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mr-ribbit · 2 months

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gonna rant again bc im seeing a lot of trans women on my dash having to carry the heavy lifting to argue for their basic respect and a lot of other queer people who want to ??? get mad about that apparently. for the record as usual: im tme, im not speaking for anyone besides myself and my perspectives, but I am trying to reach out to fellow tme people to level with y'all from inside the house.

i thought we all got past the 'calling people gendered terms when theyve asked you to stop' thing in like. 2012. i swear we were allllll on board with not calling women dude anymore, nerfing sir and ma'am, neutralizing collective terms for groups, and all of that was like, during the onceler era. that's how we got off-putting shit like folx into the mix - remember???? why are we here again.

to those who I've seen claiming that they REALLY genuinely don't want to offend anyone, and that theyre trying to understand the dude thing, and they don't want to be seen as transmisogynistic when they aren't: ok. let's talk about it. step one, stop sending that really loaded anon to a trans woman you don't know, and close that in-group hatepost with 100 replies from people name-dropping trans bloggers they don't like. try to open your mind and assume for the duration of this post that I am not cynically trying manipulate thousands of tumblr users into making Bro the next big swear word, but a fellow queer human being who thinks you're all being pretty intentionally obtuse about an upsetting trend in our community

to be clear: this post is about the issue of trans women being called bro, dude, man, etc., particularly in recent tumblr discourse about transmisogyny, and the backlash they face if they get upset about it. this is also maybe moreso about the shitty ass excuses I see tme people make for why they supposedly can't stop doing this.

so let's go through some of the things I've been seeing people say they don't understand, supposedly in earnest, about this issue

"I DIDNT USE DUDE AS A MASCULINE TERM. I CALL EVERYONE BRO. MAN IS A GENDER NEUTRAL TERM"

I'm not actually going to exhaust my list of reasons why dude/bro/man are not strictly neutral, but you should be pretty aware that all words have context. Dude might be seen as neutral in many contexts, sure, but 'woman who is frequently called a man by others' is a situation where the context adds extra meaning to your words, just like calling someone "sweetie" might be neutral in some cases, but if you've got the context of knowing that's your coworker who's half your age, it's a bit less neutral. If you're not capable of reading that context and being tasteful about when you say dude, then you need to at least be ready to respond gracefully when someone asks you to stop. This is the part I'd rather focus on.

"BUT I DIDNT MEAN IT THAT WAY. IM NOT TRANSPHOBIC"

I think you should consider broadening your perspective *beyond* your intention behind the word. people may already understand that you meant the word neutrally and therefore didn't have transmisogynistic intent, but that's not really the entire scope of what people are saying. if that's your only concern, you're just trying to clear your record, not actually listen to what they're saying.

there are lots of words people don't enjoy being called, and in most cases, when they say 'pls don't call me that', people respect that and move on. even if the word isn't a slur, if it hurts someone's feelings, we all as a society have agreed that it's pretty shitty to keep calling them that. if your friend asked you not to call them 'buddy' anymore because their dead grandparent called them that, or something equivalently personal, you'd probably respect that instead of telling them 'but I call everyone buddy!!' right? even if you didn't really understand why it bothered them so much?

there is a prominent tendency for trans women to be denied this privilege, and when they ask not to be called dude or bro, people don't seem to respect this request as much as they would in other situations. when I accidentally use a gendered word and someone tells me they don't like it, I try to respond with something like "my bad, I didn't mean it as misgendering but I can see you were still bothered by it, so I'll try not to keep saying it. sorry!" and most people are willing to accept that. when trans women ask people this favor, a lot of people get VERY defensive, and treat the request as inane or unfair, instead of just apologizing and moving on. this is why people are upset when this happens, and it's why people are calling your actions transmisogynistic

also like you might not be doing this, but a lot of people DO use dude and bro in an intentionally gendered way to make trans women uncomfortable. it's a power play bigots use to talk down to them or otherwise maliciously harass them. do you know what arguments they use to defend that behavior when called out on it? 'oh I call everyone that' 'dude is gender neutral calm down' 'dont overreact its just a word'. by acting like this, youre all just giving credence to those same arguments.

