Born to be a hater

“People are having fun!” Yeah they’re allowed to.

“But the world is being destroyed!” By you and your compatriots. Stop having a superiority complex about it.

“But the clubs are mean to each other!” you are an attempted murderer. Shut the fuck up.

tbh there’s a reason behind all the problematic topics brought up on this blog. rping wasn’t born out of kpop. or real celebrity ppl in general. before then, it was anime characters or OCs without “face claims”. krp grew in the early 2010s when most of us were underage, desperate for romance and had a lot of confusing hormones/emotions. ppl didn’t see idols as humans, more like tv characters (another big rp type then too). I’m sure there’s still teens that get into 18+ krps for the same reason nowadays too but you can’t tell me y’all haven’t noticed most of those rps are filled with ppl almost 30 y/o and full time jobs. the same ppl that helped create what krp is today when they were minors/teens. it’s how a lot of ppl socialized growing up. obviously we all know now it’s weird to be rping real ppl, that’s also why most can’t stand nonau rps. but idk if any of you have tried to rp in other circles (anime, book characters, etc) but it’s a different world. there’s a curated culture in krp that a lot of us have grown up with. I’d love it if the whole community decided to stop using celebrity faces one day but it ain’t happenin. so just don’t fetish, simple. stop caring so much about faces ffs they’re just an aesthetic of a muse, focus on the character a person has created.

as for m/m fetishization… I know I’m not the only trans dude that realized they were trans as a teen by that same medium. but bffr the critique is for y’all writing muses that are basically your cisgender female brain in a male’s body. you’re cis and you like men. you like men that are in touch with their emotions and more feminine than the standard until it comes to smut. you and every other chronically online straight adjacent woman. problem is the same as above, kpop was centered around the idea that idols weren’t humans and the entire structure of it is riddled with gay shipping. krp started with ppl rping their favorite ships exclusively. some of you still are fetishizing two real life ppl that are just coworkers and want to fantasize about them being more for your own emotional/sexual pleasure. some of you might not fetishize ships anymore but still get off on the idea of two men fucking bc you’re insecure about your femininity as a woman in the eyes of men. and some of you are just extra anti women lol. a pussy will not harm you. your muse is not going to be loved any less, be any less creative, or leave you with interactions if they have don’t have a dick. you will not be ignored and given less attention for rping a girl. but you will be ignored for your muses bland personality and character design that you’ve hid behind by signaling to other m/m fetishizers and popular fcs over the years.

I’m all for y’all tackling your issues through rp (trauma, dysphoria, problematic thoughts/interests, etc) but at some point we gotta sit down and say hey y’all cis women have been writing this gay shit for over a decade now, when you gonna ask yourself why? it’s not like trauma rping (for example) is unproblematic, but bro there aren’t entire rps of ppl without trauma rping out trauma-coping muses. there have been more boys only smut rps where 99.9% of muns are all cis women in the past 10 years than there have been m/s krps. come onnnnnn. why are you defending it, I’m sincerely curious. what about writing a/b/o with a straight couple is so unattractive to you?

any way, hi everyone please analyze how you view rping. bc I’m really tired of finding out my rp partner is living vicariously thru their muse, or only built their muse’s character based on what would bring them attention, or doesn’t have a creative reason behind their muse’s fc and it’s just the idol they think is the most attractive. I promise if y’all see rping as just collaborative creative writing about 2 characters that have no real pictures, you’ll find the best rping partners.

I feel like ranting about Genshiken Nidaime and its handling of an un-selfaware transgender character, because I'm on my second reread, and I have things to say, so I will.

Genshiken Nidaime's portrayal of Kenjirou Hato honestly comes very close to my own experience with my gender, as it took me years and years of just thinking I was a weird effeminate guy and just "pretending" to be a girl on the internet for me to come to terms with who I am. Stories like this are very vulnerable to people who refute any possibility of a character being trans because the character does not believe themselves to be, but that kind of experience is exactly what makes it so relatable to people who have been through that. I'll be referring to Hato with gender neutral pronouns since their gender identity is technically up to interpretation.

Genshiken is not a very popular manga among trans people, most likely because most of its cast are pretty ignorant of actual gender theory, most of them being stereotypical anime fans. A lot of words and ideas are thrown around that may be seen as offensive depending on your sensibilities, so it doesn't exactly always work as affirming media. Still, I think it's interesting to have a story dealing with gender with characters who are so realistically biased, and how they can become better through interacting with a genderqueer person. It's clear that none of the characters involved are actually bad or bigoted people, they really are just ignorant, including Hato, and they become more accepting and understanding of Hato as the story progresses.

For the uninformed, Kenjirou Hato is a character introduced in Genshiken Nidaime as a crossdresser. Their explanation is that their interest in yaoi is more typical coming from female otaku, aka fujoshi, so to fit into their college’s local otaku club and be able to talk about yaoi freely, they present as feminine while there. Hato's presentation is near flawless, even going so far as to train their voice to a perfect feminine sound. 

It should be noted that Hato, in their female persona, is considered one of the most attractive women in the club, far exceeding most of their female otaku friends. The amount of effort they put in their presentation is shown to make several of their female friends insecure about their own feminity, making the amount of effort Hato puts in feel almost over the top. Still, their assigned gender is accidentally discovered on their very first day there. Curiously, even when this cat is out of the bag, they seem almost entirely unwilling to show up to the club while dressed as a man, resorting to attend classes as a man, leave campus, change, come back, and attend the club as a woman.

Hato is clearly beset by a lot of biases and preconceptions about gender and sexuality that limit their ability to come to understand themselves. They, at least for the duration of Nidaime, consider themselves to be a heterosexual man, and thus are afraid of any attraction they feel towards men, as they have not accepted the possibility that they might be into men. Hato for a long time believes that this attraction they're feeling is all the result of getting carried away when they dress feminine. It's not helped by Hato being an avid yaoi fan, which leads them to relate homosexuality mostly to the realm of fantasy, another obvious bias. When they actually fall in love with a man, their upperclassman Madarame, they panic, immediately stop presenting as feminine, and swear off their yaoi interest, as if any of that actually has anything to do with their own sexuality. Of course, that doesn't work.

One particular aspect I found really relatable were Hato's delusions. In various scenes where they're alone and dressed as a man, a sort of manifestation of their femininity appears, taking the form of a naked ghost of their feminine persona, and appears to nudge their actions as if with intrusive thoughts. There's a lot of ways to interpret this, but I personally believe Hato's biases and double life led them to distance their male and female identities so far that they cannot consider their femininity to be part of them when they present as masculine, and instead experiences those impulses as if they were coming from outside themselves. I’ve personally experienced something similar while deep in denial. This is supported by them being willing to use their male persona as material for their homoerotic art, which, if you're fervently in denial that you're into men while drawing homoerotic art of yourself, that's a lot of mental gymnastics you're doing, there, buddy. In any case, Hato’s biases and repression run so deep that in an effort to make sense of things, they cause them hallucinations.

Where things start to fall apart (or come together?) for Hato is again when they fall in love with Madarame. This is a bit after where the anime ends, so everything from here on is just from the manga. After a lot of denial, and a scene where it turns out Hato has been drawing art of their *feminine* persona getting intimate with Madarame, there is finally a scene where Hato seems to accept that their feminine impulses and interest in men were always part of themselves, and from that point they relatively stop denying themselves, and actively become a contender for Madarame's affections. Their decision to stop presenting feminine is reversed entirely, and the intrusive-thought ghost no longer appears, as those ideas were always coming from Hato's own repressed mind.

That’s where it ends as far as Genshiken is concerned, but the elephant in the room here is Spotted Flower, the sort-of-sequel to Genshiken Nidaime which is of dubious canonicity. Many characters appear whose appearance and personal history line up near-perfectly with the cast of Nidaime, though nothing is ever explicitly confirmed, and some of the names don't seem to match. In Spotted Flower, the character who is easily linked to Hato is a bisexual transgender woman, even sporting breast implants, who has become a professional mangaka (still focusing on yaoi). Her transgender status does not appear to be known to anyone but old friends, so it would appear that she is living as a woman full-time.

If you consider Spotted Flower to be canon, this almost 100% confirms that Hato was a trans girl all along, and that Nidaime was the story of them working through the biases that prevented them from realizing this. Again, as someone who went through something similar, I found it all to be intimately relatable, on a deeper level than most stories out there that deal with these topics.

Hey I read this somewhere idk a fic or something maybe idk if its canon, that like brucie Wayne is Bruce's public, tabloid persona, dicks is Richie grayson and only people who knew him, family or friends call him dick

hmmmm. see, here’s where it gets a bit tricky babe.

so, it’s very clear that bruce has 3 different personalities: “brucie wayne,” the over-the-top borderline alcoholic playboy who throws money around like it’s nothing and over the years, has become (not canonically, but accepted by the fandom as) a kind of dull but doting father. then there’s batman, the gruff professional legend that actually acts as more of a legend than a human and drives everything for the sake of the mission. and then there’s just bruce, who is a little more relaxed and caring version of batman that’s only let out around his family and a few close friends.

but dick,,,,doesn’t really have that?

now as far as i’ve seen and read, dick grayson is,,,,dick grayson. the public calls him “dick,” (or probably, as i headcanon, “dickie grayson”). he’s seen as a cute little kid that bruce took in during the early years. i’m stopping myself from screaming and saying a bunch of words because jesus christ is high society racist. then later on when he grew up, people started treating dick as a mini-bruce: a fun, flirty playboy. 

the thing is, there isn’t,,,,that stark of a difference between dickie and dick. with bruce, you get whiplash, but for dick, it’s almost as if a couple pieces fall into place? they’re both cheerful, exuberant, funny people who are freely affectionate and loving. 

(and part of that playboy persona is actually dick’s.

there’s an absolutely disgusting trend in comics that i’m sure almost all of you have noticed of dick being objectified, catcalled, and sexually assaulted by a lot of people in the dc universe, mostly women. and dick’s shown to be very uncomfortable with all this unwanted attention from people he doesn’t know or doesn’t know well. we all as readers are also uncomfortable with this.

but it’s also shown that when he’s with his friends, he does act playful, fun, and flirty. this is because there’s already a foundation of mutual trust and respect, along with a relationship built on years of friendship. once dick knows, is familiar with, and comfortable with someone, his naturally fun and flirty side comes out, and it’s usually mutual bantering on both sides. and dick’s okay with it. he enjoys it because it’s a way of him relaxing and playing with his friends, and it isn’t at all affected by his appearance or anything because he’s known these people for years, because knows that the mutual appreciation of each other comes from friendship.)

so there’s that: the fact that dickie grayson and dick grayson’s personalities aren’t all that different.

but then there’s the fact that dick grayson is a performer. and he has a lot of masks. it’s almost like there are minute personality changes every time dick’s company and position in the team or duo changes. this is partially due to evolving times, character changes, and of course different writers. but this is something i’ve seen happen with the same author, and if i’m wayyyy off-base, then this can just be a hc of mine that explains the way dick’s core personality changes from writer to writer (ignoring the few writers that just completely obliterated him.)

when dick’s with the titans, he steps up as a leader. he’s commands respect and gives respect in return, issues out orders, sometimes has some control issues but he works through those and learns to listen to his team. when dick’s with the original fab five, or kori, or babs, he lightens up a bit. he’s more easygoing, relaxed, and goofy. he’s still committed to his job and has a strong work ethic, but you can tell he allows himself to chill a little bit in the presence of people that he knows has his back. 

when dick’s with the batfam, he acts as sort of an authority figure. this came after jason, once dick started assuming responsibility for tim, but it continued on with each addition. bruce has obviously been the figurehead and sort-of patriarch of the batfam since the beginning, and alfred and babs are people the bats love and respect and give credit where credit is due. and trust me, it’s a lot of credit. but dick’s become their emotional anchor, someone they know they can rely on, someone they fall back on when they need it. he’s their safety net. (although i have to say. recently jason has been turning into the batfam team mom. idk what that’s about but i am thoroughly amused and kinda enjoying it.)

when dick’s with bruce, he becomes,,,,,,,i don’t want to say more childlike because dick’s gone to great lengths to make sure bruce respects him and treats him as an adult. and bruce does, for the most part. but there’s years and years of history between the two of them, and you can’t just wipe away the years of bruce raising dick as his own kid. too much has happened for them to go back to the easy dynamic they used to have, but too much happened in the past for them to ever pretend like they don’t mean as much as they do to each other. so,,,yea dick takes on a little more of a childlike role and bruce acts a tad more paternal than he normally does in the suit.

and when dick’s allied up with people to defeat either a greater or common enemy, his demeanor changes once again. allied, or fighting against people he has history with. this includes shrike, deathstroke, and tiger. when he’s with them, the nightwing mask drips into his entire personality. he’s chatty and witty, but each word is carefully calculated and has a purpose. he makes barbed jokes, fights with 110% of what he’s got, and pushes himself to his limits without ever letting anyone else know.

this is probably how the public never figures out he’s nightwing. (,,,,,,,most of the time.) dickie grayson is probably just different enough from nightwing that no one puts it together. going back to my point of dick being a performer, he probably holds himself differently, moves his body differently, styles his hair differently, has a different resting face, etc. these subtle changes are what people absorb easily, and are what throw people off. dick also probably uses this in the other masks i mentioned above, depending on how approachable, easy, or cunning he needs to appear. 

there are constantly thousands of masks that dick’s putting on and taking off. so to sum up my own, person opinion and very long, very wordy, very rambly answer to your quick question: no, dick doesn’t have different drastic personalities like brucie wayne and batman. but dick does have a bunch of masks, and he slightly shifts his personality depending on his company. 

When I was writing my university bachelor's degree thesis (that I'm still to defend) about Penny Dreadful as a modern adaptation of Frankenstein I noticed how the original novel's homoeroticism is realized by the series in an interesting way.

