genuinely a lot of you need to sit the fuck down and think about whether you actually support transfeminine people or you're just chasers. cause a lot of this site's support seems to be "uwu fuck me big strong dommy mommy" "I want a sexy trans goth gf so bad" etc etc and it's so gross. like i dont think attraction the inherent problem here or anything but when every single post asking "do you actually support trans women/transfeminine ppl?" has some chucklefuck in the notes going "haha yeah, I support her ON TOP OF ME!" it gets really obvious that you do not actually know how to support them without sexualizing them. and that's. really incredibly not okay.
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Went into dungeon meshi expecting Marcille to be peak fail girl and she IS but I feel like it's extremely important context that she is mainly that within her party. Outside of that she is a highly dangerous mage with a massive repository of knowledge who routinely survives threats that insta kill other people. Inside her party she yells too loud about dinner plans and almost drowns to death in slime tho
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You know, it's rather interesting to me that Taylor Swift's parasocial relationship with her fans is honestly more akin to a YouTuber than a writer's. When I scroll through her tag on tumblr/Twitter, it's far more regarding the connection to her personal life/relationship developments than the actual metaphors/fictional story she might be telling. Everything comes back to how her songs reflect back on her relationships with Joe/Matty/Travis/Jake/insert ex-boyfriend here. And what fascinates me about it is that even though she complains about it, she leans into that very perception because it strengthens the parasocial bond.
The marketing for TTPD so clearly being about Joe Alwyn and the songs to Matty Healy. The marketing/video for Red TV so CLEARLY being about Jake Gyllenhaal, with so many of the new lines in All Too Well specifically being digs at him (I'll get older but your lovers stay my age, casting an actor that looks like him for the video, specific lines in I Bet You Think About Me). The fact that songs like Getaway Car and Bejeweled and Gorgeous and London Boy and Lavender Haze being picked apart at time of release and long after for signs of relationships crumbling. The way she uses surprise songs in relation to her relationship development with Joe/Matty/Travis. The damn TTPD "stages of grief" playlists where she deliberately undid/changed the meanings of old songs just to keep her audience speculating on her love life.
It's not sexist to point out that her wielding her love life is a marketing tool and that the strongest connection to her audience isn't the strength of her writing/the composition of her music- it's her deliberate crafting of a connection between her music and her personal life, leaving the audience invested in her music as an extension of Taylor the Person/Girlfriend rather than Taylor the Artist.
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