"WELL THEY SHOULDNT GET SO MAD AT ME WHEN I DIDNT MEAN ANY HARM"

they can get as mad as they want!! also, are you sure they're 'mad'? or are they just expressing their feelings about a negative topic to you, and it makes you feel bad, so you have to make them out to be unreasonably emotional? how do you think they should have phrased 'dont call me that' to better spare *your* feelings?

also like, in most cases, these women do not knowww you. if your main response to someone saying you disrespected them is to say "I didnt mean it that way, I meant it in a friendly neutral way", well that's NOT YOUR FRIEND! she has no idea what your opinions are or what you think of her!!! she has no reason to assume you only upset her in a friendly way and not a bad unfriendly way! but she did get upset, and she did the one thing she can do which is *tell you what upset her* and your response is to say "well actually you shouldn't be upset at all"??????

and another thing:

it's not just the issue of using the word 'dude', it's because you're coming off extremely dismissive of women who have asked you to stop doing something that harms them, and because your argument is basically that they just shouldn't be so bothered by it. or that they're stupid, irrational, or otherwise crazy for telling you that it bothered them at all, just because you Technically used a gender neutral word according to Your Rules. be honest, does that seem fair? If people were calling you something that bothered you enough to ask them to stop, and they responded like this, how would it make you feel?

focusing solely on your intent and what the words mean when you use them is the same thing as saying "just get over it". no woman should need to Prove to you that 'dude' is gendered for you to care about what she's saying. the fact that you're asking people to do that sucks and makes you look bad, which is why people are arguing with you and calling you a misogynist.

especially those of you who are only doing this with trans women who are actively arguing with. you're wielding misgendering as a cudgel and we can all see it, grow up please.

#discourse cw #transmisogyny cw

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blossomthepinkbunny · 2 months

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Vivzepops fetishization of queer men and the lack of Sapphic content in HH and HB

I found it a bit dissapointing that Charlie and Vaggie had very little interactions that could be read as romantic or sexual, especially since they are the supposedly the main couple of Hazbin Hotel and have been together the longest out of most of the couples in HH and HB.

Of course having more casual representation is also fine but the most memorable thing about their relationship was the quickly resolved argument they had when Charlie found out about Vaggies past. I've seen different opinions about how they were handled as a pair.

I understand when someone says that they enjoyed a more relaxed couple with subtle, realistic interactions, interactions that are often overlooked just because both characters are female.

But I can also agree, that they were really not a stand-out couple (wich is weird since Charlie is the main Character) and that it was a bit dissapointing to not see a lot of content for them.

Now the main issue I found with this is that in Vivzepops stories there is a definitive lack of sapphic content. It sometimes seems like women are sexless unless they are with a man. But two men can be sexual and openly affectionate (romantically too). At first I didn't really understand why I felt weird about Chaggie as a couple, so I looked at all the implied/canon ships in Helluva and Hazbin (including past relationships).

Implied/canon couples between a man and a woman:

-Millie and Moxxie

-Blitzø and Verosika

-Stolas and Stella

-Millie and Chaz

-Beelzebub and Vortex

-Sir Pentious and Cherry Bomb

-Adam and Lute

-Lucifer and Lilith

Implied/canon couples between two men:

-Stolas and Blitzø

-Asmodeus and Fizzarolli

-Moxxie and Chaz

-Angel Dust and Husk

-Vox and Valentino

Implied/canon couples between two women:

-Charlie and Vaggie

Now please tell me if I missed any, but these were the ones I could think of.

Honorable mentions include Loona & Vortex, Blitzø & Striker, Blitzø & Chaz and Blitzø & Fizzarolli. But I didn't put these on there because they're either one-sided or don't have enough romantic content.

Now it's very easy to see the difference between representation for queer men in comparison to queer women in these shows. The only relevant (im not counting Background characters) Sapphic relationship there is, is Chaggie. And it's completely underrepresented when compared to the content the man x woman or man x man ships get (not to mention the total absence of gender-queer characters).

One of Millie's and Moxxie's jokes is that they're so in love, that they're almost always cuddling, holding hands, talking sweet or just straight up making out with eachother (I'll talk about Millie a bit later). Sir Pentious had multiple scenes dedicated to him trying to confess to Cherry Bomb or just crushing on her in general.

Stolas' and Blitzø's relationship has become one of the main topics of Helluva Boss and they get a Backstory and explicit aswell as dramatic scenes for them as a couple. The same goes for Asmodeus and Fizzarolli (except that their love isn't as important). Angel Dust and Husk get a song and part of an episode for their relationship to develop.

Here i'd also have to mention that by the list I made Vivzepop's fetish for queer men is very prevalent. Most of the couples between men and women are either past relationships or they get very little attention to them. The only ships that often get special focus, development or explicitly romantic/sexual focus are ships with two men (no matter if their dynamics are even good, healthy etc.).