In the way he is presented, it seems to me that Victor secretly desires men, but thinks that only through creating a perfect one by himself he's allowed to touch other man's skin. His endeavour to pierce the veil between life and death is an excuse, since Victor from the series grew up lonely after the death of his mother and he searches for companionship, for someone who would love him unconditionally, like his mother used to. He believes he can find such love only in a person he creates himself, brings from the dead, and who would see him as his only friend, calm and obedient. Yet his first instinct is to make a man, not a woman, and a handsome man at that.

I can imagine both Rory Kinnear and Alex Price are not everybody's cup of tea (I do find them attractive, they are quite charismatic), but the way the original Creature and Proteus are shown makes them attractive. Proteus we see through Victor's eyes, when he is tending to his body before its even reanimated, when he sketches him (a sure sign of affection) and when he teaches him how to eat in a way that becomes seductive, because of how the camera lingers on his lips and then, in a closeup, on his fingers running down his long throat, immediately bringing to mind erotic imagery. Some may argue that Victor tries to emulate the relationship between his mother and himself taking the parental role and projecting onto Proteus the role of his childhood self, and as much as it is partially true, their relationship bears these marks of hidden desire on Victor's part from the start. The image at the end of the first episode when Proteus is born shows Victor trembling, teary-eyed, looking at the body, a torn and stitched back together, but human body, of a naked man. He's afraid, but not necessarily of the man, but of finally getting what he wanted, it's a fear resulting from excitement. Then the man is touching his face tenderly and Victor, still trembling, cannot stop himself from a little smile. Their faces are softly illuminated by the orange light of the gas lamp, creating an intimate atmosphere of a warm bedroom. Victor practically gasps hearing his own name smoken by Proteus. I doubt all of it was intentional in the way I read it, but it doesn't change the fact that the final scene can be easily interpreted this way.

Then the original Creature, with the violence surrounding his return, presents him as highly masculine, smart, powerful, a direct opposite to the delicate, clueless Proteus Victor could easily form into whatever he wanted. The Creature throughout the entire series is perceived as ugly by some and easily tolerated by others, making his ugliness purely subjective, since, despite his small deformities he remains strangely alluring with his gothic qualities (black long hair, black lips, white skin, yellow eyes, proportional features) of a dark brooding gentleman. With blood on his face he becomes vampire-like (vampires always a symbol of hidden desires and 'depraved' sexuality, the Creature and Victor becoming a mirror image of Vanessa and vampire Mina, both Creature's and Mina's monstrosity an indirect result of Victor's and Vanessa's desire towards having a same-sex companion). The Creature touches Victor's face, a callback to Proteus doing it, but the Creature is not gentle, he smears blood all over Victor's face (blood in vampire narratives was always a symbol for other bodily fluids, that's why it seems so sexy, it also gained another meaning in the 80s, due to the HIV epidemic, which no filmmaker can shake off if they tried, I could discuss it more with The Lost Boys, but no time for that right now).

The dynamic between Victor and the Creature is a reversal of Victor's budding relationship with Proteus, experience winning over innocence. Victor is under another man's rule, and it terrifies him, because it would force him into a position of having to admit his attraction, whereas as the one in control he could have still easily deny it. The Creature, with all his attributes, symbolizes carnal love, he's all 'body', where Proteus was virginal, pious love (to an extent). In one of the scenes where we see Proteus he looks up into the skylight at Victor's apartment and appears angelic, as if in a halo of white light.

It's revealed Victor never had a woman, and the series wants the viewer to believe it's because of his awkwardness and passion for science that consumed him, but his dedication to creating himself male companions instead of searching for a living female one is exactly what makes him seem more queer coded.

It's clear that the lack of paternal figure results in Victor quickly becoming close with older men he encounters (Sir Malcolm, Van Helsing), but it also puts him into a position where he's constantly surrounded by men, with whom he feels more at ease, and is intimidated by women. The rivalry between him and Ethan is that of siblings, until the moment when Ethan teaches him how to shoot a gun. It might be a stretch (it is a bit of a stretch, I admit), but a gun often, especially in horror, alongside a knife, represents manhood and masculine power. Victor allows Ethan to touch him and encourages him to show off with the gun, which is a scene all too familiar from many other movies where the role of Victor is reserved for a woman and the interaction is flirtatious (can't pull examples out of thin air, but if you saw over 1400 movies like me you know I'm not lying). All this adds to the general image of Victor.

The Creature and Victor, when they are on a walk, have a very revealing conversation in which the Creature points out how quick Victor was to grow attached to his more perfect man, and Victor doesn't deny it, he admits that he did in fact feel affection towards Proteus, although the meaning of it as the scorned past partner expressing jealousy over the love he didn't get while someone else did is largely subtext. When the Creature says that he's lonely, Victor answers 'I cannot love you' (paraphrase, because I can't find the exact quote right now) and the Creature, disillusioned, mocks him, 'I do not want what you cannot give' suggesting that Victor, by making himself a meek obedient man, is selfish, cruel, manipulating, and a coward, therefore could not have loved Proteus truly. Then again, Victor cannot bring himself to love his original Creature, because he's not the ideal man he envisioned and by then the Creature being too aware of his flaws of character. The Creature/Caliban/John Clare knows that Victor is 'monstrous', not just because he's someone who desecrates dead bodies, plays God and abandons his creation, but because of his queer desire. It's important that in the case of Penny Dreadful 'monstrosity' signifies many different things, literal (being a vampire werewolf, witch, and so on), metaphorical (bad deeds, like letting your son die a horrible death, cheating, killing etc.) and wholy subjective, merely condemned by ignorant society (Sembene's blackness, Brona's sex work, Lily's want to be equal or greater than men, Vanessa's want for sexual freedom, the Creature's ugliness, Angelique being transgender and other cases), so it's NOT that much of a stretch this time.

We also have the whole problem with Lily. Victor is so attached to Lily (who takes up both Elizabeth's and creature's bride parts in the novel) because he believes that only by possessing a good woman he'll be redeemed for his 'sinful' desires, but he's foolish to think that. This belief reduces a woman to a semi-maternal, semi-virginal angelic ideal with no sexual urges or agency, like virgin Mary. Lily is a true replacement for Victor's mother, and his imagined redemption. As long as she's similar to Proteus, in that she's not sexual, and pure like an angel. Yet Lily is not a woman in that sense. She is another of Victor's creatures, so she partially also takes over the role of the original Creature from the novel, a male. She's not an ideal of a Victorian obedient wife, she has power, or tries to have it, but power in the context of patriarchal society is masculine by nature. The moment she drops her pretenses of a weak delicate wife-like girl Victor does not want her like this. He doesn't want a woman that is sexually liberated, because he doesn't like women in this way, and yet, by being similar to the first Creature (from Victor's perspective, from hers John Clare is similar to Victor-a man, I could delve into Brona's sexuality, but later, this thing is already way longer than I intended) she's 'the man' he wanted.

There is also Henry. Henry Jekyll takes the role of his namesake in the novel, Henry Clerval, Victor's closest friend, and a character most often cited to have homoerotic tension with Victor. It's true that some of the eroticism might be accidental, stemming from the prevalence of homosocial interactions in 'Frankenstein' which in turn is a result of misogynistic nature of 19th century Genevian society and in-novel universe reflecting it, but like I mentioned before, it still feeds into the queer reading of the text and translates beautifully into Jekyll and Victor being both extremely misogynistic towards Lily and their mutual homoerotic tension. In the scenes where Henry purposes his plan to Victor he practically seductively purrs it into his ear, Lily becomes merely a female buffer that allows for that interaction, a female presence which is an excuse for male closeness (here I have a couple of examples actually: Dead Ringers, Sir Gawain and the Green Knight, Scream (in a roundabout way, through murder) and a couple others, but that deserves its own article). I won't even mention more references to the novel, because that's a lot already.

Penny Dreadful, although I believe largely unintentionally, expands on what is already there through the changes it introduces in relation to the novel's plot. I have nothing else smart to say, I just think it's worth considering.

*I use the word 'queer', because that's the umbrella term we use in academic writing for years now and even our lgbt+ group at university is called 'queer', so don't come at me with stupid takes

watched s11ep1

i will provide you with a quick review before i disappear back into the ether of twd avoidance

lots of spoilers under the cut. also i wrote way too much and i worked all night and haven’t slept so i didn’t bother to reread literally any of it, so it might be completely nonsensical, tho if you don’t expect that from me by this point idk whose blog you’ve been reading

enjoy:

hokay, first off, i’ll start by saying that i enjoyed it more than i expected to. i’ve been avoiding any sort of discussion about stuff, but my google algorithm is so fucked at this point that i still get recommended articles and stuff every now and then, so i was already pretty aware of what i was walking into, and was expecting it to be eh, but actually i prob enjoyed it more than i enjoyed the finale

(don’t get too excited tho, the finale was rly boring lmfao)

anyway

episode starts off with a tense scouting mission

it takes .005 seconds into the episode for caryl to exchange a look of longing, establishing that they are still having weird conflict and are both too fucking stubborn to do anything about it even tho they hate it desperately

i imagine that will continue for a while

rosita, kelly, carol, maggie, what’s her face with the bad hair, and lydia (i think that’s everyone?) lower down to some army bunker or something, where a bunch of walkers are taking a snooze, and the girls are very respectful of walker naptime, and do their best not to wake them up

obviously they eventually wake up, but i’ll get to that in a sec

as they’re tiptoeing through the walker tulips, there’s this split second where carol spots a machine gun, and looks at maggie with a face like, “can i plzzzz, i am mad horny for that machine gun,” but maggie tells her no. (i 110% expected her to defy orders and accidentally wake up all the walkers, but she actually behaved herself for once. well. mostly)

never fear, tho, after the girl gang collects a bunch of MREs they go back to wait for the dudes waiting up top to pull them up, and bc men ruin everything, one of the ropes break, and daryl catches it before it falls, but then a slow motion drop of blood falls on a walker’s face, and just like that, walker naptime is over, and carol uses her bow and arrow for two seconds before she is like “fuck this” and whips out the machine gun

yes, she is super hot using it

yes, daryl watches her do it

anyway, all the other girls get rescued, and carol is about to be pulled up, but bc she is a #girlboss, she first makes a beeline for one more crate full of MREs. daryl covers her while she gets the loot, and when she gets back up top they have another charged moment as carol hands him back his knife

just fuck already, jfc

titles!

cut to alexandria where everything is still not smilestimes

BUT, we do get to see uncle daryl run and hug rj and judith (and dog), and FUCKING HERSHEL JR, LIGHT OF MY LIFE is also there

istg, they could not have casted a better child, i a d o r e him

oh, and some friends of maggie’s show up too, idk

cut to a staff meeting where everyone is like, whomp whomp, we’re all gonna starve to death unless we figure out something quick

cue maggie going, “oh, i know where food is, but it requires me to tell you my tragic backstory, in case anyone didn’t watch my bottle episode”

she tells her dramatic backstory about all her friends getting slaughtered by the reapers for no apparent reason, and then she’s like “anyway, let’s go back there!”

no one thinks it’s a great idea, but a group of people decide to go anyway, including daryl and gabriel. rosita is super pissed that gabriel is going, and carol doesn’t go, probably partly bc it’s a shitty fucking idea, and also bc they have to keep caryl apart bc otherwise they’ll fix their problems ahead of schedule and they won’t be able to drag out the needless angst

daryl looks kind of annoyed that carol doesn’t volunteer to go 

bitch, i thought you wanted her to stop putting herself in the line of fire! make up your damn mind!

moving on

cut to a thunderstorm, where, if you look closely, you’ll notice daryl is wearing the STUPIDEST hat i’ve ever seen. just get an umbrella, jfc

for some reason negan is with them, bc ig he knows his way around washington dc, and no one in six years has bothered to figure out how to get around the city and/or get a map, and he is like “hey guys, maybe we shouldn’t try to walk in this fucking hurricane,” and everyone is like “FUCK YOU NEGAN, YOU’RE NOT THE BOSS OF US!!!” 

this will be a common occurrence 

but eventually daryl is even like “actually, it’s rly unpleasant out here, and my hat is mad stupid, can we go inside plz?”

so they go inside an old metro station, which is actually a rly cool cinematic choice. i rly like the idea, and they executed it rly well

speaking of executions

there are some fucking RULL CREEPY walkers. idk why they bothered me so badly, but they were what they at first assumed were corpses wrapped up in tarps, but turns out none of them had been properly put down, so they go through killing these rotted bodies that had supposedly been there since The Fall, and it’s very gross and cool

this entire time, btw, negan is like “hey, i know i’m a shitty person, but i have some rational arguments about why we shouldn’t be doing this right now,” and everyone is like, “FUCK YOU NEGAN, YOU’RE NOT THE BOSS OF US!!!” and he’s just like “god fucking damnit”

(i forgot to mention that at one point, when they’re headed into the metro station, negan is trying to warn ppl of the potential danger, and everyone is ignoring him, and he tries to talk to daryl, and daryl is like “fuck you, you think we’re BUDDIES?” and negan is like “oh, ok, so you’re gonna be like that too? fanfreakingtastic” and it’s very funny)

anyway. a fat monster zombie escapes its tarp at one point, and tries to eat some npc, and negan saves him, again is like “hey, anyone else realize that this is a FUCKING BAD PLAN?”, and everyone is like “we don’t care, you’re still shitty and we’re not listening to you, and you don’t actually care about random npc i would literally not be able to pick out in a lineup bc his face is so generic, you’re not the boss of us!!!”

it’s at this point that negan finally is like, “why am i even here? bc i know how to get around washington dc? do none of you have a map?” and i was like, “right?! that’s what i said!” 

it’s then revealed that maggie only brought negan along to murder him under the guise of “oops, he got hurt in the line of duty, it wasn’t my fault,” and daryl has this look on his face that says, “i seriously need to stop hanging out with lethal women bent on revenge bc it’s gonna give me high blood pressure,” and maggie has a badass moment where she points a gun she has for some reason at negan and is like “i have like, one shred of human compassion left inside of me, and if you keep pushing me i will fucking kill you without a second thought, so shut the hell up”

(in her defense, negan had just dropped glenn’s name to purposely antagonize her, which was rude as hell)

