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#yes this is lots of texts
sarasade · 5 months
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One of the most generally useful things to come out of Hbomberguy's plagiarism video and Todd in the Shadows' similar video on misinformation is how they bring transparency to the internet phenomenon of "I made up a guy to get mad at".
Seriously, I've seen people make up a lot of stupid shit on the internet over the years and it's often just a manipulative attempt to paint a group of marginalized people in a bad light.
That's the TL;DR version of this post. 
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ANYWAY here is the long version
Those videos are mostly about James Somerton's plagiarism of other queer people's work. However I'd like to talk about that 20-30% of Somerton's original writing- and oh boy. It's mostly about complaining about White Straight Women and misgendering well-known trans creators such as Rebecca Sugar and calling Becky Albertalli a straight woman while it's pretty common knowledge that she was forced to out herself as bi because she received so much harassment over "being a cishet woman who appropriates LGBT+ stories".
One thing that irks me especially is how in his Killing Stalking and Gay Shipping videos Somerton brings up how straight women/ teen girl shippers exploit gay men for their personal sexual fantasies. This gets brought up several times in his videos.
Being all up and arms about Somerton being a "White Cis Gay Who Hates Women and Queer People tm" is not that useful because the kind of rhetoric he's using is extremely common in fandom and LGBT+ spaces on Tumblr, TikTok and Twitter. We really don't need to bring Somerton's identity to this since he is in no way an unique example.
It's hypocritical to make this about an individual person when I've seen A TON of posts, tweets and videos where queer people talk about these Sinister Straight Women who are supposedly out there fetishizing and exploiting queer men. It's pretty clear to me that this is just an excuse to shit on women and queer people for having any sexual interests. At worst these comments are spreading misinformation about BL, a form of media that has been excessively studied by both Asian feminists and Asian queer women.
This all sounds really familiar and I think it's good that people are calling it out as what it is: misogyny and transphobia. I'd also point out the potentially racist motives behind being this hypervigilant about Asian media.
People can absolutely be misogynist regardless of gender or orientation. I really don't know why we need to create some kind of made up enemy to get mad at. I actually think it's almost sinister how "anti-fujoshi" people call Slash shippers and fujoshi misogynists or claim that they have internalised misogyny while being dismissive about women's interests and creative pursuits under Japanese obscenity laws, China's censorship, book bans in American schools and various other disadvances that are part of being a queer and/or female creator.
I think we shouldn't be naive about the bad faith actors who want to turn queer people against each other. For example Fujoshi.info mentions anti-gender (TERF, GC etc) movement using this kind of rhetoric as well.
Anyway if you want to read more:
- about the false info around BL fandom fujoshi.info
-There is the scholar Thomas Baudinette who studies gay media in Japan. Here is a podcast with him and the scholar Khursten Santos
-James Welker is a BL scholar as well. Here is a podcast interview about the new international BL article collection he edited.
-I've already talked about this Youtube channel by KrisPNatz and his great Killing Stalking video that actually engages with the themes of the manhwa
- There is also HR Coleman's thesis DO NOT FEED THE FETISHIZERS: BOYS LOVE FANS RESISTANCE AND CHALLENGE OF PERCEIVED REPUTATION where she interviews 36 BL fans and actually breaks down why fetishization has become such a huge talking point in the fandom discourse. Spoilers, it's mostly about young queer people and women being worried that they will get judged and pathologized for their interest in anything sexual.
-Great podcast about Danmei and censorship with Liang Ge
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demigods-posts · 2 months
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okay fine. maybe i'm a little obsessed with annabeth thinking all of her close relationships were transactional and conditional until she met percy. maybe i'm a little obsessed with annabeth having difficulty expressing just how significant their friendship is to his face and barely getting the chance to before he turns to gold. maybe i'm a little obsessed with annabeth's willingness to put a quest, something she's wanted since was seven, on pause to save her friend. obsessed, but only just a little.
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katabay · 9 months
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Robin Hood and Little John walkin' through the forest--
alright! so! early robin hood ballads and narratives don't have an origin story for little john, but a later ballad (robin hood and little john) does. they fight on a bridge in it, but I like looking at illustrations, so I've swapped out the bridge for that tree peaking out of the panel in the first panel bc I enjoy louis rhead's illustrations a lot.
this is some kind of introduction scene after they fight and climb out of the river!