Now for Millie there are different ways you could talk about her situation with relationships. In general I think that everyone can agree that Millie lacks Character and is a good representation for the neglect of the female characters. Most of her moments revolve around Moxxie in a way and she hasn't had precise characterization so far.

Millie's relationship with Moxxie is sweet and simple and is generally one of the better things about Helluva Boss (if you ignore Millies lack of personality wich really pulls the couple down for me). Now the Episode "Exes and Oohs" shows the mutual Ex of Millie and Moxxie. Chaz dated both of them and as we see in the episode affected both of them very negatively. At the start we literally see Millie freak out and destroy a bunch of stuff, just because she saw Chaz on the street.

Yet Millie's relationship with him is never explored further. All we know is that she dislikes him and that he's a giant asshole. Whereas Moxxie get's a whole Backstory and episode plot about him and Chaz. No focus is given to Millie at all even though Chaz is the ex of BOTH of them.

Another thing that I wanna point out is Millie's possible Bisexuality. Now im not so sure for this point because I couldn't find genuine confirmation on wether Millie is actually confirmed to be Bisexual or if it's just a headcannon. So take this with a grain of salt BUT if Millie is Bisexual then she perfectly shows how little Vivzepop cares about Sapphic representation. What does Moxxie get to confirm him as Bisexual? An ex of the same gender (also multiple explicit flashbacks with him), a whole discussion about his queer identity and a scene where he literally says that he's Bisexual. Moxxie is pretty good Bisexual representation in that regard.

What does Millie get? Nothing. Again I don't know if she's genuinely also Bisexual or if it's ever been confirmed but it'd also be pretty weird if Vivzepop apparently cares so much about queer representation and then doesn't confirm any female characters as actually queer.

I think a lot of people have talked about her blatant fetishization of queer men and I think that that's also mainly why I feel weird by the lack of attention on Vaggie and Charlie as a couple.

I sorta wish I could enjoy a more toned-down and realistic couple in these shows, but when I see that a ship like Vox and Alastor (wich isn't canon nor would it even happen since Alastor is Aroace) is talked about more than the actual main character's relationship I just don't like it.

There's so much more you could say about poor queer representation by Vivzepop (like the fact that she's fine with people ignoring Alastors Aroace identity, and the stereotypes etc) I mainly wanted to talk about the neglect of her female cast in terms of sexuality.

#hazbin hotel #hazbin hotel charlie #hazbin hotel critical #hazbin hotel criticism #hazbin hotel critique #helluva boss #vivzepop critical #vivziepop #helluva boss critique #helluva boss millie #helluva boss critical

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likelytowritesomestuff · 1 month

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Hazbin Hotel Headcanons!

- Angel decided to join the Hazbin Hotel because of the free room, but also because Charlie reminded him of Molly

- Charlie learnt some spanish from Vaggie and uses it when she wants something... and Vaggie sometimes regrets she taught her XD

- Husk and Alastor are the only ones who know Nifty's backstory

- Sir Pentious didn't immediately understand Charlie and Vaggie were a couple. Then one day he saw them kissing and he was like: "You're together?" and Angel was like: "Wasn't it obvious?", but Charlie immediately explained it everything and then there was a whole conversation about how it was like being queer on Earth when they were alive

- actually Pentious and Cherry just talked during their last night at the hotel and got to know each other better and liked each other more... even if we all know the ending 💔

- same as Husk and Angel. They did one last game of cards and it was the best way to spend what they believed it could be their last night at he hotel

- when Angel notices Alastor is tormenting Husk, he flirts with the demon radio because he understood flirting makes him embarassed and confused so Husk can take a break (obviously Husk loves being defended by Angel, but he is a little tsundere so he only says a simple: "Thank you" even if they're becoming closer day by day)

- Husk and Lucifer became friends due to their dislike for Alastor and noticing his interactions with Angel, Lucifer tries to be the best wing man so they can have what he and Lilith had...

- ... when he drinks to much, he talks about Lilith no stop and Husk knows more than he wants to know (luckily Charlie is never around)

- Lucifer always tries to make Vaggie call him 'dad', but she never does... but she likes to be appreciated by his father in law (besides, being both fallen angels make them bond even more)

#hazbin hotel #hazbin hotel headcanon #hazbin hotel husk #charlie morningstar #angel dust #alastor #nifty hazbin hotel #hazbin hotel lucifer #vaggie #sir pentious #cherry bomb #huskerdust #chaggie

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qqueenofhades · 9 months

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Good Omens Season 2: Some Thoughts (and also Screaming)

First, /screams

Second, obligatory disclaimer that this meta contains MAJOR SPOILERS for all six episodes. If you somehow have managed to remain virginally unspoiled, look away now, scroll past, or add "good omens s2" and "good omens spoilers" to your block list, as those are the tags I have been using for all posts and reblogs.