(for the record, i’m completely on maggie’s side here, but negan still is right that trapping themselves in a metro station is a bad call)

anyway, moving away from that briefly

i think this jump cut happens sooner, i don’t actually remember, but whatever who cares, point is, we get to the part of the show that actually matters, and that’s anything involving my love, juanita “princess” sanchez

and also eugene, yumiko, and ezekiel

they are being asked increasingly invasive questions by commonwealth ppl, some of which i wish they actually would of answered (what do they use to wipe their asses with?? surely toilet paper has long since become extinct)

zeke, who is so much more tolerable as a character now that he’s not larping as a king, has this incredibly weird and sort of sexually charged moment with a dude in an orange stormtrooper costume, where he’s like, “i bet you were an asshole cop back before The Fall, you stupid fascist, #fuckthepolice, mb literally? idk, this moment has a lot of pent up aggression that could easily translate to hate sex, it might just be the intense eye contact, but w/e, let’s just move along,” and then he has a coughing fit to remind the audience that he’s currently dying of cancer, and orange stormtrooper is like “lolz, loser, drink some water you dumb piece of shit”

cut to the wholesome foursome sitting at a picnic table in a guarded courtyard eating gruel, and yumkio, who finally has a personality, and princess are like “hey, this place fucking sucks, can we leave?” and zeke is like, “yeah, i met this orange stormtrooper who i think might be dtf and/or murder, so we should probably bounce”

but eugene is like, “but i want some hot stephanie ass, and also some bullshit excuse about how mb commonewealth will save alexandria” which, they left before things went super downhill, right? idr. it was after hilltop fell, but they don’t know alexandria got fucked either, if i recall? w/e, not important

two seconds after he says this, they talk to some people who are like “we’ve been here for four months, or maybe it’s been nine, i don’t actually remember, i’ve stopped processing the passage of time,” and the wholesome foursome takes this as a bad sign, tho that’s just the life i’ve lived as a night worker during a pandemic, so i was like #mood

but then they watch some guy get dragged away screaming to get “reprocessed” and eugene is like “ok, nvm, let’s bounce”

(my theory on what “reprocessing” is, is that they’re stuck in a room and have to watch hours and hours of customer service training videos on vhs from the 90s)

i definitely got my jump cut scenes mixed up bc i think the negan accusing maggie of a murder plot thing happened in between this scene and then the next commonwealth scene, but w/e, i’ll just finish what happens in the commonwealth arch

the wholesome foursome are trying to hatch a plan to escape, except princess, my love, is distracted watching some stormtroopers flirt, and the other three are like “wtf, dude, how can you even tell any of them apart?” and princess then tells them every stormtroopers backstory bc she is brilliant and pays rly close attention to shit, and the other three are like, “this is useful information, thank you for being an insane person”

their plan involves yumiko and eugene dressing up as stormtroopers and leading princess and zeke out of the place, which works fine actually, except on their way out they come across the Depressing Wall of Probably Mostly Dead Missing Loved Ones

they’re about to leave, when princess is like, “wait, yumiko, you’re on here, that’s weird huh?”

sure enough, yumiko  is on the wall, with a note from ig her sister 

the scene ends with yumiko going, “guys...i can’t leave...i have tragic backstory to unveil”

tragic backstory to be continued ig

back in murder metro town, npc and some other npc have stolen all the supplies, there’s a train blocking the track, and a horde of walkers are coming towards them, so things are not going fantastic

they horde is too big to take down, so they start to climb on top of the train car to get away

but dog runs away!

and daryl, being every pet owner ever, is like “gotta go get my dog, guys, try not to get killed while i’m gone, c u soon!” and he ducks under the train and disappears

#priorities

the episode ends with maggie climbing up the train car but getting grabbed by a walker and dangling off the edge, and negan is there and they have a lion king moment where maggie is like, “scar! help me!” and negan is like “long live the king, bitch” and walks away into the shadows, leaving maggie to a potential death

which, while i know isn’t actually going to happen, would be a really fucking funny move on the writers’ part

like, “look, lauren’s back! and now she’s dead, bet you didn’t expect that!”

anyway

my assumption is negan will actually end up helping her up or something, continuing his ambiguous morality bullshit that actually isn’t ambiguous bc he BEAT GLENN TO DEATH WITH A FUCKING BAT WRAPPED IN BARBED WIRE IN FRONT OF HIS PREGNANT WIFE

the maggie/negan arch is kind of dumb, but whatevs, i’ll tolerate it, as long as my boy glenn gets justice in the end

anyway, cue credits!

final assessment: good episode. i’m much more interested in commonwealth than the reapers, tho i am hoping that daryl’s personality-less ex turns out to be a monster killing machine with no conscience, that’ll be fun. princess is a gift from god. hershel jr needs his own tv show. needs more carol (and caryl)

the end! going back into my walking dead free chamber! see you next episode!

-diz

Gaslight, gatekeep, girlboss: Mrs Coulter, misogyny and the His Dark Materials TV show

The show went hard on misogyny as a vital part of Mrs Coulter’s backstory, and I want to talk about how they did it, and why, and how it might have been done better. This is quite long (when is anything I write not, let’s be real) so it’s under the cut. Read on for thoughts on women, power and fictional villainy.

As a quick disclaimer, though: I’ve enjoyed the show a lot! I’m so glad they made it! Ruth Wilson is mesmerising as Mrs Coulter! There’s so much to appreciate about the show overall, including many aspects of Mrs Coulter’s portrayal. But the HDM team have also made gender politics and misogyny very explicit themes of the show – particularly season two, particularly season two, episode five – and I think it’s fair to critique that.

Let’s be clear: Mrs Coulter is a villain. She murders kids by tearing out their souls. She kills and tortures friends and foes alike without a second thought. She abuses her daughter. She upholds and advances a totalitarian regime. She’s a Bad Person, as confirmed by God himself with the unforgettable line: “You are a cesspit of moral filth.” She’s fucking terrible, but, in life as in art, many of us are fascinated by how such awful people are made. What drives someone to commit atrocities? I am keen to see such questions examined in fiction, because I don’t think exploring a character necessarily means excusing their actions, and because it’s interesting (I mean, of course I find her fascinating, I’ve written a novel’s worth of fic about her). However, after a few snarky comments (“What sort of woman raised Father Graves, do you think?”) and some subtler commentary on sexuality, gender and power (her unsettling MacPhail with the key in the bra in S1E2), S2E5 drew a weird line between sexism in Mrs Coulter’s professional and academic life and her vast and senseless institutionalised child murder, and the longer I’ve sat with that the more I’m like: what the fuck?

Look, Mrs Coulter doesn’t tear apart children to search for sin inside them and poison Boreal and break a witch’s fingers because she’s experienced sexism in the workplace and in her education. That’s… a very odd thing to imply. We have to remember that there are lots of women in Lyra’s world, all of whom will also have experienced sexism, misogyny and other forms of marginalisation (many in more expansive and pernicious ways than Mrs Coulter, who’s a woman, yes, but also white, wealthy, highly educated and very thin and beautiful), and none of them are running arctic torture stations. She will have experienced misogyny, absolutely, and that will have affected her in various ways that inform how she approaches her work, but to imply that being denied a doctorate is the reason she became a sadistic killer is frankly bizarre. Here are a few of the lines from that episode with my commentary:

“Do you know who I could have been in this world?” What does this mean? If she’d been roughly the same person in our world, the answer is: Margaret Thatcher, which is probably a step down for Marisa, all things considered, because the Magisterium is far more autocratic than any recent Tory government and would be a much easier institutional environment in which to enact her cruelty. What we’re supposed to think, clearly, is that she’d have been a different person: a scientist and a mother, and she’s had this realisation because she saw a woman with a baby and a laptop and had a three-minute conversation with Mary. This doesn’t make sense. We live in our world! It’s less repressive than Lyra’s world but it’s hardly a gender utopia. If Mrs Coulter had chosen the scientist-and-mother life (which, as I’ll revisit later, she could have done in her world but chose not to because of her megalomaniac tendencies), she’d still have been affected by misogyny here too. Our world is not kind to young mothers, nor young women embroiled in scandals, nor is the world teeming with female physicists. It might be a little better, sure, but it’s hardly as if those gendered challenges would have been solved.  

“What do you mean she runs a department?” This is just the show forgetting its own canon. Marisa, you ran a massive government organisation (the GOB), including a huge murder science research initiative in the Arctic. That’s a much bigger undertaking and much more impressive than running a university department in our world. Pull yourself together.

“But because I was a woman, I was denied a doctorate by the Magisterium.” This is the show flagrantly ignoring the source material to make a clumsy political point. In the books, there are women with doctorates (notably Hannah Relf, also a major player in the new Book of Dust trilogy) and at least one women’s college full of female scholars. Now, would that women’s college likely be underfunded and disrespected compared to the men’s colleges? Almost certainly. But saying that is different than saying “I couldn’t get my doctorate!” when women in Lyra’s world can. The show knew what point they wanted to make, and were willing to ignore canon to do so, which is frustrating. Also, given that there are female academics and scientists in Lyra’s world, and that Mrs Coulter is a member of St Sophia’s college, it’s clear that she could have lived that life if she so desired. But she didn’t want that, because being a scientist and academic at St Sophia’s imbues her with no real power, and that’s what she craves.

I’m not opposed, in theory, to exploring Mrs Coulter and misogyny in more depth, but I think doing so through an examination of the sexual politics of her life would have made a lot more narrative sense and been much more powerful. It’s better evidenced in the text – her using her sexuality to manipulate people and taking lovers for political sway is entirely canon, as is her backstory where genuine love and lust blew up her life – and it links much more closely with the most shocking of her villainy, which involves cutting out children’s dæmons to stop them developing “troublesome thoughts and feelings,” referencing sexual and romantic desire (and what Lyra and Will do to save Dust is clearly a big ‘fuck you’ to those aims). She even says this to MacPhail in TAS, “If you thought for one moment that I would release my daughter into the care - the care! - of a body of men with a feverish obsession with sexuality, men with dirty fingernails, reeking of ancient sweat, men whose furtive imaginations would crawl over her body like cockroaches - if you thought I would expose my child to that, my Lord President, you are more stupid than you take me for.” Don’t get me wrong, she’d have been a villain regardless, but I do believe that there’s a much stronger link between her sexual and romantic experiences and her murder work than between professional and academic stifling and child murder. It would have been a lot more interesting and a lot less tenuous.

However, the show is trying to be family-friendly, and digging into why this terrible, cruel woman might want to cut the ability for desire and love (and other non-sexual adult feelings, I’m sure) out of people could get dark. We know that the show doesn’t want to go there, because they’ve actively toned down her weaponising her sexuality: in the books, she has an established sexual relationship with Boreal, whereas the show made it seem like she’s been stringing him along all this time, and made it about potentially ‘sharing a life’ together rather than fucking, which was clearly the arrangement in the books. Also, I think Ruth Wilson said she and Ariyon Bakare filmed a “steamy scene” together, and given that only a single chaste kiss between them aired it must have been cut. I think they deliberately minimised the sexual elements of the text, particularly regarding Mrs Coulter (the mountain scene with Asriel, which I did still love, was also a lot less horny than in the book) and replaced that with another gender issue, that of professional sexism, as if the two are interchangeable, which they are not. This is a shame, both for Mrs Coulter’s character and also for the story as a whole, because the characters’ relationships with sex and desire are an important part of the books! (If this minimised sexuality approach means that they don’t use the TAS scene where Asriel threatens to gag her and she tries to goad him into doing it, I’ll scream). Overall, I think they missed the mark here, which is a shame because I also think it could have been done well, if they’d been bolder and darker and more thoughtful.

Why might this happen? Why might the show take this approach? Why might it be latched onto by viewers? Personally, I think the conversations we have about women and power are very simplistic, which leaves us in a tight spot when we see women seizing power for themselves (even in fiction) and weaponising that against others, not just other women but people of all genders, because we struggle to move past ‘women have overall been denied power, so them taking it ‘back’ is good,’ even if that immediately becomes a hot mess of white, corporate feminism and results in the ongoing oppression of many people. I think we are so hungry for representations of powerful women that we – producers and viewers alike – struggle to see them as bad, because it’s uncomfortable to be so intoxicated by Mrs Coulter effortlessly dominating the men around her, subverting systems designed to marginalise her for her own benefit, and generally being aggressive and intelligent and ruthless, and then realise that you are entranced by someone who is, objectively, a terrible, terrible person. It can be hard to realise that if you channelled the energy of someone who mesmerises you, you’d be the villain. So instead of sitting with that (more on this below), a lot of legwork goes into reworking her villainy into, somehow, a just act, a result of oppression, as her taking back power that has been denied to her, rather than grappling with the fact that for anyone to desire power in such a merciless way, even if they have to overcome marginalisation to get it, is really, really dangerous.

The joy, of course, is that Mrs Coulter is not real! She’s not real! Adoring fictional characters does not mean condoning their (imaginary) decisions, nor do stories exist for each person in them to fit neatly into a good or bad box so you know who you’re allowed to love. Furthermore, fiction can be a fabulous tool for exploring and interrogating the parts of yourself that, if left to bloom unexamined, might perpetuate beliefs or behaviour that cause harm to others. Mrs Coulter doesn’t need to be a feminist or taking down the patriarchy or a righteous powerful woman to illuminate things about gender, power and feminism for those reading and watching. In fact, it’s important that we explore what happens when women (most commonly white, wealthy women, as she is) continue to perpetuate brutal systems under the guise of sticking it to ‘men,’ because it happens all the time in the real world, and it’s a serious issue. Finding characters like Mrs Coulter so cool and compelling doesn’t make you a bad person, but it might tell you something about yourself – not that you want to be a villain or kill kids or whatever, but something about how you relate to your gender or women or men or power – and that knowledge can be useful! We all have better and worse impulses, and finding art that helps us make sense of ourselves, both the good and bad parts, is a gift that we should relish.

