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theshedding · 3 years

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Lil Nas X: Country Music, Christianity & Reclaiming HELL

I don’t typically bother myself to follow what Lil Nas X is doing from day to day, or even month to month but I do know that his “Old Town Road” hit became one of the biggest selling/streamed records in Country Music Business history (by a Black Country & Queer artist). “Black” is key because for 75+ years Country music has unsuspiciously evolved into a solidly White-identified genre (despite mixed and Indian & Black roots). Regrettably, Country music is also widely known for anti-black, misogynoir, reliably homophobic (Trans isn’t really a conversation yet), Christian and Hard Right sentiments on the political spectrum. Some other day I will venture into more; there is a whole analysis dying to be done on this exclusive practice in the music industry with its implications on ‘access’ to equity and opportunity for both Black/POC’s and Whites artists/songwriters alike. More commentary on this rigid homogeneous field is needed and how it prohibits certain talent(s) for the sake of perpetuating homogeneity (e.g. “social determinants” of diversity & viable artistic careers). I’ll refrain from discussing that fully here, though suffice it to say that for those reasons X’s “Old Town Road” was monumental and vindicating.

As for Lil Nas X, I’m not particularly a big fan of his music; but I see him, what he’s doing, his impact on music + culture and I celebrate him using these moments to affirm his Black, Queer self, and lifting up others. Believe it or not, even in the 2020′s, being “out” in the music business is still a costly choice. As an artist it remains much easier to just “play straight”. And despite appearances, the business (particularly Country) has been dragged kicking and screaming into developing, promoting and advancing openly-affirming LGBTQ 🏳️‍🌈 artists in the board room or on-stage. Though things are ‘better’ we have not yet arrived at a place of equity or opportunity for queer artists; for the road of music biz history is littered with stunted careers, bodies and limitations on artists who had no option but to follow conventional ways, fail or never be heard of in the first place. With few exceptions, record labels, radio and press/media have successfully used fear, intimidation, innuendo and coercion to dilute, downplay or erase any hint of queer identity from its performers. This was true even for obvious talents like Little Richard.

(Note: I’m particularly speaking of artists in this regard, not so much the hairstylists, make-up artists, PA’s, etc.)

_____

Which is why...in regard to Lil Nas X, whether you like, hate or love his music, the young brother is a trailblazer. His very existence protests (at least) decades of inequity, oppression and erasure. X aptly critiques a Neo-Christian Fascist Heteropatriarchy; not just in American society but throughout the Music Business and with Black people. That is no small deal. His unapologetic outness holds a mirror up to Christianity at-large, as an institution, theology and practice. The problem is they just don’t like what they see in that mirror.

In actuality, “Call Me By Your Name”, Lil Nas X’s new video, is a twist on classic mythology and religious memes that are less reprehensible or vulgar than the Biblical narratives most of us grew up on vís-a-vís indoctrinating smiles of Sunday school teachers and family prior to the “age of reason”. Think about the narratives blithely describing Satan’s friendly wager with God regarding Job (42:1-6); the horrific “prophecies” in St. John’s Book of Revelation (i.e. skies will rain fire, angels will spit swords, mankind will be forced to retreat into caves for shelter, and we will be harassed by at least three terrifying dragons and beasts. Angels will sound seven trumpets of warning, and later on, seven plagues will be dumped on the world), or Jesus’s own clarifying words of violent intent in Matthew (re: “Do not think that I have come to bring peace to the earth. I have not come to bring peace, but a sword.” 10:34). Whether literal or metaphor, these age old stories pale in comparison to a three minute allegorical rap video. Conservatives: say what you will, I’m pretty confident X doesn’t take himself as seriously as “The true and living God” from the book of Job.

A little known fact as it is, people have debunked the story and evolution of Satan and already offered compelling research showing [he] is more of a literary device than an actual entity or “spirit” (Spoiler: In the Bible, Satan does not take shape as an actual “bad” person until the New Testament). In fact, modern Christianity’s impression of the “Devil” is shaped by conflating Hellenized mythology with a literary tradition rooted in Dante’s Inferno and accompanying spooks and superstitions going back thousands of years. Whether Catholic, Protestant, Mormon, Scientologist, Atheist or Agnostic, we’ve spent a lifetime with these predominant icons and clichés. (Resource: Prof. Bart D. Erhman, “Heaven & Hell”).

So Here’s THE PROBLEM: The current level of fear and outrage is:

(1) Unjust, imposing and irrational.

(2) Disproportionate when taken into account a lifetime of harmful Christian propaganda, anti-gay preaching and political advocacy.

(3) Historically inaccurate concerning the existence of “Hell” and who should be scared of going there.

Think I’m overreacting?

Examples:

Institutionalized Homophobia (rhetoric + policy)

Anti-Gay Ministers In Life And Death: Bishop Eddie Long And Rev. Bernice King

Black, gay and Christian, Marylanders struggle with Conflicts

Harlem pastor: 'Obama has released the homo demons on the black man'

Joel Olsteen: Homosexuality is “Not God’s Best”

Bishop Brandon Porter: Gays “Perverted & Lost...The Church of God in Christ Convocation appears like a ‘coming out party’ for members of the gay community.”

Kim Burrell: “That perverted homosexual spirit is a spirit of delusion & confusion and has deceived many men & women, and it has caused a strain on the body of Christ”

Falwell Suggests Gays to Blame for 9-11 Attacks

Pope Francis Blames The Devil For Sexual Abuse By Catholic Church

Pope Francis: Gay People Not Welcome in Clergy

Pope Francis Blames The Devil For Sexual Abuse By Catholic Church

The Pope and Gay People: Nothing’s Changed

The Catholic church silently lobbied against a suicide prevention hotline in the US because it included LGBT resources

Mormon church prohibits Children of LGBT parents to be baptized

Catholic Charity Ends Adoptions Rather Than Place Kid With Same-Sex Couple

I Was a Religious Zealot That Hurt People-Coming Out as Gay: A Former Conversion Therapy Leader Is Apologizing to the LGBTQ Community

The above short list chronicles a consistent, literal, demonization of LGBTQ people, contempt for their gender presentation, objectification of their bodies/sexuality and a coordinated pollution of media and culture over the last 50+ years by clergy since integration and Civil Rights legislation. Basically terrorism. Popes, Bishops, Pastors, Evangelists, Politicians, Television hosts, US Presidents, Camp Leaders, Teachers, Singers & Entertainers, Coaches, Athletes and Christians of all types all around the world have confused and confounded these issues, suppressed dissent, and confidently lied about LGBT people-including fellow Queer Christians with impunity for generations (i.e. “thou shall not bear false witness against they neighbor” Ex. 23:1-3). Christian majority viewpoints about “laws” and “nature” have run the table in discussions about LGBTQ people in society-so much that we collectively must first consider their religious views in all discussions and the specter of Christian approval -at best or Christian condescension -at worst. That is Christian (and straight) privilege. People are tired of this undue deference to religious opinions.

That is what is so deliciously bothersome about Lil Nas X being loud, proud and “in your face” about his sexuality. If for just a moment, he not only disrupts the American hetero-patriarchy but specifically the Black hetero-patriarchy, the so-called “Black Church Industrial Complex”, Neo-Christian Fascism and a mostly uneducated (and/or miseducated) public concerning Ancient Near East and European history, superstitions-and (by extension) White Supremacy. To round up: people are losing their minds because the victim decided to speak out against his victimizer.

Additionally, on some level I believe people are mad at him being just twenty years old, out and FREE as a self-assured, affirming & affirmed QUEER Black male entertainer with money and fame in the PRIME of his life. We’ve never, or rarely, seen that before in a Black man in the music business and popular culture. But that’s just too bad for them. With my own eyes I’ve watched straight people, friends, Christians, enjoy their sexuality from their elementary youth to adolescence, up and through college and later marriages, often times independently of their spouses (repeatedly). Meanwhile Queer/Gay/SGL/LGBTQ people are expected to put their lives on hold while the ‘blessed’ straight people run around exploring premarital/post-marital/extra-marital sex, love and affection, unbound & un-convicted by their “sin” or God...only to proudly rebrand themselves later in life as a good, moral “wholesome Christian” via the ‘sacred’ institution of marriage with no questions asked.

Inequality defined.

For Lil Nas X, everything about the society we've created for him in the last 100+ years (re: links above) has explicitly been designed for his life not to be his own. According to these and other Christians (see above), his identity is essentially supposed to be an endless rat fuck of internal confusion, suicide-ideation, depression, long-suffering, faux masculinity, heterosexism, groveling towards heaven, respectability politics, failed prayer and supplication to a heteronormative earthly and celestial hierarchy unbothered in affording LGBT people like him a healthy, sane human development. It’s almost as if the Conservative establishment (Black included) needs Lil Nas X to be like others before him: “private”, mysteriously single, suicidal, suspiciously straight or worse, dead of HIV/AIDS ...anything but driving down the street enjoying his youth as a Black Queer artist and man. So they mad about that?

Well those days are over.

-Rogiérs is a writer, international recording artist, performer and indie label manager with 25+ years in the music industry. He also directs Black Nonbelievers of DC, a non-profit org affiliated with the AHA supporting Black skeptics, Atheists, Agnostics & Humanists. He holds a B.A. in Music Business & Mgmt and a M.A. in Global Entertainment & Music Business from Berklee College of Music and Berklee Valencia, Spain. www.FibbyMusic.net Twitter/IG: @Rogiers1

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thewatsonbeekeepers · 4 years

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Chapter 1 – A Mental Mindfuck Can Be Nice – an introduction to EMP theory

I amused myself whilst writing this meta by coming up with referential chapter titles – the song to title this chapter can be found here! (X)

I’m not the first person to propose EMP [extended mind palace] theory and I certainly can’t claim to take the credit for it! After TFP (well, after Apple Tree Yard aired really) I left the fandom, and only rejoined tjlc this year during lockdown and discovered the theory that the entirety of S4 takes place in Sherlock’s Mind Palace, not just TAB, and that even more crucially, the EMP section of the narrative doesn’t happen because of Sherlock’s overdose but rather after Mary shoots him in HLV. Other people have elaborated as to why this is in greater detail and I certainly don’t want to steal their thunder – you can find some of my favourite metas on this here! X X X The original founders’ post is here and great X – it should be noted that the concept of EMP theory appeared way before the superficial shitshow that was series 4, so it was not invented as a fix-it – far from it!

As well as that, tweets from Arwel Wyn Jones (production designer) and Douglas MacKinnon (TAB director) here X X suggest that a lot of the inconsistencies that make HLV onwards quite dreamlike are absolutely deliberate, which has never been explained in the context of the show. In fact, Douglas MacKinnon specifically suggests that the plane could be in Sherlock’s mind, which has no bearing on the superficial plot unless you buy into EMP theory. We’ve also already been shown that the modern day, particularly when it’s fucky, can be in a mind palace illusion in TAB, and we can read that as a kind of rehearsal for the proper fucky mind palace stuff in S4, a clue that everything is not as it seems – much like the Mayfly Man’s murder rehearsal in TSoT.

It's worth pointing out that there are several different versions of EMP theory – I personally subscribe to the idea that this is Sherlock’s mind palace after being shot by Mary, but there are plenty of popular theories on John’s ‘Mind Bungalow’, blog theory, which I don’t want to dismiss out of hand. However, I think the obsession with the figure of Sherlock Holmes and who that might be throughout the fourth series is thematically consistent with it being from Sherlock’s perspective, as is the precedent from TAB.

The other thing I want to lay on the table as foundational to this theory is the fandom’s obsession with TPLoSH [1970 Billy Wilder queer Holmes adaptation, The Private Life of Sherlock Holmes]. Mofftiss have long stated their love for TPLoSH and even that it is the adaptation that has most inspired them, and I don’t know a single tjlcer who doesn’t have this quotation from Wilder emblazoned onto their memory.