Third, /screams more

Okay okay okay. Deep breaths.

Anyway, so, uh, how about all that, huh? First, the good thing about the tone of the season overall was that it felt considerably darker and more adult, in a good way. We didn't have the precocious kiddies, the kitsch and literally-comphet Anathema and Newt, the so-clever narration, etc. All that was gone, which makes sense when you consider that a) the end of last season saw them reboot into an entirely new universe, and b) the fact that God has gone silent is, in fact, a major plot point for the season. We don't have Her slyly telling us the story, or indeed anything, and everyone is left to make their own judgments and take their own actions. Which, obviously, gets them into a lot of trouble, especially when Metatron (the Voice of God, aka someone acting in the belief that they're speaking for God and therefore doing terrible harm) swoops in with the ultimate buzzkill at the end of episode 6. But we'll get to that.

The downside was that the main, present-day plot (hiding Gabriel in the bookshop and trying to get Nina and Maggie to fall in love) was fairly thin, felt stretched out and at times weirdly paced, and otherwise existed mostly to get us to That Ending and the setup for season 3. But the ending was so damn good (if obviously, very painful) that I can't be TOO mad, not least because we spent six episodes with them just making absolutely no pretense about the whole thing being as incredibly homosexual as possible. I'll be honest: I did not think they were going to actually, explicitly go there. Neil Gaiman has been so consistent about "your interpretations are valid and you're welcome to read it however you want, but the only canon is what's on screen," which I think is frankly a good thing (not least since the Neil GAYman Cinematic Universe is consistently very, very good to us queers), that I just... didn't quite think they'd pull the trigger. Sir Terry is dead and can't have active input, this is based on a book published 30 years ago, maybe they didn't want to make it LIKE THAT... etc. I certainly hoped, but I didn't really think they would.

Uh. Well.

As I said in my various semi-coherent liveblog posts, I honestly don't think there was a single straight person in the entire season, among both major and background characters. Aziraphale/Crowley and Maggie/Nina are the obvious paralleling couples, but Beelzebub (using "they" pronouns and addressed as "Lord" despite presenting as femme/femme-adjacent) is clearly nonbinary and therefore also queer, and the countless gay/queer side characters were just /chefs kiss. From Job's son making a sassy pass at Aziraphale, to the random Scottish goon with Grindr on his phone (which he then gives to Aziraphale, because what is subtlety), to the interracial couple with the trans spouse at the Pride and Prejudice ball, there was just a lot of casual, unremarked, non-story-critical queer representation visible at every turn. It's like the NGCU saw the bigots wailing about Sandman season 1 being extremely gay and went CHALLENGE ACCEPTED, LET'S MAKE GOOD OMENS 2 EVEN MORE GAY.

God bless.

Obviously, Jon Hamm as Amnesia!Gabriel stole the show (he was SO fucking funny) and it was also incredibly fun to watch Miranda Richardson repurposed as a scheming demon. Nina Sosanya also reappeared as Nina the coffee shop owner, which leads us into the Maggie-and-Nina subplot. They're obviously, wildly, incredibly clearly an analogue for Aziraphale and Crowley themselves, but they're also each, crucially, a mix of both. On the surface, Maggie is Aziraphale: the plump, blonde, earnest, sweet-natured one owning a slightly dated book music shop and somewhat clueless about emotional nuances, while Nina is (also on the surface) Crowley, the hard-edged dark loner who doesn't want to open herself up to people or be spotted caring. But emotionally, Maggie is Crowley: the one openly pining, clearly besotted, only wanting to hang around their crush and do whatever they can to make themselves useful, while Nina is Aziraphale. Interested but reticent, attracted but conflicted, trapped in an abusive relationship with a demanding offscreen "lover" (Lindsay/Heaven) who tries to constantly control and shame them without ever offering much, if anything in return. By the end, they bring themselves around to what Maggie/Crowley are offering, but by then, well. We've got a lot more problems on our hands.