Anyway, tl;dr, Mrs Coulter doesn’t need to be sympathetic or understandable or redeemable to be brilliant – but you wouldn’t know that from how she’s been portrayed in the new adaptation.

Got it. What about Inuit, Yup’ik and Inupiaq stereotypes? Are there a lot of harmful ones to avoid? I do know you shouldn’t make eating meat their entire personality, but what else?

Okay, this is going to get dark, so if you need to blacklist any content warnings (mine are tagged as "[insert content here] mention", do that before reading and if you need me to tag anything specific, please tell me and avoid this post until I get to it.

And again: Disclaimer that simply having an eskimo coded character fall into these stereotypes is not inherently racist or wrong. Keep this in mind as writers of color, and thereby Native writers, often get a lot of shit for writing our experiences as we feel them. Not to mention, yelling at someone trying to do justice to a dark topic, even if they don't succeed, is a shitty thing to do. Some of these have subtextual backing in canon. Remember that although we are looked down on for crimes, wrongs, or unpleasantness we're assumed to have commited, it's the members of our community who suffer most for it. There is value in understanding the pain that comes from the community that's supposed to protect you, and I don't believe the writers of the series had any malicious intentions toward us for writing characters that fall into any of these stereotypes. Recognize the nuance or get off my blog and find someone else to back up your discourse.

I'm going to use the term Native in this context. Natives come from many different cultures and cannot be assumed to be the same, but many of these stereotypes are used against more than just Inuit, Inupiat, and Yup'ik peoples. This is why I find it to be the most appropriate term in this context. I will add my understanding of where these stereotypes came from and why they're harmful, but I am only one person and a full understanding of the topic requires more than one point of view.

"Natives are drunks." The United States used alcohol on Natives the same way Britain used opium on China. They introduced it to us and blamed addiction on our own "weakness of character." This assumption of alcoholism carries with it assumptions of untrustworthiness. For a real life example: I was on a grand jury (a jury that decides whether a case is worth taking to court) years ago and one case was an older Native man accusing his brother of physically assaulting him. For some reason, a nearly all-white jury was deemed to be a jury of this man's peers, and two or three white men violently insisted that it shouldn't be brought to court because it happened at a party and therefore it was just some alcoholics from the village wasting a judge's time. Eventually, after some discussion about how no alcohol was mentioned, it was decided the case should be presented to a judge. I would also like to point out that the Native man in question was entirely sober, well put-together, spoke more cohesively than other cases that day, and had a bad limp.

"Natives are child abusers/molesters." This one actually links to the first stereotype mentioned, and a lot of what I've said on this blog about how abuse perpetuates. There was a lot of physical, mental, and, yes, sexual abuse in the US run schools, especially the Christian ones and boarding schools. (I've heard people mentioning that the priests would more often target the boys because they couldn't get pregnant.) When one gets regularly exposed to this sort of thing, they come to accept it as normal. This normalizing of abuse is bad enough for the one person, but it also affects the way they interact with others when put in similar situations as the abuser. They're hurt and traumatized and weren't effectively told that it was wrong and they shouldn't have been put through that, so they perpetuate it on people as vulnerable as they were when it happened. Movements have started in hopes of bringing awareness and getting help for these people before they can carry out the cycle further. Abuse between adults is also a tricky issue because the ways people are taught to give or not give consent are counterintuitive to cultural norms around verbal and nonverbal communication. See: the "they didn't say no" argument.

"The Stoic Native." There are a number of reasons one culture might emote less than another, especially around people they don't know. This doesn't mean that we don't feel or are too strong or brave to feel. Our emotions are our business and we don't owe anyone an explanation.

"Natives are part of the land." For some reason, a lot of non-Natives have trouble grasping that Indigenous Peoples are human beings in our own right. A lot of media portrays us not as people in the same sense that the outsiders are, but as extensions of the land or the spirits of the land. It's true that generations upon generations of living somewhere means the land will change to reflect the people, but that is due to the influence of people living there and how their culture says to interact with it. This trope reduces us to symbols of "a simpler time" or just as often white people's ideas of nature conservation. It's dehumanizing and infantalizing, ignoring our cultures and civilizations, treating us as either innocent martyrs for someone else's cause, or pests that are done away with once the land is developed.

"The Native Princess." Sometimes the only way non-Natives can see us as people is by pushing cultural norms and forms of government they're more familiar with onto us. Naturally, this means assuming that our civilizations were as successful as they were because they were like the non-Native author's. This is especially gratuitous in the case of Inuit, Inupiat, and Yup'ik peoples because we don't have anything resembling a monarchy. Yeah, this one is explicitly in the text so I can't expect much to be done with it

"Native women are always available to men." I don't know what it is about cultures that consider themselves more "advanced" seeing ones they consider "primative" where women have more autonomy in the relationships they have with men and fewer restritions on their bodies. I don't know how they misinterpret "she can do that here" as "she's there for the taking" but it's so gross and I would like it to stop. Sexuality being more open and not inherently sinful doesn't mean the women don't have standards or won't turn anyone down.

"Natives are broke and/or homeless." This is just the typical racism mixing with classism to make something even uglier situatation. The result is a lot of treatment you see non-Native POC get, such as being followed at the store because they expect you to steal something.

There are more, I'm sure, but these are the ones I get the most. Note that again, it's not inherently bad to write a Native or Native-coded character who drinks or has a lot of partners or is particularly connected to their homeland or poor, but take care to handle it with some sensitivity. Understand that there are implications to these things and real harm can be done by legitimizing racist stereotypes.

A couple of thoughts

We doin' okay, Cats family? We're good? Good. I have one last thing to add.

This is kinda about pro- and anti-shippers, but it's really more about fandom culture in general and just my experiences. You can read it, if you want, or not.

Up to you.

I've been doin' this for a while. A good fifteen years at least, closer probably to sixteen. I've been doing things in fandom for longer than some of my mutuals have been alive.

(Oh Jesus)

And there's something I gotta tell you guys, both as a person who has been doing fandom-y stuff for years and for someone who literally has college degrees in English Literature and Creative Writing.

Being an anti is not normal.

And I know that comes across as harsh and mean and it sounds unreasonable but I'd like to explain what I mean by that.

I can trace back being an anti to two main sources: Voltron and Star Wars. I was never into Voltron or really even around anyone who was but I remember the screaming and fighting over the ships, and I remember the hellish crusade that began when people dared to ship Rey and Kylo Ren together. It was nasty, guys. It was absolutely insane that suddenly people were doing this over fictional ships, that people were being sent actual abuse and hatred because someone wanted the broody shitlord man and the unwashed desert scrounger to smooch. Like... imagine that in real time.

I was not, nor have I ever been, a Reylo shipper, but you know what I did, when that ship began, and I didn't like it? I ignored it and went about my day. Because that's how I was taught. Nothing in the fiction world was worth fighting over. It was not worth getting into arguments over. What was the point?

Then the antis got bolder, started branching out, and when people like me started standing up and saying, "Hey, stop being a dick to people!" someone hired the world's best PR machine and suddenly people who were not antis were pedophiles and abusive and incestuous.

How's that for some whiplash.

This anti movement of berating, bullying, harming, and threatening has been their MO, and it's dangerous. And now, they all buy their own bullshit. They actually think people like me are all out here twisting our mustaches like Snidely Whiplash and diddling kids. Without a shred of irony, they believe this.

Proship only labeled itself that as a response to the antiship, and antiship, make no mistake, named itself first. It was not anti-pedophile. It was not anti-incest. It was not anti-abuse.

It was all about disliking fictional ships that other people enjoyed, and thus attacking people over it.

And it's pointless. It's driven a child to suicide. It has gotten people fired. It has ruined careers, livelihoods, friendships. For nothing. For a boogeyman that doesn't exist.

Sex experts across the board all agree that what gives us our jollies is not at all what we want in real life. There's some wild statistic like 70% of women have had a sexual fantasy about rape at least once in their lives. About rape! That act that most AFAB people have a deep ingrained fear of! And we've used it to get off! Because sexual fantasy isn't that deep. Our brains are idiots. And since time immemorial, we as humans have written just the most fucked up shit.

It's even in the Bible. Humans have been nasty forever. And it doesn't mean shit.

It's in the TV shows. It's in our movies. It's in our books. It's in our music, our podcasts, everything. Being an anti is not the way of humanity at all. Ever. Except for like... maybe the puritans but they sucked so who cares about them.

Antis believe a lie. They believe a lie and they hurt people for it. I am not in any way, shape, or form exaggerating when I say I am fearful for those who regularly interact with me, because I am worried that one day the art they make or the "clout" they carry isn't going to be enough to save them from their friendship with me and antis will tear them to shreds. Because that is how they behave. They may not think they're bullies, and they may think they're in the right, but I want you to look up the Youtube RPF kid who killed themselves over anti harassment. Look at that horrible ask I just got. This is how they behave.

And that is what proshippers stand against. It's a stance against bullying, harassment, threats. That is it. There are plenty of proshippers out in the world that would never, ever think of writing anything involving someone underage, or between relatives, or involving anything gruesome. Because that's not what it's about.

Antis are new in the world of fandom, and they are the absolute root of toxicity. I do not exaggerate. They waste the time of agencies actually trying to eradicate CSAM by sending them art someone drew of a teenage character that isn't real. They've driven people to suicide. They've outright admitted to not caring about actual humans as much as they care about fictional ships. They have shown time and time again that they are not above abuse, vitriol, and bullying. There are blogs that post stories from ex-antis who say they were afraid to say anything different than their anti friends for fear of righteous backlash.

I repeat: I am legitimately afraid that my friends are going to get dogpiled and harassed because they dare to be my friend. That fear is not baseless. And it's all because of the way antis act.

I am liberal with the block button. I try to maintain boundaries because I don't want to see any of that shit as much as they don't want to see any of mine (though only a very scant few actually block me back, which is a joke in and of itself). But it still slips through. And I hate it, every time I see it.

Because this is not the way we're supposed to be. We are not supposed to be at odds with each other. We are supposed to share and have fun and be joyful about some people in lycra.

But because some people wanted to put on the pilgrim hat and play Morality Council to someone who's been doing this for years, I gotta tiptoe around people that think I'm actually out in the world diddling children. Do you know how fucked up that is. Do you know how that feels? To not only have someone make that judgment without any evidence, but to tell it to other people who don't know me either?

When someone finally snaps and starts biting back, it's not out of nowhere. And antis never, ever see themselves as doing something wrong. But they are. They are wrong.

Can I let you in on a little secret?

Seriously, just between you and me, come here.

If you think it's wrong to bully someone because of fiction, then you're proship. That is the long and short of it. No more or less. I hate to break it to you, but that is the only definition, and anyone who says it's something else is lying to you for their own gain.

And sure, there are lots of people who try to hide behind the proship label as they do shitty things. But antis do the same. Humans being assholes and trying to blame it on something else is not new.

The fact that people have come to me and told me that the antis have made them feel uncomfortable, that they're afraid if they do something they might view as negative they might receive hate, that people are actually AFRAID of people in this fandom, is not okay.

There was a fandom I was involved in where one of the prominent people actively hated me and I was never afraid of what she would do. I am afraid of the antis in this fandom, though. Because they have teeth and they like to use them.

Fandom isn't supposed to be like this. Nobody should be screaming at teenagers for talking to adults in fandom, infantilizing them like they're not a whole autonomous human. Nobody should be telling someone to kill themselves because they ship Tuggerstrap. Nobody should be afraid of the other people in their fandom.

Antis, if any of them even read this (I doubt it, but just in case), I want you to look around. The people who are neutral are not afraid of what the proshippers will say to them. They are afraid of you. You and your ilk are the ones causing the damage, and you are the outliers in the entire world of fiction. You're a loud minority that thinks it knows better when it knows absolutely nothing.

Ruminate on that.

My blog is still a safe space from bullying, abuse, and nastiness. If someone is being mean to you, you will always find a friend here. And if you can't say the same, then what's wrong with you?

Be excellent to each other. Stop making people afraid.

And sit down and ask yourself what it is you really want when you make vague posts about people and tell people vicious, awful things. What are you hoping to gain.

Can I request Morel meeting reader at a bar where they hit it off really well and hook up?

Yessss more Morel content~ I'm glad I get to write uncommon characters~ also I'm so sorry about this being a little later I ended up coming home and going straight to the gym (The gif decided to just not work but whatever I guess) I didn't know if you wanted in depth sexual content or not but I didn't have the time to write it before work, though I hope you still like it~

Word Count: 1566

Warnings: F! reader, intoxication, dubcon, suggestive

The eyes burned the exposed space between your shoulder blades, causing you to shift uncomfortably in your seat. You'd been trying to ignore it for almost 20 minutes but the consistency unnerved you enough to nearly move entirely. Though when you had decided to turn around and greet your pursuer, you locked eyes with a man who you hadn't expected to. Morel Mackernasey, a sea hunter well known in the area. What he was doing here and of all nights when you'd finally decided to leave the comfortable confines of your home, you weren't sure, but it likely meant there was business somewhere nearby. You shouldn't interfere.

Instead of shooting your shot like you normally would have, you decided to simply turn your back to him again, completely blocking him out. Your attention was then focused back on your friend who hadn't even noticed you stopped listening a while ago, still chatting away at both you and the bartender. Morel's gaze still pierced through to you, making you glance at him again. Maybe you should go speak to him. He seemed interested after all and hadn't moved since you noticed him.

Before you could finish making your decision however, Morel interrupted the man in front of him, who was speaking rather quickly from what little you could overhear, and stood from his seat. Long stride made way towards you until finally he sat down in the seat behind you. You could quite literally feel his body heat from where you sat, the warm feeling suffocating. Morel is a rather large man and thought this was common knowledge seeing it in person was a different story. Broad torso, rounded biceps, long thick and now crossed legs, and hands the size of damn near dinner plates holding him up on the counter.

"Hey there gorgeous, noticed you seem to recognize me. Have we met before?" his voice was rough, the vibrations ringing through to your ears despite all the noise of the bar. It made you blush a little underneath your makeup.