I should have been more daring. I have this theory. I wanted to have Holmes homosexual and not admitting it to anyone, including maybe even himself. The burden of keeping it secret was the reason he took dope. X

What I’m proposing here is that whilst we’ve thought about this quote quite a lot, we’ve always focused on the first half – that Sherlock Holmes is a homosexual – and not the second, which is that that’s the reason he’s on dope. We talk a bit about Sherlock being upset in HLV about John’s marriage and that being why he turns back to drugs, and likewise when TAB first aired a lot of people (myself included) thought he was ODing because he wasn’t going to see John again. I now think – and will provide evidence through the meta! – that it isn’t his feelings of (seemingly) unrequited love which are sending him to drugs, nor that the EMP is a place where he’s discovering his feelings – my meta here X is not the first to point out that Sherlock almost definitely deduces his own feelings for John in TSoT, in a case of the worst timing in television history. Instead, much like Wilder’s Holmes, I think our Sherlock is dealing with a huge amount of shame and internalised homophobia, which has metafictionally* been building up since Conan Doyle started writing – hence the trip back to 1895 in TAB. S4 is about breaking through over a century of Holmes adaptations which have formed Sherlock’s own version of himself, so that he can break out of them into a ‘Private Life’ outside of established canon.

*Metafictionality is the defining idea around my version of EMP theory, so for anybody who’s not familiar I’m going to do a quick run down. The idea behind metafictionality is that Sherlock is aware of itself as being a work of fiction and deliberately plays with that – in this case, I’m arguing that the character Sherlock is subconsciously aware of the history of book/film/tv adaptations of Sherlock Holmes, and his existence outside Sherlock builds up to create his internalised homophobia. Sounds mad? Maybe. But stick with me here. The reason it’s taking so long for Sherlock to process his sexuality is not just because he’s repressed, but because he’s dealing with the weight of other Holmes adaptations – which is the reason arguably that a modern audience would also take so long to accept it, longer than were this character not such a huge part of the Western psyche.

My aims from this meta:

1. To prove that tjlc remains endgame (eh, if there’s a series 5)

2. To show that s4 is about Sherlock trying to break out of his MP coma after being shot by Mary

3. That s4 engages with the history of Sherlock Holmes adaptations through the character of Sherlock investigating his psyche

4. That in the real (non-MP) world, John is suicidal, and Sherlock has to wake up to save him.

Chapter 1 – A Mental Mindfuck Can Be Nice: a quick summary of EMP theory

Chapter 2 – Look up here, I’m in Heaven: the height metaphor

Chapter 3 – Death Cannot Stop True Love [HLV 1/1]

Chapter 4 – It is always 1895 [TAB 1/1]

Chapter 5 – Hey, Soul Sister: Who is Eurus?

Chapter 6 – So Long, and Thanks for All the Fish [TST 1/2]

Chapter 7 – There’s Something About Mary [TST 2/2]

Chapter 8 – Dream a Little Dream of Me: parallels with Doctor Who

Chapter 9 – Rock’n’roll Suicide [TLD 1/2]

Chapter 10 – Oh No Love, You’re Not Alone [TLD 2/2]

Chapter 11 – The Importance of Being Earnest [TFP 1/3]

Chapter 12 – Three Men in a Boat [TFP 2/3]

Chapter 13 – Out of My Dreams [TFP 3/3]

I’ll (ideally) be uploading a chapter a day for the next 13 days. Some of these chapters will contain links to later chapters; if that chapter isn’t uploaded yet, I’ll add in the link retrospectively, so that might be why the links don’t all work on first read. With chapters that have an episode in parentheses beside, I strongly recommend either watching the episode before reading the meta, or even better to do a simultaneous read and watch through with your finger on the pause button. The only episode which doesn’t do a play by play is TLD 1/2 , purely for time reasons (my college term starts very soon and I really needed this meta put to bed for the sake of my degree!).

The other thing worth saying is that if you want this meta as a word document for some reason, drop me a message – I’m more than happy to share it that way as well. It is a cool 50k so takes some reading. This chapter has been a bit of a nothing, but I hope it lays the groundwork for what to expect from the next 12 – I’ll see you over the next 12 days!

#emp theory #thewatsonbeekeepers #my meta #chapter one #mine #introduction #then I get the fun job of working out how to actually organise my tumblr so people can actually find the shit i write

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theories-just-for-funzies · 4 years

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“What’s the very worst thing you can do to your very best friends? Tell them your darkest secret, because if you tell them, and they decide they’d rather not know... You can’t take it back. You can’t unsay it. Once you’ve opened your heart, you can’t close it again.”

This is the second post I’m making about BBC Sherlock S4 (or anything about any fandom, really). You can find the first one here, the topic is almost the same. I’m really slow in writing down my theories in a way that is comprehensible by others, so I’m sorry if i don’t have a lot for the moment. Read this with the knowledge that I firmly believe in TJLC as explained by Rebekah on YouTube, and that S4 is not real as we see it, but is telling us what we need to know before they release S5 (or the special if that’ll come first) through unusual ways, TJLC style.

I think here Culverton smith is mirroring the writers, and his friends are the viewers. During the whole scene we have TONS of mirrored shots in the windows, most of it infact. In all of the previous seasons mirrors and character shots in mirrors were there to signal “hey this character is currently mirroring this other thing”, so idk it might be even this time??

Faith when she’s still drugged and tries to remember something about the conference, the first shot of her that we see, she’s in a mirror, even the desk reflect her image. Wander which part of the audience Faith is mirroring? Yeah, you guessed it. The tjlc fandom. The ones that analyze things. The ones that are questioning.

And the nurses? Idk, I’ve never seen a nurse that’s just putting an IV wearing a mask (unless under special circumstances of course), it never happens even when you’re taking blood samples, it just doesn’t ring right to me. So, who are the nurses? They’re people working for Culverton, they know what’s happening, they know what the solution is and what it does, they know how to administrate it, but they leave the room in the moment of confession. The nurses are mirroring BBC Sherlock’s crew.

If you’ve never worked on a set let me tell you: nobody, apart from the smallest possible amount of selected people, knows the whole picture, they can’t risk it, usually it’s just the writers, the producers, and most f the times the main actor; everyone else just knows the smallest informations to do their single job of adjusting the lights or hair for that single scene just like it’s written in their schedule.

So the crew knows partially what they’re doing, but they can’t speak, because their mouth is covered.

I’m thinking this is exactly the reason of S4. S4 is the memory drug. Everything made sense till now, tjlc was more and more evident, it was extremely obvious to everyone that johnlock was an actual thing, i mean just look at the sign of three, MY MOM THOUGHT THEY WERE CANONICALLY IN LOVE BEFORE I EVEN DID (at the time the fandom wasn’t the greatest so I avoided pretty much anything that wasn’t fan fictions or fan art, and just thought it was queer bait). Everything was super clever and well made. And then S4 came. A cheap Hollywood movie where nothing made sense and with john and sherlock great platonic friendship. And it was the last season so how could you not except what they already gave you and still want more, right?

Wrong. S4 is either complete bullshit or a distortion of what actually happens.

Culverton say that he can’t say his darkest secret because he can’t take it back, yet he does tell, and he does take it back.

The show does say that sherlock and john love each other (and are still pining) but S4 takes that back. You want the distorted version? Ok. Sherlock does explicitly says the words “i love you” in S4 to Molly in a physical mirror, a character’s mirror for John, whose description of the coffin perfectly fits John. The show does say that the writers aren’t stupid and aren’t making a tv show that’s just a blockbuster action movie, with cheap Hollywood effects and made up physic laws. Yet S4 takes that back.

The whole thing they kept saying in earlier seasons about “making history of television” and “making unprecedented things”? What unprecedented things? That was extreamely cheap cinematic, with really poor writings and a rip off of James Bond and classic horror movies. Nothing about S4 was memorable or relevant.

They already said everything they had to say (for the moment) but then they couldn’t leave the public waiting for another 6 years before S5 with all that hope and knowledge. Especially considering the fandom suspected even the phone\heart metaphor before ASiB even aired. Leave those people with the tiniest hope and you’d find your plans stripped naked for everyone to see in less than half of that hiatus. That’s really not Moffat style, he needs to give you hope, rip your heart open, surprise you leaving you gasping, only then he can make another plot twist and make everything super beautiful again and making you crying because it’s too many emotions.

So they said their things before S4, the fans that were still not sold on johnlock or didn’t want it canon were the friends who would rather not know, they went on with the brain washing of S4, and said “ok, we’re done here, nothing else to see, the show is finished, good night”. But just as with Faith’s story you can reconstruct if not all, part of what happened; because i don’t know if you noticed, but S4 doesn’t have a lot of plot holes, it is one single gigantic plot hole.

But what happens if they kill everyone just like Culverton Smith said? What happens if they make S4 so bad and destroy everything they said up until now with the show itself? What happens if the same people that were able to decode everything suddenly lost any faith because they were let down so much they just let the fandom die, and there was no one left to analyze what they were actually saying?

Everyone would forget all about TJLC and about how clever of a show it was. They would erase the whole show from people’s memories, letting it pass by like any other show that’s there to fill your Sunday evening.

Also there’s another thing that doesn’t sit right with me, although i don’t have any proof backing this up and am not sure of what I’m saying, it’s basically just speculation, but still. TD12 package:

obviously this drug doesn’t exist, the only thing i came across with that name is a percussion sound module, you’re welcome to make your own theories with this informations since i know absolutely nothing about music technology and am not the smartest tool in the shed when it comes to music theories or clues.

I presume TD12 it’s something along the line of saline solution, since Sherlock made that replacement himself later in the episde, my research (because i also have no knowledge about medical stuff) told me that saline solution has en expiration time of roughly 2 years. On the package we see that the expiration’s date is October 2018, so counting back, assuming Culverton got the drug shortly before doing his speach, the scene takes place somewhere around October 2016. Wander what happened in October 2016?

On BBC Sherlock official YouTube channel they release just one video: Sherlock Series 4 release date. Now. You might say I’m looking a little to much into it, but if you go check the release dates of the other YouTube videos you would see that they usually don’t post just one video per month, that’s the only one around that time period. Idk if you ask me it’s a lot of strange coincidences.

Anyway, in the scene he then says “these drip feeds will keep the drug in your blood streams at exactly the right levels. Nothing that is happening to you now will stay with you for more than a few minutes. I’m afraid that some of the memories you’ve had up to this point might also be... corrupted.”.

So the victims starting now, will continue to take the drug for the next idk 30 minutes???? But apparently some of the events preceding that moment can be “corrupted”. Translated: everything starting from October 2016 is fucked up because of the drug, not only that, but also some things from before that. I’m guessing the “drips” would be the little occasional posts or news??

Might I add the information that in December 2018 the escape room Sherlock the game is now opened? Like, i know it’s not October, maybe I’m just looking where i want to look, but... I genuinely don’t know, that’s why I’m sharing things, so that people with a more objective point of view can come and say to me “hey you’re not making any sense, what the fuck are you talking about”.

And overall, I’m not native English speaker, but I don’t think you say “corrupted” when talking about human memories. It sounds more something used in the context of digital memories, usually it’s files that gets corrupted, not human brain memories.

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rebel-in-white · 3 years

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The Perfect Ending for Dean and Sam? - Supernatural 15x20

As I read reviews about the Supernatural series, nothing disturbs me more than reading things like the title of this essay, “This was the Perfect Ending for Sam and Dean.” It’s disturbing because as fans of this 15-year show, we are accepting mediocrity. Far from being a perfect ending, this was one of the worst television show endings that I have ever seen because the characters weren’t allowed to change and grow.

When I watched the Supernatural series finale, I was struck by the realization that this could have easily been the finale of season 1. In season 1, we were dealing with Dean’s feelings of being second best, Sam wanting a “normal” life, Dean choosing the dangerous world of hunting, and the value of saving the innocent despite the dangers. In episode 15x20, the episode implies that we are still dealing with the same themes from episode 1, even though SO many events have passed, and Sam and Dean dealt with their own issues in varying ways. Dean’s death during a mundane hunt harks back to season 1’s warnings and omens about the dangerous life of a hunter. Meanwhile in season 15, the Winchesters are fighting God and survived that battle. Sam’s “happy” ending harks back to his desire to be with Jessica and find a happy, “apple pie” (normal) life. Meanwhile in season 15, Sam has lost everything… again. He lost his adopted son, his good friend, his mother for the second time, his surrogate father, his girlfriend (what happened to Eileen?), and his brother. Also, let’s not forget that Adam died and was a Winchester. Season 15 does not agree with, and contradicts, its final episode.