As I also said in my earlier posts, this entire thing has always been a metaphor for religion, queerness, and what religion -- especially abusive, fundamentalist, organized religion -- does to queer people, but they really cranked the FUCK out of that metaphor this season. Aziraphale is guilt-tripped, controlled, and shamed for his attraction to Crowley at every turn. He is torn between his imagined duty to Heaven, in all its ignorant, uncaring, bureaucratic, gratuitously cruel system that he still insists on seeing the best in because he can't bear the alternative, and the chaotic and sometimes grey but genuinely more good morality that Crowley offers him. (Can I just say, we were explicitly shown that the two of them together doing "just a little miracle" are more powerful than Heaven AND Hell combined.) And at the end, he's told that the only way he can be with Crowley -- what Metatron explicitly blackmails him with -- is if they both go back to heaven, submit themselves to the cruel system again and give up everything that has made them who they are: their home in London, their human friends, their reliance on each other, their independence, their own ways of doing things. You can be queer in this (religious) framework, but only the limited, watered-down, controlled, controllable, constantly-under-supervision kind of queer, which relies on both you and your lover "converting" back to the true faith. And if you don't cooperate, they will literally kidnap you, lie to you, manipulate you, take you from your soulmate, and force you right back into doing the one thing (destroying the world) that you never, ever wanted to do in the first place, because in their minds, that is still better than this. It's for your own good.

Ouch.

And the thing is: that's why the ending a) hits so hard and b) is so fucking painful, because of course Aziraphale agrees. He has no conception of being able to defy Heaven on his own; he has always, always needed Crowley for that. In the flashbacks, when Aziraphale is faced with an order from Heaven that he desperately does not want to carry out (such as letting all Job's children get killed), he still relies completely on Crowley to "outsmart the rules" and find a better way. Crowley is A Crafty Demon; that's what he does, and so Aziraphale rationalizes it to himself that therefore that must be fine. Even in season 1, when he really didn't want the Apocalypse to happen but initially thought it was his duty as a good Heaven footsoldier, he relied on Crowley to talk him out of it and allow him to do what he really wants instead. That's their whole dynamic in a nutshell, as exemplified in that scene in episode 2, where Crowley tempts Aziraphale with the "pleasures of the flesh" while sprawled on his back in Ravish Me mode like the giant walking gay disaster that he is. (Sorry, buddy. That beard. Can't do it.) Everything that Aziraphale's existence is, that makes him who he is, that he loves and cherishes the most (in this case, food and wine) comes from Crowley. Everything else is just background noise.

Throughout the season, what we see is Aziraphale increasingly coming around to the fantasy of being with Crowley. He's coy and flirty; he talks about "our car" and expects Crowley will let him (which he does); he wants to have a Jane Austen ball and for them to dance together (oh my heart); he even thinks, at the crucial moment, that the best way for them to be together is to go back to heaven just like they were in the beginning, once more perfect angels, as if those entire six thousand years of struggle and grief and pining and separation and falling didn't happen. And Crowley -- poor, poor, brave, devoted, heartbroken Crowley -- has just heard for the first time in said six thousand years that actually telling the person you love how you feel is an option. Maggie and Nina tell them point-blank that their whole stupid plan failed because people aren't chess pieces who can be moved and automatically achieve the desired result. And of course this gobsmacks the dearest and dumbest Ineffable Husbands, because they can't conceive of anything else. People are chess pieces in the Great War of Heaven and Hell; Aziraphale and Crowley themselves are chess pieces who have been desperately trying to get out of being moved by external forces, but that doesn't change the fact that that's what they are. They don't have volition or agency aside from that which they can sneak for themselves in brief and stolen moments. That's it.

Until, well. It's not it. They discover that this whole would-be war is actually an elaborate ruse to cover up another angel-demon romance, that of Gabriel and Beelzebub. (I'll be honest, I'm 99% sure they did this storyline because they saw the fans crackshipping them, but I appreciate a fictional narrative that values and incorporates its fans' input, rather than trying to constantly "trick" or "outsmart" them or "do what they don't expect.") And Gabriel and Beelzebub get to be together, but only by leaving their world forever. They have to desert their homes, their structures, even their own identities, and never return. And Crowley and Aziraphale are so rooted in their "precious, perfect, fragile" life in their little corner of Soho, with their bookshop and their Bentley and their dining at the Ritz (which they didn't get to do in the end because METATRON /shakes fist), that that just doesn't work. Neither of them can conceive of doing that. So Aziraphale thinks "go back to heaven and try to make the terrible system do some good and take what we can in terms of being together" and Crowley just... pours out his heart. He's ready to fucking propose. He barely stops himself from saying something to the effect of "I want to spend eternity with you." He begs, he pleads with Aziraphale to go away not in the literal sense, but the emotional/metaphysical: to finally break this toxic dependence on Heaven and tell them once and for all where to stick it. And because he is desperate to make Aziraphale understand, he finally throws all caution to the winds and recklessly, desperately, adoringly kisses him, the one thing he's wanted to do for ages and...

