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weaselbeaselpants · 8 months

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Since I don't want to link it back to two scenarios so...um...immediate, I'll just say; the "Suffering just makes you hurt"-mantra is one I def subscribe to in day to day life, even in small, trivial' things like fandomwars.

I had a person get pissed at me once cuz I defended antishippers. They explained and showed me how they'd been harassed and abused by antis for no reason other than calling themselves a proshiper - no, NOT for actually liking anything with r@pe/cest/p3doshipping - just Reylo *in theory*. They got treated like a literal predator not for anything they actually did but for the title that genuine creeps have decided to use for their kink as this person did for their safe shit and they got blasted for it....and then this person proceeded to call me a cword and accused me of condoning their abuse by proxy of me saying " I don't think antis are inherently evil, actually".

I get it. When you put up with harassment from people touting their selfdeclared fandomom as some kind of badge of honor, of COURSE I understand turning your back on everyone who calls themselves that same thing! That's just, like, a survival instinct. You don't want to be reminded of your tormentor(s) because you really shouldn't have to be reminded of your tormentor(s) while you're browsing fandumb inbetween school or work. You want to keep your tormentors at bay so no triggering shit ppl are romanticizing or covert bigotry someone's hiding under the language of criticism to get in the way of your vibes when this is your fandom and your space to be creative and unwind and be you. I really get it.

The problem is, and the reason I DON'T put up with antianti or antiproshipper shit, that's labeling a whole lot of strangers inherently bad over not having the exact fandom takes and conflating that with your legitimate ethics of outing predators and bigots...THAT is what's shitty.

I know for a fact that not all the people who tag their shit #proship even fully agree on what proship means. I know they are not all predators or even don't care about predators being in their fandoms. Trust me, they care. Some of the #antiship folks I know are the most lax mf w it comes to content warnings, horror, kinks and nuance and also really hate call out posts and want to avoid them as much as they can. I know they are not all self-righteous prudes and bigots trying to get kink out of pride or some shit. THAT SAID- if I haven't already seen creepypredatorybs from proshippers or bigotedbully-tactics from antis, I can definitely believe those things exist in those spaces. But again, those behaviors exist whether or not a person uses these self-given labels. You shouldn't throw your hands in defeat anymore then your shouldn't declare yourself the sole liberator.

Blocked the proshipper-stan I was of talking about because I kind of don't like being called a cant and told I'm okay with death threats...just like I did the antishipper who was sending me death threats that same day =). I know I don't have to deal with that bs and I'm glad I took that advice from a mutual abt my own personal boundaries.

Call out shitty behavior all you want, but the absolutist-rhetoric is not healthy and, more importantly, not doing anything to help people being abused by fandomculture anymore than you were when you first got accosted for disliking a thing that made you upset/liking a thing that made someone else upset. You gotta share your fandom with everyone so long as they're not bigoted, abusive or predatory. And yeah, I kind of reserve all those notions for people I can tell ARE doing those things...so, y'know Lily Orchard.

#why can't we be friends #profandom #antifandom #fandom discourse #ship discourse #anti lily orchard #lily orchard

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salty-dracon · 28 days

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clove is literally the zoomer of all time i LOVE them they're HILARIOUS

#you guys NEED to listen to the ibuprofen one the delivery is PERFECT #valorant #screenshots taken from the uhhhh antifandom fork of the valorant wiki???

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transformativeworksandcultures · 2 years

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CFP: Centering Blackness in Fan Studies **DEADLINE EXTENDED**

This special issue centers Blackness in fandom studies. Fandom studies has gestured toward race generally, and Blackness in particular, from its alleged white center while always keeping race at its margin. It has largely co-opted the language of race, difference, and diversity from the margins and recentered it around white geeks and white women. Indeed, fandom studies has done lots of things—except deal with its race problem. But as Toni Morrison (1975) asserts, that is the work of racism: it keeps those at the margins busy, trying to prove that they deserve a seat at the center table. In this way, those considered marginal expend energy trying to be granted access to the center while citing, reifying, and expanding the supposed universality of the center that fails to engage the margin because it is too particular. If, as the title of Audre Lorde’s famous 1984 essay reminds us, “The Master’s Tools Will Never Dismantle the Master’s House,” then it is time to willfully ignore white fandoms, just as Black fandoms have been willfully ignored.

