#and those themes are clear in his work and in queer and SO clearly influence the creation of william lee

[oldbutchdanielcraig]

What is your interpretation of the breakfast scene in Queer? I am still grappling with my emotions about it. Why is Eugene so violent? And why is Lee saying all of that after? I’m very curious about your insight.

it's literally one of my favorite scenes in the whole movie i love it SO much and i think it says so much about the characters because it's the one time they clash without a deescalation. normally lee backs down or gene laughs it off but this time they meet and collide and sort of hiss at each other like alleycats because neither of them are even brave enough to have a proper fight.

gene is so violent because of what i think is like. a buildup of all the parts of lee that (for lack of a better word) he can't stand? like he 100% is starting to feel a lack of the independence he craves because he and lee are spending most of their time together and becoming increasingly more affectionate with each other. #1 notable thing about this is that in the scene directly before (which i take to be the afternoon or i guess a couple of days max before that morning) there's this whole exchange where gene is visibly enjoying their sex and being plainly affectionate with lee and admitting aloud that he enjoys the sexual aspects of their relationship which is like. the one thing someone in his position shouldn't do. it's absolutely intentionally a one step forward, three steps back thing for gene because he's like. well i've let lee know that i like him. now i have to let him know i Really Don't. and i love that about him soooo much.

lee here is the MOST special to me though because he's presenting his conflicting urges in this undiluted way that's wrapped up in a sort of performance so as to obfuscate the fact that he's being himself. i think "aren't you taking unfair advantage?" could be my favorite lee line because it's just so. this line is coming from the guy who for the entire movie's runtime has been like "please let me take advantage of you please let me isolate you i want to be the only person in your life i want to control you i want to use every advantage i have over you against you" and all of the sudden he's like "aren't you taking advantage of me? the sweet and innocent baby?" and like. the modicum of truth in his routine i think is that this is Actually how he sees himself. it could be manipulative and it might be if it was someone else but it's just not because lee actually believes he's childlike in this way and there's some level of awareness in him that his performative masculinity is just a performance. bringing up the bout of junk sickness is a sensitive thing for both of them too because it's this moment of weakness from lee and moment of tenderness from gene which is like. another thing they both crave but are both really afraid of.

it's really awesome ultimately because this might be the most direct they get with each other but they're still just completely speaking past each other and just laying out their desires but not understanding each other at all and not really finding any sympathy for each other either. it's as close as they get to spitting their hearts up at the same time and leaving them beating on the floor tbh. and god i love it when they fight.

[dduane]

…So once again it’s the time of year when I return to this piece of digital art in its most recent version, tweak it a little in the attempt to get closer to what I see in my head, and repost it for Pride. (ETA, 1 June 2025: this year's version of the image is rerendered to reflect the ongoing business of getting the varying skin colors of the Five properly nailed down.)

At the moment I’m looking at These Two Idiots (because honestly, in some ways they are...) and considering, once again with the usual bemusement, how long I’ve been working with them. Of all the characters I’ve worked with in print, the only ones I’ve known longer would be the crew of NCC-1701—and (as of autumn 2024) for the first time in paid writing, a couple of gentlemen named Holmes and Watson.

I first “met” the two characters above in late 1970 in the form of two fellow college students on whom they’d be loosely based: a couple of gents—not gay, as it happens—who were friends to me when I badly needed some. They were a tall dark-haired guy and a short blond one with a mustache that came and went… so that, not even knowing the word “trope” at the time, I'd fallen sideways into at least one.

Less than a year after I met them, I changed schools and educational tracks, and we all drifted apart. But something about those two stuck with me. The nature and depth of their friendship was unusual. So was one way it manifested itself: in ruthless snark that had no meanness or cruelty about it whatsoever—just (sometimes slightly rueful and eye-rolling) affection.

In the late sixties I’d pivoted from the Star Trek fanfic I'd been writing practially since the series premiered, to start in on writing some very derivative epic-fantasy fic strongly influenced by Tolkien. Rather to my surprise, though, as I started nursing school in 1971, the nature of that fiction started to change, and began rearranging itself around two characters who had a friendship like that of my college friends. With them at its core, a rather different and subversive kind of medieval-flavored fantasy world started knitting itself together from various scraps of themes and imagery lying around in the back of my brain.

Even so early in the construction phases of this world, something the characters quickly made plain to me in the writing was that their relationships with one another were not what mainstream 1970s culture would consider conventional. They were unquestionably what we'd now think of as queer… but that was a background issue,* and not at all the most important thing in their lives. They had far more important business to deal with—as became clear as their personalities and priorities started filling themselves out in the foreground.

One of them turned out to be the deliberate, analytical, methodical son of a provincial nobleman, all too aware of the expectations of those around him: that he was eventually likely to wind up running that province himself. Yet at the same time he also became aware that he had other more serious problems—chief among them the discovery that he possessed a nascent power that would kill him young if he failed to master it. And in the last thousand years, no one of his gender ever had.

The other presented himself more and more clearly as a difficult case: someone who wanted very much to be good at the family business, but wasn’t… and knew it. Kind of a screw-up, full of romanticized and unrealistic takes on the world and his relationship with it: repeatedly doing the wrong things for what he was sure were the right reasons. Yet no matter how often he screwed up, he was also the kind of person who keeps picking himself up and trying again, because he’s been told over and over that that’s what people like him have to do: otherwise they’re no use to anybody.

Imagine my shock when I realized that these two men—initially canonically enemies in their adolescence, then best friends as they grew, and eventually much more—were the (incomplete) answer to the question I’d once asked my Mom at the end of the bedtime reading of some fairy tale or other: “Why can’t a prince rescue another prince?”§ Because one of them got himself more than once into situations where he really needed one kind or another of rescuing. The other one obliged him, while once or twice getting rescued (in different modes) himself. Those interlocking patterns started to solidify out of concept and into character detail and plot, while their world grew and proliferated into its own detail around them.

Then, without warning, in 1978 both world and characters decided they were ready to get real. I was abruptly dragged gasping and flailing under the surface of a novel that would begin the tale of what those two characters had yet to become. The period it took to produce that first draft was possibly the most interesting six weeks of my life… and that includes the six weeks during which I first scrubbed in on brain surgery. Day and night, for days at a time, I barely even existed except as something for a novel to come out of. When it was done with me, it just as abruptly dumped me back into my life and wandered away, leaving me staring around, blinking and wondering if anybody’d got the number of that truck. Nothing like it has ever happened to me since, which may be just as well. I’m none too sure that these days I could handle the strain.

The book—which sold within a couple of weeks of its manuscript landing on its first publisher’s desk—kicked off my career as novelist and screenwriter, and in its way proved that the world was at least slightly ready for epic fantasy in which the basic culture was pansexual, polyamorous, and inclusive in ways that hadn’t been attempted before.

So I owe them a debt, those two gentlemen up there: the tall dark curly-haired guy with the amateur strategist’s mind, the blacksmith’s shoulders, and the peculiar sword, his background thought always nibbling away at the question of how to heal the world’s wounds: and the short fair gent who if he could would stay at home, live quietly in town, and work in the local library… except for when saving the world (or his found family) requires him to subsume his work-in-progress kingship and his being into that of his ancestral demigod. Due to the success of the book in which they made their debut, these two became, in their way, the fairy† godfathers of the Young Wizards—and additionally enabled all that Star Trek fanfic I’d started writing a decade before to proceed to its logical conclusion.

More to the point, though, a lot of people in the 1980s and ‘90s who’d never seen queer representation in a fantasy novel, found it first (or at last) while following Herewiss and Freelorn down their shared road. It’s been my pleasure to hold that space for new readers, and to keep adding to it… because—if you ask me—it’s needed more now than ever.

So, to the readership of the Middle Kingdoms works (now pushing half a century old) and everybody else who’s celebrating the season: happy Pride!

ETA: Just noting here for those who might be interested that, as usual, the LGBTQ Pride Bundle at Ebooks Direct is discounted more deeply than usual for Pride Month. With the usual warning to UK readers: friends, our apologies, but due to Brexit we can no longer sell ebooks to you directly. However, most of these works are currently available to UK readers through Amazon.com.

*Not least because everybody else in their world is (at least potentially) some shade of queer, including God.

§ For certain values of "prince". See here for more detail.

† (snicker)

[crossdressingdeath]

You know, as someone who is gay and has... more experience in abusive relationships than I ever wanted... hearing people talk about how unhealthy WangXian is upsetting. I know I can’t speak for everyone, but in my opinion WangXian is something more queer people need to see. And people calling it abusive when it isn’t is actually counterproductive when you think about it.

Like, I’ve had to play the guessing game of “Do my friends and family have a legit reason to be concerned, or are they secretly homophobic?”. Not a very fun game. You already have people online saying that gay relationships are sinful/toxic just by existing. Just seeing people misinterpret canonically gay couples as toxic/unhealthy just because the relationships isn’t perfect is going to make people not take actual claims on legitimate toxic/unhealthy fictional couples seriously.

I’ve seen so many people try to say that WangXian is either toxic or a stereotypical yaoi couple, and I just think “are we reading the same novel? what translation are you reading?”.

“Forced Gender Roles/Het Coding” – you mean how LWJ typically does more feminine chores, while WWX is more skilled/knowledgeable with traditionally masculine chore? Like in his dream, where LWJ is literally a housewife while his a busy husband?

“Stereotypical Seme/Uke dynamic” – not even mentioning the fact this isn’t yaoi (it’s danmei) and therefore, theydon’t really fit that genre, I really doubt it? Like, WWX is the one who decides nearly everything in the relationship. Regardless of what LWJ wants, he won’t push WWX into anything. In fact, WWX has to encourage LWJ to talk about what he wants/likes. Really, thinking about, WWX is kind of the one in charge.

LWJ might have WWX beat in terms of pure physical strength, but if you think LWJ could win in a fight without WWX letting him, then you clearly haven’t been paying attention. May I remind you, without golden core, WWX took on multiple armies? And the one that killed him only won because he let them. They technically didn’t even kill him! MXY’s body means WWX has a golden core now - he’s not as strong physically but he can work on that - he’s still stronger in every other aspect. It’s basically impossible for LWJ to overpower him.

“Rape/Noncon” - Where? There are two moments where LWJ crosses boundaries... but only one of those moments is an actual boundary crossed. Every other intimate moment that happens, LWJ makes certain that WWX is actually enjoying himself and consenting.

The infamous kiss. A lot of people misinterpret this as something the author threw in because it was “hot”. In actuality, this kiss is important for multiple reasons. While WWX isn’t upset by this kiss, LWJ clearly is. This moment is what causes LWJ to stop trying to force WWX to go back to CR with him – it’s this moment that makes him realize if he continues down this path, he will end up like his parents. This moment is the start of major character growth for LWJ, allowing him to become a better man, one that WWX can actually love wholeheartedly without any regrets. It’s this moment where he decides that he can’t just take little things from WWX anymore - he has to try a different approach to help him, and accept that WWX might never feel the same way (obviously he’s wrong). Like, the impact this has is huge, and it’s another reason why LWJ refuses to mention his feelings to WWX - he doesn’t want to force him ever again. So he won’t. Not even by having WWX agree to be with him out of graditude.

The other boundary crossed is when LWJ spanks WWX during sex. The narration makes it very clear at that moment that it’s not okay, that WWX is uncomfortable and doesn’t like it. And it stops, LWJ moves from it after some nudging from WWX. After the event, they have a serious talk where WWX makes it very clear that while he enjoys a lot of things, LWJ can’t do that ever again of he wants to continue being with WWX. LWJ could have argued, could have said that since they were under the influence of the incense burner, he shouldn’t be blamed for his actions. Instead, he swears never to do anything like that ever again.