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Robin Hood & Little John (edited by Stephen Knight & Thomas Ohlgren)
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furiosophie · 2 years
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i know someone must have done this already but--
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based on this post by @chaotic-kass
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softdom-energy2 · 10 months
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TW: CNC Somnophilia
I just cannot stop imagining you sleeping in bed in nothing but panties and a nearly-see-through, thin tank top. Fresh after a shower smelling so good. I will not be able to resist your scent. It calls me to your bed, your body calls to me. I walk quietly over to the bed and stare down at your soft, innocent and adorable body. I start by gently lifting your top up and caressing your breasts. So soft and beautiful in my large hands. Brushing your nipples with my fingertips before I begin to suck on them gently. You're a sound sleeper so you won't wake up just yet. I get a little more bold and slide your panties down your legs, delicately and slowly. Kissing your soft inner thighs just makes me primal. Just looking at your sleeping body makes me want to slide inside you, you look so cute and innocent, princess.
So I give into those desires, sliding in slowly, trying so hard not to wake you up. God you feel so good around my thick cock. Your body writhes in your sleep, but that doesn't stop me from thrusting in an out of slowly for a few minutes before you wake up in a lust filled haze. Your face says you're shocked and confused, but a soft moan escapes your mouth when I thrust harder. I'm holding your hands above your head with one hand and my other hand over your mouth, as I thrust faster and faster. Ruining that cute little pussy. Using you for my pleasure. Whispering "ssshhhh it's okay. I couldn't help myself baby. I just need this right now. Just stay fucking still and take it. It's okay. Fuck you feel so good. You looked so cute sleeping like. Daddy couldn't help himself baby. Fuck I need this." My thrusts get intense and rougher. My breathing gets more and more ragged as I get closer and closer to cumming.
Finally, I let out a heavy grunt against your neck as I cum inside you. My post orgasm bliss is filled with the scent of you. Pulling you close against me after its all over. Kissing your cheek, stroking your hair, and running my hands all over your body. "My good girl" I murmur as I kiss your forehead 🖤
This is a Cnc somno kink. If something like that happens between two people, it is thoroughly discussed and staged. It doesn’t happen with strangers. There is consent on both the sides, and there are safewords in place. There is a WHOLE lotta trust on both the sides before any of this even happens. Do not do this without discussing it with your partner.
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bookshelfdreams · 19 days
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Saw a Take earlier today like "Ed stans have only 1 argument and it's accusing everyone who likes Izzy of being problematic" or something to that effect
and it made me think "Nah babe, you're not problematic. You're just wrong."
And then I thought. Huh. Why do I think that?
It's a perfectly respectable thing to read a text in a way it wasn't intended to be read. In fact, "reading against the grain", doing critical readings, shifting perspectives when engaging with a text - all of thee are important skills! You can, and should, do feminist, antiracist, postcolonial, queer, etc readings of texts that were never intended to be read that way. Hell, all fandom (often) is, is doing queer readings! Ask the text uncomfortable questions it doesn't want to answer!
However. It's pretty difficult to do a queer reading when the text already is a queer narrative. The questions you would ask the text if you did a queer reading, or a reading focused on gender roles, or similar things - those are questions the text is already actively exploring.
If you want to do a subversive reading of a text that is already quite subversive - what do you end up with?
"What's the story like from Izzy's perspective?" is a question ofmd deliberately doesn't focus too much on because Izzy's perspective is the default and ofmd wants to challenge that. There's a reason the angry white man is the antagonist in this show, and if you ask "Okay, but could he be right though?" you're missing the point.
Or rather, you're turning everything that's interesting about ofmd back around. You're asking "Okay, but why don't we focus on a white perspective that strictly adheres to oppressive power structures?" of a narrative who already asked itself this question and gave the answer "Because that's been done enough and there are other stories worth telling."
And I think people are aware of that, which is how we end up with completely bizarre takes like "Izzy has the only queer character arc". He hasn't, but he has the only arc that a queer reading can be done on - for everyone else it's text, plain and simple. Refusing to engage with that text in favour of centering Izzy is basically doing a heteronormative reading without being willing to admit it to yourself.
And no, interpreting Izzy as a queer man doesn't change that.
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oh-warizoro · 8 months
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Perfect take on Zoro. Perfectly executed by Mackenyu.
The way EVERYONE is trying to have him work for them. Mr 7, I'm here with an invitation. Captain Morgan, Join the marines or you'll die tied to a cross.