Everything that has happened after season 1 and right before the series finale doesn’t matter. That is the message the series finale communicated with fans. Some fans might be alright with this message because it’s such a long series, too much has happened, but there are many fans who have avidly watched these characters grow and change. They themselves have grown and changed with these characters! Watching the finale felt like a slap in the face, a surreal dream, because the writers and the show-runner shut the door on any type of meaningful change that has occurred throughout the series. Throughout the years, Sam and Dean were able to create meaningful connections outside of their partnership, noticeably with Jack and Cas. Both were only mentioned. That merits repeating again. Castiel, who had become a fan favorite in the series, only gets a few mentions. Dean, the one with whom he shares a profound bond, shrugs off his death and continues enjoying his pie. Like the last 12 years of developing that friendship, emphasizing their bond, and teasing fans with their deep connection meant nothing. Because ultimately, the show sent a clear message to its viewers: it doesn’t matter what these characters have gone through, it doesn’t matter the people who have come and enriched their lives, but what matters is where they started. The journey, and the accompanying life experiences, don’t matter.

I read a really hurtful review about the series finale that implied that Sam could only be happy on Earth because his brother had died. He was no longer his brother’s keeper, so now he could have everything he wanted- a family and normalcy. That was the Sam of season 1 - before his brother died for him, before he died for his brother, before his demon blood addiction, before he saved the world numerous times, before he adopted a half angel kid into his family, before meeting his Mom again. All of those experiences profoundly change a person. His idea of normal and happiness changed, became vastly different. The show hinted at this when we saw the names carved on the table in episode 15x19. Sam stopped running away from hunting, his duties, struggled with his destiny, and fought for his freedom and seemed content with what he had. The show even implied a budding romance with a fellow hunter, Eileen. Sam from season 1 would have turned away from all this because it interfered with his desire to be normal. However, this was shoved at Sam in the most confusing, contrived, and sickening manner. After Dean dies during the series finale, Sam mopes for a bit, then he goes on a hunt, and reverts back to Sam of season 1 with ease. He gets everything he’d wanted- an unnamed, unseen wife and a child who he names Dean. If Sam from episode 15x19, 15x18, from any episode after season 1, saw this ending for himself, he would have run away screaming. He wouldn’t be able to accept it. Why? Because that’s not what he wanted for himself anymore. He wanted to be with his loved ones, which included Dean plus his extended family.

If Sam’s ending was problematic, Dean’s is inconceivable. This is a character who has struggled with so many issues and low self-esteem and has gone through so many ups and downs that to see him die, impaled on a nail by clowns, devastated and confused many fans. I actually laughed out loud when he died because it was so ridiculous. It hurt to see a beloved character treated like trash, then proceed to accept his death with arms wide open. Where was Dean’s desire to live? This is the man who survived hell, saved the world several times, sacrificed himself for Sam, and had to fight daily to survive. And I don’t mean in a I’m-a-hunter-and-life-is-dangerous way, but in a real, this-world-is-fucked-up-and-I-can’t-do-it anymore way.

That was what always attracted me to Dean. His fight to survive in a world that didn’t make sense to him, and his ability to cling to life despite feeling too broken and inadequate. For many of the fans, they resonated with that and admired him for his grit and his humanity. In the series finale, Dean gives up. He accepts death, accepts this strange looking heaven, even though he was weirded out by heaven when he first encountered it. He rides around in his car- alone and waiting for Sam. That’s what Dean boils down to- alone and living for Sam. The show sends a message that Dean doesn’t deserve anything else. Despite everything he’s done throughout the 15 years of this series, Dean can’t escape his destiny to die on a mundane hunt. The same death that had been foreshadowed in season 1. With only his brother with him to see him go. Dean fought so hard to be free from Chuck’s stories and from his own demons that to see him reduced to drinking beer and riding around in the Impala felt like he’s regressed 15 years. And some fans think he deserved this? What has Dean done to you?

Dean had potential to show growth and to show true change and progress through a possible relationship with Castiel, but the show metaphorically gave its queer fans, their allies, and narrowed minded viewers a big middle finger. Yes, even people who hated the idea of Destiel, you should be angry. Instead of the show stretching your thinking and challenging you to accept something different and progressive, the show decided to pat you on the head and feed you some metaphorical shit. Please don’t eat it. Throughout the show, there had been signs that Dean and Castiel shared a profound bond that extended into a romantic subtext. It started with the angel’s entrance and charisma, and Dean’s acceptance of him into his life (very rare for Dean to form lasting relationships), and it ended with a confirmed love confession. Now, imagine that you’ve been hoping for years that all these hints, looks, and jokes would go somewhere. That maybe someone will validate your views and make you feel like you’ve brought progressive change to television. Well, that’s what it felt like to be a Destiel fan after episode 15x18. Destiel became half canon! Castiel declared his romantic feelings to Dean, which Misha Collins confirmed to be of a homosexual nature, but he knew that he couldn’t have what he wanted. He died to save a shell-shocked Dean Winchester. Not only did the show kill Castiel, but they sent him to hell (granted, he didn’t stay long), and they sent Dean Winchester, the man who stayed “straight,” to heaven.

This was problematic in many ways. One, the message is homophobic, heinous, but subtle. If you’re gay or queer, you are thrown away, never to be seen again because your feelings will upset the masses. It’s what happened to Castiel, a confirmed queer character. When episode 15x20 finished and Dean hadn’t even mentioned Castiel out of his own freewill, I was upset. Here comes the second problem. This show had used queer-baiting for the past 12 years or so to keep its numbers up and to keep itself on the air. It used queer-baiting to a most hurtful and insidious way to attract viewers to the series finale. Then, they shut it down after teasing something that several, enthusiastic fans had wanted for years. Why open this pandora box if you aren’t going to do anything with it? What is the point? Leading people to create false assumptions, playing with people’s emotions in a negative way, reinforcing negative heteronomative stereotypes- this is what the show has accomplished. This is its legacy.

I wrote this essay to free myself from this show. After this, I am not a Supernatural fan anymore. This show has left a bad taste in my mouth, and I want nothing to do with it or anyone associated with it. I urge you to free yourselves as well and also to not accept this mediocrity that Supernatural gave us. Stop other shows and networks from manipulating and leading on its fans. Stop them from ignoring years of growth in order to feed you the same story and keep you mediocre and small. I know the pandemic of 2020 made things difficult, but that’s no excuse to create the subpar work the Supernatural writers/show-runner/staff did. With just a little bit of creativity and intelligence, they could have produced something great, no matter the obstacles. I used to believe in that.

Supernatural, thank you for the years of enjoyment, but I never want to see you again.

#supernatural #supernatural series finale #supernatural series #dean winchester #sam winchester #cw spn #carry on #supernatural 15x20 #15x20 carry on #essay

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jennaschererwrites · 5 years

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How TV Is Putting the ‘B’ in LGBTQ — And Why It Matters – Rolling Stone

“Mom. Dad. I know you don’t want to talk about this, but I do. I might get married to a man, like you so clearly want. And I might not. Because this is not a phase, and I need you to understand that. I’m bisexual.” That’s Rosa Diaz (Stephanie Beatriz), Brooklyn Nine-Nine’s resident no-nonsense detective, pouring out her heart to her parents in the show’s landmark 100th episode. To which her dad (Danny Trejo) stoically replies, “There’s no such thing as being bisexual.”

Beatriz, who is bisexual herself, wrote in GQ: “When does it end? When do you get to stop telling people you’re bi? When do people start to grasp that this is your truth? …When do you start seeing yourself reflected positively in all (hey, even any?) of the media you consume?”

There’s a real cognitive dissonance to identity erasure. You can be standing right in front of someone telling them exactly who you are, and they can just look right through you, and intone, like a Westworld robot, “That doesn’t look like anything to me.” Nevertheless, it’s a daily reality for LGBTQ folks, and bi- and pansexual people in particular. (The term pansexuality, which has come into wider use in recent years, intends to explicitly refer to attraction to all genders, not just cisgender people — or, as self-identified pansexual Janelle Monae put it in Rolling Stone last year: “I consider myself to be a free-ass motherfucker.” However, many in the queer community define bisexuality the same way. You can read more about that conversation here.) Until recently, sexual and gender identities that existed outside the binary have been anathema to mainstream culture — and often, even, to more traditionalist branches of gay culture.

For a long time, people who identify as bisexual or pansexual didn’t have a whole lot of visible role models — particularly on television. But as our understanding of the LGBTQ spectrum has become more diverse and nuanced over time, there’s been a blossoming of bi- and pansexual representation. In the past few years, characters such as Rosa on Brooklyn Nine-Nine, David Rose on Schitt’s Creek, Darryl Whitefeather on Crazy Ex-Girlfriend, and Leila on The Bisexual — to name just a few — have been at the forefront of a bi- and pansexual renaissance on the small screen.

But it wasn’t always this way. Even after television began to centralize gay characters and their experiences — on shows like Ellen, Will & Grace, Queer as Folk, and The L Word — the “B” in that alphabet soup fell to the wayside. Bisexuality was seldom mentioned at all, and if it was, it existed chiefly as a punch line — an easy ba-dum-CHING moment for savvy characters to nose out someone who wasn’t as in the know as they were. On Sex and the City, Carrie Bradshaw called bisexuality “a layover on the way to Gaytown”; and on 30 Rock, Liz Lemon dismissed it as “something they invented in the Nineties to sell hair products.”

Even some of the earliest shows to break ground for queer representation didn’t factor bisexuality or pansexuality into their worldviews. The designation basically didn’t exist in the gay-straight binary world of Queer as Folk, and was largely seen as a phase on The L Word. Buffy the Vampire Slayer gave many TV viewers their first-ever depiction of a same-sex relationship in 1999 with the Wicca-fueled romance between Willow Rosenberg (Alyson Hannigan) and Tara Maclay (Amber Benson), but the show too neatly glossed over Willow’s years-long relationship with her boyfriend Oz (Seth Green) as a fleeting step on the way to full-time lesbianism. Or, as Willow succinctly put it in Season 5: “Hello! Gay now!”

Characters who labeled themselves as bisexual were considered to be confused at best and dangerously promiscuous at worst. On The O.C. in 2004, Olivia Wilde’s bi bartender character, Alex Kelly, appeared as a destabilizing force of chaos in the lives of the show’s otherwise straight characters. On a 2011 episode of Glee — a show which, at the time, was breaking ground for gay representation on TV — Kurt Hummel (Chris Colfer) savagely shot down his crush, Blaine (Darren Criss), when Blaine mentioned that he might be bi: “‘Bisexual’ is a term that gay guys in high school use when they want to hold hands with girls and feel like a normal person for a change.” By the end of the episode, Blaine assures Kurt that he is, don’t you worry, “100 percent gay.”

One of TV’s first enduring portrayals of nonbinary sexual attraction came with the entrance of Captain Jack Harkness (John Barrowman) into Russell T. Davies’ 2005 Doctor Who reboot. (Davies also created the original U.K. Queer as Folk.) The time traveler swashbuckled into the series to equal-opportunity flirt with the Doctor (Christopher Eccleston) and his companion Rose (Billie Piper), because, as the Doctor explains, “He’s a 51st-century guy. He’s just a bit more flexible.” Captain Jack went on to feature in his own spinoff series, Torchwood.

Then came Callie Torres on Grey’s Anatomy. Portrayed by Sara Ramirez (who came out as bisexual herself in 2016), Callie had a seasons-long arc that spanned from her burgeoning realization of her bisexuality in 2008 to her complex relationships with both men and women over the years. Callie’s drunken rant from the 11th season would make a great T-shirt to wear to Pride if it weren’t quite so long: “So I’m bisexual! So what? It’s a thing, and it’s real. I mean, it’s called LGBTQ for a reason. There’s a B in there, and it doesn’t mean ‘badass.’ OK, it kind of does. But it also means bi!”

Once the 2010s rolled around, representation began to pick up steam. True Blood’s Tara Thornton (Rutina Wesley), The Legend of Korra’s titular hero (Janet Varney), Game of Thrones’ Oberyn Martell (Pedro Pascal), The Good Wife’s Kalinda Sharma (Archie Panjabi), and Peep Show’s Jeremy Usborne (Robert Webb) all were portrayed in romantic relationships on both sides of the binary. But these characters’ sexual orientations were seldom given a name.