This is so important! The message this sends is so important! This whole scene is saying that, no matter what kinks you might have or how kinky you are, your boundaries deserve to be respected. You don’t have to do something you’re uncomfortable with just because you’re kinky and your partner likes it. How can anyone read that and think it’s supporting rape?

Also... if I’m being honest... I actually thought CQL had a more stereotypical Seme/Uke dynamic than the novel. WWX is so much weaker and less observant/cunning... couple that with the fact the he’s not only not even a little guilty of his crimes but he’s actually made into a poor victim with lot of fainting into LWJ’s arms... yeah, he comes across much more like a uke than in the novel. LWJ is also so much more of a stereotypical overprotective seme too. Then there’s the whole thing lack of consent someone else mentioned, with how WWX forces LWJ to drink/how LWJ tricks WWX into marrying him (so he literally did the thing his father did that the fandom finds so unforgivable?). I like CQL, but a huge chunk of those fans are kind of obnoxious and toxic... and hypocritical I guess.

So, I just wanted to rant after seeing so many posts on this topic. I’m just really annoyed. I don’t even know if this makes any sense.

That is an excellent point re CQL. I’ve thought about how they weakened WWX and dumbed him down (presumably to make him more of a victim), but not how that affects his dynamic with LWJ. Also I do want to acknowledge that there is dubcon in the novel; the first time they have sex LWJ is drunk to start and we don’t know when exactly he sobered up. But like... that’s not exactly uncommon in romance novels. And the show has WWX forcing LWJ to get drunk against his will and LWJ marries WWX without his knowledge or consent, which... really isn’t better, especially as the novel does have discussion about how what they did was kind of a mess with consequences and them having to discuss it, which the show... doesn’t. In fact the novel takes consent as a far more important thing than the show does to the point of it being a central theme that the show lacks.

Yeah, I have to say that people insisting that Wangxian (specifically novel Wangxian) is super unhealthy feels like the double whammy of “Ewwwwww gay people who aren’t unrealistically perfect” and “Ewwwwwwwww a woman writing gay romance”. I mean, I seriously doubt that if one of them was a girl and/or the story was written by a dude and nothing else changed people would react anywhere near as vehemently towards it. Like... it seems interesting that the version people are insisting is healthier is the censored idol drama where they aren’t actually in a relationship and the people in charge mostly seem to be men, that’s all I’m saying.

[jmsa1287]

'Penny Dreadful: City of Angels' is a Frustrating Spiritual Sequel

"Penny Dreadful: City of Angels," hitting Showtime on April 26, trades the Victorian Gothic fiction of its predecessor for pre-World War II hardboiled noir and Mexican folklore with varying results.

"Penny Dreadful," which ran on Showtime for three seasons between 2014 and 2016, never really got the praise it deserves. Created by out scribe John Logan, the dark series was inspired by penny dreadfuls; genre stories from the 19th century (perhaps similar to today's Marvel comics) where Logan used iconic figures like Dracula, Dorian Gray, Abraham Van Helsing, Victor Frankenstein and his monster, Dr. Jekyll and Mr. Hyde, and many others to write his own elevated fanfiction with the addition of new characters that he created. The drama was mostly a showcase for Eva Green (an actor who also never really got the praise she deserves), who played the mysterious and powerful Vanessa Ives and was placed directly at the center of the sprawling story.

The show will likely be remembered for the way it ended. Without an announcement or any marketing fanfare, the last episode of Season 3 turned out to be a series finale, with "Penny Dreadful" coming to a shocking conclusion. Now, nearly four years since the drama wrapped up, Logan is back with a new story under the "Penny Dreadful" banner. "City of Angels," which hits Showtime on April 26, is a spiritual sequel of sorts that finds Logan trading his obsession with Victoria Gothic fiction for a hardboiled noir story that's fused with Mexican folklore and set in 1938 Los Angeles.

"City of Angels" also features a new cast (except for the excellent British actor Rory Kinnear, who played Dr. Frankenstein's Creature in "Penny Dreadful"), which includes "Game of Thrones" star Natalie Dormer, "It Follows" actor Daniel Zovatto, and Nathan Lane. Logan, who is credited as creating the new series, returns as writer, penning the first four episodes of six that Showtime provided. This time around, Logan seems to be writing with more purpose and intentionality; "City of Angels" feels more urgent and Logan (who has writing credits on films like "Hugo," "Alien: Covenant," "The Aviator," and "The Time Machine") has a lot on his mind. It's perhaps his most directly political work to date where he draws parallels to the darkness of 2020 (sans the coronavirus pandemic) and attempts to place that anxiety in West Coast America with World War II on the horizon.

Those coming into "City of Angels" hoping it strikes the same kind of tone and kinetic energy of its predecessor might be disappointed. The new show is light on hauntings and ghouls as Logan double downs on existential threats and the curdling America's perception as a land of peace and opportunity for all. The show follows Tiago Vega (Zovatto), the Los Angeles Police Department's first Mexican-American detective, as he and his veteran partner Lewis Michener (an excellent turn for Lane) work on a gruesome murder case involving the deaths four white people. The scene of the crime indicates the slayings were carried out by Mexicans as the bodies are dressed up in Día de Muertos (Day of the Day) garb and makeup, only escalating the ongoing racial tension between white people in and the Mexican-American community in L.A. at the time.

At the core of the show is the shape-shifting evil entity Magda (Dormer), who takes on several forms in order to influence humans so they can carry out her evil acts. Magda fits herself in of the show's many plot threads, allowing Dormer to take on a number of different identities (four in total!). It's clear Logan has positioned the Magda character as his new Eva Green as it allows Dormer to display her acting chops. It doesn't always work, but there are times when Dormer proves herself to be a big force as she transforms herself into women from different walks of life. In one storyline, she plays a mousey but sinister secretary to Charlton Townsend (Michael Gladis), a councilman and the head of the L.A. City Council's Transportation Committee, who is gearing up to construct a highway that would run through, and effectively destroy, a Mexican-American neighborhood. (It's with the Charlton character that Logan lays it on thick with the links to 2020 and basically uses him as a Trumpian figure; in one episode he spews "make America great again"-type rhetoric.)

Elsewhere, Dormer plays a kind German housewife and mother who says she's being abused by her husband to gain the sympathy of Peter Craft (Kinnear), a German pediatrician who happens to be the leader of the German-American Bund. Here too, Logan connects the white supremacism of yesteryear to the burgeoning incidents we see pop up in our headlines today. She also slithers her way into the lives of folks in L.A.'s Mexican-American neighborhood. Here, she becomes a young queer person who attempts to ignite the rising tension and rage towards white and straight people oppressing them.

And that's just about half of the plot in "City of Angels." Storylines eventually intertwine but it takes a long time to get there. Like "Penny Dreadful," this spinoff does feature a lot of queerness, though, again, it takes a few long episodes for that to happen. Logan's writing is upfront and center in "City of Angels" as he pens extremely long monologues for his actors. Each episode features moody and passionate speeches from characters that go on for several minutes. They're clearly having fun delivering Logan's writing, but it can be daunting and even exhausting to watch. But once the show gets where it's going, "City of Angels" becomes truly exciting. Episode four, "Josefina and the Holy Spirit," features one of the most hard-to-watch incidents I've seen on TV in some time and that is followed by one of the most violent acts of murder I've seen on TV in years.

For all of its big-budget showiness, "City of Angels" oftentimes feels like a small, albeit complicated, stage play. For better or for worse, the new drama wears its themes on its sleeve, and actors revel in Logan's writing. Still, there's something missing. "City of Angels" is the latest show to be set in or around World War II. Based on the Philip Roth novel, HBO's miniseries "The Plot Against America" also reimagines American history and posits the idea of what would happen if noted fascist Charles Lindbergh was elected president. Ryan Murphy's upcoming Netflix limited series "Hollywood" reimagines the racial, sexual and social politics of Hollywood's Golden Age. With the slew of these kinds of limited series, many TV creators seem to be interested in the time period of American history at the moment. But as it stands with "City of Angels," the new addition to the "Penny Dreadful" universe feels more in line with Murphy's FX franchise "American Horror Story"; an anthology show that Penny Dreadful" always felt like it was purposely avoiding. With its attempt to express so many themes and ideas, "City of Angels" feels more overstuffed and daunting than "Penny Dreadful," which in hindsight was a focused and lean series. The new drama doesn't veer far from the worst tendencies of "AHS." but "City of Angels" is ultimately a smarter and more eloquent show that isn't as successful as its predecessor.

[queermediastudies]

C.R.A.Z.Y. and the Search for Identity

C.R.A.Z.Y. is a 2005 French Canadian film from director Jean-Marc Vallée.  The film itself centers on Zac, a character that his going through an identity crisis over the course of the film.  Zac also has four brothers.  Christian is something of an egghead who reads everything and is (assumed) to be very smart.  Raymond, whom Zac declares his enemy and is the films problem child.  Then there is Antoine who is the athlete of the family.  Finally there is Yvan, the youngest in the family and the one who speaks the least. The movie itself, focuses on the relationship between Zac and his father. While the movie clearly shows the struggle for identity, and acceptance, this is all the movie really does. It is not actually interested in taking on the greater LGBTQ issues throughout. 

Zac is the fourth born son in the family.  When arranging the brothers in order of birth it is, Christian, Raymond, Antoine, Zac and Yvan.  The first letter of their names, in birth order, spells out C.R.A.Z.Y., which the film uses to symbolizes the dysfunction of the family as a whole.  The boys have all grown up under a strict, incredibly masculine father.  The father’s name is Gervais and he wants all of his children to grow up to be big strong men.  Zac is fortunate enough (or unfortunate enough) to be born on Christmas day in 1960.  He is constantly reminded that his birthday is the same as Jesus Christ (which is significant with him growing up in a very Catholic family) and that because of that he must have a gift.  He is, the film points out, not like other boys.  The film leads audiences astray by saying Zac must have a gift.  If he thinks of people while they’re in pain they’ll get better.  What the film is really alluding to, however, is Zac’s homosexual desires.

The film plays around with the identity crisis a lot.  While Zac is the main character and his identity throughout the film is front and center, the film is really about a father’s love for his sons, but also the toxic masculinity of that father.  As the film begins Zac is a child, and his father’s favorite son.  But as Zac gets older his father wants him to be a “man.”  He doesn’t want Zac to be soft or feminine. A key scene in the film is Gervais stumbling upon Zac wearing women’s clothing and enjoying himself. This moment, Zac narrates, is a moment which “declares war” on his father, unbeknownst to him.

The film goes through three different periods of time.  First the early 60’s when Zac is a child.  The film then jumps to the mid 70’s when Zac is in adolescence and finally ends in early 1981 when Zac is an adult. It’s in adolescence that the film primarily pays attention to Zac and the “problem child,” Raymond. 

Raymond, who represents a lot of toxic masculinity, is shown as Zac’s sworn enemy throughout the film.  Raymond picks on Zac, tortures him, and calls him homophobic slurs. But it is also in adolescence that Raymond begins to develop a drug addiction. Like Zac, Raymond disappoints his father, but it’s due to his drug addiction, not sexuality. On the other hand, Gervais actually sees Zac’s sexuality as more of a problem. 

