#Sexist Questions

[999999999inadream]

toby fox needs to add like a bit of narration in deltarune abt kris like "they themmed they/themily down the stheirs" cus i cant go on seeing them constantly get he/himmed in yt comment sections

[scintillyyy]

i do feel like talking about tim's "you're not in the kitchen so you're not baking me a cake" line from robin #40 but. in context, y'know.

so, we set the stage: tim has come over to ari's house & they're alone. ari is flippant about the fact that her aunt and uncle might know this fact. she tells tim to take off his coat & go to the living room, which he does while ari disappears into her room.

tim and her chat, which her shut firmly behind her door as tim is complaining about the fact that ives is hiding something from him. he also asks "what are you doing?" to which ari responds "it's a surprise".

they continue chatting--tim talks about trying to solve ives' mystery. speaking of mysteries, he's also curious about why ariana has been shut up in her room for an hour--as tim later, it's been two episodes of a sitcom so we know it has to be that long because sitcoms run in 30 minutes slots.

as you can see, he's trying to figure out what ari's big surprise it--thay whole "you're not in the kitchen so you're not baking me a cake" this isn't even him making a sexist joke lmao. he's just deducing that her big, mysterious surprise can't be that she's making him a cake because she's in her room, not the kitchen. which. cakes are common surprises, so he's just throwing out a *very common relationship suprise that take a long time to make* and then saying her surprise for him can't be that because she's not in the kitchen cooking & again. all he's doing here is wondering what she's doing because she's been in there. for an hour. two sitcom episodes. he's trying to figure out what surprise that could possibly take her so long is.

and again. baking a cake/cooking in the kitchen is a very common surprise that takes about an hour to do. tim mentioning that her suprise can't be that isn't even sexist. all he's doing is trying to figure out what she's doing. all he's genuinely doing here is asking a completely normal question in context that almost anyone would ask when trying to figure out what surprise someone has been preparing them for the last hour is.

[scentofpines]

have you ever considered...that identifying out of woman/girlhood because you don't relate to the societal implications, expectations, etc... contributes to making womanhood (feel) even more restrictive? maybe you feel better when thinking of yourself as anything but a girl/woman because you do not feel like a woman (what does that even mean?) but in my opinion you just added another brick into the prisonwall that is gender.

[densitywell]

the thing is, like, imogen is blunt, and indecisive, and impulsive. she's cynical, angry at the world, and seemingly much less interested in doing good than in holding on to her loved ones. she's hypocritical, incredibly violent one moment and horrified at the prospect the next. she's passive aggressive, on occasion. she's overly critical. she's scatterbrained.

and all of that stuff is very fucking fascinating, and so fun to watch, and core to what makes her her. but not only are those things not the totality of imogen as a character, they're very much inextricable from the things that make her sympathetic.

imogen has spent much of the last decade of her life in pain, and isolated because of it. when she wasn't alone she couldn't relax, having to keep tight control over her mind so as to not get overwhelmed or invade the privacy of others. because even through all that pain and loneliness, she still bore the responsibility not to impose on other people's minds. and when she fails or slips up or gives in, all of the distrust and suspicion she recieves regardless is suddenly viewed as justified.

which is not to say imogen is not responsible for her actions, or the harm she causes others. of course she is! no one is saying she isn't! but, just like literally every other person, her actions don't exist in a void but within the context of both her past and present.

analyzing that context and coming up with explanations of her behavior that consider it is not excusing her actions or refusing to acknowledge her flaws. it is not coddling imogen to sympathize with her even when she's fucking up. these are pretty standard ways to discuss a character you enjoy actually! it's weird that having a nuanced perspective on a character's actions is being treated as an issue!

[telumendils]

me watching male gamers on youtube tear apart a racist/sexist dude who's been trashing the fallout tv show for racist and sexist reasons:

[francis-ford-kofola]

When I showed my bf the godfather he said it was quite good ("solid four stars") but that the only character he liked was Kay. I told him that Kay was hated in some parts of the fandom, mainly because some of the fans think the stuff she did in Part II was fucked up (I didn't tell him any details). He said: "I don't care, she should have killed Michael," and honestly...

[engagemythrusters]

Once again, I am begging people to start questioning the actions of Star Wars writers and executives.

Why is the “greedy, resource hogger” character a fat, disabled man?

Why is the Black man the “violent terrorist whose impacts are useless except to harm others?”

Why are the main characters whitewashed?

Why is the autistic man killed after his disability was finally acknowledged?

Why does the woman die of no reason other than apparent sadness?

Why?