For this special issue, we seek to privilege and celebrate Blackness, not as a comparative but as enough on its own. We want essays that build on the relatively small but groundbreaking scholarly work that centers Black fandoms, including work on young Black male (Brown 2000) and female (Whaley 2015) comic readers; Black gay sitcom fans (Martin 2021a); Black fan “defense squads” that protect fictional characters’ Blackness (Warner 2018); Black fan labor (Warner 2015); Black antifandom (Martin 2019b); Black fans’ enclaving practices (Florini 2019b); Black female music fans (Edgar and Toone 2019); and Black acafans (Wanzo 2015). It also engages and with and builds on our Black feminist foremothers, including bell hooks (1992), Jacqueline Bobo (1995), and Robin Means Coleman (1998), who showed us ways to think about how Black audiences engage with media. This corpus of work on Black audiences and fandoms provides a base for further theorization about the experiences and meanings of Black fandom. We encourage work that engages, nuances, and challenges this foundational work, leading to novel reconsiderations of how fan studies defines and understands Black fandoms.

We invite submissions that contribute to a conversation that centers Black audiences, fans, antifans, and global Blackness itself. We are not interested in comparative studies of Black fandom practices, because Blackness is enough. This issue seeks to center Blackness and (anti)fandom in all of its permutations. We hope the following suggested topics will inspire wide-ranging responses.

Black folks and “doing” fandom.

Black fans and deployment of (anti)fandom.

Black fan practices imbricated in a politics of representation.

Affective Black fandoms.

The politics of Black (anti)fandoms.

Interactions between Black fans and media producers.

Audience/fan response to Black-cast remakes and recasting non-Black-cast texts with Black actors.

Black fandoms of non-Black-cast media.

Blackness and enclaving.

Black music fandom.

Black sports fandom.

Black fandom and labor.

Black fandom and affect.

Black antifandom and hate.

Global Black fandoms.

Black fandom and contemporary or historical politics.

Mediated constructions of Blackness.

Black fandoms and celebrities/parasocial relationships.

Black queer fandom.

Disabled Black fandom.

Case studies of specific texts related to Black fandom.

Historical and archival accounts of Black fandom.

Submission Guidelines

Transformative Works and Cultures (TWC, http://journal.transformativeworks.org/) is an international peer-reviewed online Gold Open Access publication of the nonprofit Organization for Transformative Works, copyrighted under a Creative Commons License. TWC aims to provide a publishing outlet that welcomes fan-related topics and promotes dialogue between academic and fan communities. TWC accommodates academic articles of varying scope as well as other forms, such as multimedia, that embrace the technical possibilities of the internet and test the limits of the genre of academic writing.

Submit final papers directly to Transformative Works and Cultures by January 1, 2023. JULY 1, 2023

Articles: Peer review. Maximum 8,000 words.

Symposium: Editorial review. Maximum 4,000 words.

Please visit TWC's website (https://journal.transformativeworks.org/) for complete submission guidelines, or email the TWC Editor ([email protected]).

Contact—Contact guest editors Alfred L. Martin Jr. and Matt Griffin with any questions before or after the due date at [email protected].

Due date—July 1, 2023, for 2024 publication.

Works Cited

Bobo, Jacqueline. 1995. Black Women as Cultural Readers. New York: Columbia University Press.

Brown, Jeffrey A. 2001. Black Superheroes, Milestone Comics, and Their Fans. Jackson: University Press of Mississippi.

Click, Melissa A., and Sarah Smith-Frigerio. 2019. “One Tough Cookie: Exploring Black Women’s Responses to Empire’s Cookie Lyon.” Communication Culture and Critique 12 (2): 287–304. http://dx.doi.org/10.1093/ccc/tcz007.

Coleman, Robin R. Means. 1998. African American Viewers and the Black Situation Comedy: Situating Racial Humor. New York: Routledge.

Early, Gerald. 1988. “The Black Intellectual and the Sport of Prizefighting.” Kenyon Review 10 (3): 102–17.

Edgar, Amanda Nell, and Ashton Toone. 2019. “‘She Invited Other People to That Space’: Audience Habitus, Place, and Social Justice in Beyoncé’s Lemonade.” Feminist Media Studies 19 (1): 87–101. https://doi.org/10.1080/14680777.2017.1377276.

Everett, Anna. 2001. Returning the Gaze: A Genealogy of Black Film Criticism, 1909–1949. Durham, NC: Duke University Press.

