an AU that is effectively divorced from the series, focusing entirely on the characters Blitzo, Barbie, and Fizzarolli. In brainstorming the story, I have been able to streamline the narrative to 3 core themes.

Masculinity, Control/Power, and Belonging.

Everything in the story is connected to one or more of these themes in regards to the characters and their motivations. Even side characters are wholly infused with these three concepts.

In my AU, FizzaRolli is not a performer, but a stray child with a group of other feral children Lord of the Flies. Blitz is the son of a circus owner who craves his father's approval even as he resents him. Barbie is an up and coming starlet brutally managed by her father who effectively curates her sense of identity as she creeps closer to the spotlight.

Much of Blitzo's story focuses on a young man coming into his own in a world that runs on toxic masculinity, balanced out by the guidance and love of his sickly mother whom he cares for. He's a young adult figuring out himself in a world and community who keeps telling him what he should be. Sub Themes of responsibility, respect, strength and the abuse of power are key cornerstones of his story.

Meanwhile FizzaRolli is the foil of Blitz's story. An orphan without parental guidance living out his coming of age in a Teenage Wasteland. Additionally, Fizz is gay, meaning his queerness colors over the themes in a fundamental way. Being in a Teenage Wasteland, Fizz is effectively in the closet because of how queerness can change others perception of him. And weakness often is associated with queerness, which has no place in a micro-society that elevates this toxic, Fight Club-esque concept of masculinity and belonging. Fizz seems to belong, carve out a space for himself in his community, but struggles come into himself. Especially because underneath it all is a severely traumatized child who never got to be a kid long enough to learn how to be a man.

And from the far other side, Barbie's relationship to these themes comes from the viewpoint of living under the patriarchy as a young woman. How girls are raised to cater to the needs of men, treated as glorified children unless they "prove" themselves over things that many men are merely handed. Her father prioritized her career above and beyond her as a person. While that isn't a trait inherently based in sexism, how he curates her life and downplays her desires and intelligence is rooted mainly in her being his daughter and thus not expected to "step out" into her own like her twin. Leaving her feeling impotent, infantalized and resentful even as she is held on a pedestal.

Control over one's self, perception, and direction.

How masculinity fosters respect and responsibility for young boys while simultaneously threatening punishment for not meeting or stepping outside of certain expectations. Especially the competitive aggression and emotional warfare in toxic masculinity

And a sense of belonging, be it in a community or an identity.

Themes help maintain a cohesion to a story, helps the characters feel interconnected and the world lived in regardless of how much emphasis is placed outside the main cast. It also helps ground the ideas of characters in an abstract way that doesn't place pressure to "prove" to the audience a character does fit the traits you as an author see in them. Most of all, it better enabled the author to pivot viewpoints and easily switch between characters so that they feel individual and not that there is a singular "voice" speaking behind them. It creates a unique soul rather than an empty skin suit for the author to don.

Sorry for the long rant.

No worries, Anon. Thanks for the ramble, it was an interesting read!

#Anonymous #actual blog post #viv stuff

[ilikekidsshows]

Why do you think abuse apologia is so rampant in the ML fandom? I’m asking because kind of in awe at this anon I just got who all but told me to kms because I said that Maribug gaslighting Adricat about his father is messed up

It's a combination of a couple of things. The Marinette Stans here on tumblr are enthusiastic to say the least. At its most harmless, they'll go on tangents about how Marinette is secretly jacked and musclar and strong enough to beat Miraculous users without Miraculous powers. At its most toxic, they harrass people for saying anything that could be construed as negative about Marinette, including "Man, this fictional character sure is in need of character development!"

After the retooling for seasons 4 and 5, this kind of thing got worse, because now the show is actually agreeing with the more toxic Marinette Stans. Characters are taking back things they said a season and a half ago to make Marinette seem retroactively in the right for bullying the new girl in school and creating her own villain. Marinette is no longer seen as being capable of being morally wrong by the narrative; she's no longer presented as being overly controlling, judgemental and self-righteous. Instead, the narrative insists she's in the right about everything. The only times she's "wrong" it's because she's factually wrong: she lacks important information, meaning the mistakes the story admits to her making aren't actually her fault, but the fault of faulty information. The show has protagonist centered morality, because the show's protagonist is never presented as being in the wrong anymore. Everything Marinette does is morally justified because she's the protagonist.

The problem with this comes from the fact that Marinette still acts the same way she used to. She still acts overly controlling, judgemental and self-righteous. She grants a Miraculous permanently to another holder without letting Cat Noir know. She tricks Cat Noir into revealing his secret identity. She complains about how hard she has it while not taking advantage of the help Cat Noir is constantly offering to her because she thinks she knows better than anyone else so he could possibly not be able to help her. She doesn't tell her boyfriend he's under the very real risk of getting his free will hijacked if anyone palmed these two specific rings. She doesn't tell her boyfriend anyone could kill him with a snap of their fingers with the Peacock Miraculous and that she's letting his awful cousin hang onto this power because he knows her secret identity but she's still not telling him or her oldest superhero partner. And, yes, she's gaslighting Adrien into thinking his dad was a good person through and through.

And yet, despite all this stuff the writers have Marinette do that make it sound like she's on her freaking villain arc, the writers insist Marinette is morally right about all of this. She only makes surface level apologies for her lying and secret-keeping, only to keep doing it. Her apologies mean as little as Félix: they mean nothing. She never even considers whether or not what she's been doing is a good idea, because, as far as the writers are concerned, it's a great idea.

This fandom is full of abuse apologia because the fandom is used to making excuses for characters who treat Adrien poorly, but also because the show's writing requires you to either accept and excuse abuse, or disagree with the fundamental core of the show: that Marinette is always right.

#ml salt #ml writers salt #ml critical #ml writers critical