Zac spends a great deal of the film wanting to desperately win his father’s approval and he does so by trying very hard to repress his homosexual desires.  The movie has a way of communicating Zac’s identity crisis as he explores who he may be.  In one particular scene the audience sees that Zac is a David Bowie fan in the 1970’s.  David Bowie was said to be undergoing an identity crisis during that time.  In 1972, David Bowie said he was a homosexual.  Of course, over the course of his life, Bowie has been quite ambiguous about his sexuality (with the most common answer now being that he was bisexual).  With Zac undergoing his own identity crisis, David Bowie is definitely the perfect symbol in the 1970’s.  In a scene where he’s singing David Bowie in his room the audience can also see the Pink Floyd rainbow spectrum in the background.  Though Pink Floyd has nothing to do with homosexuality, the rainbow is a symbol of gay pride.  The camera makes sure you don’t always see the whole Pink Floyd symbol and mostly shows the audience the rainbow.  

In another scene Zac is seen interested in other boys and trying not to let that show (in one instance he feigns having an infatuation with his cousin when it is, in fact, her boyfriend he’s actually interested in).  

The most important part of his identity crisis comes from wanting to please his strict Catholic father.  Gervais has a Patsy Cline record where he listens to his favorite song: Crazy.  Part of how Zac “declares war” on his father is also because he accidentally broke that record. However, this symbolizes their destroyed relationship. A major subplot of the film is Zac constantly trying to find this record in hopes that this will please his father enough to accept him. 

Catholic guilt, another trait associated with homosexuality within catholic households, is also a major theme in the film. There are several instances of crosses seen throughout.  The mother is devout in her prayers and Zac even takes a trip to Jerusalem where he is able to accept his identity.  The fact that the film spends so much time with a son getting right with his father is likely another Catholic symbol.  Catholics often have to confess sins and ask for forgiveness to get back into the circle with God the Father.  This is exactly what Zac has to do throughout the movie.  Instead of having to get right with the Lord, however, Zac has to get right with his literal father. This can only happen by confessing his homosexuality to his father, and himself. Something Zac spends the majority of the film trying to repress. 

Another interesting aspect of the film is that throughout, it is clear that most of the other characters are aware of Zac’s homosexuality. Zac’s mother is quite supportive of him throughout the film. Even Raymond the “problem child,” ends up defending Zac from homophobes. The only character in denial is Gervais, who spends much of the film suggesting that Zac couldn’t possibly be a homosexual because in late adolescence and early adulthood Zac manages to get himself into a relationship with a woman. During this time in adulthood, it seems like Zac is able to please his father, but this means lying to himself. 

C.R.A.Z.Y. definitely takes the issues of identity and acceptance quite seriously and without a lot of sex.  There are implied sexual acts, but nothing explicit. C.R.A.Z.Y. isn’t out to shock the audience, it is out to show a very real struggle that happens with those who identity as LGBTQ.  There is nothing presented about Zac’s identity crisis that’s funny. His process of coming out and acceptance isn’t treated as a joke, but rather torture. Whether that’s from his father or his brother.  

C.R.A.Z.Y. was a huge critical success, but it was not necessarily a mainstream one. Being a foreign film meant that it was not widely distributed in the United States. It was also a smaller independent project. C.R.A.Z.Y. also came out the same year as “Brokeback Mountain,” but this film’s lack of media publicity makes it feel less like a moment where the culture pats itself on the back, and more like it was trying to present something more authentic. C.R.A.Z.Y. doesn’t rely too heavily on stereotypes. As well as it handles the identity crisis, however, the movie shows that it is firmly a product of its time by refusing to be too political in any sense of the word. 

C.R.A.Z.Y. came out eight years after Ellen had literally come out. The approach that Ellen took was a means of depoliticizing queerness, and focusing on identity (Dow, 2001). C.R.A.Z.Y. is similar in that it does not spend a lot of time focusing on any particular political issues of the day, or even struggles beyond identity. This is especially baffling within the film, as the majority of it takes place in the 1970’s, but has little to say about the ongoing gay rights movement that was taking place in Canada at the time. The movie seems to care little for actually discussing the political climate that Zac is finding himself in. This suggests that the struggle for identity and coming out is one done in isolation, with nothing from the outside creeping in. 

It is also worth examining who created the film. Director Jean-Marc Vallée is known more today for the movie “The Dallas Buyer’s Club,” but he is a straight, cis-gendered, white male. This will often bring about the question who the movie is made for, and why. As Doty (1993) reminds us, the director of a film can actually influence what the audience sees and experiences on screen. Vallée is actually quite known for his attempts at allyship through film, but he has also been criticized for his handling of some of these issues. C.R.A.Z.Y. is his most praised work for how well it dives into identity, but it also shows the reality of who is able to have their projects funded. Could C.R.A.Z.Y. have been made by a queer man? It is unlikely that this would be the case. 

On the other hand, as Joyrich (2014) points out, such displays of identity can still help in smaller ways. I do believe this to be true of C.R.A.Z.Y.. The film came out in 2005 when such topics as gay marriage and visibility were greater topics of discussion throughout Canada and the United States. Nevertheless, the film would still be considered “safe,” by all accounts. C.R.A.Z.Y. is a fairly sexless affair. One that is able to meet the “approval” of most straight audiences. In fact, until the very end, one might wonder if C.R.A.Z.Y. even is about identity simply for the fact that even after Zac fully realizes his homosexuality… the movie doesn’t explicitly state this. The climactic discussion between Zac and his father is one in which “homosexual” or “gay” is never stated, but is explicitly implied. Much like the 2016 film “Moonlight,” C.R.A.Z.Y. is one that largely meets approval based on how little sexuality is on display. This might refer to Guy Lodge’s (2017) criticism that in order for queer cinema to succeed in the west it needs to be sexless. In discussing “Moonlight” Lodge pointed out “it’s hard to imagine an equally accomplished yet more explicit film receiving the same acclaim.” The same can be said of C.R.A.Z.Y. Even though C.R.A.Z.Y. is a French-Canadian film, it is still quite Americanized in its presentation. Homosexuality can be talked about, but it can’t fully be on display. 

This also means that the film risks being part of what Suzanne Walters (2014) refers to as “the tolerance trap.” Walters argues that gay visibility alone is not a sign of progress. “Acceptance is the handmaiden of tolerance, and both are inadequate, and even dangerous, for accessing real social inclusion…” (p. 3) C.R.A.Z.Y. has been praised substantially. It is one of a small number of films on Rotten Tomatoes to have a 100% rating (it is the only LGBTQ film to have such a rating). This praise may not have the same back-patting praise that a film such as “Brokeback Mountain,” has, but it still has the air of “tolerance,” to it. Zac spends the majority of the film either in the closet or repressed--unable to act on his sexuality in any regard. The main point of the movie is his father’s acceptance. This is the goal of the movie--to establish Gervais’s acceptance of his son. Once this is achieved and the “war” between them is over, the movie concludes. Considering that the movie itself ends in the year 1981, this means the movie does not have to deal with the AIDS crisis that will soon follow. 

C.R.A.Z.Y. is a film more concerned with visibility and identity, but does not seek to apply this in a manner that would deem the film too “political.” This approach more to acceptance and identity helps a little, but it isn’t quite enough, even in 2005. It’s certainly better than what the the championed mainstream film “Brokeback Mountain” was. However, the obsession with tolerance, acceptance, and the lack of engaging politically with struggles beyond the personal makes a film like C.R.A.Z.Y. only really appear daring at what it does. It’s feels like more than window dressing because it comes across as more authentic. This certainly allows audiences to empathize with Zac, but it also stands to leave the audience with the belief that empathy and acceptance is all that is required when engaging with LGBTQ people. It’s a lot like saying, “I don’t care if your gay, bisexual or attracted to buildings! You’re still my son and love you!” From a personal standpoint this sounds just fine, but it does not show that one would stand up and fight for LGBTQ rights, or fight to enact change. Rather it shows that one can engage in individual forms of acceptance and tolerance, but that once something more is required than simply the personal, audiences may not necessarily be willing to rise up and do something. This could be, as Doty (1993) notes, because the “queer operates within the nonqueer” (pp. 3). C.R.A.Z.Y. may not have been as big of a mainstream hit as “Brokeback Mountain,” but the intent was still to reach a much wider audience. This is something that the film cannot do if it’s “too political.” This would risk alienating a section of the audience. In order for a film like C.R.A.Z.Y. to find mainstream success, it needs to be seen as acceptable by dominant power structures. This involves not necessarily challenging those structures, which is why the film’s messages are more individualistic and personalized. 

References

Doty, A. (1993) “Something queer here,” in Making things perfectly queer  (pp. 1-16). University of Minnesota Press.

Doty, A. (1993) “Whose Text is it Anyway,” in Making things perfectly queer  (pp. 17-38). University of Minnesota Press.

Dow, B. (2001) Ellen, television, and the politics of gay and lesbian visibility, Critical Studies in Media Communication, 18(2) 123-140. doi: 10.1080/07393180128077

Joyrich, L. (2014). Queer television studies: Currents, flows, and (main) streams. Cinema Journal, 53(2), (pp. 133-139). doi: 

Lodge, G (2017, January 5). “Does Moonlight show gay cinema has to be sexless to succeed?” The Guardian. Retrieved from https://www.theguardian.com/film/2017/jan/05/does-moonlight-prove-that-gay-cinema-has-to-be-sexless-to-succeed 

[elizabethrobertajones]

It’s interesting how we interpret things diff in fandom. For ex, I’ve always felt negatively towards dean’s use of sex as comfort Bc of my own experiences w csa but to some other people this reads as more positive on the whole. Do you think that maybe this is what makes people have such astronomically different takes on a character/plot event ?? Maybe this would also apply to 8x17 being read as conversion therapy while others wouldn’t see it. Not original thoughts but interesting nonetheless

Yeah, this is a whole thing in literature/media interpretation classes… You know what’s wild, it’s a pretty postmodern concept that everyone has their own interpretations and there’s rational reasons why we would see things very differently based on our own experiences. Incredibly this wasn’t always the case, and it used to be that there were definitive interpretations and analysis created by a sage literary critic which were then the be all and end all of the interpretation, even if with modern eyes those might seem inherently flawed. It’s why when we learn about historical texts they teach us both the context that the original audience would have interpreted it in, the stuffy academic opinion, a range of other thinkers, and importantly the modes of interpretation to attack it for ourselves, and a chance to write our own opinions. 

When it comes to fandom, people as a whole seem very set in the original stuffy one true interpretation thing, which is completely wild to me. I don’t see it as contradictory to read and reblog a dozen different metas on a scene and even if there’s one I personally lean towards, I find it fascinating to consider multiple interpretations and how they come across to people. And, often circumstantially, certain things seem to fit better than others. For example there are a few Dean hook ups I’m quite positive towards that he seemed to be in a healthy place and it wasn’t too weird, while others are quite tellingly wrongbad to me where he’s in a very poor place and it makes me very sad to see him trying to apply that comfort to very little effect. If someone writes meta that ALL of them are good or ALL of them are bad then I’m probably going to end up reblogging meta that says both to get both viewpoints to have the meta background to pick and choose to where it seems more suited to me to say either.

But I guess a lot cases people get really invested in their particular theory or analysis and can’t see past it either to how other people could think different things, or to find it interesting that they do, and to see how those ideas can be equally merited either talking about the same instance or how it can’t be applied uniformly. Some people just aren’t very flexible and get very angry about their one idea being challenged, even though something like a very specific read of a scene, like that 8x17 reads as Naomi putting Cas through conversion therapy, could be given a few different readings but it never hurts to say “this scene also can be interpreted as…” even if when you have your overall opinion of what’s going on there it might not mean as much overall. 