Florini, Sarah. 2019a. Beyond Hashtags: Racial Politics and Black Digital Networks. New York: NYU Press.

Florini, Sarah. 2019b. “Enclaving and Cultural Resonance in Black Game of Thrones Fandom.” In “Fans of Color, Fandoms of Color,” edited by Abigail De Kosnik and andré carrington, special issue, Transformative Works and Cultures, no. 29. https://doi.org/10.3983/twc.2019.1498.

hooks, bell. 1992. Black Looks: Race and Representation. Boston: South End Press.

Martin, Alfred L., Jr. 2021a. The Generic Closet: Black Gayness and the Black-Cast Sitcom. Bloomington: Indiana University Press.

Martin, Alfred L., Jr. 2021b. “Blackbusting Hollywood: Racialized Media Reception, Failure, and The Wiz as Black Blockbuster.” JCMS: Journal of Cinema and Media Studies 60 (2): 56–79. http://dx.doi.org/10.1353/cj.2021.0003.

Martin, Alfred L., Jr. 2019a. “Fandom while Black: Misty Copeland, Black Panther, Tyler Perry, and the Contours of US Black Fandoms.” International Journal of Cultural Studies 22 (6): 737–53. http://dx.doi.org/10.1177/1367877919854155.

Martin, Alfred L., Jr. 2019b. “Why All the Hate? Four Black Women’s Anti-fandom and Tyler Perry.” In Anti-fandom: Dislike and Hate in the Digital Age, edited by Melissa A. Click, 166–83. New York: NYU Press.

Morrison, Toni. 1975. “A Humanist View, Part 2.” Presented at Black Studies Center public dialogue, Portland State University, May 30, 1975. Transcription available at: https://www.mackenzian.com/wp-content/uploads/2014/07/Transcript_PortlandState_TMorrison.pdf.

Rose, Tricia. 1994. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover, NH: Wesleyan University Press.

Shankman, Arnold. 1978. “Black Pride and Protest: The Amos 'n' Andy Crusade.” Journal of Popular Culture 12 (2): 236–52. http://dx.doi.org/10.1111/j.0022-3840.1979.1202_236.x.

Stewart, Jacqueline Najuma. 2005. Migrating to the Movies: Cinema and Black Urban Modernity. Berkeley: University of California Press.

Tracy, James F. 2001. “Revisiting a Polysemic Text: The African American Press's Reception to Gone with the Wind.” Mass Communication and Society 4 (4): 419–36. http://dx.doi.org/10.1207/S15327825MCS0404_6.

Wanzo, Rebecca. 2015. “African American Acafandom and Other Strangers: New Genealogies of Fan Studies.” Transformative Works and Cultures, no. 20. https://doi.org/10.3983/twc.2015.0699.

Warner, Kristen. 2018. “(Black Female) Fans Strike Back: The Emergence of the Iris West Defense Squad.” In Routledge Companion to Media Fandom, edited by Melissa A. Click and Suzanne Scott, 253–61. New York: Routledge.

Warner, Kristen J. 2015. “ABC’s Scandal and Black Women’s Fandom.” In Cupcakes, Pinterest, and Ladyporn: Feminized Popular Culture in the Early Twenty-First Century, edited by Elana Levine. Champaign: University of Illinois Press.

Whaley, Deborah Elizabeth. 2015. Black Women in Sequence: Re-inking Comics, Graphic Novels, and Anime. Seattle: University of Washington Press.

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sniffanimal · 1 month

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they call me spoilers georg on account of how I read the wikipedia article for everything before I watch/read it

#badger rants #and the antifandom wiki page for every episode etc etc

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bisonofyesterday · 4 months

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while """Fandom""" is a terrible company that deserves destruction i kinda tire of this idea that all information on Wikias are inherently bad, yes, Wikia is like Wikipedia But Everything Your Teacher Said About It Was True, sure, but the amount of like deeply sourced and lengthy fan-pages once in a while with stuff like Star Trek or Warhammer 40K i feel deserve at least some credit y'know, i dunno

#bisonspeaks #like that one image i've seen going around #i feel like i've seen more pages that are passionately written and sourced than pages that are deeply mischaracterized #the ad thing is absolutely true though #again Fandom sucks ass and Wikia is under its heel and impossible to operate on mobile #but like i'm defending THE SPIRIT here #or something i dunno #antifandom ftw btw #good example of a Wikia built on mostly bs is the Cryptidz Wikia btw which has little to no sourcing and yet is the subject of many an essa