In some cases, this felt quietly revolutionary. On post-apocalyptic CW drama The 100, for example, set a century and change in the future, protagonist Clarke Griffin (Eliza Taylor) is romantically involved with both men and women with no mention of labels. Because on the show’s nuclear fallout-ravaged earth, humankind has presumably gotten over that particular prejudice. On other series, however, not putting a name to the thing seems like a calculated choice. Take Orange Is the New Black, a show that has broken a lot of barriers but steadfastly avoids using the B-word to describe its clearly bisexual central character, Piper Chapman (Taylor Schilling).

A few years ago, though, tectonic plates began to shift. On Pop TV sitcom Schitt’s Creek, David Rose (co-creator Dan Levy) explained his pansexuality to his friend via a now-famous metaphor: “I do drink red wine. But I also drink white wine. And I’ve been known to sample the occasional rosé. And a couple summers back, I tried a merlot that used to be a chardonnay.”

Bisexuality got its literal anthem on the CW’s Crazy Ex-Girlfriend with “Gettin’ Bi,” a jubilant Huey Lewis & the News-style number sung by Darryl Whitefeather (Pete Gardner) about waking up to his latent bisexuality as a middle-aged man. “It’s not a phase, I’m not confused / Not indecisive, I don’t have the gotta-choose blues,” he croons, dancing in front of the bi pride flag. Darryl’s exuberant ode to his identity felt like someone levering a window open in a musty room — a celebration of something that, less than a decade before, TV was loathe to acknowledge.

For Hulu and the U.K.’s Channel 4, Desiree Akhavan (Appropriate Behavior, The Miseducation of Cameron Post) cowrote, directed, and starred in a series picking apart the subject, titled, aptly, The Bisexual. In it, Akhavan portrays Leila, a thirtysomething woman coming to a dawning awareness of her bisexuality after having identified as a lesbian for most of her life. The show navigates the tricky territory that bisexuals inhabit when they’re misunderstood — or sometimes outright rejected — by queer and straight communities alike. Akhavan, a bisexual Iranian-American woman, has said the idea for the show came to her after repeatedly hearing herself described as a “bisexual director.” She told Vanity Fair that “there was something about being called a bisexual publicly — even though it’s 100 percent true! — that felt totally humiliating and in bad taste, and I wanted to understand why.”

As Leila shuttles her way between sexual partners and fields tone-deaf comments from friends on both sides of the binary, The Bisexual offers no easy answers. But it also never flinches. “I’m pretty sure bisexuality is a myth. That it was created by ad executives to sell flavored vodka,” Leila remarks in the first episode, unconsciously echoing 30 Rock’s throwaway joke from a decade ago. Except this time, the stakes — and the bi person in question — are real.

The next generation — younger millennials and Gen Z kids in particular — tends to view sexualityas a spectrum rather than the distance between two poles. Akhavan neatly encompasses this evolution in an exchange between Leila and her male roommate’s twentysomething girlfriend, Francisca (Michèlle Guillot), who questions why Leila is so terrified to tell anyone that she’s started sleeping with men as well as women. When Leila tells her it’s complicated because it’s “a gay thing,” Francisca responds, “So? I’m queer.” “Everyone under 25 thinks they’re queer,” says Leila. “And you think they’re wrong?” Francisca counters. Leila considers this for a moment before answering, “No.”

Representation matters, and here’s why: Seeing who you are reflected in the entertainment you take in gives you not just validation for your identity, but also a potential road map for how you might navigate the world. For many years, bi- and pansexuals existed in a liminal place where we were often dismissed outright by not just the straight community — but the queer community as well. Onscreen representation is not just a matter of showing us something we’ve never seen before, but of making the invisible visible, of drawing a new picture over what was once erased.

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simonjadis · 5 years

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"Subverting expectations" should be something akin to what it adds to the story and not outright replaces. In addition, a writer should employ it based on what they feel in right for their characters and story with deep consideration. It seems like with recent examples that need no introduction do it to "please the audience" when they should write the sort of the story they'd want to read and/or watch themselves. It should come from the heart if you don't mind cheese.

I had not heard of that cyborg incident, anon! That sounds great.

(And I’m behind on DuckTales – the last episode I saw was Della’s first episode; I love Paget Brewster as her voice almost as much as I loved Paget voicing Poison Ivy)

I totally agree with you!!

Sometimes, I am horrified when I learn that feedback has convinced a storyteller to go in a different direction, even if I 100% understand why. Other times, it’s a great thing.

1. Good Case: Griffin McElroy is informed by fans of the Bury Your Gays trope, and his narrative returns two Tragic WLW as dryads (I’m not there yet in The Adventure Zone; I’m so nervous about continuing The Suffering Game)

2. Bad Case A: video game creators listen to disproportionate outrage from entitled forum bros and yield to their demands to include less queer content and fewer characters of color in the next game, or to sideline that content and those characters

3. Bad Case B: Joseph Morgan is a handsome, talented actor, but his desire to go forward with the story of Klaus Mikaelson on The Vampire Diaries should not have changed existing plans. I know that this is Extremely Writer Of Me but, to my mind, that’s like putting on a puppet show and one of the puppets whirls around and tells you to not kill him off. I’m not mad that the spinoff happened or anything, I just think that Klaus is a terrible person who deserves to die, however sympathetic aspects of his backstory may have been.

Anon, you wrote “a writer should employ it based on what they feel in right for their characters and story with deep consideration“

the line about with deep consideration is especially good, and something that many of us forget to express

because I’m gay, I’m going to pick an example – there are stories I might write in which the word “faggot” appears a great deal. it’s a slur, but it might be appropriate for characterization or setting. that doesn’t mean that it needs to be part of the story that will be consumed by an actual human audience, some of whom may have heard that word yelled at them at the worst moments of their lives

I could also write a fantasy setting in which that words holds no particular meaning, and someone’s name might happen to be that. it’s not like the fantasy character speak english or have that slur – the name just happens to be that, and exists within that world’s context. BUT again, this is going to be consumed by an actual audience, and I can just … not do that

in a previous post [X], I discussed worldbuilding and narrative choices, and used a domino/marbles analogy. another analogy might be baking – you choose the recipe and the ingredients and how they’re introduced and combined, but once placed in the oven, it all has to work naturally – you can’t force a cake to rise

if you do that in a story, people will know that something isn’t right

but choosing the recipe/ingredients and how they’re combined isn’t an excuse to do whatever you want.

you can choose to, as you note, set things up so that a woman who might have been fridged will instead be in a position to become a cyborg. (I don’t know a good baking analogy for that)

there are ways to include bigotry, death, and horror in your worldbuilding without focusing upon these elements for shock value, and that’s because the storyteller also controls the perspective

for another poor analogy, let’s say that you’re using your phone to record a video tour of your house – a walkthrough. you can use camera angles to avoid showing that place where the carpet just isn’t the same as it used to be, or that side of the couch that the cats chose as a scratching post, or that place where your drunk buddy decided to throw food onto the kitchen ceiling to see what stuck and now it’s discolored. storytellers can do this by choosing who (first person or third person limited) is telling the story, by choosing an unreliable narrator (usually just someone without the social awareness to realize what’s going on around them), or by taking the story in other directions

which means, and I know that this is a tangent but you reminded me of it, that stories can avoid gratuitous depictions of sexual assault or domestic violence and focus on fun things, like werewolf violence or whatever. it doesn’t mean pretending that those things don’t exist, it’s just prioritizing what gets “screen time”

that’s another place where deep considering comes into play. what things need to be part of the media experience, and which things can’t be left aside? for example, with very rare exceptions, i recommend against following the story of anyone experiencing gastrointestinal distress and related symptoms. someone can have a stomachache and then stay in bed with a time skip or someone else’s POV for a while. with rare exceptions, we don’t need to follow that person into the bathroom. the same is true with sexual assault and domestic violence, only this time we’re adding potential reader trauma to the list of reasons to tilt the metaphorical camera in another direction; if a character says that their ex was “a bad man” or warns someone away from X tavern, I believe them

obviously, sometimes stories do include horrifying elements; there are very few absolutes in writing

[barely restraining myself from talking about showing-vs-telling and some discourse I’ve seen about it]

I absolutely do not mind cheese, anon, and I agree that stories should metaphorically come from the heart

I do think that a lot of television writing has less of that because it’s, well, a job. the story should still make sense, and ideally everyone in the writer’s room feels passionately about some aspect of the project, but any mercenary writer is going to have some things where they just do their best and then call it a day. the story needs to make sense and engage audiences, but it doesn’t have to be a passion project

if a writer does a good job of entertaining themselves, they’ll usually do a decent job of pleasing the audience. there are exceptions.

not everybody has a foot fetish, Joss

#writing #storytelling #anon #ask #anon ask

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pass-the-bechdel · 6 years

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Teen Wolf full series review

How many episodes pass the Bechdel test?

82% (eighty-two of one hundred).

What is the average percentage of female characters with names and lines for the full series?

35.07%

How many episodes have a cast that is at least 40% female?

Twenty-eight.

How many episodes have a cast that is at least 50% female?

Seven.

How many episodes have a cast that is less than 20% female?

Two.

Positive Content Status:

Impressive and uplifting: it’s a show aimed at teens and young adults, and it recognises and takes full responsibility for representing a positive and progressive outlook to its audience. It’s a show full of complex, powerful, smart, skilled, wonderful, diverse female characters, and male characters who are emotional and vulnerable and honest and supportive with one another without judgment, and queer people living openly and happily without fear. I have had relatively minor quibbles, and I wouldn’t call it perfect representation, but it is easily the strongest example I currently have of the kind of positive representation I value (average rating of 3.18).

Which season had the best representation statistics overall?

Tough call, but season six part one edges out the competition by virtue of the highest percentage of female characters for the series (42.52%), which helps it to also score six episodes with 40%+ and three with their casts balanced or female-led at 50%+. It also turned in a 90% pass on the Bechdel.

Which season had the worst representation statistics overall?

Season two, which featured both of the series’ under-20% female cast episodes, and turned in a total percentage of 26.5%, with only 58.3% on the Bechdel. It’s saving grace: the second-highest positive representation score of the series (3.41).

Overall Series Quality:

An absolute delight, end to end. It’s outrageous, it’s bombastic, it is, at times, ridiculous. But it embraces this about itself, it owns it and loves it and revels in it, and it maintains itself with remarkable consistency and never shows any sign of being embarrassed to be just exactly what it is. In a way, that’s another point in favour of the positive message it sends to its audience; there’s no reason to consider Teen Wolf a guilty pleasure, something to hesitate or equivocate before admitting your enjoyment, for it never hesitates or equivocates about itself. It’s an honest and uncomplicated kind of pleasure, and I, unabashedly, love it.

MORE INFO (and potential spoilers) under the cut:

“You’re not a monster,” Scott declares, at the triumphant conclusion of the Teen Wolf series finale, “you’re a werewolf. Like me.” It’s a reiteration of the same line he uttered to his new beta, Liam, back in season four, and it’s a thoroughly earned mission statement for the show, a declaration that being different is ok, even if others have made you feel like an outcast for it, even if it’s difficult, even if it hurts. The way you are is ok, you have value as you are, and you are not alone. It’s easy to be cynical about that if it isn’t a message you personally need to hear, but for the youths in Teen Wolf’s target audience - especially the large queer contingent - it’s a crystal-clear affirmation that could not be more important, and not one made lightly. After all, it’s easy to make statements that sound glossy and progressive, but if you want people to really take it to heart, you have to earn it. Don’t just say it; demonstrate it. Whatever else you might think of this silly schlocky show, it didn’t just walk the walk with its representation: it strode out with pride.

With a show that performed so admirably, it’s hard to know what to discuss in summary: the female characters really are so varied and wondrous, so complex and realistically flawed and none of them ever shamed for being different to the rest (because different is ok). The male characters really are so refreshingly low on toxic masculinity, or alternately, they have the limitations and the damage of toxic masculinity so thoroughly exposed through their narrative arcs that there’s no question about the show promoting emotionally healthy openness as a masculine ideal. The queer characters really are so numerous and loved and never made to suffer for their identities (though, if one is quibbling, there was certainly a preponderance of queer males compared to a pretty limited supply of queer females, and don’t think I forgot how they teased us with the idea of queer Stiles early on but never canonically delivered). At the end of the day though, I have discussed the above all over the individual episode/season posts, and what I really want to talk about now is how well they packaged their lesson of diverse acceptance for a young audience, because that target intention is where the show’s progressive ethos really shone.