I personally read a huge overall narrative of Cas vs Heaven as a queer kid in a conservative family so it makes a lot of sense for me to read it that way. Someone who generally leans towards interpreting him as various other things such as portrayed as a soldier first or a metaphor for him being an immigrant among humanity, or other ways in which this metaphor don’t apply so neatly might have much less use for that interpretation but I find it super weird to think of the ones that apply less to a personal read as therefore wrong. There shouldn’t be a right and wrong in this case, but a collection of interpretations you can understand, respect, see the reasoning for, but at the end of the day are not the ones you fall back on for your overall personal meaning and understanding of the show. 

But then at the end of the day, I think the way we all approach the story differently and that leading to different interpretations also comes down to our need for validation etc. I approach it with a somewhat detached academic curiosity when it comes to the fandom’s meta project, as much as the story and characters mean to me, the analysis can be super fascinating but also not particularly relevant or “useful” in the sense of getting a clear grounding in tools to keep on understanding the ongoing show like abstract literary parallels to old episodes or whatever. Like, I just like reading essays branching off and exploring themes and parallels and such, while a lot of people are more interested just in hashing out a clear picture of what happened in each episode, what influenced it, and how to use those tools to guess what happens next or something, which is a fascinating practical application of analysis which is really a hallmark of fandom for ongoing projects and something I’d never even thought you could use analysis for before I got to fandom… 

But for people who are much more interested in a clear interpretation of validation of their readings of characters an plot, they just want the things which will prove to be the most accurate to canon and give them the clearest answer and vindication with new episodes, and that means a lot less room for theoretical asides, and for clear answers for what things mean so that when that thread of the story continues there’s certain ground on what it’s telling them… It means a lot less room for having multiple points of views on events and knowing clear right and wrong interpretations means that it’s easy to determine how things are going. 

Which I think in some ways can lead to quite aggressive fandom behaviour, not just in the obvious gatekeeping of ideas and fighting over interpretations, or refusing to engage with theories that contradict the one you’re most invested in instead of dabbling in them all, but also that when new content appears, people get upset or argumentative about events in very odd ways about what things meant. Obviously you can see it most with anti-factions which are aggressive about people applying interpretations about ships and stuff, but also with getting so rigid about a reading that if the story changes meaning, people are left in the lurch. 

To not be contentious about any current specific stuff so I’ll just use a large vague example, Carver era had very clearly defined symbolism and themes and tropes, but Dabb era didn’t use these and Dabb’s approach to storytelling is very subtle in some ways and really brash in others, none of which can be read like the carefully weighted symbolism of Carver era. I find a LOT more use in analysing the emotional arcs than the symbolism between showrunner eras, even when there is symbolism, it’s often… topically applied? Presifer sat with flames burning behind him in his staff meeting, but Cas sat in front of a similar open flame pit in 14x01 and I don’t think there was any parallel in their intent or behaviour, and I wouldn’t draw the two together, but to take the symbolism of each. But for some people who had been really hugely into the language of Carver era, Dabb era completely threw them, and was physically enraging by how much Dabb wasn’t writing like Carver used to, and there was a lot of upset about how basic his writing was and how wonderful Carver’s symbolism was, and how the show didn’t MEAN anything any more. Of course it still meant TONS, but it wasn’t being expressed in the same way any more, and by running headlong into Dabb era still trying to read it like Carver era, these people bounced off completely and could never get into it in the same way as when there were very prescriptive symbolic and metaphoric rules to follow which made understanding events so easy you could just take a glance at a single screenshot towards the end and explain everything about the scene and its wider meaning in the mytharc. 

(What’s interesting is that the show wasn’t previously written like this - Kripke era runs on mirrors and flips in a way which is actually more similar to Dabb era but minus, of course, 10 years of show history which makes Dabb have such a meta, kaleidoscope version of this, and it was in a very heightened, dramatic form which is very elegant and sublime and worked well as the tragedy it was set up to be… Gamble era was more like Dabb era in running more off emotions but lacked a clear symbolic language AND didn’t have the back to front structure Kripke did, being caught in the middle of completely overhauling the story, and I honestly don’t blame her showrunning in a sense that it was an almost impossible job to salvage the subtextual telling of the show from itself in the wake of Kripke essentially ending the show in 5x22 with raised middle fingers at anyone who dare continue past the original vision. Leaning into their trauma and the story’s trauma was a sensible bridge, all things considered, but it makes hers the least elegant storytelling >.> Anyway this is a total aside… it’s early in the morning and I’m just sitting here :P)

Anyway. Yeah, you can tell I do find it interesting to think about how everyone has all their own interpretations :P I mean I know it’s my own experiences which make me so annoying about having this uwu all interpretations are valid sort of approach to it as well, which is just another interpretation at the end of the day. Though I will be snobby and say I do think it’s better that people could read each other’s analysis and even if it doesn’t go hand in hand perfectly with their pet interpretations at least acknowledge it’s interesting and has its own merits, rather than dumping on it in a knee jerk reaction. But then, some people come to the show and end up with their interpretations because the emotional meaning they give is so intrinsically personal, another interpretation DOES feel like an attack, and trying to deal with people who CAN’T accept that some of us are just shooting the breeze and aren’t in a death grip to any one meaning can get very sticky. Especially when someone seems rational for a while but then on disagreeing they get very emotionally violent and it takes you completely by surprise when you thought you were just chatting and then it turns out you’ve hurt them in their most deep emotional place by being like, anyway lol whatever I still mostly ascribe to this other idea - OH NO SORRY D: WE WEREN’T ON LOL WHATEVER TERMS OH GOD OH - 

[reactingtosomething]

If They Liked This, They May Also Like...

Holiday Shopping with Reacting to Something

stock photo shamelessly lifted from

We know we haven’t generated original content in a very long time, but we wanted to get into the holidays in a way that was more or less on brand. So in the spirit of a Netflix recommendation algorithm, here are some suggestions for what to buy friends and family who liked some of the movies we saw in 2018 (including a couple that premiered in late 2017).

It’s probably obvious, but just to be super clear, the format below is --

If they liked this: They may also like this

Miri’s Gift Guide

The Shape of Water: I shouldn’t say a day pass to an aquarium because it’s a terrible, easy joke BUT I AM WHO I AM.

If you’re not a garbage person, maybe consider the rest of Del Toro’s creature filmography, anything related to Buffy the Vampire Slayer, or a collection of fairy tales by the Brothers Grimm or Hans Christian Andersen. Dark and gritty originals, not the tidied up versions.

Call Me By Your Name: NO, I WILL NOT SAY ANYTHING TO DO WITH PEACHES BECAUSE EVEN I HAVE LIMITS. APPARENTLY. The book is a lovely, lyrical, tragic read (or listen, if you go with the Armie Hammer audiobook as I did), and I would also recommend giving a gift of solitary artistic pleasure in whatever way speaks to your intended recipient—a CD, a ticket to an art exhibit, a coffee table book of a painter you think they will love. Something beautiful that requires a little bit of space to enjoy privately.

Black Panther: The new Shuri comic! (I am a hypocrite because I haven’t read it yet but it looks so awesome!) Also, there are some choice funko pops for Black Panther, which are a nice, reasonable price and make a great desk or bookshelf addition.

Annihilation: A DVD of Arrival and a book on fascinating genetic mutations. (The photo above is from the first linked book.) Also, tell them about the Twitter account Tessa as Goats, which is a true gift to us all.

Game Night: A murder mystery game! Or whatever game you think most appeals to them, but I personally think the immersive nature of a murder mystery is a true delight. Also, something Olivia the Dog themed because she’s awesome.

A Wrinkle in Time: For the actual child: one of the books published under the Rick Riordan Presents banner.

For the child in all of us: a soothing and/or empowering adult coloring book and some nice colored pencils.

Thoroughbreds: Really cool sunglasses.

Love, Simon: Tickets to the upcoming Clea DuVall helmed queer rom com starring Kristen Stewart and YES this is a request for myself, obviously.

Blockers: Make them a dance music playlist on Spotify!! (Or burn an actual CD for peak nostalgia/those who enjoy physical media.) And if you have some time together, have your own dance party with as many or as few people as you want.

photo illustration by 

Ocean’s 8: LEVERAGE! BUY THEM A SEASON OF LEVERAGE!!! Give them the gift of even more cons and fun!

Incredibles 2: If they are parents: a night out without the children (this could mean a gift certificate or an offer to babysit). If not, try something heroic like these ornaments, or something that helps them learn to be their own hero, like a self defense or kickboxing class.

Tag: LASER TAG! It’s so fun, even if you’re bad at it! Give a gift card or book a session together and enjoy chasing each other around like giant, fun-loving idiots.

photo illustration from

Set It Up: A massage. Anyone who related to this movie too much is likely very much in need of stress relief. Also, a large quantity of popcorn to be eaten in whatever manner they wish with no shame at all.

Hotel Artemis: A Swiss army knife and a couple of airplane bottles of booze.

Sorry to Bother You: An Oaktown t-shirt (I have been told by someone from the area that this is A Thing but I don’t actually know and I’m sorry for that) and a copy of Kafka’s Metamorphosis.

Crazy Rich Asians: Ideally, a whirlwind food tour of Singapore. If that’s not feasible, a Hulu subscription so they can enjoy Constance Wu’s full comic potential in Fresh Off the Boat. And a really nice candle, because it’s a small decadence that can really go a long way.

To All the Boys I’ve Loved Before: The Wedding Date by Jasmine Guillory (if they like a steamy read), tall socks (if they like to be cozy and cute), and custom stationary (if they like to live dangerously).

A Simple Favor: A cocktail shaker, fancy bitters, a really good mystery novel.

Widows: Tickets to go see Widows again because it’s amazing and is probably even more amazing a second time.

Kris’s Recommended Reading 

Wildlife or Widows: The H-Spot: The Feminist Pursuit of Happiness

As I say in my Amazon review, this is the best applied ethics text I was never assigned. In fairness to my professors, attorney-turned-journalist Jill Filipovic hadn’t written it yet when I was a philosophy student. Filipovic is also not a philosopher. But she is a brilliant writer and a rigorous thinker, and The H-Spot is fundamentally and explicitly an Aristotelian ethical project. That is to say, it takes the starting position that political organization should be aimed at the goal of human flourishing (as opposed to, say, economic growth). From there Filipovic builds a case, or maybe it's better to say several cases, for specific ways in which American policy fails women and disproportionately women of color in this aim, and concrete ways in which it could address this failure. She does so largely through first-hand accounts of several women across America, in a wide range of socioeconomic circumstances. Although the institutions and less formal systems in play are complicated, the questions at the heart of all this are simple: What do women want? What do women need?

Filipovic asks these questions without pre-judgment, and without assuming that any answers are too unrealistic to consider. Not that anyone she talks to asks for anything "unrealistic." Partly this is because they often speak from too much experience for the unrealistic to occur to them as something they deserve to ask for, but also, the idea that woman-friendly policy is unrealistic is a Bad Take to begin with. Filipovic doesn't need to be pie-in-the-sky utopian to show how things could be much better for women (and by extension, it should but still doesn't go without saying, for everyone).

I left academic philosophy over five years ago, but I really think each chapter (built around topics like friendship, sex, parenting, and food) is brimming with potential paper topics for grad and undergrad students of ethics and/or political philosophy. Whether you’re philosophically inclined or not, if you think “women should be happy” and “the point of civilization is to make happiness easier for everyone” are uncontroversial claims, The H-Spot is the book for you -- and for your friends who loved the several underestimated women of Widows, or Carey Mulligan’s captivating portrayal in Wildlife of a woman doing the best she could within the restrictions of her era.