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cornmazehater · 9 months

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im so deep into homestuck hell that i have started givin aspects and classes to my ocs

and it is a PROCESS

#ive already made so many #ive had 2 sort them out by their fandoms #antifandom wiki my beloved #it is helpin me SO MUCH #homestuck #corn reads homestuck (finally)#corns ocs #wait my dumdum brain just realized that i didnt do AN ENTIRE SET OF OCS DAMN IT #back to the google doc i just closed :D yey!#corn rambles

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franki-lew-yo · 2 years

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Question of the hour, kiddies. What hurts more:

Character that you were always indifferent to/never liked/hated from the get go becoming the franchise fav and you just hate them all the more because they're absolutely everywhere and you can't avoid them.

or

Character that was your fav becoming your least fav/most hated character because they became the franchise fav and the direction they took said character suuuuucked.

#franki's features #fandom #fandom culture #fandom discourse #pro vs antifandom discourse #My Little Pony #Pokemon #Disney #just tagging all the biggest fandoms I'm in

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88y53 · 1 year

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The People v. The Creators

At what point do the fans get to say that the creator made a mistake?

That's something I've been thinking about for a few years now, and I really don't have an answer for it.

Like the whole thing with Star Wars prequels, or Legend of Korra.

Does the creator have the authority to make and remake the world as they see fit, or do the fans--who demonstrate a superior understanding of the world and its rules--have more precedence?

I don't know.

Ultimately these things are for entertainment purposes, so taking them that seriously is silly in and of itself.

But at what point does a piece of entertainment transcend those boundaries and become woven into our collective culture?

When do the fans get to say that the property is as much theirs as the creators?

I think this wave of fan entitlement is toxic and has led to massive embarrassing hatedoms like the ones for the 2016 Ghostbusters reboot or the Snyderverse.

But with the rise of internet fandoms, where entire websites can be devoted to one specific thing, I think this is just going to get worse.

As a dedicated audience, we need to figure out where to draw the line on our level of participation.

#star wars prequels #legend of korra #snyderverse #Fandoms #Antifandoms #hatedoms #fan entitlement

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qqchurch · 1 year

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man, I know some big ppl here find fandom cringe, but doing that Internet Tough Guy routine over how much they hate the existence of fandom and fandom trending in the fandom website is pure hilarity

#cant even be assed to tag it as something like antifandom #because they dont want their ice cold takes to be unfilterable lmao #tho i guess im a clown for venting about it here too so what do i know eh?

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heyclaudiadaro · 2 years

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Yo los quiero mucho a todos 🥰 pero: «El Pokeshipping/Misty es mejor porque mimimimi», «El Amourshipping/Serena es mejor porque mimimimi». Es un anime Kodomo, ¿qué más da si Ash se queda con Serena con Misty o con tu hermana?

#perdón pero consíganse un tema nuevo #por eso soy antifandom #disfruta lo que te gusta #e ignora lo que no #no es difícil #amourshipping #Pokeshipping #ship wars #para gustos no hay nada escrito

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discircuit · 4 days

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#ive spent so much time reading the opinions of a show by 'haters' that ive absorbed all the helpful tips i possibly could #and yet i still go back for more information & the drama. why?#at this point i just need to look up 'story tips' or 'showwriting tips' instead. there is no more information i can find in that antifandom #its a show im... neutral on anyways

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theafrochick · 11 months

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Hear me out: the rise in general antifandom bullshit/purity culture nonsense and the erasure of tweens are connected.

#no im not gonna elaborate someone smart can do that #shit post #fandom #cringe as well being denounced but im pretty sure thats covered in antifandom

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ecoamerica · 25 days

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youtube

Watch the American Climate Leadership Awards 2024 now: https://youtu.be/bWiW4Rp8vF0?feature=shared

The American Climate Leadership Awards 2024 broadcast recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by active climate leaders. Watch to find out which finalist received the $50,000 grand prize! Hosted by Vanessa Hauc and featuring Bill McKibben and Katharine Hayhoe!

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olderthannetfic · 11 months

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Curious if you've seen the recent Vox article on fandom/antishipping:

< https://www.vox.com/culture/23733213/fandom-purity-culture-what-is-proship-antiship-antifandom >

I was (pleasantly?) shocked to see it platformed by a mainstream outlet.