Gets. Shot. Down.

Ugghhhhh. I'm suffering all over again. Aziraphale wants him, hungers for it, for them, and yet he's been so abused and so conditioned by Heaven (he's still blithely repeating to Crowley's face that "Hell are the bad guys!") that he just cannot accept that kind of desperate, blind, limitless, lawless affection. He even forgives Crowley for this "transgression," just to really twist the knife, and Crowley just can't take it, can't face up to how terribly this has all gone up in flames, after he went to heaven trying to find the answer for Gabriel's situation. Gabriel, who he fucking hates. Gabriel, who tried to kill the angelic being he loves (and for which Crowley has transparently never forgiven him). And yet at one pouty puppy-eyed look from Aziraphale and a warning that whoever is harboring Gabriel might be in danger, Crowley leaps headlong into the Bentley again and rushes to the rescue while "Good Old Fashioned Lover Boy" is blaring. He stoutly protects Gabriel; he does a miracle to disguise him; he lets him have hot chocolate and stay in the bookshop; he guards him from the literal demonic horde outside. All because of Aziraphale. That's it. And then, it still doesn't work. Not only that, Gabriel's absence and decision to forego Armageddon gives Heaven the one tool they finally need to take Aziraphale away from him.

I repeat: Ugghhhhhhhh.

(In a good way. Ngl, I love this angst. This is the kind of angst my brain Thrives on, the Thematic Parallel Romantic Character Arc kind. Nom nom nom. But also: AGONY.)

I also need to talk about Aziraphale driving the Bentley, aside from the obvious metaphor of him being in Crowley's home while Crowley is in his. Last season, we had the "you go too fast for me, Crowley" scene with them sitting in said Bentley, which was Aziraphale saying he's not ready for a relationship. In this season, as noted above, we see Aziraphale increasingly embracing the potential fantasy of being with Crowley. But here's the catch: when he's in the Bentley this time, driving it, setting the pace, acclimating to the idea, he's driving his own idea of what the Bentley/his relationship with Crowley is. It's not the real thing. He plays classical music; he supplies himself sweets; he turns it yellow; he drives too slow. Crowley calls him in another old-married-couple snitfit to complain that Aziraphale's messed it up, but what Aziraphale has actually messed up (or will, by the end of the season) is far more consequential than just a car. He's changed the entire shape of their relationship to the one he thinks can make it work, and it just doesn't. It has to be them -- "we could have been... Us" -- or it's not even close to the truth. It's not worth their time.

I repeat: Ouch.

Speaking of the writers validating fan theories, I know we all picked up and screamed about on Crowley's idea of Peak Romance Guaranteed To Fall In Love being sheltering from rain and gazing into each other's eyes, which confirms that that poor bastard was indeed ass-over-teakettle gone as soon as he met Aziraphale (again) in Eden. I also need to talk about the 1941 redux, because wow. This time, the danger comes from Hell, which we see being its usual self: gleefully, pointlessly cruel, pettily backbiting, dirty, sniping, tedious, endless, determined to mindlessly destroy because They're The Bad Guys and they like it. So they blackmail, spy on, miracle-block, illicitly photograph, and try to prove that Aziraphale and Crowley are secretly a couple, right after Aziraphale himself has just had the Light From Heaven realization that he's in love (which we all also picked up on in s1). They're forcibly outing them (to speak of more Religious Queer Trauma) in order to break them up/get them into trouble with their authorities/families. Aziraphale and Crowley manage to escape it mostly by dumb luck, but Crowley having an altogether freakout, hands shaking, barely able to actually point the gun at Aziraphale even in the knowledge that it's supposed to be fake, is just... wow. He can't even fathom the idea of ever trying to destroy him in earnest, especially when he knows on some level that Aziraphale also finally just realized his own feelings. So I just need to --

/screams

Anyway, Aziraphale's entire arc this season is doing what he thinks is the right thing and then inadvertently causing harm and damage as a result. In the Edinburgh flashbacks (live slug reaction of me: SEAN BIGGERSTAFF???!!) he tries to stop Elspeth from stealing bodies and gets Morag killed and Crowley drinking the laudanum to save him (though that part with David Tennant just riffing left and right, using his natural Scottish accent, and being Tiny Crowley/Huge Crowley was hilarious). He invites his neighbors to a Pride and Prejudice ball and makes them all the target for demonic attack. And of course the Job episode: Aziraphale, horrified at Heaven's callous cruelty, desperate not to get Job's children killed, willing to go along with Crowley's tricks to save them somehow, tempted by Crowley to do the fucknasty with their angel bits eat some food and decide that he likes it. As mentioned, the whole thing about God being silent this season is a major thematic choice. The only time we see/hear God is Her communing with Job from afar. Aziraphale enviously imagines the answers he must be getting (he's not, he's baffled and perplexed), while Crowley longs beyond words to even have the opportunity to ask the question: why? Why do this? Why is this your plan?