Not all teen-targeted shows take it upon themselves to teach good morals, and to suggest that they should can come off as infantalising; as if young adults are still children, needing to be taught fundamental behaviours. Setting aside the fact that in some cases they really, really do need that (otherwise they become maladjusted adults who still really, really need those lessons on fundamental behaviours such as accepting other people for being different, et al.), the result of either option is often a bit of a disaster: you get teen shows that ignore their moral responsibility and consequently teach/reinforce incredibly damaging and even dangerous ways of thinking, or you get teen shows that treat their audience like morons while preaching in an embarrassingly out-of-touch fashion. For this reason, I have rarely enjoyed shows targeted at young adult audiences (even when I was part of that demographic) and I normally avoid such programming. As such, I am not a connoisseur of teen shows, but of the ones I have indulged Teen Wolf is absolutely the standout, not only for just getting me on pretty much every socio-political and entertainment level available, but for the attitude it takes toward that aforementioned target audience: specifically, how very in-tune it is with the way the demographic thinks and acts.

Whether a bad teen-targeted show is of the morally-irresponsible kind or the morally-preachy kind, the core problem is the same: they promote shame. It might be shame in the form of peer pressure, encouraging wild, foolish, and inconsiderate behaviour because ‘that’s what teens are like’ and making their young impressionable audience feel like weird losers if they don’t mirror the actions and attitudes depicted on their favourite shows, or it might be shame in the form of heavy-handed judgment, the idea that any experimentation or pushing at the borders of authority are absolutely BAD AWFUL things that only BAD AWFUL people do. For Teen Wolf, being in-tune with the audience means understanding that there are certain things that teenagers are extremely likely to do regardless of whether they have permission, and approaching those things as part of the audience’s reality within that spirit of understanding, focusing not on shame but rather on promoting positive and responsible behaviour. It’s really not rocket science, but somehow it’s still a wonderful anomaly. Instead of depicting teen sex as a taboo or a damned-if-you-do-damned-if-you-don’t world full of dirty sluts and naive virgins, Teen Wolf is sex positive, even-handed across the spectrum of sexual activity and promoting enthusiastic consent and open discussion of boundaries. Instead of depicting teen drinking as either the worst of crimes or a guaranteed gateway to regrettable actions or something you just gotta do in order to have fun and fit in, Teen Wolf encourages making your own decisions for your own reasons, and watching out for your friends to make sure everyone gets home safe. It certainly doesn’t depict a conflict-free world where no one ever makes a bad choice or does anything stupid or selfish; it just doesn’t approach normal human behaviour with an air of judgment. There’s just no shame.

What makes this really significant is that it’s part and parcel of the whole acceptance ethos: it’s not just werewolf metaphors or telling kids that gay is ok. In order to really craft a message about not feeling ashamed to be who you are and how you are, you need to let the message touch all parts of the story, and all parts of the character’s lives, not just the big obvious points of contention. It’s a great way to be morally responsible with your impressionable audience without getting preachy and trying to tell them how to live: just encourage them to be considerate and wise about their choices by showing them how it’s beneficial for everyone, demonstrate, don’t just tell. Not rocket science at all. The other thing is that it really doesn’t need to be thought of as a ‘lesson’ at all; it’s just people being depicted in a non-judgmental fashion as they try their best to do the right thing in whatever situations they encounter. Sometimes they mess up, and sometimes they repeat mistakes, and sometimes they get overwhelmed, but they’re trying and they’re growing as people, and that’s the best you can ask of anyone, whether they’re supernatural teenagers on a tv show or not. Really, it’d be nice if more entertainment media spared a thought to reinforcing fundamental moral principles in their everyday content, because the world sure as Hell is full of maladjusted adults who are still absorbing and entrenching bad attitudes normalised in their television consumption. There’s no reason we should only expect this level of attentiveness from stories aimed at young people. That said, if this show were not targeted at young adults, it probably also wouldn’t be as good, because the reality is that the majority of ‘grown-up’ programming makes little to no effort to challenge the perceived social status quo. We’re probably lucky they kept the teen part of Teen Wolf when they adapted this story for television (the original 1985 film of the same name is NOT progressive or accepting, and I can’t recommend it - the show kept mercifully little beyond the basic idea of a teenage werewolf).

What Teen Wolf has done - and certainly not by accident - is create an entertaining safe space. For all that Beacon Hills is full of supernatural horror and grisly murders and nightmare fuel and sometimes, straight-up Nazi ideology, on an individual personal level it is a place without shame, a place where even when the characters feel backed into a corner with no good options, we can see that they have support, they have friends and family and slightly-nutty lacrosse coaches who have got their backs in a crisis, they have intelligence and skills and the hard-won knowledge of experience that will help them find a way; there is always an element of virtue shining within every moment. They still feel desperate sometimes, and hopeless, and alone. There are still a lot of bad things in their world, and sometimes that stuff is too big and too terrifying to bear, and the real world is like that too. You don’t have to be a teenager - or a werewolf - for that struggle to resonate, and you certainly don’t have to be either of those things in order to value a fiction in which being judged, marginalised, or mistreated for being the way you are is not a concern you have to add to your roster of ills. There are plenty enough terrible things in the world still, and sometimes what we really need is a little space to believe that there’s some inherent good left, too. Even if no problem is ever completely fixed, even if there will always be hate and evil and horror out there, waiting. You are valuable as you are, and someone’s gonna have your back.

This is exactly the context in which Scott utters that final triumphant line “You’re not a monster, you’re a werewolf. Like me”, echoing that same thing he told Liam when he was miserable and afraid of what he had become and what it would mean for his life. It’s a sentiment that Scott earned from his own misery, his own fear, his own battle with having his life upended irreparably against his will. Scott is being for the new generation what no one was for him; he’s taking his hardships and forging them into a lifeline for those who come after, so that they don’t have to struggle as hard as he did. He’s doing better, one step, one person at a time. The parallel there isn’t hard to draw; the affirmation can’t get any clearer. You can’t have real representation - on any level - if you don’t have unconditional acceptance, and you can’t have unconditional acceptance if you don’t let the demonstration of it permeate your narrative. You can’t just say it. You have to be the change you want to see in the world. Unlikely as it might seem, schlocky and silly as this show was with its Steampunk doctors and Demon wolves and mountain aaaaassshhh, it was also a show dedicated to demonstrating - in varied and delightful detail - the kind of young people it hoped to be reflecting as they stepped out into adulthood. It’s easy to be cynical about that, but it isn’t useful, and there’s a kind of shame wrapped up in cynicism. Teen Wolf, to its utmost credit, was always far too busy embracing its own quirks to ever let cynicism in. I miss it already.

#Teen Wolf #full series review #Bechdel Test #female representation

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writesbatty · 6 years

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days 14-29

complete with unedited content notes from the facebook group i’m in

29/30

i love to rewrite the classics

to make persephone send hades running

(keep that 'rewriting the story of persephone as a love story’ shit several hundred miles from me, thanks.)

to give echo back her voice

to let arachne weave her tapestries once more

rewrite pride and prejudice so lydia bennet does not marry a rapist

get jane eyre out of her aunt's home sooner rather than later

find ophelia a therapist

remind everyone that tragedy can still have a happy ending

28/30 content warning: mentions/discussions of sex and consent. this is very vulnerable and im uncomfortable and DOING IT ANYWAY rip

i tell my boyfriend i think we should start scheduling sex

but that this is not some indication of failure in our relationship

i know he worries that my complicated relationship with sex is some reflection of how attractive i find him

(it doesn't help that the past few years seem to have taken my ease of flattery away from me

i don't know when it got so hard to tell the love of my life he looks good in tank tops

and black jeans like the ones he wore when i met him)

but it's not that

it's that i don't think about it, the same way i don't notice i am hungry till i'm starving, don't notice i'm thirsty till my head aches and spins, don't notice i am anxious until i am already in the middle of panic

it's that i was in a relationship where i never thought about the word no, it never occurred to me as an option, and now i end up consumed with pointless worry that i do not really want this

i try to talk to my therapist about these things, but i never really know what to say

how to explain my ex never set out to hurt me and half of it was my fault, but i am still feeling the aftershocks years later

without sounding like i am making excuses

(maybe i am, i don't know, i have always had a hard time with blame, with holding others accountable)

but at the same time i never want to imply what happened was more serious than it was

nothing like a genuine violation, nothing that should label me victim or survivor

nothing like what others have gritted their teeth and fought through

maybe some of it is the meds

it's hard to tell

how much is the meds and how much is the trauma and how much is just me

and why has it been six years and i still can't

-casually tell my boyfriend he has a nice ass

-sit in my boyfriend's lap

-fearlessly messily uninhibitedly make out with my boyfriend

because some paranoid corner of my mind is afraid to say 'no'

(nothing would happen if i said no, because everything would stop happening, it's not fear that makes me question, it's the idea of disappointing someone i love, and that's all on me, not on him)

my boyfriend is an angel with a nice ass

(seriously, i am not overstating this, he has a very nice, round butt)

and when i tell him

i think we should start scheduling sex

he kisses the top of my head

and talks about how bob and linda on bob's burgers schedule sex, and they have like, the best marriage on television, so clearly we're in good company

and pulls me over to the couch to feed me ice cream and scratch my back

27/30 warning for like. harry potter/jkr 'discourse' or something i guess?

listen, we all should have known jk rowling was going down in flames the moment she made harry james potter a fucking MAGICAL COP at the end of the series

i have a list of problems with the deathly hallows epilogue that is longer than the actual epilogue and this is at least three of them

will somebody cut harry a fucking break?

why on earth would someone punish this abused, traumatized, exhausted person by giving them a career that will repeatedly remind them of every bad thing that has ever happened, which is most things that have happened to harry potter

harry potter should have been the defense against the dark arts instructor

harry potter has intimately seen both sides, every inch of light and dark

and he saw them as a child, he grew in them like a weed in brackish water, an in between neither fresh nor salt

(but he chose good, he always chose good, and it was always a choice, and it wasn't always easy)

let him teach other children to protect themselves

let him eat lunch with neville longbottom so they can discuss their students and make sure no teacher ever treats kids the way snape treated his students

the way snape treated harry and neville

let harry spend his weekends in hogsmeade with friends both old and new remembering only the light spots in the dark days of his schooling

let him know the joy of helping a struggling student

(this is how he will carry on remus lupin's legacy; that and the bar of honeyduke's finest chocolate in his desk)

let harry potter retire and spoil the ever loving shit out of all of his grandchildren

let harry potter put the past behind him

consider the fact that we don't all want to devote our lives

to fighting the demons we met in childhood

26/30

nightmare at 20,000 feet is the most terrifying episode of the twilight zone

and what an apt title

what an apt metaphor

because what could ever be more nightmare then knowing the worst is just outside the window

but no one else can see it

25/30 this ends like super abruptly but idk how to end it Properly and i need sleep so. shrug emoji.

it's like a bad joke, this harmless word that never stops following me

you know those tasteless reddit posts about trigger warnings? how there's 'no way' someone could be traumatized by something so normal

so small

that's me. i am that joke.

a man at the aquarium calls his young daughter pumpkin and i–

i swallow a wave of nausea

i try to ignore the way my skin begins to crawl

and my heart speeds up

and i can hear the sound of his voice

it's like time travel

it's like a curse

just say 'pumpkin' and i fly back in time and it's like my body does not know that he is dead

that he hasn't called me pumpkin in nearly a decade

you would think it would be the mocking, the insults, that would ring like shots through my echo chamber brain

but

it's that fucking petname

it's 'i'm sorry, pumpkin' in his voice and the look in his eyes as he digs the hole in my chest just a little bit deeper with another fake apology

an apology all for him

when he came to my high school graduation there were rules

-he could not drink

-he could not apologize

-he could not call me pumpkin

24/30

it's funny

this disconnect between the me i know and the me other people know

at home i pace the floor, building up the courage to call for a cab

at work they tell me i am good with people, that i am no nonsense

at home, i twist my hair in my fingers as i struggle to tell my partner of nearly six years i need something to eat

at school they called me confident, self assured

i wonder where this other me is when i need them most

where is this confident and self assured version of me when something actually happens?

when someone is in trouble?

when someone gropes me in the street?

when someone needs them?

when i need them?