--

I mean, Aja is a fan who has long reported on fandom. They've been working for Vox for a while.

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gaydelgard · 8 days

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when will antifandom dot com return from the war

#alexi talks

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monty-glasses-roxy · 9 months

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Okay so that new Mimic theory... Bare with me, I'm just trying to connect some dots here. Mostly under a readmore.

So last night I was reading the Mimic antifandom Wiki and discovered that it was sealed in the Pizza Place below the Plex... before it was later installed in the plex as the Storyteller. With no mention of them ever retrieving the Mimic and with the Pizza Place still being in ruins, I'll assume they never went back down there after it was sealed.

So what does this mean? It means there's two of these fuckers. How is this possible? WELL

Before the Mimic was sealed, there was entire line of Mimic animatronics built using the same program. With the Mimic that has already learned violence and murder as the base, these behaviours start to come back. I believe it's also implied that at least one of the Mimics saw the original child murders at this time too, and thus, added those behaviours to it's arsenal. It does not have the ability to understand what it's doing. It's an AI programmed to mimic, not understand, and so, it has been taking in all the behaviours of those around it, and using those same behaviours itself. This is where we get that copy of the Mimic some bright spark turned into the Storyteller AI, and it's also where we get our key differences.

The Mimic in the basement kills with all the behaviours we've seen it use before. Hiding in suits, luring people around, and killing them, later learning to remove the limbs and heads of its victims. The Storyteller does not have that limb removing behaviour. Those it kills remains intact. So I can confidently say that if I'm right and there are two Mimics, then the one in the basement removes limbs and the one that was the Storyteller doesn't, thereby making them two separate entities. We know they're from the same base program as both of them still exhibit behaviours learnt when they were still entertaining that small child before it learned violence. Basement Mimic still hides in suits and hangs said suits back up when not in use. The Storyteller creates (or steals? Unsure on that one) a suit based on the white tiger plushie that the little boy loved and it originally had a makeshift copy of. The difference is, one is sealed, and the other isn't.

Now what does this have to do Ruin? Well, when the Storyteller was installed, it was connected to every single aspect of the Pizzaplex, including the animatronics. It's job was to create new interactions and scenarios for games and the animatronics themselves, and after installation, each animatronic started exhibiting behaviours of a small child. Each of them gained different behaviours that the Mimic has previously learned over the years and each of them are thus, acting strangely because of it. It's fully integrated into the system, which is why when the Storyteller was shut down, things didn't go back to normal. It's still a part of the system. It's still watching and learning, still influencing everything.

And this is where the new VANNI security system comes in. Vanny (Vanessa under Glitchtrap's control) made it herself, hence the name. Why? Because she needed to get back down to the Pizza Place below the Plex in order to start the whole Burntrap process. She needs to go down there so Glitchy can live his immortal dreams out. But she can't.

When Fazbear Entertainment sealed away the original Mimic in the Pizza Place and discovered that a group of teens had gone in there and never come out, they installed a new security system called the MXES. There were a few nodes around the place, nothing huge. They were mostly in Bonnie Bowl, possibly with Bonnie as a node himself (possible murder motive here which is why I'm saying it. Not important right now though.) and it did the job. You couldn't just wander down to the Pizza Place now, you had to know what you were doing. Vanny needed to get down there and so, the VANNI unit was built as a counter to it, with the help of Glitchtrap in the system.

Now, to access and be able to see these nodes and be able to actually you know. Interfere with animatronics and stuff, the VANNI unit needed to be connected to the main network. This allowed her to have much more control over the animatronic's perception of her, and allowed her to better interact with the nodes under the guise of maintenance. It also explains why there's a Helpi AI. Every single piece of digital tech that is used to guide and support staff and guests alike in a Fazbear Entertainment establishment has a Helpi AI. By integrating the Helpi AI, Vanny was giving herself a level of protection (such as signal jammers) and allowing herself to go under the radar as just another part of the maintenance system for the Plex. The Helpi AI is in everything, it's connection is almost as expansive as the main security itself, no one would notice an extra string of inputs from it. Not to mention it's just helpful in general to have a cool AI that she can use as an access point to the data in the system without having to search for it herself. He's a handy little guy

You may have already noticed where I'm going with this. If the VANNI security system is combined with the main network that the Mimic is a part of, that means the Mimic is now in the VANNI system. This means the Mimic can now copy the behaviours of Vanessa, Vanny, anyone they interact with, Glitchtrap and of course when Cassie gets there, the other Mimic.