Luffy, sets him free, doesn't force him to join, let's him go, let's Zoro decide where he wants to be;
And Zoro finds out that place is by Luffy's side. Ain't that beautiful?
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samglyph · 1 month
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I truly believe Will Wood is an incredible musician and songwriter and is one of the top lyricists in the last decade both in and outside of the genres that he chooses to play in with absolutely zero irony. I also believe that you can only fully understand that if you’ve either had a pet die before listening to his music or you have a history of drug abuse and mental health crises. Or you’re trans.
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nookisms · 2 months
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Oops. It's a second headcanon compilation!
Don't worry, the next one will be back to our normal schedule of regular text posts and not headcanons
Masterpost
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c-kiddo · 2 months
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hi fir! (: wondering if you have any sketchbook doodles lately? i love ur lil doods sm 🫶
aw :' ) thank u . here is some ùna and ava things
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steveyockey · 9 months
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Some would rebut that “Oppenheimer,” being a Hollywood blockbuster with serious global reach (whether it will play Japanese theaters remains uncertain), will be many audiences’ only exposure to the events in question and thus might “create a limit on public consciousness and concern,” as the poet, writer and professor Brandon Shimoda told The Times. A corollary of this argument: The crimes committed against the people of Hiroshima and Nagasaki were so unspeakable, so outsized in their impact, that Oppenheimer’s perspective does and should dwindle into insignificance by comparison. For Nolan to focus so exclusively on an American physicist’s story, some insist, ultimately diminishes history and humanity, even as it reinforces the Hollywood hegemony of the great-man biopic and of white men’s narratives in general.
I get those complaints. I also think they betray an inherent disrespect for the audience’s intelligence and curiosity, as well as a fundamental misunderstanding of how movies operate. It’s telling that few of these criticisms of perspective were leveled at “American Prometheus” when it was published in 2005, that no one begrudged Bird and Sherwin for offering a meticulously researched, morally ambivalent portrait of their subject’s life and consigning the destruction of two Japanese cities to a few pages. That’s because books are books, the argument goes, and movies are movies — and this perceived difference, it must be said, reveals a pernicious double standard.
Because they seldom achieve the narrative penetration and richness of detail of, say, a 700-page biography, movies, especially those about history, often are hailed as achievements of breadth over depth, emotion over intellect. They are assumed to be fundamentally shallow experiences, distillations of real life rather than sharply angled explorations of it, propelled by broad brushstrokes and easy expository shortcuts, and beholden to the audience’s presumably voracious appetite for thrilling, traumatizing spectacle. And because movies offer a visual immediacy and narrative immersion that books don’t, they are expected to be sweeping if not omniscient in their narrative scope, to reach for a comprehensive, even definitive vantage.
Movies that attempt something different, that recognize that less can indeed be more, are thus easily taken to task. “It’s so subjective!” and “It omits a crucial P.O.V.!” are assumed to be substantive criticisms rather than essentially value-neutral statements. We are sometimes told, in matters of art and storytelling, that depiction is not endorsement; we are not reminded nearly as often that omission is not erasure. But because viewers of course cannot be trusted to know any history or muster any empathy on their own — and if anything unites those who criticize “Oppenheimer” on representational grounds, it’s their reflexive assumption of the audience’s stupidity — anything that isn’t explicitly shown onscreen is denigrated as a dodge or an oversight, rather than a carefully considered decision.
A film like “Oppenheimer” offers a welcome challenge to these assumptions. Like nearly all Nolan’s movies, from “Memento” to “Dunkirk,” it’s a crafty exercise in radical subjectivity and narrative misdirection, in which the most significant subjects — lost memories, lost time, lost loves — often are invisible and all the more powerful for it. We can certainly imagine a version of “Oppenheimer” that tossed in a few startling but desultory minutes of Japanese destruction footage. Such a version might have flirted with kitsch, but it might well have satisfied the representational completists in the audience. It also would have reduced Hiroshima and Nagasaki to a piddling afterthought; Nolan treats them instead as a profound absence, an indictment by silence.
That’s true even in one of the movie’s most powerful and contested sequences. Not long after news of Hiroshima’s destruction arrives, Oppenheimer gives a would-be-triumphant speech to a euphoric Los Alamos crowd, only for his words to turn to dust in his mouth. For a moment, Nolan abandons realism altogether — but not, crucially, Oppenheimer’s perspective — to embrace a hallucinatory horror-movie expressionism. A piercing scream erupts in the crowd; a woman’s face crumples and flutters, like a paper mask about to disintegrate. The crowd is there and then suddenly, with much sonic rumbling, image blurring and an obliterating flash of white light, it is not.