Black Panther: A Nation Under Our Feet

Though it helps to have some familiarity with the Avengers storylines that led up to Ta-Nehisi motherfucking Coates’s first year on the Black Panther comic -- as well as with the excellent opening arc of Matt Fraction’s Invincible Iron Man -- here’s all that even a new comics reader really needs to know before jumping into Nation: King T’Challa, the Black Panther, was recently unable to prevent several consecutive disasters in Wakanda. Both as a cause and as a result of these disasters, T’Challa worked with the so-called “Illuminati” (Tony Stark, Reed Richards, Stephen Strange, and other intellectual and strategic heavyweights) to prevent the end of the multiverse itself. That crisis averted, T’Challa has returned to Wakanda to resume his royal duties.

Coates takes as a starting premise that Wakanda, the most advanced nation on earth, would only still have a hereditary monarchy if the monarch was uniquely suited as a protector of the people. In the wake of the Panther’s failures in this regard, Nation opens with a rebellion against T’Challa’s rule on two fronts: domestic terrorists with an unknown agenda on one hand, and on the other, former officers of the Dora Milaje (the all-female royal bodyguard corps beloved by fans of the movie) rallying Wakandan women who have suffered great injustices unaddressed by the crown. The leaders of the latter, lovers Ayo and Aneka, are nominally antagonists to T’Challa, but to the reader they’re parallel protagonists. You root for both T’Challa and the Dora Milaje, even though their agendas are in tension, not unlike the way one might have rooted for both Tyrion Lannister and Robb Stark in early Game of Thrones. (Shuri’s around too, though she’s quite unlike her movie counterpart.)

When he’s not fighting or investigating, T’Challa does a lot of soul-searching and debating about his responsibilities as king, the ways it conflicts with his career as a globetrotting superhero, and whether and how the government of Wakanda must evolve. Though Wakanda is too small to be considered a superpower, the domestic terror angle, an interrogation of historical injustice, and the struggle between moral idealism and political reality make Wakanda a proxy in some important ways for modern America. (You may have noticed that Ryan Coogler did this too.) Coates’s meditation on leadership and political power made A Nation Under Our Feet not only a great superhero comic but -- this is not an exaggeration or a joke -- my favorite political writing of 2016.

Nation is illustrated mostly by Brian Stelfreeze and Chris Sprouse, with colors by Laura Martin; some of Stelfreeze’s designs clearly influenced the movie.

Thoroughbreds: Sweetpea

When a clever, mean-spirited would-be journalist with airhead friends learns that her boyfriend is cheating on her, old traumas bubble to the surface and she becomes a serial killer who targets sex offenders. Darkly, often cruelly hilarious, Sweetpea is what you’d get if American Psycho was set in southwestern England and for some reason starred Amy from Gone Girl. Protagonist Rhiannon is a self-described inhabitant of an Island of Unfinished Sentences, de facto Chief Listener of her “friend” circle, and a maker of lists. Lists of the things her friends talk about (babies, boyfriends, IKEA), signs she’d like to put up at work (please close doors quietly, please do not wear Crocs to work), and oh, the people she wants to kill. Like her boyfriend, at the moment. Or ISIS, when news coverage of a terror attack pre-empts her beloved MasterChef.

Author C.J. Skuse smartly chooses not to have Rhiannon wallow in her traumatic past as many superheroes do. We get glimpses for context, but Rhiannon is committed to moving forward, to escaping her demons rather than being defined by them. It matters that she wants to get better, even if she also hates that she’s bought into society’s definition of “better.” (#relatable)

It’s worth noting that Sweetpea leans seemingly uncritically into a lot of dated gender tropes, in Rhiannon’s assessments of the women around her. (Body positive she is not.) Then again, she’s an unreliable narrator -- one of the best demonstrations of this is a scene in which she’s convinced of her ability to fool the world into believing she’s normal, then overhears her dipshit co-workers talk about how unsettling she is -- so arguably we’re supposed to laugh at how terrible she is without necessarily agreeing with her. This is, I think, a perfectly legitimate approach to a protagonist, even if some find it unfashionable.

The book is not quite as thematically rich as it first appears, at least on the topic of sexual violence; it indulges a “stranger danger” picture of rape that doesn’t feel entirely contemporary. (For a more nuanced treatment of rape culture, see the sadly short-lived but wildly entertaining vigilante dramedy Sweet/Vicious.) But as a portrait of a vibrant, layered, genuinely Nasty-and-you-kinda-love-her-for-it woman -- given Oscar-caliber-portrayal-worthy life by Skuse’s wickedly sharp voice -- Sweetpea is too fun to pass up.

Upgrade or Infinity War: The Wild Storm

Castlevania showrunner Warren Ellis helped redefine superhero comics with 1999’s The Authority, which at DC’s request he's given a Gritty Reboot (along with the WildCATS, whom some of us remember from this extremely 90s cartoon) in The Wild Storm. Ellis has always been interested in The Future, both its potential wondrousness and its probable horror. Fans of Upgrade’s refreshingly unsanitized (and unsanitary) take on human enhancement through body modification will find much to like in Ellis’s spin on the trope of second-skin powered armor. (He semi-famously wrote Extremis, one of the comic arcs that inspired Iron Man 3.)

art by Jon Davis Hunt, from The Wild Storm #1

Angela Spica, a reimagining of Ellis’s old Authority character The Engineer, is a cybernetics expert who stumbles onto a sort of shadow government conspiracy related to her employer, and goes on the run with the armor she’s designed for them. (When not deployed, the armor is stored inside her body.) Angela is quickly targeted by multiple covert organizations, one of which rescues (?) her and brings her in on a secret history of technological arms races and contact with extraterrestrials. The Wild Storm is full of big action and bigger ideas, and for smart, generally curious superhero movie fans who find the decades-long continuities of the DC and Marvel universes intimidating, it’s a great entry -- with a blessedly planned ending -- into sci-fi-comics.

Happy holidays, and have fun gift shopping!

[thesuper17]

On her fourth record, Ariana Grande locates a stylistic intersection within pop where she's not only comfortable, but masterful. sweetener is an album which carefully sidesteps direct reference to the infernal state of the world in 2018, and in the process, cements itself as one of the year's most important releases.

It's easy to approach Grande with a cynical predisposition. A product of the Disney machine, the sceptical listener may consider this impossibly flawless 25 year old an advertisement more than an authentic artist. The cynicism isn't entirely meritless either. 

Grande has been an international A-list celebrity since the age of 17, and embodies an almost idealized version of how a woman 'ought' to look. She can be seen applying makeup in several music videos, and along with a physically unattainable body type for the vast majority of women, it is difficult to think of a better subconscious sales pitch for the beauty industry and the fitness/wellness industry, or a better symbol of Disney's homogenous and sanitized dominion over popular culture.  

And yet. When she speaks, passionate to the point of tears, on mental health, or when she emphatically praises her fans, or when she opens her mouth and that angelic voice pours out, cynicism is rendered petty and dull. Grande is loudly supportive of and incredibly popular within the queer community. It's not uncommon to see fans, boys and girls, plastering Twitter and Tumblr with selfies, vocally expressing both self-love and gratitude towards Grande for helping them find it. 

This too will be observed cynically, a ploy to cast as wide a net as possible and exploit the insecurity of a young fanbase, but ultimately the impact is what matters*. One of the world's most aspirational celebrities actively embraces her marginalised fans and lets them know: you're loved, you matter.   - Enter sweetener, the fourth and most deliberately crafted record of the Floridian's career. More so than any of her output prior, this album reflects back the kaleidoscopic array of influences Grande has absorbed to develop her own unique voice.  It is also an album that feels miraculously unburdened by both the cultural and musical obligations female pop stars are typically subject to.

The overt sensuality that characterised Dangerous Woman placed it within a lineage of releases (see: Stripped, Good Girl Gone Bad), wherein the previously innocent girl proves herself an actively sexual woman. sweetener, while far from being sanitized, nevertheless largely forgoes the explicit in favour of the poetic. 

There is no value judgement (or indeed a clear dividing line) to be drawn between themes of romance and sexuality, but it's gratifying to hear Grande carve out an individual space where she feels free to shrug off pre-determined archetypes. 

This freedom extends to the sound of sweetener. A true A-list pop star, Grande is able to enlist the highest profile of talent in the studio, an advantage she exploits to the fullest, listing production credits from Pharrell Williams, Max Martin and Ilya Salmanzadeh (among others) and performances from Nicki Minaj and Missy Elliott. This affords Grande a stylistic and sonic flexibility that simultaneously presents the album its first major challenge. It’s not enough for Grande to simply demonstrate a wide ranging taste, she needs to convincingly sell sweetener as a cohesive project of her own design, one where she has determined the direction and executed it successfully. And, for the vast majority of the album's runtime, Grande is more than up to the task, an expert vocalist at the top of her game not merely justifying, but necessitating an album of sweetener's length and breadth. 

In a recent interview, Grande stated that while she loves pop, her 'heart and soul is more in R&B', and the addition of Pharrell Williams on production gives her ample opportunity to indulge this aspect of her sound. Early highlight 'R.E.M' is a simple but shimmering track, floating along at a relaxed tempo and layered with gorgeous doo-wop harmonies and backing vocals. The smooth, almost minimalist instrumental marks the first instance of a recurring device on the album in the use of breathing sounds as percussion. This isn’t a brand new idea (Kanye West's 'Black Skinhead' used this trick in 2013), but it's utilized especially deftly here, evoking carefree sensuality without obviously pushing it to the foreground. 

With the exception of a disappointingly phoned-in feature from Missy Elliott, 'borderline' is another stand out. The synths and beats are much fiercer here, with unpredictable and busy hi-hats accompanying the jazz-inflected harmony of the four main chords, repeated throughout. Grande is still comfortably within her range, delivering lines almost in neutral tones, and as the melodies cycle and repeat, they develop a seductive, hypnotic cadence.

Elsewhere, a more traditional pop voice emerges. 'breathin', an obvious successor to Dangerous Woman's bombastic 'Into You', blurs the line between 80s homage and pastiche, complete with a flamboyant synth solo. In a demonstration of Grande's understanding, both of genre conventions and her own strengths, the song's slow build pre-choruses end in a pregnant pause, clearly designed with the powerful and dexterous high runs she's known for in mind. For its final chorus, the deep breath prior to Grande's upper-register lead vocal is even included in the recording, setting up one of the album's most cathartic, fun moments.   

sweetener isn't strictly bifurcated into R&B and pop though. Grande proves herself able to fluidly incorporate forms of those genres and others besides, frequently within the same song. In tradition and lineage, the gospel choir balladry on the enormous hook of 'god is a woman', backed with wide and arpeggiated electric guitar chords, couldn't be further from the pseudo-rapped triplets of its pre-chorus. But somehow, the building pace of the verse collapses into the chorus' held first note in a naturalistic way that never feels stylistically disjointed. Even hints of Grande's time in musical theatre appear on the joyous, sweeping melody of title track 'sweetener' and its bold grand piano accompaniment. The pivot on this track into a trap-style hook is handled less gracefully however, with strange lyrics skirting the edge of comedy.

A sparse few songs across the album feel as though they could have been left out to produce a leaner, more consistent overall project. Regretfully, as the first track proper of the album, 'blazed' disappoints a little. The song is bouncy and fun, and its three-piece of keys, bass and drums builds into a classic Pharrell momentum (bringing to mind 2014's 'Happy'), but this is also the track's weakness. Where, on the remainder of the album, individual facets of Grande’s style are emphasised and supplemented by the production, Pharrell's voice (figuratively and literally) dominates 'blazed' in a way that relegates Grande to a more textural role.