23/30

weirdly specific sections i wish i could find at the bookstore:

unconventional sci written by women and queer people

dystopian fiction that ends hopefully

non-ableist romance novels with disabled protagonists written by disabled people

young adult romance novels about lesbians and magic with happy endings

poetry for queer girls who really like artemisia gentileschi's art

collections of personal essays about hospital waiting rooms

college kids from dysfunctional families getting their shit together and falling in love

narratives about found families of misfits

young adult novels about queer romance and theatre kids

the exact novels you needed to read at 15 when you were scared and alone and will still make you cathartically sob while reading in a public park

(this last section is real except it's just the francesca lia block shelves in the young adult section)

how to guides on how to be a person when your body and the world you live in are crumbling to pieces rapidly

advice on how to make your best friends move out of state to be closer to you

novels where the protagonist goes through hell but they come out the other side and are still an essentially good and optimistic person despite their trauma because the world is a terrifying place and we need fiction and narrative to remind us of the potential for hope

22/30

edit: i just word vomit typed this directly into the comment box and it got weirdly long so Be Aware

elle woods is my personal hero

i'm blonde

'yes sarah'

i'm sure you're thinking

'i know, i have seen you'

but it's more than that, okay? i am blonde on the inside. my heart and soul are blonde. i talk to people and they say 'i can't imagine you not blonde' because the concept of me any other way is absurd

maybe because its the one thing everyone always loved about me. when i was a kid, everyone wanted to play with my hair. i had barbie hair, disney princess hair. long blonde waves like strands of gold.

i grew up telling blonde jokes, so everyone would know i was Smart and Cool. i got teased for being a nerd and a four eyes and for awhile everyone called me 'dictionary' because i knew how to spell zombie. smart was more important to me than cool, but i still told blonde jokes. the blonde swims ninety percent of the way to the other shore, gets tired, and swims all the way back, and god if that isn't a metaphor for my life. god if i haven't spent 25 years fighting not to be the blonde who turned back.

when i almost failed math in my freshman year of high school my father told me i should give up and become a playboy bunny because i didn't have a future. a childhood friend asks when i will grow out of the color pink.

i am a blonde the way i am pink. spiteful. elle woods walking malibu barbie through the halls of harvard. elle woods taking notes in pink sparkling pen. elle woods handing in her scented resume printed on pink paper.

elle woods saying

'what, like it's hard?'

i tape my thesis pages to the wall with glitter tape and pin my blonde hair back with a flower clip and i wear baby pink leather heels with bows on them.

'what, like it's hard?'

21/30

why do the aliens always want to kill us?

why do we always build a giant weapon?

why can't the aliens come to earth to help us?

why aren't scifi movies about healing?

20/30

ode to vestibular stimming

i do not like metal music

i'm sorry, it's just not my thing

but good god do i understand why people head bang

and why people mosh

when i was a kid i loved jumping on the trampoline, and the way it made my heart and brain jump and soar and bounce

now i can't jump on trampolines anymore but

i can listen to british pop music in my living room and laugh and feel that soar and jump and bounce as i swing my head from side to side and up and down and sometimes, for extra fun, twist my torso around a little

like i am so much energy and so little body but finally it has somewhere to go as my hair swishes against my face and an unstoppable grin spreads across my face and

don't you ever wanna just let go?

don't you ever wanna shake your head until the dizzy chases everything else away?

19/30

i like to talk to the creatures in the tanks when i do my aquarium rounds

the old man of an octopus in the floor tank i call gramps

my favorite sea star, a purple velcro star in the touch tanks, i call zippy

mostly i just call everything 'buddy'

'hey buddy, how ya doing today?' or 'come on buddy, scootch down from the top of the glass'

i apologize to the anemones when they close up because people have touched them too much

and i apologize to the jellies when it takes me more than one try to scoop them out so i can change their water

in middle school i noticed a rip on my baby doll's neck so i made her a neck brace from the sash of a build a bear robe and propped her up on pillows every night, so she wouldn't rip anymore

i am nearly 25 and i still feel guilty when my stuffed animals fall to the ground

i am nearly 25 and i keep multiple stuffed animals in the bed i share with my boyfriend of nearly six years

a common misconception of autism and other similar social disorders is that people on the spectrum do not experience empathy

and in some cases this is true

but an often ignored aspect of these disorders is that anything you could lack, you can also have too much of

hyper-empathy is when you are so receptive to others feelings they become your own

they become so much your own it causes you physical distress

and everything

everything

has feelings

i once got sad about throwing away a pair of pants because i had them for just... so long

i once cried on an apartment balcony because my neighbors i had never met, never even SEEN, were fighting

today i watched a young boy scare simon, a seagull who hangs out by the aquarium, by screaming at him

and it broke my heart a little even though i not especially fond of birds and am, in fact, kind of afraid of them

sometimes i sit and think about the things my dad experienced and my aching too big heart thinks

maybe it was okay

maybe the things he said were okay, because of what happened to him

my aching too big heart always forgets

things happened to my mother, too

things happened to me, too

and neither of us turned out like that

articles on the internet talk about hyper-empathy like a super power

call it 'being an empath'

to me it has always felt more like a bruise

like my aching too big heart just can't stop pumping blood to the tender surface of my skin

18/30

a very angry letter to a lady who came into the aquarium yesterday. less poem and more just 'complaining' but wow, i am still mad like 36 hrs later

for the love of god, lady

what is your fucking problem?

you are a grown adult. you have multiple children, some of whom are teenagers, and this is how you behave, in public, in front of your family?

are you incapable of basic human decency? did no one ever teach you manners?

yes, there is a disabled person and their caretaker in this aquarium, and yes the person is making noise. people make noise. you are in a fucking public place. children scream in here literally all the time. the seals scream. parents scream. sometimes the people who work here scream, because it is the only way you can hear us over the damn seals.

so why, lady, do you feel the need to make some rude ass comment about a person you don't even know, and look at me like

you expect me to play along

i wish i could say something to you but i am an employee and that is not polite but

if i was just a person i would tell you to shove it

but i wish i could have been a staff member AND told you to shove it

so i could have told you, hey, lady

this person helping you, telling you all this information about sea stars, is also fucking disabled

and your rude as hell eye roll and 'oh great, here we go' and 'really?' and loud scoffing is not appreciated

and frankly you can kiss my autistic ass and get the fuck out

17/30

capitalism is broken

and the reason i know this is because of jurassic park

not the franchise but the canon, the universe it exists in

every time i complain about the jurassic park universe

demanding to know why, for the love of GOD, do people keep opening these parks full of dangerous dinosaurs

someone always tells me 'the money, obviously'

as if capitalism was a reasonable excuse for making a super t-rex that eats people

as if money were an excuse for making yet another death trap

yet another super dinosaur that's going to –inevitably– escape and eat and/or traumatize someone

the idea that the people who built jurassic world looked at the events of jurassic park and thought

the money is worth it

we won't fuck up this time

is completely fucking baffling to me

i suppose maybe i am meant to see this as a heartwarming representation of the american refusal to fail

if at first you don't succeed, try try again, after all!

but i think about the news article i read last night

about how insurance companies worry curing diseases is not profitable

and i think about all the lives lost and therapy needed because everyone in jurassic world refused to learn from john hammond's mistakes

and i don't think any of this is saying americans refuse to fail

it's just saying we don't care how many times we kill people if there's good money to be made

16/30, inspired by how affectionate the characters on new girl are with each other

all through high school i did theatre, and i don't know if this is a universal theatre kid thing, or just something we all did

but we were all about physical contact

we were a bunch of misfit touch starved pets

piling seven teenagers on one sofa, every part of you touching somebody, every part of you warm

and i miss that

all that platonic but physical affection

i am a very affectionate person, and i find myself fighting to seem 'normal' in social situations

reminding myself not to wrap my arms around people, or rest a hand on someone's leg, or call casual friends babe, or offer people bites of food

this is how i lived all of high school

sitting in laps, holding hands in the halls, kisses hello, shared drinks and forks

i miss it

i don't understand our desire as a society to deem intimate touch romantic

why shouldn't i kiss my best friend on the cheek? why shouldn't friends hold hands?

we are social creatures, after all

we don't start out like this

we sleep in heaps at slumber parties, we play doctor, we play house, we do each other's hair

why does all that stop because we get old enough to want to kiss people?

doesn't that seem silly?

15/30 write more love poems about your friends guys. love your friends tell people you love them. i love telling people i love them. i love u. all of u. here's a poem about my best friend aka the greatest human on earth, the guildenstern to my rosencrantz

so i've known my best friend since 9th grade

except

except actually i met her in 3rd grade and didn't know it until 10th grade

and she wasn't my best friend until college

except

except she was, i think, maybe the whole time and we just didn't know it

on my fifteenth birthday she came with me to get my nose pierced and gave me a hand drawn birthday card that quoted my favorite green day song

once we spent six hours on skype drawing bad caricatures of celebrities

and when i left to grab a snack she yelled after me

"don't you go where i can't follow"

our senior year we read "rosencrantz and guildenstern are dead" for ap english and we started calling each other rosencrantz and guildenstern

and when she gave her senior project speech on william faulkner she cried, not because she was nervous, but because she loves faulkner and she got emotional

she is exactly 12 days older than me, and a taurus, and she plays a bunch of different instruments and one day we're going to start a folk punk band called the rebel amish

last summer we went to the deyoung together and laid in a shag covered bean bag chair watching the light show in the summer of love exhibit for like an hour

and we took a selfie in some giant gold antique mirror

and when i picture my future, she is as much a part of it as my boyfriend

this other love of my life, this girl with the bright eyes and the once broken nose and who is always willing to sit and talk about books

or the shitty people we went to high school with

or weird titles for potential memoirs

this amazing person, who is the only person i would trust to drive me through marin county while eating a mcdonalds cheeseburger

it is a different kind of love, sure

but it is a love story

and it is ours

14/30 which i wrote but forgot to post because i was playing video games

i wish my own mysteries were this easy to solve

just look for the spot that glows

and unearth what's hiding

no crying

no years of therapy

no buried memories

just point and click

#napowrimo #National Poetry Month #National Poetry Writing Month #LONG AS FUCK im sorry

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floridaindependentblog · 4 years

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Battle of the Best TV Shows: 2019 Edition