For “Oppenheimer’s” detractors, this sequence constitutes its most grievous act of erasure: Even in the movie’s one evocation of nuclear disaster, the true victims have been obscured and whitewashed. The absence of Japanese faces and bodies in these visions is indeed striking. It’s also consistent with Nolan’s strict representational parameters, and it produces a tension, even a contradiction, that the movie wants us to recognize and wrestle with. Is Oppenheimer trying (and failing) to imagine the hundreds of thousands of Japanese civilians murdered by the weapon he devised? Or is he envisioning some hypothetical doomsday scenario still to come?
I think the answer is a blur of both, and also something more: In this moment, one of the movie’s most abstract, Nolan advances a longer view of his protagonist’s history and his future. Oppenheimer’s blindness to Japanese victims and survivors foreshadows his own stubborn inability to confront the consequences of his actions in years to come. He will speak out against nuclear weaponry, but he will never apologize for the atomic bombings of Japan — not even when he visits Tokyo and Osaka in 1960 and is questioned by a reporter about his perspective now. “I do not think coming to Japan changed my sense of anguish about my part in this whole piece of history,” he will respond. “Nor has it fully made me regret my responsibility for the technical success of the enterprise.”
Talk about compartmentalization. That episode, by the way, doesn’t find its way into “Oppenheimer,” which knows better than to offer itself up as the last word on anything. To the end, Nolan trusts us to seek out and think about history for ourselves. If we elect not to, that’s on us.
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writer-room · 1 year
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You ever just see people talk about the Percy Jackson books and know somewhere, deep in your heart, that none of these people have understood that this is a series made for middle schoolers. And that fandom will very frequently lie to them like, all the time. No, that character probably isn’t ooc, you’re just thinking of what the fandom turned them into. No, this book isn’t a horrible stain next to the others before it, literally all of them were like this. It’s Percy Jackson. It’s cheesy and occasionally makes a very questionable writing decision.
You gotta be in this for the long haul or jump ship my guys. Be cringe and free or be gone
#percy jackson#tsats#solangelo book#rick riordan#percy jackon and the olympians#pjo#the sun and the star#text post#yall are astounding me in ways i didnt know was possible god bless#also this was mostly written by mark not rick. like yes he signed off on it but still this is mostly mark#but its still Fine??? its fine?????? besties a book abt our favorite gays not being perfect is not the end of the world#did i cringe? hell yes. but was i free? tremendously. and i had a lot of fun i think#'bianca is in elysium but she was reincarnated??' yeah thats odd. anyway that scene was cute wasnt it#'everything is so on the nose' yeah its for middle schoolers and percy jackson isnt known for subtlety. its very rare#'will was ooc' weve literally barely gotten anything on him and no povs until now this IS establishing his character#'the puffs remove nicos whole trauma' no it doesnt. its a fantasy way to sort of explain that nicos trauma is now open instead of repressed#do i wish it wasnt sometimes explained as 'now the trauma is gone'? yes. but i think its moreso meant to be a way of nico dealing with them#he still HAS that trauma fellas. hes still going to be living with it. its just gonna be easier now. thats part of healing besties#also we dont know how these puffs are gonna act in the future so like. hush. shhhhhhhhhh. shut. it was literally never going to be perfect#its pjo. i love this series to death but. its pjo. it is. in fact. sometimes badly written. as it has been many times before in books before#and what else??????? it may not be written the greatest but its MY series that isnt written the greatest square up
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couch-house · 4 months
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do you know for how long and how many times i have tried to draw sonic and kintobor hug. im obsessed. anyway read my old fanfiction it's still good bc Sonic and Kintobor Hug
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astarlightmonbebe · 1 year
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the appeal of yeojeong as a normal guy who’s just a little bit off. not enough that you would notice when talking to him, of course, but it’s just there, under the surface. a disturbance. and i think it’s interesting because typically you have two types of guys somewhat adjacent to this: guy who seems totally normal but is secretly sadistic/a psychopath, and then guy haunted by a traumatic/troubled past, who has that secret layer of torment running beneath the surface of their image. but yeojeong breaks through these archetypes, and i think part of it is because he’s just so...calm. it’s not that he’s living a double life (kind doctor by day, killer by night) or hiding part of his past (everyone he worked with knew about what happened to his father, and watched his downward spiral during his college days). he’s not the typical male character who is, at every attempt, trying to outrun his tragic past (even though he does run once or twice); he’s not haunted by flashbacks, or suffer from PTSD in the way that is usually portrayed in dramas. and i think part of that is because the glory is a story about victims. it’s dongeun’s story, first and foremost, even though it is also yeojeong’s story, and hyeonnam’s story, and sohee’s story. but it’s a story about dongeun’s pain, and when it’s not about her pain, it’s just about the pain of victimhood - unlike other dramas, this isn’t a show where male pain outweighs the rest.