Especially in preceding the excellent 'breathin', 'everytime' is another such track, listenable and enjoyable, but compositionally dry by the standards the album sets elsewhere. Even here though, Grande's aspirational radiance shines through. The track's lead vocal recording is left running after the final chorus and the listener hears her laugh, maybe in the relief of hitting the track's astoundingly high final notes, maybe for any other reason. The laugh is one of many smaller production touches on the album that help to elevate it above more standard fare, but it's also illustrative of sweetener's value as a piece of culture.

  Another easy route to cynicism over Grande (and pop music in general) is the notion she prioritises aesthetics over substance. Aside from being demonstrably incorrect**, the argument is reductionist and binary in a way that obfuscates the actual value of albums like sweetener. Here, aesthetic is substance. This ostensibly carefree, joy-filled music is the product of addressing and reworking real pain, and its promulgation to mass market reminds the audience of something increasingly easy to forget. No matter how bad things get, we can always make them sweet again.

*here your reviewer emphasises the vitality of criticism towards misogynistic standards women are held to, and concedes that Grande is a part of the culture which upholds those standards. Nevertheless, criticism towards Grande the individual on this basis feels much more often representative of a sneering dislike towards girls and the things they enjoy, than a case against the structures behind them.

** the work required to reach Grande's level of proficiency in vocal performance alone, let alone her musicality, composition and choreography far outstrip the, still considerable, effort required to maintain her appearance. although, for that matter, why one is considered so much more valuable than the other, and why women are critiqued so much more viciously in this avenue than men is reflective of structural issues probably outside the scope of an album review no one will ever read

[randomramblesandlearning]

10 Things I Loved About Mass Effect:Andromeda

Warning: Spoilers! And I wrote this on the spur, so there might be grammatical errors.

1.      I enjoyed the story. Yeah, people will say it recycles from the trilogy, but come on, people. Why are you surprised? Bioware recycles their plotlines all the time. It’s pretty much the same in all of their games. A protagonist gains special abilities and leads a Ragtag Bunch of Misfits team to defeat a big threat. And I’m not bothered by that. Sometimes familiarity in your franchise is good, just as long as you do new things to the formula, and I think they do.

What interested me the most was the theme of starting over. A lot of people in the Andromeda Initiative were former criminals or outcasts. The reason they joined was to start a new life, and it’s explored in the main questlines, the loyalty quests, and numerous side quests. I was worried about the game talking about colonization since humans are looking for a new home, but I was pleasantly surprised that the game made it clear that Andromeda is the angara’s home first, and humans and other Milky Way species will have to work with them. Thank god! No Mightey Whitey trope this time!

2.      Ryder as the player character. I honestly never thought I would love Ryder as much as I did when I played the game. Sure, no one will ever replace Commander Shepard, but Ryder isn’t meant to replace the Commander, rather show a different perspective in a new story. Commander Shepard is the hero we want to be while Ryder is more of a relatable character. Ryder has to learn through the entire game how to be a leader while going through the obstacles of their inexperience and youth so people will take them seriously. And it was compelling, uplifting, and at times amusing to see them become a hero in their own right and step out of their father’s shadow.

Also Sara and Scott felt like their own person. In the original trilogy, the player character is pretty much the same no matter what gender. But sometimes the dialogue can be different depending on if you play a male Ryder or a female Ryder. That’s because they are two different people who have had their own experiences and personalities. That really adds to the replay value!

3.      Female aliens everywhere! One of my major issues with the original trilogy was the lack of female Turians, krogans, and salarians. Sure we had asari an all-female race, and female quarians, but it felt weird that we met so many aliens with very few ladies. Not only do we get a female Turian squadmate, we also get plenty of lady alien NPCs gathered everywhere for random quests. We also have Kesh who works at the Nexus. And we get to see female salarians! And they kind of look the same as male salarians except with different voices. Thank god! It would’ve been horrifying to see salarians with boobs. Uh! And I’m pretty sure there were just as many female angara NPCs as there were males.

4.      The romances. Especially the queer ones. One of the things I love about Bioware games are the romance paths. Bonus points if there is a queer option. And as of patch 1.08, this game has the most number of queer romances in any Bioware game. I think my two favorite romance paths are with Sara and Vetra and Jaal and Scott. While representation for the LGBT community is improving in media, there’s no denying we still have a long way to go. And after again the crap year 2016 where we had a huge number of queer women characters die in tv shows, it was so wonderful to have a healthy and happy relationship between two women when I first played the game. And even if it wasn’t added until the patch, the romance between Jaal and Scott is absolutely sweet since we see two men show a lot of love and affection for each other which is rare to see in media.

5.      The Tempest Family. I adore every single character on the Tempest, and they really did feel like a family once you played further into the game. I am a sucker for found families, and to see these people who are trying to find a home ending up finding a home with each other just gives me so many feels!

Since there’s not really a huge crew in the ship like in the original trilogy when Shepard had an army of humans. In Andromeda, we have six squad mates, four additional crew members, and Ryder. And I think it made the family more intimate. It’s like our own little family lives on the Tempest.

Also I liked how there were more quests spread out throughout the game with the squad which I think was lacking in Inquisition. Plus. Movie Night is the best scene ever!

6.      In my opinion, the side quests were fun. I think this was one thing they improved from Inquisition. Inquisition side quests just felt like a bunch of fetch quests that got kind of boring pretty quick, and didn’t really add to the overall story. Some highlights from Andromeda were: Kadara, the angara reincarnation questline, the Turian jailed for murder, the anti-AI group, meeting Zaeed’s son, and those kids sending out a distress signal for a new light for their weed plant. HAHA!

They were compelling in their own right and included cut scenes instead of the Inquisitor going to some location like in Skyrim to do a thing come back to the quest giver saying, “I did the thing.” “Ok, good.”

7.      Unlike in Inquisition, there’s actual payoff for some of the quests you do. I don’t mean to be mean to Inquisition, I still love the game, but remember when we were promised that you had to build your forces up in order to defend against the main threat. Yeah, you built forces to get influence points to gain perks, and that’s it.

In Andromeda, while, yes. It’s not the same level as Mass Effect 2. When you actually complete quests and help out leaders, you can get different results during the final battle. Like, there’s a chance Captain Dunn may not survive.

Also, when you get 100% viability on all the planets, you get a special surprise on Habitat 7- being told that it will one day be habitable because of our efforts. Sure it was a side quest, but it just felt so rewarding!

8.      The climax was actually fulfilling and exciting. Again, something else Inquisition was lacking in. Seriously, when I first played Andromeda, I legit gasped when the archon was taking control of SAM node. The villain was actually living up to his threatening nature!

Just when we think we got everything under control, and are about to find Meridian, the Archon fucks shit up, and our sibling has to step up to save the day. Then we have to gather people we helped out and prepare for a final battle, and Ryder can finally prove themselves as a true Pathfinder and kick the Archon’s ass once and for all. People are saying the ending was as disappointing as ME3’s? Pfft…What are you even talking about?

9.      The angara. Bioware never fails to make me love an entire fictional species. Yeah, it feels a bit off that they pretty much have the same faces and the same 3 voice actors, but I really do love their culture. And I appreciate that they were clearly coded as POC while Andromeda didn’t go through with the whole Mighty Whitey Trope. The game wants you to respect their culture and to respect their home.

I love the angaran people are open about their feelings, I love how their religion believes in reincarnation, I love how we see angaran scientists, soldiers, merchants, mercenaries, and civilians. Also Aya and Hivraal are absolutely gorgeous!

And when Jaal finds out his people were created by the Kett, I was worried it was going to go the Dalish elves route, but Jaal points out that it doesn’t change anything about the angara. They are still their own people. And that was such an uplifting message.

10.  The overall light-hearted tone. I wrote a small post that got a good number of notes. (Probably the biggest number I’ve ever gotten), so to quote: “There was always this sense of hope and optimism about finding a new home. ‘Yeah, things may have gone totally wrong, but that doesn’t mean we can’t make them better’ was the overall message I got.

And really, with so many bad things happening in the world right now and too much of our entertainment supposedly being our escapism being dark for the sake of dark, this was something I think a lot of us needed.”

Mass Effect 3 had its light-hearted moments, and I love it, but man, that game was emotional draining.

It’s a bit discouraging to love something so much and get recommended videos on youtube pointing out the same flaws of that certain game, and why they thought it was a huge disappointment. Do I agree with some of their criticisms? Sure. Does the history behind the production explain the flaws? Oh absolutely.

           But people seem to forget that the original Mass Effect trilogy wasn���t without its flaws. I mean, sure everyone can agree on the Mass Effect 3 ending, but I could make a list of all the issues I have with the other Bioware games including Dragon Age: Inquisition (which despite winning Game of the Year, kind of suffers the same problems Andromeda had).

           So yeah, after the crap year of 2016, I was so excited to get a newly-released game that made me happy. And still makes me happy, and makes me in the mood to play another Ryder.

[aion-rsa]

Jurassic World: Camp Cretaceous Review (Spoiler-Free)

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This Jurassic World: Camp Cretaceous review contains no spoilers.

My five year old nestled under one arm. My ten year old clutched the other. And I’ll admit, my hands were covering my face a couple of times. That, in a nutshell, was the family experience of watching the first season of Jurassic World: Camp Cretaceous. 

If you’re familiar with the legacy of Jurassic Park, you know the premise: there’s a theme park full of genetically engineered dinosaurs (where some catastrophe always happens). Based on the events of the first season, the series takes place concurrent to the events in Jurassic World, in which a monstrous original dinosaur engineered by Dr. Henry Wu, the Indominus Rex, escapes to terrorize the park.

The series opens with Darius, who had dreamed of visiting Jurassic World with his father for years before his father’s (implied) death. He wins a free trip to what is essentially the beta-test of Camp Cretaceous, the park’s first camp for teens. Other campers include social media influencer Brooklyn, rich-kid Kenji, ranch cowgirl Sammy, athlete Yaz, and overly hygienic, jumpy Ben, and two incredibly competent camp counselors, Roxie and Dave, whose failure to keep the kids safe has much more to do with the nature of the park (and the willingness of the kids to break rules) than their own skill. After a few episodes establishing the characters and developing their relationships to each other (as well as revealing there’s very likely a spy in their midst), the events of the series collide with the events of Jurassic World, and the kids have to work together to survive.

While I watched Jurassic Park when it first came out, I’ve largely stayed away from the franchise since then, because I can never quite get over how bad an idea it all is for a corporation to spend so much money on ethically questionable science for the sake of profit in entertainment. It’s not because I don’t believe that such a thing would happen—it’s because I do find the idea that people would risk so much on such a dangerous idea completely believable. And for me, the best parts of Camp Cretaceous are when the teens point out that indeed, the adults have made some very questionable decisions. (Of course, in franchise fashion, the teens begin the series by frequently making the worst possible decision—this improves dramatically once the park starts falling apart.)

The parts my kids liked best were the gorgeous slow shots of the dinosaurs. Dreamworks provides some really glorious animation, giving lavish details to herds of dinosaurs. One particularly beautiful scene involves bioluminescent parasaurolophuses; another is the emergence of an imperfect ankylosaurus baby emerging from her shell and imprinting on one of the campers. The inventions and conceits of the film series—especially the gyroscopes—are used with finesse. And as per usual with a Dreamworks project, the amount of time invested in creating sympathetic characters who the audience will root for is spot on. Ben, voiced by Sean Giambrone (The Goldbergs, Solar Opposites), bears design and vocal similarities to one of Dreamworks’s most famous protagonists, Hiccup of How to Train Your Dragon, which lends well to creating instant sympathy for him. (From the beginning, my ten year old appreciated him most as the character most likely to follow the rules and not tempt fate in a park full of dinosaurs, while my five year old instantly gravitated to Darius, the only true dinosaur lover among the campers.) 