And of course, this absence culminates in the Metatron, the Voice of God, the person arrogantly claiming that they're speaking for God and know exactly what Heaven wants, being able to seize Aziraphale by the short hairs and absolutely fuck him over. Gabriel is gone/decommissioned/eloping with Beelzebub, so Heaven needs a Supreme Leader (God apparently is no longer a factor in the equation). And what this Supreme Leader needs to do is finally unleash the Apocalypse that Gabriel decided to pass on (the Second Coming). Aziraphale needs to be punished, taken away from Crowley's influence/love, and put back under Heaven's explicit control, so Metatron spots a great opportunity to do all three at once. It's not an accident that the exact tool he uses to get Aziraphale to agree is "now you can actually be with Crowley!" Aziraphale and Crowley have been trying so hard to hide out from their respective Head Offices, but now all at once, there's this seemingly miraculous opportunity for them not to have to do that anymore! They can be together! They can be sanctioned by Heaven! They can give up all this hiding and sneaking around and lying! Isn't that better?

... As long as, of course, they give up absolutely everything that makes them who they are. No big deal. Minor catch. Probably nothing.

Metatron doesn't let Aziraphale have time to escape, or think it over, or reflect, or anything. He pressures Aziraphale to come with him immediately, or be once more subject to Heaven's implicit wrath/destruction/judgment. Believe me, Aziraphale already KNOWS he's made a huge mistake, as soon as he hears what Metatron really wants: bringing him back to unleash the Apocalypse that Aziraphale and Crowley have given up literally everything to prevent. He doesn't need time to reflect. By the time my man is in that elevator, he's well aware of what a catastrophic misjudgment he's made, and yet --

Aziraphale needs this. He has, as noted, literally always relied on Crowley outsmarting Heaven's cruel orders in order to prevent himself from having to do them. He's relied on Crowley rescuing him ("rescuing me makes him so happy," WELL BUB, IT'S BECAUSE YOU ALWAYS NEED IT). He admits to Crowley's face that "I need you!" He hates Heaven's sadistic meanness, but he has absolutely no framework, in and of himself, to defy it. When the rubber hits the road, he will crumple and try to go along with it, and now he's been put in a position where he's going to have to stand up, defy Heaven, and make the break once and for all BY HIMSELF. He doesn't have Crowley around to do it for him, he has no support, he is going to arrive in Heaven and be shuttled straight off to the Apocalypse 2.0 War Room. The only way he gets out of this is if he actively stands up, if he chooses himself and Crowley and their life, and he has to.

The thing is:

Aziraphale has lived his entire eternal existence Looking Up. Up is the direction of Goodness and Heaven. Up is where Angels go. Up is where Aziraphale comes from and where Demons and Hell are not. But now he's going Up, in a position to take over the whole shebang, and it's the last thing he wants.

So he's going to have to come back Down.

He's going to have to Fall. He's going to have to get back Below at all costs. He's going to have to finally, once and for all, understand what led Crowley to make the choice to leave Heaven and never come back. It's only then that they can possibly be together on any kind of conscious, equal, deliberate footing, claim their own agency, reject Heaven AND Hell, and try to really earn that South Downs cottage and that happy-ever-after, and it's gonna hurt so good.

Now if you will excuse me, /screams

#good omens #good omens meta #good omens s2 #good omens spoilers #ineffable husbands #look this probably could have been twice as long #but i had to stop somewhere #I JUST HAVE A LOT OF FEELINGS

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number1villainstan · 2 months

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I just saw Dune Part 2 (2024) with some friends so here are some Thoughts i guess

I feel like on the whole these movies are trying to either downplay or cut out a lot of the misogyny/sexism in the book, although Herbert's view of gender roles is so pervasive in the book that it's hard to change without completely changing the worldbuilding (the Bene Gesserit especially) and/or certain characters and getting second-order effects that weaken or change the main plot. But they did a good job at least making it much less in-your-face and offensive than in the book. One of Chani's lines is about how "men and women are equal" in the Fremen, and while I don't really think that's supported by how the movie depicts Fremen I can see and respect where they're coming from