"Hello, no, I don't think we have. Though I have seen you on tv here and there. You're Morel the sea hunter. Isn't that right?" you replied, turning your body to face him. Your friend wasn't too happy that you stopped listening this time, though when she noticed who was in front of you, she didn't say anything more, instead continuing to speak to the bartender in front of her.

"Well look at that, you know your stuff." he answered, switching out of the cross of his legs to manspread along the stool. His feet touched the ground easily, one on the bottom of the stool and the other planted firmly on the floor, elbow holding his weight against his thigh.

"Of course I do, even if I hadn't seen you there I'd of only guessed. You do give off that kind of energy I figure." you offered him a smile which he returned in kind. He laughed a little at your sweet demeanor.

"Well then little lady, what do you say we get to know each other some more over a game of pool?" Morel inquired. You took a glance back at your friend, hoping she wouldn't mind. To your surprise she wasn't even there anymore, possibly left for the bathroom without saying anything. Hopefully you didn't lose her somewhere, she was your only ride home after all.

"Alright then, since I guess my friend decided to leave I'll go play a game or two with you." you accepted, standing with him and walking over to the group of men and women standing around the pool tables.

Morel was quite the entertainer you had to admit. After a couple of drinks and some rounds of questionnaire pool, you had to hand it to him. He was pleasant, attractive, and charismatic, everything you could of asked for in a man. Once the music kicked up Morel pulled you aside to the dance floor and danced with you while still asking you questions about yourself. Your likes and dislikes, cats or dogs, where you thought a good date might be. His interest in you was more than obvious, though you couldn't necessarily complain.

Though at some point, the drinks had began to get to you. Your vision had become slowed and you could feel the alcohol taking its toll. You were suddenly so full of giggles along with the fact that your hands would wander every so often. You'd nearly forgotten you hadn't broken the seal until it came upon your poor bladder that you had to pee. Bad.

"Excuse me, I have to go to the bathroom real quick." your speech was slurred, pushing off of Morel's chest to leave him. A strong hand grabbed at your wrist, tugging you back as gently as he could because of his size.

"Here, let me walk you, wouldn't want you to hurt yourself on the way there." he chuckled down at you. You weren't entirely inept, you could still stand just fine and walking wasn't too much of a problem. Though the more you thought about it the more you realized your sense of direction may have been off by quite a bit. You nodded, giving him the brightest smile you could muster. Morel held onto your waist as he guided you towards the restrooms, staying close behind you. His hands felt hot through your clothes, his fingers providing a harsh grip on your figure to be sure you stayed moving forward. The possessiveness made your thighs feel like jelly, or maybe it was simply the alcohol heightening your sex drive.

Morel stood by the door in wait for you, gesturing for you to go on in for yourself since it was a women's bathroom.

"You should come with~" the offer was rather bold of you, assuming that he would even be inclined to do anything with you. His eyes widened beneath his glasses, his face showing a bit of initial discomfort. You recloiled into yourself slightly, realizing your mistake. You'd only just met him and already you'd decided to be fruity. Hopefully he just thought it was the alcohol and not you trying to dig for gold. Instead, the corners of his lips turned up into a smirk.

"What? Don't trust yourself alone in the bathroom?"

"It's like you said, what if I get hurt? Or I fall?" you teased the questions out, wishing he'd just walk in with you. Considering the fact that you still had to piss really badly still. Morel shook his head, snickering at you.

"Are you sure you want me to go in with you? I could get into some serious trouble like that." he was right, but the burning between your legs egged you on to continue trying.

"But you're a hunter~"

"That doesn't mean I can just waltz into the bathroom with you sweetheart."

"Will you take me home with you then?" you bounced a little, the urgency of your bladder pressing down onto your crotch. His smirk widened into a smile.

"Sure, if that's what you want. You better use the bathroom before you piss yourself though."

"How do I know you're not gonna just leave me here?"

"I'm not going anywhere princess, just hurry and go really quick, I'm gonna be right here when you get out." he shook his head, leaning against the wall in wait. You groaned, rushing through the bathroom door to the nearest stall and pulling your pants down. Your panties had soaked a little at this point, stained with your arousal. You let out a sigh, hands gripping onto your thighs in need. It was gross you knew but you didn't even bother washing your hands upon finished, in way too much of a rush to get back out and see him.

He was still just outside the door like he'd said he would be, staring down at you with a sly smirk.

"Shouldn't you tell your friend where you're going first?" he said, placing a hand on your back to push you onward towards the front door.

"She'll be fine, I'll text her later tonight or in the morning." you said hurriedly, smacking around your jeans to find your phone. You unzipped your purse to find it sitting there, flashing up at you from inside the dark confines. As long as you knew you had it that's all that mattered right now.

~

Your body fell limp against the mattress of his bedroom, his hands immediately squeezing your thighs and prying them open. Your own hands ran up and down your legs, skin burning with the desire to be touched. Morel came up between your legs and met you face to face. HIs lips brushed against yours, emitting a soft moan on your part. Your hands grasped on his shoulders, pressing your nails into his shirt. You felt a sharp thrust against your clothed core, eyes widening at the strength he possessed. Now that you were below him and nearly ready to go you weren't quite sure if you could take him. Though you didn't make this concern vocal, wanting nothing more than to be taken.

"Morel, don't tease me tonight please, I need you." your words were still slurred, eyes closed to enhance the feelings of his body pressing up against yours.

"Don't worry sweetheart, I'll give you everything you need tonight."

It's amazing how the very things some 'fans' dunk on Krillin and Chi-Chi for and wonder why their significant others chose them are the very things that 18 and Goku love about them. I.E his gentleness and good heart and her tough as nails strong willed nature etc.

OK... I have a take on this that may be a tiny bit controversial, but I feel it needs to be said. The reason Krillin and Chi-Chi are dunked on for their personalities, especially in a series where characters with similar ones are loved, is not because of their personalities. ...it’s because they’re not seen as sexy. Both in terms of appearance and personality. No, you didn’t read that wrong and I’m going to explain to you why. Chi-Chi is seen as bitchy, bossy, always trying to have things her way, “forcing Goku to do things he doesn’t want to do” like... get a job or spend some time doing normal family stuff. How awful. The thing is, there’s another character in this series who had similar personality traits dialed up to freakin’ 11. And that character is Bulma. Bulma was always very bossy. She was borderline abusive at times (if you look at that outside the context of comedic overreactions, at least), she would throw a fit over other girls talking to Yamcha and accuse him of cheating, she would demand attention, she would turn on a dime and flirt openly with anyone she found attractive, and even when on a mission to revive her boyfriend whom she had wept over, she... found herself thinking of other men and even trying to throw tail at Zarbon (in her anime depiction at least, but in the manga she was still dazed by his good looks). She was selfish, would slap, kick, punch, scream, etc. But she’s never really considered to be a shrew, or a “bitch”, or what have you because... well... she’s sexy. She shows skin, shows cleavage, flaunts her curves, is fashionable. She’s seen as a sort of “sex symbol” for it rather than in any sort of negative light. And yes, Bulma does change and grow up as the series progresses, but there are still elements of this present in her, and even when she hadn’t? She was still loved by the fandom. And to further illustrate this, not only does Vegeta acknowledge that’s part of what he finds attractive about Bulma, a la Goku with Chi-Chi, but even in the fandom itself, when there are fan works or figures sexualizing or “sexing up” Chi-Chi in the same way as Bulma? They are RIGHT there lining up to drool. The same dudes who say they can’t STAND her will sit there and WISH she would wear that in the show, act like that in the show, etc. They openly bemoan that she stopped wearing the barbarian bikini armor and started dressing more conservatively. And on the flipside, some also bemoan that she, unlike Bulma, is a more traditional housewife, happily. Bulma’s out there running a whole company, y’see, so any of these other women being more traditional wives or mothers? That’s a negative. And since Chi-Chi is the epitome of that, SHE is bad while Bulma is good. (To be clear, there’s a whole other discussion to be had there as to whether some of that is a valid series criticism to some degree, but I’ve seen people take that wayyy too far with Chi-Chi.) They say she was hindering Goku by trying to hold him responsible, they say that she “ruined” Gohan by FORCING him to study instead of fight, and ignore that Gohan himself preferred it. (He’s a SAIYAN, y’see, he HAS to like fighting, it’s in his blood. Chi-Chi just choked it out of him, that’s all!) Ridiculousness of that sort. And on the Krillin front... well.. just look at Gohan. Gohan and Krillin have shockingly similar personalities. They’re both dorks, they both have a corny sense of humor (in a loveable way), they’re both a bit socially awkward with the opposite sex, they both love and dote on their families and adore their daughters, both even get back into martial arts for the sake of their families but put their jobs and roles as family men and breadwinners first and foremost.  But for some reason, you see Gohan with these ridiculous, over-the-top harems and Krillin the victim of NTR by pretty much every character in the entire franchise at this point. Some people actually even ship 18 with Gohan over Krillin because they think the “take-charge dominant woman x nerd” dynamic is better when that’s the same dynamic that exists with her and Krillin. Why? Well... because Gohan is sexy. Gohan is powerful, traditionally handsome, tall and muscular. Krillin is... short. Missing a nose. Comparatively not powerful and not as muscular. His gentleness is seen as weakness, not kindness. He doesn't have his badass moments of beating the snot out of the main villain while glaring and making women swoon and men jealous. Ergo, he is bad. He is a beta male. He is a “cuck”. He doesn’t “deserve” his wife, he doesn’t “deserve” to be anything but a joke. 18 “settled” for him, and thus their relationship is “toxic”. I even once saw someone say that she settled in a series where “the men are ranked by actual, literal numbers (power levels)” and that 18 thus “not only settled, but sank to near the center of the earth” with Krillin. I’ve seen people say that since Toriyama said in interviews outside the series that he partly let Krillin have his dream of getting married because he felt bad for always writing him having bad things happen to him, that their relationship is bad because that also means 18 got with him out of pity or obligation and teaches that “women are rewards” when the manga itself shoots that whole idea down. These are all real takes. Make no mistake, Gohan will sometimes be bashed by those who have toxic ideas of masculinity as well, but he still gets an overall pass because of his cool factor and... well, sex appeal. Even straight dudes find him cool enough to project onto, and others just lust after him. Plus, if push comes to shove, just imagine that Gohan became “badass again” in fanfic land. Much harder sell with someone like Krillin. The fandom has a very, very nasty case of double-standards throughout, however. This is just the tip of a very unfortunate iceberg.

Can I get more f that Kenny’s physiology with his alter egos? I’m rlly interested in that

(assuming this means psychology, as a follow up to this post)

i’ve put it off cuz i’ve been busy with other stuff but i‘m really glad i got this ask cuz i love kenny and I love thinking about them in the context of their two alter egos!

CW: discussion of child abuse and neglect, including inexplicit discussion of child sexuality. also a lot of discussion of The Whole Kenny Death Thing. also spoilers for the stick of truth if you haven’t played it!

kenny’s been treated a lot more seriously in recent seasons, with a shift in character to be a lot more mature as well, and it’s a development that makes a lot of sense in the context of “the characters have undergone A Lot and it’s really shaped their personalities because they’re at a stage when their brain is still very soft and malleable and susceptible to trauma.”

the addition of karen in “the poor kid” seems to have shaken up the depiction of the mccormicks a lot. in earlier seasons, kenny was more passive about his home situation, or at least went out of his way to ignore them, (like in “best friends forever” when he plays on his PSP and leaves the house while his parents fight). there are early scenes where he does have some responsibility to his family (i.e. trying to win a can of food for them in “starvin marvin”) but usually he’s just depicted as a kid trying to live through a tough situation. though his “willing to do anything for money even if it’s deeply upsetting, depraved, or outright deadly” character trait from “fat camp” kind of tracks with this understanding that he prioritizes financial security over his personal well-being. 

however, ever since karen was added to the show, kenny’s been depicted as a much more responsible and often even tragic figure. his parents are too caught up in their own shit to address their children’s emotional needs, and kevin sadly gets caught up in their violence as well in “the poor kid” (he’s also vaguely implied to be developmentally disabled in the few scenes he speaks up but that’s mostly speculation). because of this, kenny ends up being karen’s main caretaker - holding her close when she’s distressed at losing her parents, buying her a doll, etc. 

kenny’s situation is a textbook example of parentification. he ends up taking care of karen, at least emotionally, because his parents and brother are unable to do so. he also becomes the breadwinner in “the city part of town” as soon as he gets the chance. this is a really unhealthy scenario that a lot of children in poverty, especially older siblings, see themselves in. it can result in the child not knowing their true place in a family that takes them for granted, and thus not considering their own needs and/or feeling shame if they need help because they’re so used to putting everybody before them. i think this tracks with kenny being “the quiet one” and rarely asking for anything. 

that’s not even getting into the constant death and the fact he spent so much of his life not even understanding why he was doomed to constantly die in horrible painful ways, and for nobody else to remember that he even died to begin with. (kind of symbolic of the neglected child, huh?) 

this brings us to mysterion and princess kenny. in both the superhero game and the fantasy game, you’ll notice kenny is the one who tends to get the most involved, with the only exception being possibly cartman, who could be the topic of a whole other essay on identity issues. mysterion is the one superhero with a real power who exists outside of their superhero game (besides the kewn, whose superhero persona is entirely self-motivated anyway), and princess kenny gets so defensive of her identity that she betrays her friends in both the trilogy and the game. kenny also talks about lady mccormick in the third person in the first black friday episode, and i don’t know if any other characters speak about their personas in that way. so kenny intentionally places more distance between his personas and himself than the other kids do with their personas. 

therefore, i see mysterion and princess kenny as how kenny copes with his deeply repressed psychological issues. it’s a way to compartmentalize his feelings towards his constant suffering and the burden his family inadvertently placed on him by developing these two identities. one embraces his role as caretaker to the degree of becoming a superhero, and the other rejects it in favor of being entirely doted upon. (some people have read the prominence of roles as signs of a dissociative disorder, and i can see that with this context, but i don’t know if it’s really a perfect fit for any specific disorder, especially when there’s little information on kenny’s consciousness when it comes to these personas.)