The cast is also notable for its diversity, showing representation across class and ethnicity, balancing gender (and leaving the doors open for a possible queer romance as the show progresses), and depicting a small range of different body types—none of the campers is cut from the exact same mold in height, weight, or shape, though they’re all fit enough to believe they could run for their lives as needed. (Those dinosaur jaws get awfully close sometimes.) None of the characters fit neatly into a box, and their personalities play against stereotype in most cases, which makes for a refreshing viewing experience.

Darius, who emerges as a leader among the campers, is a young African-American teen voiced by Paul-Mikél Williams (Westworld); as the first main character introduced to the audience, he’s an easy guide into the world, and remains the central protagonist throughout, and his ability to think on his feet (and to keep track of skads of dinosaur facts) frequently saves the day. Kenji, voiced by Ryan Potter (Big Hero 6, Titans), is an Asian American teen whose father is one of the bigwigs whose money keeps the park going—but who, despite his bravado and attitude, is lonely and longs for connection. Superstar Brooklyn, pink-haired and pale, is voiced by Jenna Ortega (Jane the Virgin, Elena of Avalor); her determination to win back followers is countered by her uncertainty about how to have “IRL” friends. Latinx cowgirl Sammy, voiced by Raini Rodriguez (Austin & Ally), comes off as big mouthed and flighty when introduced, but the skills she learned in handling animals on the ranch give her a depth the others initially underestimate. And while serious athlete Yaz typically prefers to be a loner (and is only there because Jurassic World is her corporate sponsor), Kausar Mohammed’s voicework gives viewers a sense of her personality before she lets in any of the campers. Glen Powell is a convincing perpetual camp counselor type as Dave, who’s always ready to try to use his charm to diffuse situations. English actress Jameela Jamil (The Good Place) gives Roxie a gravitas that makes it clear why she was hired to manage the camp initiative for the park.

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But while the character interactions are spot on, the jump scares and the imminent danger that are the core of the franchise are the central focus of the series, which clearly intends to follow up with a second season. For viewers who don’t handle cliffhangers well (see my aforementioned ten year old), this is best when binged, as almost every episode ends on a cliffhanger meant to propel you into the next. There’s no gore—all of the humans injured or eaten by dinosaurs do so off screen—but peril is all around the characters, making the series possibly better suited toward less sensitive viewers. However, if your younger viewer can handle some intense dinosaur action (or just has access to a parent’s arms or lap for when things get too scary), they’ll make it through just fine.

As for me, now that I’ve seen Camp Cretaceous, my interest is piqued enough that I may need to go back and finally watch Jurassic World…

The post Jurassic World: Camp Cretaceous Review (Spoiler-Free) appeared first on Den of Geek.

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[bentchcreates]

Summer Feels, A #romanceclass Anthology

A few things I want you to know before you proceed with my review: For starters, I’m one of the twenty-three authors featured in this book. So yes, you might call bias, but this is my book and my blog so I get to do whatever hell I want to do here. That’s also why this is only Part 1 of the #SummerFeels content I’m releasing. The review today is my reader-side talking, come back tomorrow for the writer-side view. :P

So anyway, here’s my shot at the Summer Feels Anthology Blog Tour!

I will not deny that twenty-three short stories is a lot to process, (I had to take breaks in between, and by breaks I mean reading other books between the stories to even out my feels) that’s why it took a whole month before I finished the entire thing! Haha!

But it was fun discovering/re-discovering different authors’ writing styles, voices and themes this close to each other. I learned a lot from authors who are already my favorites, and those I was only reading for the first time. The gradual (but necessary) rise in heat level was also a good call on editor Kate Sebastian. It made the book cleaner in terms of “flow” and it ensured all authors get equal spotlight whether they’re new or are already established in the literary scene.

I initially didn’t want to review the stories one by one but reading other blogs who said nice things to each and every story was fun and enlightening so I’m gonna do the same here, even if it’s just one liners of what I loved about it. 

1.       All About That Bass by Fay Sebastian

It was perfect to start the anthology with this sweet and fluffy story. I loved the Glee references and how everything led to #LiRika

2.       Alter Christus by Catherine Lo

Certified crowd favourite and I totally agree. While it is true that this stood out because of the heart-wrenching theme, I think I love how Catherine’s narrative flowed artistically smooth and the characters were well-rounded enough to carry such heavy-weight romance.

3.       Fall for Me by Miel Salva

Another cute story filled with Filipino food and feels! I can’t wait for the full Yasmin x Igo book to come out!

4.       The Game of Twenty Questions by Elizabeth Galit

The pacing of the scenes leading up to the grand reveal of feelings is swoon-worthy! The second chance trope is difficult to navigate but this one nailed it.

5.       The Summer You Said Hello by Ami Granada

Sexy voices and on-air flirting sold this for me! And ugh, knowing both of them were playing coy on purpose gave me life!

6.       At the Bermuda Triangle by Elea Andrea Almazora

The banter with this one is solid af. I love how the characters talked and ‘acted’ and I especially love the humor and sarcasm in each of them. And then there was the feels! *Kiligs*

7.       Beachin’ Summer by Arlene Manocot

#romanceclass shout out! Haha! I love that in this one, the guy is the romance junkie and the girl gets him. In Pagudpud, nonetheless!

8.       Buddy System by Yeyet Soriano

The ‘plays’ Carlo and Kit did to finally, finally admit their feelings to each other is A+. And ugh, don’t even get me started on that Javi x random IT guy fanservice scene! I will now stock easy to melt hard candies in my bag for impromptu kissing games! *yes, this is what I’m taking from this story. LOL

9.       Busy Out of The Friendzone by Charlie Dio

Gillian, gurl! *snaps fingers in the air!* I love her witty clapbacks and the way Aidan put a “love stamp” on her to get their messages across. XD I enjoyed this so much!

10.   Flying With You by Rachelle Belaro

Incredibly sweet and the parts about travelling were great! And OMG, that cake!

11.   Guide for A Day by H. Bentham

THIS IS THE BEST STORY IN ALL OF THE UNIVERSE!! Lol. Not really. Even I can’t convince myself with this. Haha. But everyone loves their first born. ;)

12.   Ready to Run by Kit Salazar

This take on the friends with benefits trope is awesomely done! I love the powerplay between the athlete and the homebody. Argh. I mentioned that and a recollection of what Chris and Lauren did with their ‘homebodies’ flashed before my eyes!

13.   Secondhand Wanderlust by Erleen Alvarez

The twist in this one is unprecedented, but I love it. There is sadness, but also happiness, courage and hope.

14.   The Search for The Kissing Monster by Ella Banta

This is incredibly sweet and fluffy and a creative take on the ‘what did I do last night’ trope. I absolutely adore Vincent and his friends and their pact to always spend a bit of summer together. Ella Banta’s HeistClub background might’ve influenced the light mystery in this but the romance is apparent and is very well executed overall.

15.   Anything Can Happen by Marian Tee

This is where I started to find considerable heat! And omg, ALEXIO, if anyone introduces himself with this name, gurl, I’m telling you, anything can happen!!

*Disclaimer, he has to have this Alexio’s good looks and abs, ofc. LOL

16. Four Basic Principles by Bianca Mori

I love the efficient use of alternating POV’s in such a short piece! That in itself is impressive, but wait ‘til the steamy kilig (along with the glorious bickering!) takes you by surprise!

17.   Love After Summer by Irene Jurado

I love the names of the characters, as well as the CAKE! LOL. Ooh, and wedding hook-up fizzles and sizzles until the romance is palpable. It’s a lovely read.

18.   Lucky in Paradise by Farrah F. Polestico

I didn’t think I’d enjoy this as much as I did but it was amazing! The non-promise and pining and the eventual second chance drama made me feel things from a part of my heart I didn’t know I still had access to! Haha!  

19.   The Swimming Instructor by Eris Peñaluna

I thought this started YA-ish so I wondered why this was put farther up the steam level, and then we’re talking about hiding swimmer’s tents, electric touches and voila! We’re in sexy pool palooza! I need moarr of Jandro x Ariel!

20.   Wedding Night Stand by Mina V. Esguerra

I knew this story was hot from the onset, but oh my god, when it did turn super hot, I was still caught unawares and so happy for Andrea! I haven’t read What You Wanted yet (which I’m now planning to correct in the following couple of days!) but familiar characters make this even more endearing!

21.   An Overdue Adventure by Kate Sebastian

I’ve been around Cebu countless times but I haven’t gone on an adventure similar to Hilary’s. I should probably do that before I turn thirty and I MUST stock up on Aloe Gel because that’s how you get sun gods to give you what you want! Hehe. I also adore the Bisaya representation of this one! I miss the Queen City so much now!

22.   Buttered Sunset by Halina Cabrera

I can’t decide what I love most about this. Is it the illustrious scenic descriptions of the food and places? The fact that there was a sort of courtship (four/five meriendas is the modern day ligawan, imho)? Or that Sol is a woman of power who knows precisely how and when to use said power? All of the above, probably.

23.   Then Derrick Was Back by Georgette S. Gonzales

I was angry at Derrick because he was clearly just playing with Nadia’s heart the first time…and then he wasn’t! Argh! Georgette’s superb writing got me so affected I was ready to vent tweet about German boys and why we need to avoid them, but good thing I waited ‘til I finished the story. Hihi. Let’s not avoid them, okay? :P

So that’s that. Haha.

The thing about anthologies by different authors is that not all will be suitable to my reading tastes. But I guess with this one, it’s okay. Some stories seemed to have been paced too slow for me, but when I managed to push through with it, I found that the ‘slowness’ was necessary groundwork for the kilig fireworks to explode by the end. And in the others I found things I wish my story had, or things I knew could be developed more, etc., etc.

I also got to read more straight steam than I can usually take (*this is prude of me to say considering I devour M/M smut like crazy) but I appreciate how hot/loving/raw the scenes were depending on the author and her target audience. And yeah, sex scenes of this kind are far better than smut in comparison, straight or queer.

The Summer Feels stories are short enough to get to the bite-sized HEAs and still let you enjoy your summer activities. If anyone asks me what I did this summer, well, I went touring up from Pagudpud and down to Gen San twenty-three times over!

6 of 5 Stars. I mean, 5 stars are enough for the anthology on its own. +1 Star for my story because I love my work and I deserve it.

Blurb:

Summer loving happens so fast, as you'll find with Summer Feels, an anthology of 23 stories of love under the summer sun by #romanceclass authors. Savor the candied thrill of firsts—first loves, first kisses, first solo vacations—and the bittersweet triumph of second chances. Tour the Philippines as the stories take you to mountain retreats and island paradises. Let the magic of the hot sun, clear blue skies, and lots of love take you on a roller coaster ride of feels. With stories ranging from sweet to sexy, there's sure to be something for any fan of romance.