This has created a feedback loop. The digital Mimic copies the underground Mimic and then the underground Mimic copies the digital one. They sound so similar because they're literally bouncing the same data back and forth, over and over again. The difference is, one Mimic is copying from the Helpi AI as well, while the other one can't because it's not a part of the network. When the Black Rabbit is signal jammed and disappears? The digital Mimic says that they took care of it, like the Helpi AI, but follows up with 'It wont bother you anymore...' which feels more like someone else. The underground Mimic then interjects as Gregory and says they boosted the Helpi jammer and the digital one doesn't respond.

You may be wondering how the digital Mimic and the underground Mimic can possibly be connected. Well that's where Vanny comes in. The Mimic is said to be sealed in the Pizza Place. There's no mention of where, presumably the main Pizza Place itself. When Vanny breaks security and goes down there, Glitchtrap is transferred into a battery dead Mimic and charged back up. Glitchtrap is connected to the VANNI mask and that data is getting fed straight into the Mimic. It's sort of a one way system. The only source of information coming and going is via Glitchtrap and the VANNI mask. When Glitchtrap is dealt with by Gregory, the data remains, and the Mimic survives the fire. Tangle (the Blob) and the fire handle Glitchtrap, leaving just the Mimic program behind, with that now pretty much one way connection to the VANNI mask.

So how does it get sealed in that room? Well, the team that originally sealed the guy away (maybe even Vanessa? I'm not entirely sure since I still don't know where the idea she and Gregory did it originates from at all) seal it away again but a little bit more securely. Seeing as how the security was so easily dealt with, they introduced more security nodes around the Plex whilst they were clearing up. They move Roxy off of the main network and put her onto the MXES network, turning her into a security node. It made sense. She was one of their most functional animatronics still standing and she mostly stayed in her own attraction, making her the perfect guard dog to this thing. I was thinking that cleanup could be abandoned after a few more Mimic incidents and had to be sealed away more thoroughly this time, leading to the increase in nodes and the transfer of Roxy onto the MXES network. They unknowingly free her from the digital Mimic's control and leave her be. She was also probably the most convenient of the remaining robots to update given Monty is feral now I guess and Chica is an actual mess and a half, with Sunny and Moon having their whole thing going on too. She's the perfect candidate!

Now the final part of this is the Black Rabbit. It's not the MXES. It's the digital Mimic. It's copied Glitchtrap's data of affecting the real word through the mask, stalking victims and killing kids, as well as getting animatronics to lure and attack for them. That's not a distress call it's sending to the others. That's a call for murder. But then, why is it trying to help Cassie get down to the other Mimic? It's like I said. It's mimicking behaviours. Basement Mimic is trying to help and lure Cassie under the Raceway. Helpie AI is trying to help Cassie with nodes and what not. Glitchtrap and Vanny killed kids through stalking and mind games and this is a child in the mask.

Does it fit cleanly? Uh... probably not. Still got problems here and there. Is there a shit ton of evidence to back it up? Some! Not a shed load, but some! Is it kind of unsastisfying? Yeah kinda.

But it's what I've got at the moment. If you made it this far, I'd love to hear what people think about this. Maybe we can come to a better conclusion than this

#fnaf security breach #five nights at freddys security breach #security breach ruin #fnaf security breach ruin #fnaf ruin dlc #ruin dlc spoilers #fnaf mimic #the mimic #glitchtrap #fnaf vanny #because why not tag those two as well #anyway yeah if you wanna like. tell me where I'm wrong that'd be great #I really hate fnaf lore :/#it never makes any god damn sense #and this is the most sense I can make of it

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newbiealliance · 9 months

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Proship is being against harassment and pro-kink, dumbass.

https://note.com/orangiah/n/n437e262ce2ce

https://www.vox.com/culture/23733213/fandom-purity-culture-what-is-proship-antiship-antifandom

hey buddy do you know what this is

#im not gonna take you seriously if your source is vox dot com #do u know what boundaries are or do i have to spell it out for you #do not fucking interact with me #block me #i dont fucking participate in discourse go do something else with your time

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