mysterion is more obviously a tool for kenny to express his discontent with his town. in his first appearance, he states, “i could no longer sit by and watch as my city became a cesspool of crime,” which tracks with his earlier characterization as reluctantly accepting his family’s poverty despite constantly suffering. (plus i’m pretty sure several of kenny’s deaths were the result of crimes.) he refuses to be unmasked because he “would stop being a symbol,” and only does so in order to quell the unrest that his mystery has provoked. that "symbol" wording suggests that mysterion is an extreme version of kenny's self-sacrificing lifestyle to the point where he defines himself as a symbol of justice and hope, not a person. kenny himself is also pretty quiet and secretive, but more because nobody cares about him and he’s kind of afraid of getting killed any second. mysterion’s secret persona is something bold, powerful, and masculine. he is physically adept in a way we don’t see kenny behave, and much more reasonable and cautious about what’s best for him and humanity. (a good visual of this to contrast with kenny is the “mysterion re-rising” animation in the fractured but whole, where he consciously rejects the chance to go to the heaven full of naked women that kenny loves because he has to return to battle.)

mysterion is also a way for kenny to reclaim his "curse” and use it for good. as mysterion, he uses death (albeit reluctantly) to get out of tough situations and save his friends. in video games like fractured but whole and phone destroyer, mysterion’s ability to exist as a ghost and revive himself is a gameplay mechanic. this self-sacrificial personality trait has shown up in earlier seasons, and he kills himself for the good of the community/world/etc in “cartman’s mom is still a dirty slut,” the movie, and “jewbilee.” but he’s not nearly as interested in world issues unless he’s under pressure to care. (for example: he does join the workers’ strike in “bike parade,” but he’s not very passionate about it and doesn’t even care about the issue until his dad takes him to a union meeting.) kenny’s good with solving short-term issues while mysterion worries about the deeper, long-term problems with the town. 

this brings us to mysterion and the mccormicks. when we see mysterion’s interactions with karen, we see how mysterion represents kenny’s responsibilities towards her. mysterion is able to offer karen elaborate, heartfelt emotional support, and guarantee that he’ll always be there for her. he also beats up a girl who bullies her and threatens anybody else who thinks about hurting her - more on that aggressive instinct down below. while mysterion’s identity is known to his friends and the rest of the town, it’s not known to karen, who sees him as a guardian angel. presumably, this is so mysterion can remain a symbol of hope to her, just like he is to the town, and so karen feels like there’s people in the world who care about her besides her brother. however, this does backfire in the fractured but whole DLC where she laments how her brother doesn’t seem to spend time with her, which embarrasses mysterion as he promises to tell him to be there for her more often. this implies that kenny gets so wrapped up in being mysterion that he forgets that he has a duty to karen as kenny as well, further indicating that mysterion is a way to cope with the tragic responsibility of caring for a sibling not much younger than he is.

during the superhero trilogy, kenny also uses mysterion to question his parents about their cult meetings, something that shook him so badly when he learned about it that he broke character. mysterion also told his parents to be nicer to the kids, not beat each other up, pay their kids allowances, and not smoke. it seems that mysterion is able to approach kenny’s parents about serious issues while kenny himself mostly stays out of their business - possibly out of fear? (kenny’s more confrontational in later seasons, though - flipping off his dad in “bike parade,” for example.)

on a similar note, mysterion is way more openly angry and violent than kenny is, especially when it comes to the death curse, which he openly complains about in a way kenny himself never did. compare kenny complaining about stan ignoring his deaths in “cherokee hair tampons,” which only gets further ignored, and mysterion complaining about it in graphic detail in “coon vs coon and friends,” even killing himself in front of his friends, and understandably scaring the shit out of them. mysterion also gets really protective of karen, violently so, as seen with the girl he beats up in “the poor kid” and his distrust when the vampires befriend her in the “from dusk til casa bonita” DLC. such a mysterion is way more passionate and loud about justice and direct action while kenny is more resigned, and most of his good deeds are unknown to the public. if kenny has embraced this caretaker role, it makes sense that he vents his repressed anger through mysterion, especially if you take it in the context of dissociation - kenny can’t handle dwelling on his shitty life all the time, so mysterion holds that anger and finds a way to cope with it by trying to fix everything around them, including kenny’s home life. 

princess kenny is very opposite mysterion in many ways. most obviously, she’s a girl. kenny’s relationship with gender is something i think about a lot in light of PK. “tweek vs craig” depicted him as the only boy in home ec, and he was thrilled because it was the safe alternative to the deadly shop class. i think that, regardless of your headcanon for kenny’s gender (i personally see them as feminine nonbinary - i’m mostly using “he” pronouns in this essay strictly for recognition’s sake and because i’m mostly talking about the show’s depiction of kenny), he sees femininity as safe and comforting, but nevertheless very powerful. (remember that his mother, while not super feminine, is a very outspoken and aggressive woman who calls stuart out on his shit constantly.) and what’s a better combination of femininity and power than a magical girl? 

also one thing i want to note real quick is that karen still refers to kenny as her sister in the stick of truth despite not being super involved in their game which i personally choose to read as Trans Rights Subtext

this is how we get lady mccormick / princess kenny, who is largely a passive character during the black friday trilogy, sitting upon her throne and cutely commenting on the surroundings while stan translates for her. then when sony takes her in, she becomes the star of her own show, a magical japanese princess who doesn’t take shit from cartman or his army and gets whatever she wants because she’s a cute little girl and now she gets to be protected and doted upon! also she speaks japanese and is not muffled in the slightest despite wearing her parka....symbolism? and really interestingly is that when she supposedly dies, she brushes herself off and immediately revives, declaring that she’s okay. in kenny’s feminine fantasy, she doesn’t suffer when she dies, and revives without any mess at all. princess kenny is always gonna be okay!

PK is also very flirty and overly sexual. it’s no secret that kenny is very interested in and knowledgeable of sex. he also absolutely worships women’s bodies, as seen with his views of heaven and that whole plot of “major boobage.” i don’t even read this as lust, because he’s ten, but sheer fascination with sex. maybe it plays into that whole “growing up too fast” concept where he tries to indulge in the “fun” parts of adulthood to make up for the exhaustion of caregiving, but this has been a thing since before kenny was depicted as a real caregiver so IDK. 

anyway, i think PK is also a way for kenny to experiment with flirting and sex, particularly with other boys. she uses her coyness and, in the games, her bare chest to entice boys. her cuteness also attracts grown men in “titties and dragons” which goes largely unremarked upon, which is a bit uncomfortable but still works with the idea that she’s the most “lovable” form of kenny. she also apparently thinks the new kid is “cute.” iit’s really funny to me how kenny is depicted as interested in strictly girls while princess kenny only focuses on boys, which could support the idea that PK is a separate entity from kenny, or that kenny just needs to figure himself out. either way, i imagine kenny finds some thrill in getting men to pay attention to them when their male friends often treat her as superfluous, and even then it often involves objectifying herself (this also tracks with their behavior in “fat camp”). it’s kind of sad if you think about it.

in the climax of the stick of truth, princess kenny has her own in-depth backstory, where she was an orc/elf rejected by both the elves and humans. i think this reflects kenny’s feeling of being “othered” as non-human (since this game chronologically comes after the superhero trilogy) and just generally not feeling welcome among their friends unless they need her. there may also be some parallels between her friends denying her the right to be a princess and kenny’s friends refusing to believe in his immortality. when she rebels against her friends choosing the stick over friendship, it’s another way for kenny to cope with their mixed-to-negative feelings about their friends. so while PK is a figure to be doted on, she’s still probably more gutsy than the kenny we usually know. 

however, PK is not entirely selfish or apathetic about the world around her. in the opening of “a song of ass and fire,” her inner monologue explains her choice to deflect to the PS4 side as the side she believes “is best for all.” she also laments that everybody, including her parents, will be fighting on black friday. it seems that PK dreads the mere idea of war, which contradicts mysterion’s tendency to use violence as a means to protect others. PK still uses her adorableness to help her team, and only asks that they accept her, which really isn’t much. it’s just when she, you know, becomes a nazi zombie and puts the world in danger because she’s so pissed about not being accepted for who she is. 

in my original post, i used the freudian personality theory to explain these three personas, which i regret because i fucking hate freud and he’s heavily responsible for modern consumerism and planned obsolescence. but the basic concepts of the id, ego, and superego do kind of illustrate what i’m getting at with these guys. i assigned princess kenny as the id, because she’s more about self-gratification and getting what she thinks she deserves as well as a tendency towards sexual gratification, and mysterion as the superego (hehe get it super) because of his strong inclination towards morality. however, this isn’t that black-and-white, as princess kenny has some moral considerations and mysterion has violent impulses (the “aggressive instinct”) that are more easily attributed to the id. nevertheless, it seems that kenny is still the balance between these exaggerated personas, and when he expresses attitudes similar to theirs, they are far more downplayed due to the necessities of his situation as a caretaker and an underappreciated friend. kind of makes you wonder if/how the attitudes of mysterion and princess kenny will manifest in him when he’s older.

I really like hearing your thoughts on ships, so I was just wondering what you thought about the episode 'Seeing Red' from Buffy as a Spuffy shipper. I love the ship too and remember being so uncomfortable watching that episode. It felt like it came out of no where while I was marathoning the show

Ok so, I’ve been sitting with this for a while (my inbox is telling me it’s been 10 days......time plz stop moving without me noticing), mostly because it’s... a really Touchy topic, for a lot of (very obvious, to anyone familiar with the episode or the arc) reasons.

CW for discussion of attempted sexual assault and rape ahead. (I’m gonna talk a bit about Willow too.)

First of all, I wanna state that I understand why Seeing Red was a ‘point of no return’ for many people. There are a lot of people for whom sexual assault/rape is The Thing they simply cannot get past and they could never see Spike or Spuffy the same again, and that’s valid and understandable. For me, personally, I don’t consider it any more or less reprehensible than murder or anything else vampires and demons get up to in the show because they’re monsters and very specifically Not Human, but at the same time it felt gratuitous and unnecessary (like the writers were trying to remind us Spike was really evil right before he went to get his soul back of his own accord, and I’ll talk a bit more about that later), and the episode itself is difficult to watch. (Also because it includes Tara’s death, which wrecks me to this day.)

It’s also been a very long time since I’ve seen the episode in question, mostly because I haven’t done a full rewatch in years, and when I do watch Buffy it’s either starting from the beginning and then losing track of where i was and starting over again, or else jumping to random episodes throughout the show which I enjoy and watching those by themselves (and Seeing Red is very much not on that list lol). So I rewatched it just to refresh my memory and....god there are a lot of other reasons I don’t care for this episode. (Xander was exceptionally horrific to Buffy re: finding out she was sleeping with Spike. Gods I dislike him more and more the older I get.)

In general, it’s just a really hard episode to watch. (And I’ll never forgive Joss for finally putting Amber Benson in the opening credits, only to kill her that same episode.) There’s a lot of ugliness, and the Trio are among the worst villains in the show--not in terms of how they’re written (they feel kind of terrifyingly realistic, although they also seem kind of exceptionally meta in light of how much has come out in the last decade about Joss Whedon’s own attitudes and behavior and treatment of women), but because every other big bad with very few exceptions has the excuse of being a soulless vampire or a demon or a hellgod or some other monster that can’t really help the fact that they were made that way. The Trio are just normal dudes who think they’re entitled to women and money and power and are willing to do absolutely anything to get all three, proving that maybe it isn’t really the presence or absence of a soul that actually makes humans, like, humane.

But that’s me side-tracking. As far as Spuffy goes, yeah, this episode is pretty brutal. There’s no mincing words here--Spike attempted to rape Buffy, and he only stopped and had his ‘oh my god, what have I done’ realization after she managed to kick him off. If she hadn’t, he probably wouldn’t have stopped. And I can almost understand it, from a writing perspective--how do you make a soulless vampire realize that he’s truly a monster and, further, how do you finally get him to want to change that? Make him cross a line he never had before. Except... that really wasn’t necessary. Not for his character arc, nor for his relationship with Buffy, and a part of me thinks that it was really intennded to just drive home the message that Spike was a monster, and that Buffy could never really love him, and the easiest way to communicate that was sexual violence, something that the show never really had its vampires engage in previously. So it would be a shock to the audience, it would throw Spike’s motives into question when he went to get his soul back, and it would make his presence in season 7 a constant question, plus provide a reason for Buffy not to trust him.

I think all of this could have been achieved without the sexual violence. I think the scene was largely done for shock value--again, to douse the audience with ice water and remind them that Spike, no matter how chummy he’d seemed with the Scoobies since getting chipped and eventually working with them, was still a monster. But we really didn’t need that reminder, and I think it would’ve made more sense for him to simply attempt to kill her--still a betrayal, still shocking, still something that could spur him into the actions he would take afterwards (going to get his soul restored), but without the exceedingly uncomfortable attempted rape scene in a season where there had already been serious issues with consent.

I’m talking, specifically, about Willow.

There’s something interesting I’ve noticed in fandom, and it’s that people really don’t seem to want to talk about or acknowledge the fact that Willow raped Tara. Maybe because it was via magic, rather than violence--or because it was never really called what it actually was in the narrative, or because they’re The Gay Ship of btvs, I don’t know. But she did--when she spelled Tara to forget about their serious fight which had been building for weeks, and then went to bed with her. And then explicitly had sex with her the next day. It’s part of why I’ve always had a complicated relationship with “Under Your Spell”--I love the song, but it’s also literally spelling out the fact that Tara’s mind had been violated by the woman she loved and she could not consent to sex while under the spell.