It's still a very male-dominated movie, but it's honestly pretty faithful to the book, and like--what are you gonna do? It's Dune. You can't exactly just genderbend Paul and get the same story, at least not when the Bene Gesserit are still what they are

wait now i'm thinking about an AU where the Kwisatz Haderach turns out to be a trans man. ideally you'd get both the canon critiques of white savior mythos/the Messiah trope and a deconstruction of the sexism and strict gender roles of the society of the Dune universe. also ideally you'd get a whole bunch of other queer characters in the same AU. you could also do an AU where the Kwisatz Haderach/a potential Kwisatz Haderach turns out to be a trans woman, or even nonbinary, but i feel like those would make for very different stories cuz AGAB/ASAB seems to matter like A Lot in the Dune universe

the movies did manage to completely get rid of the homophobic parts of the Harkonnens' characterization though. i did like that

although it was still using disability/deformity as shorthand for Ugly Evil Guy which :/

but enough about the Problematic Elements(TM) let's talk about the actual story

Chani was a lot more politically and generally assertive in the movie than I remember her being in the book, although it's been A While and she was also very much a Main Character who had thoughts and opinions and importance outside of the male characters she was affiliated with (as much as anyone can escape the political black hole that is Muad'dib but) AND! she actively advocated for Fremen self-governance in the beginning! although she didn't keep it up cuz she got sucked into the Paul black hole. this may have happened in the book it has been like two years since i read the first book and it was very disjointed reading cuz College(TM). I also liked the ending part, where it was implied that Chani was leaving, on her own, because she was angry with Paul, which implies More Character Development. (Also they didn't seem to do the Fremen polygamy/concubines thing in the movie, which was a good call, i feel like that part of the book was maybe informed by anti-Arab racism)

Jessica was incredible, of course. Love me a good ruthless woman. Her main character trait/motivation was definitely Paul's Mother but her main personality trait seems to be incredible ruthlessness. there is no madonna/whore complex to be found here no sir

(i may be wrong about that part but eh)

And of course the Harkonnen Blood reveal. the story definitely sets up Atreides as The Good Guys (fair, just, merciful, looking out for and caring about the people under their rule) and the Harkonnens as The Bad Guys (cruel, unjust, power-hungry and traitorous), which makes the reveal that Jessica and Paul have Harkonnen blood an incredible symbol of Paul's corruption arc. He goes from "I must do anything possible to avoid the holy war" (the Atreides way) to "CONQUER ARRAKIS AND ELIMINATE ANYONE WHO STANDS IN MY WAY" (the Harkonnen way) over the course of...technically years, in the book, although that wasn't super well communicated in the movie I feel--in the movie it was only months, cuz Alia hadn't been born yet by the end. And right before we see the worst of it we end up learning that Jessica, his mother, was a daughter of Baron Harkonnen. Jesus fuck.

there's definitely some Not Great elements about using ancestors/blood to determine morality but still

princess irulan was introduced! as an independent character and actor in her own right oh my god! although she still falls prey to the sexism infusing the original material

the dune books (at least the first two) are in this weird state where there are very strict and specific roles/walks of life that female characters are allowed in (domestic/family life and religion) and men dominate Everything Else and nobody every questions that, not to mention the whole thing about how apparently even the very female religion/psychic field is supposed to be dominated eventually by This One Man who can do it better than all the women, and yet all of the female characters are well-developed and feel like people. ykno aside from the complete lack of protest in being shoved into a sexist role

anyways irulan got more development than i remember from the books, i loved that, and that we got her POV too. these movies are really working to uplift and spotlight the female perspectives that were often somewhat sidelined in the books and i love that

also stilgar's (blind?) faith REALLY came through which i liked

overall, yeah, the movie was great. it's very faithful to the spirit of Dune while addressing some of its flaws/datedness--it understands what its message is and what it's saying, and the way it's constructed really hammers home the critiques of imperialism and racism the original was built on

I think this is gonna end up a trilogy, based on only the first book, and it very much seems like the third (and final?) movie is going to specifically focus on the war against the Great Houses after the Emperor falls, which iirc was kinda glossed over in the book/between Dune and Dune: Messiah. I can't wait to see what they do with it

#dune #dune part two #dune part 2 #dune part two spoilers #dune part 2 spoilers #dune 2 spoilers #dune 2 #also that one poster where it's paul and chani walking forward with the sun to their backs and chani is VISIBLY IN FRONT OF PAUL #frank herbert could never

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