The end of the year is almost here, which means it's time to look back at the best 2019 had to offer. 2019 was an amazing year for television. There were some incredible new shows that stunned audiences and critics. And there were some returning shows that had their best seasons yet in 2019. If you're looking to watch the best TV shows 2019 had to offer, check out these shows. Big Mouth No matter how old you are, coming of age shows are always intriguing. This is probably true because they explore the most angsty and drama-filled times of our life — middle school and high school. We can all relate to the struggles of the characters because we've been there ourselves. Since it premiered a few years ago, Big Mouth has reimagined the coming-of-age drama. This witty and razor-sharp show has tackled topics that other coming of age shows have conveniently ignored. Perhaps it can do so because it's on Netflix, or maybe because it's a cartoon instead of live-action. But whatever the reason, Big Mouth's raw honesty about the most awkward and painful of life stages is always relatable and entertaining. And 2019's season three is no exception. Season three explores tough topics like #MeToo, gender identity, and toxic masculinity, but they do so in a way that manages to be both serious and hilarious. Big Mouth's ability to reveal the best and worst of its characters as they grapple with the real world is why this show continues to be one of the best on TV. One Day at a Time Since it's premiere, it's been clear that Netflix's One Day at a Time is telling a story that no other sitcom had ever tried to tell. This one-of-a-kind show manages to be heartwarming, heartbreaking, and supremely hilarious all at once. The show follows a multigenerational Cuban American family as they live and thrive in today's America. While sitcoms have always centered on the family dynamic, there's never been a sitcom quite like this about a family quite like this. The show has been praised for its representation. There are very few shows out there focusing on Latinx families, especially a Latinx family led by a single mother and her mother, and even fewer that feature queer characters like the eldest daughter of the family, Elena. One Day at a Time is also beloved by critics and audiences alike for exploring complex topics like the immigration crisis, teenage sexuality, addiction, and found family. 2019's season three brings all these topics, especially addiction, into sharp focus. It's the show's most honest and emotional season, exploring mental illness in a way that few shows do. This show is truly exceptional, breathing new life into the half-hour comedic sitcom. The Act True crime TV gets more popular every day. And it's not just a genre for serial killers stories anymore. The true crime genre has expanded to explore all kinds of crimes, including the ones deeply rooted in mental illness, like Munchhausen Syndrome by proxy. The Act, which is streaming on Hulu, is not an easy show to watch. At times, it's even excruciating. But like the car wreck you can't help but stare at as you slowly drive by, The Act demands all of your attention. This stunning show tells the real story of the murder of Dee Dee Blanchard by her daughter, Gypsy Rose's, boyfriend. But instead of focusing solely on the murder and the investigation, the show goes into a dark and twisty exploration of why Gypsy Rose wanted to kill her mother. The Act takes the audience on a quietly terrifying and completely heartbreaking journey with Dee Dee and Gypsy Rose. The show feels like a slow draining of the spirit, which is an apt metaphor for the toll that Munchhausen Syndrome by proxy takes on its victims. And the show is masterful at creating quiet tension, the on-edge feeling of "something isn't quite right here." Though the show doesn't hide the fact that Gypsy Rose isn't really sick, and that she eventually conspires to kill her mother, knowing the secrets doesn't diminish the desire to find out how it all ended so horrifically. If you're a fan of true crime and you can handle the discomfort this show serves up, The Act is a truly one of a kind true crime show. Pose Showrunners Ryan Murphy and Brad Falchuck have earned a reputation for creating groundbreaking shows that tell stories we've never seen on screen before. And their crowning achievement very well may be Pose. This show is groundbreaking for so many reasons. It has the largest cast of transgender actors ever. It tells the complex stories of trans and queer people without holding anything back. And it explores the AIDS epidemic like no other show ever has — from the perspective of those most impacted. The second season of Pose managed to live up to and even exceed the first season, which is saying a lot. And unlike most shows, which rely on creating as much pain as possible for their main characters, the second season of Pose manages to infuse hope into many hopeless situations. The second season delves even deeper into the way the AIDS epidemic is ravaging the queer community in the early 90s. In a show that centers on brown, queer folks living in poverty, you'd expect a lot of heartbreak. And there's definitely plenty of that. But in the midst of all that heartbreak, Pose always manages to provide an uplifting message — that the family we create can save us from anything the world throws at us. If you're looking for a revolutionary show that tells a story you've never seen before, Pose delivers on every level. Dance Moms Speaking of shows that center heavily in the drama of the performance world, everyone's favorite reality TV show, Dance Moms, made a surprise comeback in 2019. Abby Lee Miller has been through the ringer in the past few years. She served time in jail for tax fraud in 2017. After getting out, she had spinal surgery and received a diagnosis of non-Hodgkin's lymphoma. She's been undergoing cancer treatments since her diagnosis. With all this going on, it was unclear whether Dance Moms would ever have an eighth season. But Miller confirmed that the show began filming in January 2019 and that the new season would premiere in the summer of 2019. Though Miller is in a wheelchair for the current season of the show, she hasn't been slowed down at all. She's more eager than ever to prove that her dancers have what it takes, and so does she. The current season is a testament to perserverance and fans will not be disappointed. For all the details, check out dancenetwork.tv. When They See Us The Central Park Five case is one of the most infamous true crime cases in history. The case embodies everything that's wrong with the American justice system — the racism that causes cops to ruthlessly pursue a certain kind of suspect even when the evidence isn't there; the pride that prevents the system from admitting that mistakes were made; and most importantly, the police tactics that lead to false confessions. The Netflix documentary When They See Us, which was created, written, and directed by the incomparable Ava DuVernay, is a shocking exploration of the infamous case. With an all-star cast and brilliant performances, this dramatized docuseries takes the audience deep into the details of the case. And it does something no other examination of the case has done — show us the lives of the Central Park Five before, during, and after the case. The series not only tells the story of the case in a way that's never been done before, it expertly explores the problems with the justice system that led to the false convictions of five children of color. And When They See Us never fails to remind the viewer that these were, in fact, children whose lives were ruined. Children who grew up in jail and never got to live free until they were well into adulthood. This heartbreaking and compelling show should be required viewing for every person in America.

Check Out All the Best TV Shows of 2019

These are just a few of the best TV shows 2019 had to offer. It really was an amazing year for new and returning TV shows. Wondering how you can watch all these amazing shows? Almost all of them are available on Netflix or Hulu, so make sure your streaming subscriptions are up to date. For more entertainment news, be sure to check out the rest of our website. Read the full article

#Best_TV_Shows

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anothershadeofpurple · 7 years

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Emma: “I’m making my specialty. Microwaved popcorn with milk duds mixed in to get all melty.”

Hey Anons,

if you know my blog a little bit, then I think you know that I agree with you and I think this might be a hint - or a coincidence, I’m not a popcorn fan, maybe it’s common? - and I am not assuming the worst. As I put in the tags, I think if it was a hint, it may have been a bit of an ill-conceived hint because...

Let’s see how to put it. The internet has played an enormous role for the queer community. It’s become so much safer to meet people without physically putting ourselves out there in spaces where we could become victims, because if we could find those spaces, then so could people who... want queer people dead or hurt. The internet has changed all that. It’s really been our safe space.

Now, what Once has done by queer coding Emma & Regina and putting in a lot of queer subtext, is sending out a bit of a bat signal for us to come online and find the fandom. For many people this has been a subconscious thing even, I think many picked up on it but only started to realize they were gay in this fandom. Now all of that isn’t bad, but I think the showrunners were unaware of this effect or the huge importance of the internet for us. This is where many of us make our lives, especially if you’re stuck in a small town, then online becomes social space where you are normal for a bit. It carries more weight in our lives than in straight people’s lives.

Even if they are going to confirm the romantic nature of Emma & Regina’s relationship in the end, the fact that they have sent out that signal without creating a safe and welcoming space for queer people from the very beginning is where they went wrong. They may just be teasing and playing coy and dropping hints in the same way they would for a straight slow burn, but it doesn’t translate the same way. It has translated into people thinking they were avoiding the subject because they wanted nothing to do with queer people and it resulted in bigots thinking the show is actively ashamed of their queer fanbase. Those people felt encouraged to bully us, call us delusional and send hate.

While you can’t blame them for society’s bigotry, you can blame them for putting plot secrecy - if that’s what it is - before real people. They could have responded more positively to the idea of Emma & Regina together. Could have helped to create a safe space. Could have sent out photos, mentioned them, had photos ops with both of them. Talked about it openly. The world is so straight-until-proven-queer people would still have assumed they weren’t gonna do it. Hell, I might have assumed they weren’t going to do it had the PR been more positive. Imagine all the young people who flocked to the ouat fandom because of the subtext would have instead seen an advertisement that called them to a real safe space instead? Or had been attracted to a show that treated them right instead? If you call us, you should take some responsibility.

They didn’t.

So what happened instead was that the queer community was forced to build its own safe space around the show. Fan fiction is a big part of that safe space and people here have been very protective of it. While I think that the writers have carved out this story between them, the community really is ours, they did very little against the bigotry and they enabled it - probably mostly out of ignorance.

A big part of what makes Emma and Hook so painful and nauseating to watch is that they have taken elements from lesbian subculture - her outfits - and they have given her body language of a woman that if she were to walk down the street, you would identify as queer and then made her kiss a man. For years. Even if there’s a resolution, it leaves a bitter taste, especially because I think this is a cautionary tale for straight women. Using a queer character’s coming out in the very end is a message that says “Even if your sexuality is so extreme that it is the most unacceptable sexuality of them all - a lesbian, then you should still embrace yourself and accept it.” It’s not a story really written for queer women, it’s a story using a queer character to tell a story for everyone. The lesbian as the metaphor for everywoman who needs to accept her desires - repressed by years of Roman Catholic ideals forcing women to repress everything. That’s why you get years on end of relationships with men so everyone would be able to identify with her. It starts from the premise that a large part of the audience wouldn’t identify with a character if they knew from the start they weren’t straight - which isn’t necessarily untrue, but if that’s your starting point, you will always partly validate the homophobia behind that idea.

So to come back to taking from our fan fiction to give hints. We don’t just want Swan Queen. We wanted safety and positive messages from everyone involved. We had to create all that by ourselves. Fanfiction tells queer stories out in the open. It tells the stories that would be on television if the world were okay. It’s from our perspective and none of our fanfictions spend chapters on end on the men some of us choose to hide our sexuality with. That is part of the safe space we created, these are our real stories. So taking something from fan fiction and giving it to the couple that - quite frankly - symbolizes forcing a man on a lesbian, then it feels like they’re saying that we are never safe. Not even in the little bit of safe space we had to try and create for ourselves in response to the show after they put out a call that brought us here.

So yes, even if they’d given it to Emma & Regina, people would still be angry, albeit maybe a little bit less, no? I just think it’s important to try and discern where the anger is coming from instead of telling a marginalized group that their feelings are wrong.

I still love this show because I have been doing a lot of research and I think the concepts are brilliant, but since I see so many people around me being angry, I am not going to be the one to police gut reactions. I think the showrunners should be aware of the effect of the messages they put out into the world. We are born queer, not any more educated or informed, so why would we have to earn our stories by digging for them?

#swan queen #swen #queer coding #queer baiting

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theconservativebrief · 6 years

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Every season of American Horror Story is both the best season of American Horror Story and the worst season of American Horror Story.

That’s sort of how the show rolls. Helmed by series maestro Ryan Murphy, it has a tone that veers wildly, and it gives off a madcap air of not caring whether it makes sense or hews to any of the conventions of narrative television. Sometimes it channels profound terror and sadness, something essentially American that drives the series’ core ideas and beliefs. Sometimes it presents something so ridiculous that you have to turn off the television and think about what you’ve been doing with your life while staring out the window at the world passing you by. Sometimes it does both of those things in the same scene.

But the genuinely groundbreaking structure of American Horror Story — it pioneered the “anthological miniseries,” where each new season tells a brand new story, though often with some of the same cast members — means that it’s almost always worth keeping an eye on, even if you’re not actively watching it.

And the debut of the show’s eighth season, Apocalypse, which is bringing back characters from the first and third seasons, is guaranteed to bring with it the annual phenomenon of people tuning in for the debut episode, remembering that the show is maybe not to their taste, and then tuning out for future installments.

Despite all this, I enjoy American Horror Story, and I think at least one of its seasons is a genuine TV masterpiece. Others boast enough good elements that I’m willing to recommend them. But there are also some seasons that are just terrible. So let’s rank the seven complete seasons of American Horror Story, from worst to best.

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Let me tell you about the curse of American Horror Story, which is that literally every time I’ve said anything about the show getting back on track, it has immediately proceeded to trash my goodwill with a string of episodes that just don’t work.

So it went with Hotel, which in the early going seemed to be using vampire-like beings living in a grimy LA hotel and played by the likes of Lady Gaga (the star who is born herself) to examine humanity’s inability to cope with grief. It was a poignant, interesting idea! I said so! On Twitter even!

Then in the second half of the season, the most ridiculous twist in a series full of ridiculous twists completely undercut the emotional resonance of everything that happened in the first half, and the season mostly petered out. I kinda liked Gaga, though!

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Of all of the seasons on this list, Cult is the one I had the hardest time ranking. I thought about placing it as high as second, but my opinion on it changes every time I consider just how Murphy wants us to think about the politics of America in the 2010s.

Cult is the infamous “post-Trump” season, which involves a killer clown cult slowly indoctrinating the residents of a Michigan town into its murderous ways, all against the backdrop of the 2016 election. The highs — like a late-season scene between a brother and sister that clarifies many of the season’s themes — are really high, but the lows often feature astonishingly superficial readings of that specific political moment for a show that has had some success dissecting America’s worst impulses in the past.

And yet … I always say that to understand how American Horror Story wants us to think about whatever it’s discussing in a given season, you have look to the character Sarah Paulson is playing, who often seems like a Murphy avatar navigating the series’ chaotic world. And the fact that Cult casts her as a terrified woman who lets her fear turn her into a complicit part of multiple horrible systems suggests to me there’s more to Cult than I’m giving it credit for. Maybe I should watch it again.

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This season about a school of witches in New Orleans seems to be the favorite of lots of people (no less a TV authority than Entertainment Weekly named Coven the best TV show of 2013!), but I’ve always found it to be hogwash saved by a lot of great performances from some of the world’s finest actresses.