So that moment was already toeing the line in terms of consent and at least Tara was able to talk about how Willow violated her mind and how that made her feel (in song, at that), but Seeing Red was like a slap in the face. Where Willow’s magic addiction and willingness to cross those lines had been building for more than a year, Spike attempting to rape Buffy came out of nowhere. This isn’t a show that explored any really complicated relationship between vampires and consent (in The Vampire Diaries, for example, vampires have an ability called compulsion and compelling humans that they then have sex with is pretty normal and no one really blinks about it, human or vampire; it’s definitely still rape, but it’s not treated as anything particularly beyond the pale, because they’re vampires who can control the minds of their prey and don’t tend to consider the feelings of their food sources to be of any real importance), and while the vampires are hot and have sex, there’s never been any indication that they sexually assault humans in addition to feeding on them.

I think that specific scene in Seeing Red is the hardest to watch in the entire show. There’s really nothing like it in any other episode or with any other villain, and it has a tendency to sit in the back of the mind and sour feelings about Spike and Spuffy because it’s genuinely difficult to forget. I’m not sure if the intention was really to turn people off Spuffy (especially since he got his soul and came back in season 7 and Buffy forgave him and fell in love with him), but that was certainly the effect it had on a lot of people.

For me, personally, like I’ve said I don’t like the scene and I don’t think it was necessary, which is why I tend to ignore it as much as possible when I’m thinking about Spike and Buffy and their relationship. It’s a thing I know that happened, but I also know that I don’t think it was particularly fitting from a character perspective, and that makes it easy for me to file it away as sloppy writing and generally OOC, and move on. Again, I can definitely understand why some people can’t or don’t want to do that, but I also know that a lot of people continue to love Spike and Spuffy and I don’t think I’m alone in considering that moment to be OOC for him and generally try to ignore it in my meta and other analysis of the show.

Your last post about the ideal stunt girlfriend! I have some thoughts on this as well. I think first of all as you said the preference is that they just do not exist that is essentially why anything and everything they do seems to be picked apart. I am not sure what it is that someone can do then if their existence is the problem. (This is only in context of the 1D fandom because I have no idea how stunt girlfriend might be treated elsewhere). The blame for the closeting is placed entirely on the shoulders of the stunt girlfriend as if she is the one forcing a closeting whereas we do not know anything going on behind the scenes. (Just want to add that there is nothing wrong with someone choosing to be closeted in order to navigate a homophobic industry and world and to protect oneself.) I know the common story told about larry is that external people are forcing things upon them or are sabotaging them and there may well have been times where they were advised strongly (or manipulated and mistreated when they were younger by those who should have tried to help them in the industry) to stay in the closet but that does not mean that they do not have any agency at all for anything especially not in the present day. Perhaps in an ideal world they may choose to disclose their sexuality and their relationship (but even if they did not they do not owe that to anyone. Anyways the problem is heteronormativity and assuming people are straight by default). I do personally believe that both Louis and Harry want to at least be recognized as part of the LBTQA community for as long as they do not state things publicly (and also show that they are together to those that recognize it. I am a larrie so that is my belief lol) and possibly do want to come out at some point (both about their individual sexualities and their relationship) but until then they do have to perform heterosexuality for many numbers of reasons. And while they do that there is a need for a stunt girlfriend whether as PR or just for the purpose of appearing straight depending on their career needs. I know people who will speak out against attacks on Olivia might still have issues with Eleanor because one is PR and one is not (this is a simplified version of the reasons and I don't want to go into comparisons or reasonings people have for anything. At the end of the day neither attacks is justified to me.)

Okay this is already quite long and I haven't yet got to the point sorry about that. I think at the end of the day the purpose of the stunt girlfriend (when there is no PR involved) is to help maintain the closet until the closet is required. It doesn't matter who the person is tbh. If it were not Eleanor it would have been someone else so people who say things about Eleanor's personality, looks, character, mistakes she may have made do not make sense to me. None of these people know her yet they have made their own head canon version of her which is always a negative version. It would be the same no matter who was in her place. I think Louis' purpose for Eleanor specifically has to do with the story he wants to tell with his music and in interviews (a story that could possibly be most similar to his actual relationship perhaps even if not entirely the same) and I do believe Eleanor specifically helps tell it (as his longest public relationship). It allows him to mention a girlfriend that has "helped him" through tough times and give anecdotes about his "girlfriend". I think Eleanor probably does other things behind the scenes like a personal assistant as well we just do not see it. But the Eleanor we do see is the image that we are shown, the image that tells the story that Louis wants told. And that story in itself is so interesting and to me just confirms things that I believe about his actual relationship. So its more intriguing to me than something to stress over or look at negatively. I don't know Eleanor but what I know is this is her job and she will do it. It is work and I don't know why it has been villainized. I understand being frustrated by the situation and feeling like Louis (and Harry) may have not been happy through stunts in the past (potentially) but that does not translate to hating the stunt girlfriend. Disliking a situation you are in does not mean you dislike everyone who is part of it. But yeah anyways the end point is I do not see any situation in which people would be happy with a stunt girlfriend.

It doesn't matter which song she posts there will always be some criticism over it. It doesn't matter if she just posts herself with dogs or doing influencing there will be a problem. It doesn't matter whether she posts about Louis or not there will be criticism in either case. Lastly it doesn't matter if she talks with Louis' sisters or not either way there will be arguments that they are not on good terms. So I am not quite sure what it is that an ideal stunt girlfriend can do for fans. I don't see any situation where people who have already decided to have a problem just based on the concept of her being a stunt girlfriend will suddenly stop. But talking about these things might help at least some people understand the bias? I just think the best approach is that she keep doing what she feels is best according to the story that she has to tell and ignore the criticism (which can be tough I know because of the immense amount of hate you can get for it). I think if I were to find and guide someone my focus would be on guiding them on how to navigate the hate and I guess general tips based on the story that needs telling. And I think when it comes to finding someone it is probably a mix of finding someone who would look like what the ideal image of a girlfriend to a popstar should look like (which has its own problems and really we need to reevaluate standards of deciding these things) and also someone who can do the other behind the scenes work too?

Idk I have done a lot of rambling (and still probably haven't got all my thoughts down lol) but it was definitely an interesting post that led to some thoughts I felt like discussing. I hope you do not mind my sending an anon with all these thoughts. You do not have to post it if you are afraid of the reaction and can instead reply in tags?

I just want to end with agreeing with what you said about considering bearding to be like sex work. And also thankyou for your post.

hi nonny! thank you for your long and thoughtful response :) i hope you don't mind that i'm publishing it-- i think you made some good points and i appreciate that you really tried to answer the question of who to pick and what to guide them to do. image would definitely be key, as would an internet presence of some kind. i imagine celeb pairings would mean more frequent but less involved appearances while a famous/not famous pair would be able to get away with fewer public spottings but maybe more in depth/intimate scenarios.

and i really think there's just no way to please everyone, but you're right that the blame for closeting seems to fall on the shoulders of the woman who's bearding. :/// that often goes hand in hand with the narrative that they're (still) being forcibly closeted instead of looking at the very real history of ex-boybanders and performers who came out, which is relatively bleak/unsuccessful and making a decision to try to gain more credibility as solo artists.

meanwhile i share your perception that they want to be seen/read as LGBTQ+ by those of us who are part of that community. signalling is real, and it's not based on stereotypes like "oh he wore makeup! he has a limp wrist!" i mean as a queer femme from the south, when i go home i tone myself down quite a lot, but i still wear/use symbols that other queer people are more likely to notice, tell stories about myself that indirectly mention my gender and sexuality, and engage with queer history when possible in ways that straight people just. wouldn't perceive.

but of course you can do all of that and STILL want or need to be in the closet!

i really appreciate you responding to my question, even though i think you're right that there's no answer that would make the hatred these women get any less virulent. i do hope that, like you said, talking about it is at least useful in getting more people to realize that maybe it's undeserved? beards don't build the closets, they just stand there to make sure nobody walks in on the person they're working with while they're half naked, basically.

Hi! I’m new to the fandom and I’m simply curious (not trying to start a feud or anything), why don’t you like Steinberg?

Hello dear anon! And welcome to the fandom! 

Oof. That’s a question. xD 

I’m going to try and stay as uh. neutral as possible. Because I’ve already written the post I know I failed but, the intent in answering this is also not to start a feud or hurt anyone’s feelings. 

Okay, so I got fairly negative in this chilis tonight, so I want to start by saying that even in light of the opinions I’m about to express, Black Sails is one of, if not my number one, favorite TV shows of all time. Certainly in recent memory - I’ve been hyperfixating on this show for 18 months with no sign of stopping, and I have a tremendous amount of respect for everyone who worked on the show - even Steinberg. (The one exclusion is Michael Bay, he can go twist.)

AND I think Stienberg is an incredibly talented writer. Black Sails is one of my favorite shows because it does such a wonderful job of weaving stories, creating characters, and melding things in a way that is both unexpected and makes sense narratively. I have changed as a person because of the show, and they will have to pry James McGraw and Thomas Hamilton from my cold dead knives-attached-to-them hands. None of what I’m going to say is meant to detract from that.

I will also say that a lot of these issues are not particular to Steinberg and are in fact a systemic problem with American TV + Film. And I’m not leaving Robert Levine out of my criticism, it’s just that Steinberg had the biggest hand in the pot(he wrote a full half the episodes) and a lot of what I’ve heard as far as talking about the show comes from Steinberg. So, he gets the brunt. But it isn’t that I think Steinberg was the only problematic element of the show. 

Also, these are all my opinions and are colored by how I interact with my fandoms. I am not only a fandom veteran, but I work and pretty much live in the entertainment industry. I work in indie film and theatre and am surrounded by artists and creators of all walks of life, like, constantly. I know what is possible, and when I see something that can be improved, I want to note it because it is important to me to always be striving forward. Like Miranda says about Thomas, this isn’t out of malice, or out of hate. It’s because I genuinely love this show, and I love entertainment as a whole, and I think in order to get to a better, more inclusive industry we have to have hard conversations and look critically at the media we consume, and it is frustrating to me to time and again see the same faces in the room. 

But if that isn’t your cuppa, that’s fine! Fandom isn’t meant to be stressful and if all you want to do is watch a show about gay pirates that is your tomato and I applaud you. Have at it you funky motherfucker.

OH! One more. At some point I’m going to talk about Silverflint. When I do, it is NOT meant as a ‘you shouldn’t/cant ship this’ or ‘this pairing is bad’ or any negative attack on the people who ship that pairing. My criticisms in this post are exclusively about what it means for Steinberg as a writer and Black Sails’ representation of gay and mlm men. While it’s not my cuppa, this is a sail your own ship blog. 

OKAY! SO! 

My main criticisms of Steinberg & Co boil down to:

The homozygosity of the writers and directors shows a complete lack of desire to include marginalized people in the writing of a show that is about them. Which leads to:

The centering of white men while choosing a historical setting and time period that was in fact dominated by people of color and specifically a black woman, 

The gratuitous inclusion of violence against women, particularly sexual violence, and again, that the female characters are often sidelined for the central male characters. 

SO.

Black Sails is a show centered around queer, female, and black leads, and yet there were only two non white-male directors (one bi-racial man and one white woman) and only 7 female writers - one of whom was Latina. The entire rest of the major creative staff was white men. I’m not going to comment on sexualities but none of the writers or directors are out as queer according to a quick google search. 

Let me reiterate the important bit there. 

In Black Sails, where the last two seasons specifically feature around a real, actually-happened-in-history event that shaped black history in the Caribbean, there was not a single black writer on the entire show. 

This is the main difference between inclusion for inclusion’s sake, and actually centering marginalized voices. Black Sails has a ton of gay, POC, and female rep in front of the camera but practically zero representation behind it, which leads to storylines and implications that Steinberg and his writers, as white men, simply would never realize.

It’s like why Silver and Miranda never realized the true reasons James was waging war on England. They just did not have the life experiences to realize they were missing a piece of the puzzle, and so they filled in their own without even realizing they’d done so. 

Because no one in the room of Black Sails was a part of these marginalized identities, nuances get lost or mistranslated, motivations get muddled through a white man’s gaze(or a straight person’s) and implications that someone within those communities might think is obvious won’t even come up.

And again, because there were no writers or directors of color in the last two seasons (the biracial man directed episodes 2x02 and 2x04 - WHICH MAKES SENSE IMO) the entirety of the historical lore that the show bases itself on in its latter half is filtered through a white man’s lens. And so there is no discussion of how changing something changes the meaning, how leaving someone out or changing their role to be more minor might affect people for whom that is their heritage. How the entire story they’re telling might change with one simple exclusion or addition.

So, how does this relate directly to Steinberg, you ask? Well, simply, because it was his show. 

Steinberg(and Levine) were involved in every major decision about the show, from its conception, to the script, to choosing the writers and directors. They chose how they wanted the show to look, to think, what stories to tell and how they wanted to tell them. Their decisions(and the biases that formed those decisions) are woven into the show.

And look. I don’t for a second believe any of this was willful or malicious. I don’t think that John Steinberg and Robert Levine sat down one day and said ‘you know what would make the gays really angry? If we locked the only two canonically gay men up in a prison camp.’

But the decisions that were made in the show were based in ignorance in a way that shows more than just simple negligence or laziness(especially given the attention to detail in everything else). The things they leave out or change in the Maroon War plotline for instance are not small details easily missed. They are big, giant waving flags. They are things that are irreplaceable to still have the same events and stories and tell them respectfully. 

It shows an insane amount of privilege to, for instance, write a show airing during a time when the Black Lives Matter movement was at the forefront of the American conscience, include black characters and black storylines, and yet not include a single black voice on their creative team. 

In a show that centers a gay man’s love and his journey in attempting to process the horrible things done to him and his lover because of it, we are given just forty minutes of the entire show dedicated to their relationship - and just fifteen of those minutes actually feature the lover! 

(Relatedly, the entirety of the gay romantic rep is two kisses, and a forehead touch. That’s the entirety of your gay intimacy representation. And yet there are in the first two seasons alone - because that’s all I’ve clocked so far - something like twenty seven minutes of scenes involving a naked or half naked woman. Five minutes of that is explicitly wlw sex.

Again, I just want to reiterate this because it’s important in recognizing bias. 