BUY LINKS:

Amazon E-Book: http://bit.ly/summerfeels

Print Book (PH Only): http://bit.ly/summerfeels-pof

About the Authors:

Elea Andrea Almazora   Elea Andrea Almazora typically writes poetry and speculative fiction and has a weakness for funny romance stories. She currently works as a contributor to Playboy magazine’s Advisor column. To learn more about this author and for updates on new releases, please Visit her blog, readinginbetween.com Follow her on Twitter @ealmazora Like her Facebook page, facebook.com/ealmazora Follow her on Amazon at amazon.com/author/eleaalmazora   Erleen Alvarez   When she's not running errands or making monthly reports, Erleen Alvarez escapes the real world by reading books and writing stories about love of all kinds. She lives in a small town in Camarines Norte, where she’s trying to complete at least one publishable novel.   To learn more about this author and for updates on new releases, please Visit her blog, bookforya.blogspot.co.uk Follow her on Twitter @BooksforYA Like her Facebook page, facebook.com/author.erleen.alvarez Follow her on Amazon at amzn.to/2py994M Follow her on Goodreads at bit.ly/2oDRpr6   Ella Banta   Ella Banta is a purple-loving, egg pie-eating 30-something woman. Writing has always been a dream for her since she was little. And writing for a #romanceclass book is a dream come true. After this, she plans to write more and hopefully meet more awesome egg pie-eating peeps.   To learn more about this author and for updates on new releases, please Visit her blog, gabrielleluna.wordpress.com Follow her on Twitter @gabbie_ellaine Like her Facebook page, facebook.com/ellabantawriting Follow her on Amazon at amzn.to/2pwjLEj Follow her on Goodreads at bit.ly/2pyi9XU

Rachelle Belaro   Rachelle is a published author of Pop Fiction, an imprint of Summit Books. She chooses watching Kdramas over writing stories, which makes it difficult for her to finish a chapter. If daydreaming were a profession, she could have made a great career in it.   To learn more about this author and for updates on new releases, please Visit her blog, rachellebelaro.wordpress.com Follow her on Twitter @areysieyts Like her Facebook page, facebook.com/rachbelaro Follow her on Amazon at amazon.com/author/rachellebelaro Follow her on Goodreads at bit.ly/2o45RYx H. Bentham   H. Bentham was born and raised in the Philippines, but now resides 1,487 miles away from home. He battles homesickness with his various hobbies and (mostly) by procrastinating on the internet. When he's done being bored, he writes stories and, when he's feeling particularly profound, poems. He adores turtles and bettas, enjoying the slow, quiet companionship they provide.   To learn more about this author and for updates on new releases, please Follow him on Twitter @bentchbites Like his Facebook page, facebook.com/Mr.H.Bentham Follow him on Amazon at amzn.to/2nZO6eo Follow him on Goodreads at bit.ly/2oIysCK   Halina Cabrera   Halina Cabrera writes steamy romance, among other things, while she’s on break. She’s a breakfast person (that’s not the same as being a morning person). And she loves serif fonts. She’ll keep writing until she keels over.    To learn more about this author and for updates on new releases, please Follow her on Twitter @cabrerahalina Like her Facebook page, facebook.com/HalinaCabrera Follow her on Goodreads atbit.ly/2nKWytT Charlie Dio   Charlio Dio is a jack of all trades hailing from the Philippines. She loves reading, writing, watching anime, and taking long walks with her two dogs. An office employee by day and an internet ninja by night, she spends the majority of her waking hours talking to people in her head and putting their stories into written words.   To learn more about this author and for updates on new releases, please Follow her on Twitter @chardiosaurus Like her Facebook page, facebook.com/Charlie-Dio-622595757951587/ Mina V. Esguerra   Mina V. Esguerra writes contemporary romance. She blogs about her writing and publishing adventures at minavesguerra.com.   To learn more about this author and for updates on new releases, please Sign up for her mailing list at bit.ly/list-minavesguerra Visit her website, minavesguerra.com Follow her on Twitter @minavesguerra Like her Facebook page, facebook.com/minavesguerra Follow her on Amazon at amazon.com/author/minavesguerra Follow her on Goodreads at bit.ly/2p1YcaQ Elizabeth Galit   Elizabeth Galit’s friends call her Beth. She is a book hoarder, romance writer, a chocolate sucker, a coffee addict and a hopeless romantic.   To learn more about this author and for updates on new releases, please Visit her website, bethgstories.com Follow her on Twitter @bethgstories Like her Facebook page, facebook.com/bethgstories Follow her on Amazon at amazon.com/author/elizabethgalit Follow her on Goodreads at bit.ly/2oaLzwR Georgette S. Gonzales   Georgette S. Gonzales is an author of romance in Filipino (as Edith Joaquin of My Special Valentine) and in English. She’s also written crime fiction novella Classified. Gette is a milrom junkie; she cooks but does not bake, loves to travel, and prides herself on being a singer, poet, and friend.   To learn more about this author and for updates on new releases, please Visit her website, pinaynobelista.com Follow her on Twitter @Gette_aka_EJmsv Like her Facebook page, facebook.com/georgette.pinaynobelista Follow her on Amazon at amzn.to/2oJa3Li Follow her on Goodreads at bit.ly/2oDwHaR Ami Granada   Ami Granada writes romances, travel stories, and poetry. She has written one romance novel in English (Unspoken), romance novels in Tagalog, and short stories that have been published in local magazines and newspapers. The only time she feels really free is when she travels and when she writes.   To learn more about this author and for updates on new releases, please Visit her blog, amidemanila.blogspot.com Follow her on Twitter @amidemanila Like her Facebook page, facebook.com/amidemanila Like her on Goodreads at bit.ly/2o06KCQ   Irene Jurado   Irene is a full-time mom in the morning and full-time employee by night. Once she puts everything in order, she becomes a romance reader, writes short stories, opens her bag full of watercolors, and drinks her milk tea.   To learn more about this author and for updates on new releases, please Follow her on Twitter @I_reign_ Follow her on Amazon at amzn.to/2peizWo Catherine Lo   Catherine Dellosa Lo is a freelance writer by day and a geek by night, with works published in SuperHeroStuff, Vibal’s POC, Philippine Daily Inquirer, and more. She hopes to soar the skies as a superhero someday, but for now, she believes in saving lives through fiction. For fun, her personal blog recounts rookie misadventures as a noob wife.   To learn more about this author and for updates on new releases, please Visit her blog, quirkylifeofthenoobwife.blogspot.com Like her Facebook page, facebook.com/TheNoobWife Follow her on Amazon at amzn.to/2nZN3uP Follow her on Goodreads at goodreads.com/TheNoobWife   Arlene Manocot   Arlene Manocot writes in English and Filipino. Her words dwell in the realms of fantasy, suspense and romance. Aside from writing fiction, she also weaves poems from the endless thread of life. Daydreaming is an expensive hobby she'd like to preserve, and putting her thoughts into writing keeps her sane in this world of insanity.   To learn more about this author and for updates on new releases, please Visit her blog, writingandlovinit.blogspot.com Follow her on Twitter @arlenemanocot Like her Facebook page, facebook.com/manocot.arlene Follow her on Amazon at amazon.com/author/arlenemanocot Follow her on Goodreads at goodreads.com/arlenemanocot Bianca Mori   Bianca Mori is the author of One Night at the Palace Hotel, Tame the Kitten, and the Takedown Trilogy. She is interested in exploring power in romance and enjoys reading about demimondaines, pin-up girls and Jazz Age personalities and hopes to reinterpret these in her stories. She lives with her family and a hyperactive pug.   To learn more about this author and for updates on new releases, please Follow her on Twitter @thebiancamori Like her Facebook page, facebook.com/thebiancamori Follow her on Amazon at amzn.to/2nbI4Hd Follow her on Goodreads at goodreads.com/thebiancamori Eris Peñaluna   The author is a graduate of the University of the Philippines. This is her first romance short story, though she plans to publish a novel in the near future. During her spare time, she practices yoga, runs and tries to learn as many languages as she can.   To learn more about this author and for updates on new releases, please Follow her on Twitter @ErisPenaluna Like her Facebook page, facebook.com/erispenaluna Like her on Goodreads at bit.ly/2nZZ5EN   Farrah F. Polestico   Farrah F. Polestico wanted to be a lot of things in life—an engineer, a nurse, an astrophysicist. But it wasn’t until she was thirteen that she knew she was going to be a published writer. When she’s not up all night writing her next book, you can find her reading anything and everything, from Charles Dickens novels to old grocery receipts.   To learn more about this author and for updates on new releases, please Visit her blog, bookskeepmesane.wordpress.com Follow her on Twitter @bookskeepmesane Follow her on Amazon at amzn.to/2oJlZwO Follow her on Goodreads at bit.ly/2oaCvYK Kit Salazar   Kit has always known what she wanted in life, but only recently took courage to go after it. She's back to doing things things that she loves, including writing and illustrating, while juggling a side job that helps fuel her creativity.   To learn more about this author and for updates on new releases, please Follow her on Twitter @KitSalazarAuthor Like her Facebook page, facebook.com/kitsalazarauthor Follow her on Amazon at amzn.to/2nZXLSd Follow her on Goodreads at goodreads.com/kitsalazarauthor   Miel Salva   Miel Salva is a Filipino HR consultant by day and a romance writer/reader by heart. She enjoys watching movies, documentaries and TV series and going out to eat with friends or with her fiancé. She reads and writes stories about love and its many different facets because she believes that even in this world filled with hate, love still prevails.   To learn more about this author and for updates on new releases, please Visit her blog, mielsalva.wordpress.com Follow her on Twitter @Miel_Salva Like her Facebook page, facebook.com/pg/MielSalva.Author Follow her on Amazon at amazon.com/author/mielsalva Follow her on Goodreads at bit.ly/2pec7Pf   Fay Sebastian   Fay is a speech communication student who writes even on the busiest of days because writing prevents her from turning into a college zombie. Why she holds writing instruments in an odd way will always be a mystery to the world.   To learn more about this author and for updates on new releases, please Visit her blog, faysebastian.wordpress.com Follow her on Twitter @mileventwelve Like her Facebook page, facebook.com/Mileventwelve Follow her on Amazon at amazon.com/author/faysebastian Follow her on Goodreads at bit.ly/2oJDblO

Kate Sebastian   Kate Sebastian has been crafting stories since she was tiny. She spent her childhood reimagining classic fairy tales and inventing new ones. She earns a good living writing articles and editing manuscripts, but decided to try her hand at writing romance (the steamy kind) since she reads so much of it.   To learn more about this author and for updates on new releases, please Visit her website, katesebastian.com Follow her on Twitter @ImKateSebastian Like her Facebook page, facebook.com/katesebastianauthor Follow her on Amazon at amazon.com/author/katesebastian Follow her on Goodreads at goodreads.com/KateSebastian Yeyet Soriano   Yeyet Soriano is an Asia Pacific IT manager by day, writer by night, and a wife and mother of three all throughout. Turning Points, In My Dreams, The Retreat, and Kate, Finally are her self-published novels. Romance is not her core genre, but all her stories, no matter how dark or twisted, have romantic elements embedded in them.   To learn more about this author and for updates on new releases, please Visit her website, ysrealm.com Follow her on Twitter @ysrealm Like her Facebook page, www.facebook.com/Yeyetsorianowrites Follow her on Amazon at amazon.com/author/yeyetsoriano Follow her on Goodreads at bit.ly/2nbyOmv Marian Tee   Marian Tee is the author of The Art of Catching a Greek Billionaire, which is part of the New York Times and USA Today bestselling Billionaire Bad Boys of Romance.   To learn more about this author and for updates on new releases, please Visit her website, authormariantee.com Follow her on Twitter @authormariantee Like her Facebook page, facebook.com/authormariantee Follow her on Amazon at amazon.com/author/mariantee Follow her on Goodreads at bit.ly/2oaFHDO