so yeojeong is just a normal guy. he’s handsome. he has a good career. he’s a plastic surgeon, an interesting choice when both his parents were/are hospital directors, and his father seemed to have worked in the er or something of the sort prior to his death (or at the very least wasn’t a plastic surgeon). something could be said here of yeojeong choosing the ‘safe’ path as a doctor, a path where he cures pain and makes people happy without the added risk of being attacked by one of his patients. there’s no proof of that in the show - why he chose to be a plastic surgeon - but it’s an interesting thought path to travel. 
dongeun says he must have lived a good life. that he’s never had to worry about the path that he’s on. and that’s true, to a certain extent. to everyone, including her in the beginning, yeojeong is perfectly friendly. he’s perfect, but not the perfect that people perceive as too perfect (i.e. the guy who’s hiding things); he has his moments where he spazzes out, gets into fights, goes crazy over dongeun texting him back, teases his mom. he’s perfectly well adjusted (a perfect contrast to dongeun’s ‘maladjustment’). he wears flip flops to work and gets the same coffee order daily. he plays go with old men in the park.
he likes to listen to the fizzing of vitamin tablets in water because it calms him down. is this a strange thing? only because he thinks it’s important enough to mention to his therapist. he does it at work too - drops the tablet in, closes his eyes, rests his head. he does it at home - drops the tablet in, opens the drawer, draws a knife. it’s about the noise. bubbles rising to the surface, like bubbles rising from underwater. he stays underwater until the last possible moment, when he has to break the surface in order to breath. dongeun makes him feel like he’s at the eye of a storm - a deceptively calm center, while everything else rages outside. and i think it’s kind of important that he makes that comparison, when he’s someone always seeking that calm. the soothing noise, that makes him feel lonely.
so he’s just a normal guy. a normal guy who receives letters on a regular basis from the prisoner who brutally murdered his father. he doesn’t like letters, he tells dongeun. who knows what he does with the letters - does he keep them? does he throw them away as soon as he sees them? he must have read some of them; maybe you only need to read one to know what is in the rest. maybe he’s still reading them; maybe he keeps them without reading, an invisible torment. it’s not what he does with the letters that matters, but that he receives letters at all. 
can you still call it a haunting if you’ve almost made your peace with it? if you’re living with it? 
he’s just a normal guy, who looks his therapist right in the eyes and tells her that she couldn’t fix him. he diligently attends therapy for years on a regular basis, even though it doesn’t work. he finally abandons it when he moves to semyeong, because he chooses to embrace dongeun’s revenge. he chooses his own revenge, too, in a way. the dark part of him that he can’t escape. the one that makes him pick up the knife, who asks dongeun who to kill before she even tells him she wants any of them dead, even when he’s a doctor from a family of doctors, and doctors don’t kill - they save lives instead. 
you couldn’t fix me, he tells his therapist calmly. so calmly. as if there’s not a bloodied man sitting next to him, a man he dreams of killing. the man is just life to him, just like the letters are life to him to. a dulled numbness. an acceptance of it. 
is your son going through hell? can you even tell it’s hell, if it’s what you’ve become used to? is it hell when you’re a doctor dreaming of murder? is it hell to no longer be tormented by dead men and living murderers who send you letters? is it?
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jackshiccup · 8 months
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hiccup is so much more receptive to ruff and tuff’s quips in rtte its so fun to watch
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katnissmellarkkk · 9 months
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unpopular opinion maybe(?) but i’m so very happy gale did not die in mockingjay. i know a lot of fans across the internet really wish he would have died instead of finnick but that would have bothered me to absolutely no end. because it would have cheapened katniss’ choice. take away the fact that she would have inevitably grieved gale and that it would have broken her heart and that she would have ultimately needed time to process the loss before growing back together with peeta. take all that away and you’re still left with the fact that if gale was dead, peeta would have always looked like a consolation prize.
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