There is fully twice as much female nudity in the first two seasons, as the entirety of the time the two gay characters have together on screen. )

Steinberg is a perfect example of how a lack of understanding why the diversity you are representing is important, matters. I dislike Steinberg because he, just like every other straight white cis man I have known, profited off of marginalized voices without including them or creating with them in mind.

Art does not exist in a vacuum. You cannot create something - especially something as back breakingly, intensely a labor of love as Black Sails - without putting several pieces of yourself into it. But those pieces color your narrative. They will expose things about you that you don’t even realize. And it’s in these places we are weakest, and why a diverse group of writers with a diverse group of experiences can help a piece be stronger. But for whatever reason, John Steinberg thought that he could make art with only people who looked and thought and experienced like him. 

The lack of representation behind the camera in Black Sails was evident in front of it and yet Steinberg is out here getting to pretend like he created the most inclusive groundbreaking show that ever existed. It is important to me, personally, to acknowledge that. And that it kind of makes my skin crawl in the way all media made by straight white (cis)men makes my skin crawl. I wish I didn’t have to feel that way about my favorite tv show just because it was created by a man of privilege, but here we are.

SO. I hope that helped? Feel free to take what you want and leave what you don’t! 

Below the cut is a more in depth look at things that I think show what I’m talking about, but that up there ^^ is the gist. <3 |D

SURPRISE!

The Maroons and the Maroon War

So the first thing I want to point out is that the Maroon War was a real thing that happened. It lasted ten years, and resulted in the most substantial victory the Maroons ever achieved against the British. Not only that, there was in fact a KICKIN’ badass female leader of the maroons named Queen Nanny, who is to this day honored as a national hero in Jamaica. While they weren’t able to drive the British out, the outcome of this war led to a mostly self-governing Maroon population in Jamaica from the mid 1700s on. This was a long term fight that had a very tangible and real outcome, even if it didn’t end in the destruction of colonialism. 

And what is this war turned into in Black Sails? A white ‘madman’s revenge’  that is doomed to failure after six months.

That, my dear pirates, is a problem for me. (And those familiar with my brand of spiceyness know that I do not ascribe to the ‘Flint is a Madman’ trope, but that IS what Steinberg ascribes to, what he seems to have written the show thinking.) 

There was no narrative reason to include the Maroon War in the narrative of Black Sails. The Maroon War didn’t happen until a decade after the Golden Age of Piracy, and aside from Silver’s wife being a black woman there is no mention of Silver ever having contact with them. To me, this feels like the choice of a showrunner who found a cool historical event and saw a chance to up the stakes of their white male heroes while getting in some sweet sweet POC rep. 

Except that they then took the major events of the Maroon War and gave them to their white characters, Flint and Silver. 

Here’s the thing. If you’re going to take a piece of culturally important history and use it for your show, you NEED to have sensitivity writers. You need to have people who are at least familiar with those events and who care about them to do them justice. Have an expert come in and read your script or go over your ideas. Or just like. Hire a black writer. Hire ONE black writer. As a treat.

The important Maroon figures, Nanny, Cudjoe, and Quao, all get sidelined or ‘sexified’ and then used as plot points for the white characters. Nanny gets split into two women - the older mother queen and Madi, the young naive warbent visionary. Quao(Mr. Scott is the closest, or Kofi possibly) gets killed off because the writers realized they didn’t exactly have a place for him in their writing. Cudjoe(Julius) gets a few scenes and one good speech but his entire role in the war gets given to Silver. And THEN. That sexy Queen Madi figure gets used as emotional bait for Silver and then has to learn he has betrayed her and destroyed the hope and freedom she had wanted to bring to her people. 

Gross, pirates. Gross.

Anne Bonny/Max/Mary Read - a heads up, this section includes a semi in-depth discussion of both Max and Anne’s sexual assaults. If that bothers you, the paragraphs talking about that begin with a ***

COOL NOW LET’S TALK ABOUT LESBIANS. Words my 20 year old self would never have imagined coming out of my mouth. 

Specifically, I want to talk about Max, and Anne, and their backstories both involving extreme sexual trauma at the hands of men. And then Mary Read and the once again sexification of female characters.

(Actually while I’m here another criticism I have of Steinberg is that his writing does not seem to recognize how queer people existed in the past - again, likely because he didn’t have any gay historians to be like ‘actually buddy that doesn’t make sense also why is Anne not dressing as a man? If you want to fuck with anything and insert modern day terminology and ideas into this show, make her non binary and REALLY piss off the hetties.’)

(This same ficitonal gay dramaturg who is definitely not me has also questioned John Steinberg repeatedly about where Mary Read is, unsatisfied with the answer ‘well we wanted her to be hot so we made her a sex worker and then had Anne have to rescue her but then we realized it would be weird not to include her actual character so we gave her a five second cameo at the very end of the series and also made her like 13.’)

Anyway! So my main point in bringing up Anne and Max is the sexual trauma they are exposed to in the show, particularly being that they are the two primary wlw in the show, who Steinberg has said he views as being completely gay, and what THAT whole unexamined idea looks like. 

***Max. My dear Max. There was literally no reason to have her be repeatedly r*ped(and for the love of god there was even less reason to make it that gratuitous and graphic). Max being assaulted like that did not add anything to the gravity of Eleanor’s betrayal. The traumatic event was being tossed aside by Eleanor, and that could have been just as emotionally damaging without the sexual assault. And the only reason for her to be continually assaulted was to bring her and Anne together. 

***The reason imo that Max’s r*pe plot was added was because it was the only thing these white straight men could come up with that felt emotionally damaging enough to them. The act of betrayal itself wasn’t enough, the act of being thrown away, of having a lover put your life in danger because of her own ambitions wasn’t enough, they needed her to be r*ped to really drive home the point. 

***Anne, on the other hand, is never shown being sexually abused, but we are given an explicit account of her own traumatic history and how Jack saved her from this vile beast who was passing her around to his friends.

But here’s the thing pirates - that never happened. According to every account we have of Anne Bonny, she chose her husband, and married him against her father’s wishes. They were probably relatively happy until her husband started being a pirate spy and Anne started cheating on him with Jack. 

And yes, when they were found out. Her husband had her beat. That’s not fucking cool, and if they really wanted to go the damsel in distress route they still could have had Jack ‘save’ her from that. But at no point was she sexually abused by her husband(at least not in any accounts I’ve read.) 

You know who did likely sexually abuse her or at least manipulate her and Mary for his own benefit? If you guessed our Rat man Jack Rackham, you would be correct, because when he found out about Mary and Anne’s (supposed, but probably real) relationship, it’s implied he extorted both of them into fucking him to keep their secret from the crew. 

The addition of sexual abuse to Anne’s past isn’t done to be true to her character and was in fact explicitly untrue. Now of course I don’t know the reasons why they chose to do this, but I can guess. Just as with Max, the most traumatic thing a male writer can think of for a female character is for them to be sexually abused.

And the most disturbing part of this to me? The parallels it has to the real world of why straight men think lesbians exist. These characters who would be called man haters in present day are given these incredibly traumatic man-centered histories. It brings up something very uncomfortable in me about particularly wlw sexuality being viewed as a reaction to trauma at the hands of men. It’s just gross, I dont like it, and honestly there is no fucking excuse for it besides a room full of white straight men writing this bullshit. A room that Steinberg chose, because they fit his ideas.

In Fact heck, the women of Black Sails in general

***I honestly struggle to think of a single female character who I think was treated fairly in Black Sails. Miranda and Eleanor are killed for taking sides and not understanding their partners, Madi is betrayed in the worst way possible, Max is given a pseudo empowering ending but has that fucking terrible start. Idelle ends off fairly well, but tied to a man she may or may not have any actual feelings for, in what is essentially a political marriage. And Anne has her entire identity tied to a man who will be dead in two years as she is robbed of any agency whatsoever without him. (Oh, and the whole r*pe thing. And also her support for Max’s r*pe or death until she started having fee-fees. Who wrote this stuff. >_>)

Even though the characterization of each and every one of these women is PHENOMENAL - and again I will repeat that I absolutely LOVE these characters as they exist in a vacuum. I think they are well rounded, real, feeling people given motivations and drives and FEELINGS and they SHOW THEIR ANGER and i LOVE THEM. 

But the show punishes them for it. Miranda is essentially fridged to move Flint’s storyline along, and to make room for Silver. Eleanor is killed for the emotional damage it will cause Rogers. Madi is placed at the center of a conflict she explicitly says she is willing to die for and then not only is her entire cause taken from her, but when she tells Silver to fuck off he - in possibly the most predictable white man move ever - says ‘no i will stay until you change your mind. I will never leave you. I don’t care about your choice in this matter, I will wait forever for you. I’m your biggest fan. I’ll follow you until you love me. papa, - paparazzi.’ 

And I touched on this before, but I want to talk in more detail about what is possibly my hottest take to date, the sexification of Mary Read and Queen Nanny, as they are presented in the show. 

Max is to Anne what Mary Read is, historically. She is the lover that Jack Rackham discovers with Anne, and then he joins them in their bed. They form a triumvirate that upholds Jack at the expense of the women. But for some reason, Steinberg didn’t want to just include Mary Read as an actual character. For some reason he needed to make Anne’s love interest a sex worker who was in need of saving (and who, coincidentally, we never see working the brothel after she becomes lovers with Anne, because she is now a madam. :) Gross.)

And Madi. My dear sweet fucking Madi who didn’t fucking deserve any of this bullshit send tweet. 

So, historically, Queen Nanny was the Queen, spiritual advisor, and the military tactician of the Windward Maroons. She would have filled both Madi and the Queen’s character roles(and Flint’s, but who’s counting. A BLACK GAY LEAD? Inconceivable. I digress.) But, I guess, because they were wishy-washing with Silver’s sexuality or felt they needed to give him a female love interest because of Treasure Island, or because they were leaning a bit too hard into the gay shit and needed to backpedal, they took Queen Nanny and split her into a character who is for all intents and purposes powerless in the war and Madi, who is young and naive and does not have any real world experience outside of the Maroon camp.

Because that’s sexy, or something. They could have had the Maroon Queen be a fucking badass lady who works and fights alongside Flint and Silver and one ups them and teaches them shit and has her own ideas about where the British can stick it, but instead they made her into the perfect caricature of a female monarch, letting the big strong men handle the dirty work or something. Because white male power fantasies. 

Just let women be powerful and not nubile and let them have character arcs over fucking thirty and let them be CENTERED in their own. fucking. narratives. 

God damnit Steinberg.

James Flint, mlm extraordinaire

Oh, my love. My most amazing child. The light of my life. My purest cinnamon roll. 

~~And now we’ve come to the dreaded Silverflint criticism part of our programming. Please please know and remember this isn’t a criticism of people who ship Silverflint. As I said up top, Your Tomato Is Not My Tomato and that’s cool. Please don’t take this next part as an attack on Silverflint as a fandom ship.~~

My criticism of Steinberg as it relates to Flint is related to:

What a romantic/sexual relationship with Silver being the basis of the tension and plot means for Flint in particular as a gay or mostly mlm man. 

Refusing to confirm Thomas and James being alive at the end and honestly the whole finale in general but like I’ll try and focus.

The major problem I have with Silver and Flint being coded as in love with each other is the implications there in terms of gay men’s relationships to other men. 

From every corner, men are inundated with the idea that any close relationship between them must be gay. That intimacy cannot exist unless there are sexual feelings involved. That a relationship cannot be close, deep and soul shattering and life altering, unless one guy secretly(or not so secretly) wants to bone the other dude. That two men cannot value each other as partners or friends or truly know each other unless they are gay.

Seeing both of the meaningful relationships Flint forms with other men be sexually coded feels a bit the same way as Anne and Max’s sexual assault plotlines does vis-a-vis being wlw. (Even with Gates, Flint never spoke about Thomas or his plans - Silver is absolutely the closest person to Flint besides Thomas and Miranda.) And this is just as true for Silver. Having both Flint and Madi - the two people he trusts - both be people he’s in love with also just feels. I don’t know. 

It feels like a confusion between male intimacy and male love that is so so familiar to me as a gay man I could choke on it. Where they wanted these men to have a deep and really lasting connection, but could only figure out how to do it if they were in love. Friendship wouldn’t have been enough - only romantic and sexual love is enough for the gay man(or men, at all).

Just because it isn’t queerbaiting doesn’t mean it’s good rep, and I would have liked to see truly deep male friendships that did not center on sexual attraction - particularly for Flint as a confirmed mlm(and Silver too, if you’re counting him. The same arguments for why I dislike Flint being paired with Silver are also true in the reverse.) 

Even if both Flint and Silver were confirmed mlm I still would have LOVED to see a platonic relationship between them. In fact I would have loved that EVEN MORE. Men! Who fuck men! Not needing to fuck each other to be important to one another! Who made this. Very delicious. 

But because there weren’t any queer writers on the show, writers who understand this kind of struggle that gay and mlm men face, they thought ‘oh, let’s also have them be in love with each other. More gay rep is better gay rep, right?’ False. THOUGHTFUL gay rep is better gay rep.

Okay and here’s my last thing. The fact that Steinberg refuses to say whether or not the explicitly mlm men are alive at the end of the show - that the words he specifically uses are ‘up for interpretation’ is. Fuck, it’s gross, okay? It’s fucking gross. 

I have been around enough men, enough people in power, enough people with leverage who also know how to play the field, to know that when someone wants a group’s support but does not agree with them, their go to phrasing is that it is ‘up for debate’ or ‘up for interpretation.’

Say the gays are alive. Steinberg refusing to acknowledge the reality of the ending of his show to maintain his own sense of artistic integrity is what, honestly, really sets me off about him and I don’t care if this is a nuanced take.

Like yes, death of the author. I honestly don’t care if he thinks they’re dead or alive. What I care about is that he thinks he can get away with being clever and leaning hard into a story is true/untrue’ - doesn’t realize what the implications of that are, and didn’t when he was writing, and didn’t have anyone else in the room who would think about it either. 

ANYWAY. So this is....my long drawn out explanation for why I do not like Steinberg. Uhhhhh tune in next week for more of my totally unpopular opinions!