American Horror Story has always been a death-soaked series, but Coven is the one season where death becomes a liability, because the show keeps killing off characters and then immediately resurrecting them, occasionally as literal talking heads or the like. It kneecaps whatever stakes the show is trying to build and, thus, its metaphorical representation of how infighting among the disenfranchised can only lead to further hegemony by the straight white men who run the world.

If you watch this show for its campy deconstruction of horror tropes, I can see where you’d love Coven. But I think American Horror Story has done campy deconstruction far better in several other seasons.

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It’s fitting that Roanoke lands exactly in the middle of this ranking, because it’s the one I have the most conflicted feelings about. On the one hand, the first half of the season is a bit trite, a winking mockery of cable reality shows about “real life” hauntings and the like. But the second half of the season is a brutal satire of the entertainment industry, and its finale feels like Murphy and everyone else involved in the show burying the hand that feeds in an unmarked grave.

Filmed as a mockumentary and featuring an in-show reality TV program that aims to document a “real” couple’s experiences moving into a haunted mansion (thus pulling in some DNA from American Horror Story’s first season, Murder House), Roanoke keeps peeling back layers, first revealing the actors behind the “reality show,” then heading all the way to the seats of the entertainment industry’s power in Los Angeles. The ghosts are a little underbaked, but maybe that’s the point. The real horrors are always out here in the real world, after all.

Roanoke is an ungainly season of television, but in its dissection of the ways that we keep filming everything, even when our lives are in danger, and the ways that tendency often leads to a world where we become desensitized to horrible behavior, it gets at something profound, if unintentionally.

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It took most of American Horror Story’s first season to convince me it was doing something of note. After nearly every episode (I recapped them all for another site), I found myself wondering why the show didn’t seem to play by the narrative conventions of horror, or television, or storytelling, really. But at some point, I realized that its melange of tropes and ideas was the point. Murphy might have famously said that Murder House was about “a marriage,” but it was really about the idea of marriage and heterosexuality that pop culture feeds to us, filtered first through horror films and then through Murphy’s unique sensibility.

The plot of Murder House is probably the most coherent of any American Horror Story season — a couple moves into a house with a dark history, and then the house starts tearing their marriage (and their teenage daughter) apart at the seams. It lacks some of the grandly operatic quality that drives most of the later seasons, and there are whole episodes that essentially amount to, “Wouldn’t it be fun if we riffed on this horror trope?”

But the acting is good (particularly from Jessica Lange, the star of the show’s first four seasons), and the sheer daring of just killing off everybody in the cast speaks to how the show immediately set about rewriting the rules of TV, right under our noses.

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My most controversial opinion about American Horror Story is that Freak Show is a misunderstood near-masterpiece. It gets a bit lost in the middle — what season of American Horror Story doesn’t? — but it ends up being the mirror image of Coven: a story about what it would mean to create a place where the powerless and disenfranchised could work together to build a better world.

Yeah, there are way too many characters, and it’s probably telling that the best way I can think of to summarize the plot is, “There’s a freak show, I guess?” But both its period trappings (Freak Show is set in 1950s America) and its depiction of a world ruled by the casually cruel whims of white guys who don’t notice anybody who’s not a white guy combine to form what might be the most emotionally affecting season.

It’s also the season where Jessica Lange randomly performs “Life on Mars,” and, like, I can’t just write that off, you know?

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Asylum is the single best season of American Horror Story — and one of the best TV seasons of the decade. It’s the one season of the show where everything Murphy attempts actually works. The acting is phenomenal (it features Paulson’s best performance on the American Horror Story to date, for one), the storytelling is surprisingly tight (even with aliens), and the themes of othered and ostracized people coming together to build something new are potent throughout.

American Horror Story has always been rooted in camp, which has often been understood as a way that queer creators subvert and twist mainstream culture to better question its assumptions about life. But Asylum is the show’s most forthright depiction of the ways that American society once tried to literally wipe LGBTQ people from the face of the planet for not strictly conforming to that norm.

In Paulson’s character — a lesbian journalist who visits an asylum as part of an undercover reporting project, and then is trapped there as her sexuality comes to light — the series found its most potent protagonist and a sneaky mission statement. Most of the attention paid to American Horror Story focuses on the second word of its title, but maybe it should be focused on the first. This is a series that aims to scare, sure, but it’s most interested in the ways its “horror stories” are, first and foremost, American stories. Asylum is still its best examination of that idea and a season the show is unlikely to top, though I’ll surely enjoy watching it try.

Original Source -> Every season of American Horror Story so far, ranked

via The Conservative Brief

#IFTTT #The Conservative Brief

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iamafeministbitheway-blog · 7 years

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Saying the “B” Word: Acknowledging Bisexual Erasure In Modern Media

Being a bisexual TV fanatic is not always easy. As far as life woes go, television disappointments would fall low on the list, but a lack of representation can still prove frustrating to a fan searching for relatability in a character. The average blueprint is worn out and cliche, yet Hollywood is slow to leave its comfort zone. White and straight characters are safe and easy. There’s a repetitive pattern that the media has successfully sold for years, and convincing them to stray into uncharted waters is no easy task. A widening critique of repetitive characters has increased a demand for diversity, and Hollywood has begun to catch on. More and more plots are being written to cater to a large audience. Today, you are far more likely to see LGBT+ story lines on TV than 10 years ago. Yet in an influx of new, diversified characters, bisexuals are treated like the middle child of the queer community. They are often misunderstood or overlooked entirely. It’s time for the media to take advantage of the fresh and complex character arcs a bisexual identity could entail. Instead, they opt for old and worn out tropes. Lesbian and gay characters are seeing the light of day, but bisexual counterparts are left in the shadows of a new and needed spotlight.

I felt this on a personal level when coming to terms with my own sexuality. “I’m bisexual” is a phrase I say often, resulting in a variety of reactions. Some say I’m simply going through a phase. Others roll their eyes and tell me to pick a side. My own mother questioned how I would manage not to cheat on future partners, somehow correlating an attraction to multiple genders with infidelity. Others were open and accepting. They valued my identity and did their best to approach it respectfully, even if they didn’t understand its every nuance. It was their kindness that helped me along in my journey to self-discovery, and as a movie and TV fan I longed to see the same consideration reflected in my favorite programs. Unfortunately, it wasn’t easy to find. Most shows didn't bother with bisexuality at all. At worst, a joke would be made at the expense of my orientation. I tried to shrug it off, but I was left feeling underrepresented and misunderstood by the world. When I first saw a bisexual character accurately represented, it made me ecstatic.

In the CW sitcom Crazy Ex-Girlfriend, Daryl Whitefeather comes out in an 80’s style song entitled “Getting Bi”, belting out “I don’t know how/ I don’t know why / But I like ladies / And I like guys / I realize it’s a surprise / But now I see that that’s just me / It’s not like I even try” (“Josh Is Going to Hawaii”). The simplistic, slightly goofy lines might seem like a silly song to some, but to me they were an anthem. I finally felt I could relate to a character, and I was overjoyed to see that a show had actually put forth an effort in representing bisexuality. Indeed, the Gay & Lesbian Alliance Against Defamation (GLAAD) agreed with my initial reaction, noting in their overview of male bisexual representation on television that Crazy Ex-Girlfriend had “presented and dispelled several of the negative stereotypes that bisexual individuals face in real life” (“Where We Are”). Crazy Ex-Girlfriend dared to go where other shows avoided. It left stereotypes and accepted ways of thought behind and genuinely put forth an effort. The results made waves in the bisexual community, and left many hungry for more. If only more shows would give such a stellar effort!

Unfortunately, such accurate representation is still quite uncommon. In its 2016 annual report on LGBT+ representation within the media, GLAAD found that while bisexual characters are growing in number, they are often still written to reflect negative stereotypes (“Where We Are”). Spencer Kornhaber, a staff writer at The Atlantic, observed that, “while gay and lesbian characters on TV increasingly are portrayed in a way that doesn’t make their sexuality into a large and dubious metaphor about their character, bisexuality often is portrayed as going hand-in-hand with moral flexibility.” Indeed, many bisexuals are portrayed only through threesome scenes thrown in to add a hint of sexual edginess, making bisexuality appear as an element of erotica and nothing more. Bisexual women are shown as sexually daring, and bisexual men are portrayed as unknowingly gay. It appears that Hollywood writers just don’t know what to do with bisexuals.

As harmful as stereotypes can be, Hollywood often relies on them to develop a character. From the gay interior designer to the butch lesbian best friend, Hollywood has found a place for LGBT+ identity in the sea of diversity-boosting supporting characters. Bisexuality lacks the definitive, though erroneous, stereotypes that other LGBT+ characters fall prey to. Amy Zimmerman, entertainment corresponder at The Daily Beast, remarks, “Our mainstream media reinforces the notion that bisexuality is either a fun, voluntary act of experimentation or a mere myth through two tried and true tactics: misrepresenting and oversimplifying bisexual characters until they are either punchlines or wet dream fodder, or simply refusing to portray bisexual characters in the first place.” Stereotypes are used as a character-building shortcut. The lack of a perceived bisexual pattern of behavior makes them too inconvenient to portray.

Some might argue that Hollywood is trying, or that one show cannot possibly represent everyone within one plot. Both statements are true. Diversity is making headway in Hollywood, and no show can be expected to provide a smorgasbord of every orientation, gender identity, ethnicity, race, and religion. That being said, the traditional white, cisgender, straight character is worn out. Entertainment is in need of diversity not only to provide representation, but also to provide new and interesting storylines. Rich and multifaceted characters come from all different backgrounds. They may be harder to write and develop, but the payoff is worth it when you have a new and untold story to present to an audience. Bisexual activist Eliel Cruz argues that “Asking for media representation isn't asking diversity for diversity's sake — it's for the sake of accuracy.”

The heart of Hollywood’s problematic bisexual representation lies within society. There are those who don’t believe bisexuality is legitimate. Many have misconceptions of bisexuality stemming from long-accepted myths concerning sexuality in and of itself. While sexual orientation and gender identity are increasingly viewed as lying within a spectrum, many approach it from a black and white standpoint. Bisexuality is confusingly gray, especially for an all or nothing culture. Cruz suggests that “Bisexuality threatens the heteronormative narrative even more than homosexuality, because it destroys our ideas of a binary; it's an acknowledgment that humans sexuality works in a more complex manner than only having romantic and sexual attractions for one gender.”

Erasure is a word that causes the misunderstood and ignored to slump their shoulders in defeat. Instead, it should be seen as an opportunity. Erasure can be approached as a dark abyss or a blank piece of paper waiting to hold people’s stories. There are so many unique identities that the media has yet to portray, and bisexuality is only one of them. In ignoring it, the media does itself a disservice by missing new and exciting plots. By misrepresenting it, they perpetuate dangerous stereotypes that actively hurt bisexual individuals. Bisexuality has long lingered behind the curtain of queerness’ stage, lacking the flamboyance to be given a role. It is time to put them in and share the spotlight. They are here, they are queer, and they have a story to tell.

Works Cited

Cruz, Eliel. “Here's the One Simple Reason Why We Need More Openly Bisexual Characters on Television.” Mic, Mic Network Inc., 15 Oct. 2015, https://mic.com/articles/97512/here-s-the-one-simple-reason-why-we-need-more-openly-bisexual-characters-on-television. Accessed 9 Oct. 2017.

“Josh is Going to Hawaii!” Crazy Ex Girlfriend. CW. 7 March 2016. Television.

Kornhaber, Spencer. “The Trope of the Evil Television Bisexual.” The Atlantic, Atlantic Media Company, 28 Oct. 2015, www.theatlantic.com/entertainment/archive/2015/10/tvs-evil-bisexuals-still-live/412786 . Accessed October 11, 2017.

“Where We Are on TV Report - 2016.” GLAAD, GLAAD, 31 July 2017, www.glaad.org/whereweareontv16. Accessed 9 Oct. 2017.

Zimmerman, Amy. “It Ain't Easy Being Bisexual on TV.” The Daily Beast, The Daily Beast Company, 14 Aug. 2014, www.thedailybeast.com/it-aint-easy-being-bisexual-on-tv. Accessed 11 Oct. 2017.

#biseuxal #lgbt #feminism #tv #representation #crazy ex girlfriend #glaad

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