[batrachised]

inspired by the rubio quote on emily - I understand believing the LMM heroines leaving their ambitions behind is somewhat necessitated by the historical context, and I sympathize with those who would have preferred a different ending for Anne or Emily...but also (esp w Anne), I find it the line of thinking frustrating because (1) it's a false dichotomy that's (2) belied by the text imo and (3) somewhat dismissive of marriage as less than. Anne keeps writing after her marriage. She reads her poems aloud to her family and (iirc) inspires her children to do the same. Just because Emily is marrying Teddy doesn't mean she'll stop writing. The text gives us literally no reason to think that, and in fact explicitly states the opposite when Emily says that she has to write. No matter what, she has to write. If Anne, who doesn't demonstrate Emily's level of ambition, keeps writing, it's nearly laughable to think that Emily wouldn't.

What's especially frustrating is that repeatedly, LM Montgomery's stories focus on the importance of community and family in shaping, sourcing, and strengthening creativity. In Emily, it's explicitly stated that she couldn't have written her breakthrough novel if she had moved to New York and followed her ambitions as such. That's doesn't necessarily translate to romantic support, but romantic support is one form of that! Certainly, these heroines all have domestic endings; it's almost as if LM Montgomery's defining characteristic is finding beauty and power in domesticity, all while acknowledging domesticity doesn't exclude talent and ambition. Her thesis is that women can, and do, contain both. Anne can dream of handsome princes one day and publication the next because you know what--quite a lot of girls do! Emily can fiercely chase publication and long for companionship because you know what - that's the most human thing imaginable!

Acting as if marriage is an imprisonment or hindrance of some sort while LM Montgomery's heroes are marked by being supportive of their wives' talents and ambition (Gilbert is unthreatened by Anne's intelligence; Teddy understands Emily's ambition) ignores the major themes of the novels. It also fails to grapple with the historical barriers faced in a substantive or satisfying manner; it simply poo-poos the semi-requirement of marriage as the happy ending all while ignoring how radical the statements that first, women have ambitions and, second, their ideal partner would support those ambitions, were for the time.

The position also assumes that publication is the only legitimate form of success for writers, and similarly, "real" success requires recognition. It ignores the inherent value of creativity, inserts its own standards for success, all while ignoring what the heroines themselves state they want. Anne wanted marriage and babies; Emily is deeply lonely at the end of Emily's Quest and desires a companion who understands her. LM Montgomery actually directly addresses the idea that Gilbert stole Anne from her ambitions in TBAQ, and Anne laughs at the idea. For Emily, it's more understandable because she does value publication and is very ambitious, but that's where point number one comes in. Would the critics of her (admittedly rushed and slapdash) ending prefer that she stay alone surrounded by people who don't fully understand her? If anything, it's implied that Teddy will enhance Emily's creativity by providing the support she needs, and has in the past when he literally gives her the idea for her first novel, A Seller of Dreams.

I understand the cut and paste ending of "love husband marriage babies" can get to be tiring, especially when presented as the "right" path for women. I admit that the historical context - and pressure - here is impossible to ignore. After all, the examples I gave above are only legitimate to the extent LM Montgomery legitimized them; there could have easily have been a version of the story where Emily only succeeded because she moved to New York. Even LM Montgomery, as mentioned above, writes Gilbert explicitly saying that he regrets that he stole Anne's talent from the world. Sexism is definitely present in these novels. Still, the condescending tone when talking about these ending irks me. In the end, I guess I find the sainting of ambition as ridiculous as I find the sainting of marriage and babies as paths for women. One's as gross a simplification as the other.

At the end of the day as well, LM Montgomery writes slice of life novels based on the charm of rural PEI and local community. She focuses on the everyday purposefully. Complaining that she doesn't have heroines who move beyond domesticity (although really, she does with Sara Stanley) is like going to a pizza parlor and complaining when you get served pizza. Again, this only works to the extent that you agree with LM Montgomery's presentation - but there's something silly in complaining that her slice of life semi-romance novels from the late 1800s-early 1900s all end in marriage for the heroine.

[maybeamiles]

Thinking about trans Zoro angst...

Trans Zoro who comes out at such an early age that none of his peers know he was born a girl- and he wants to keep it that way.

Trans Zoro who hears Kuina's speech about puberty and weakness and womanhood and challenges it, partially because he wants to prove her wrong, but partially because she reminded him of what's going to happen to him in a few years, and maybe he wants to prove that he's different from her, that he's not going to become a weak woman.

Trans Zoro who sees Kuina die and promises that he'll be strong for her.

Trans Zoro who grows up learning that women are weak and fragile and never gets a chance to see those ideas disproved.

Trans Zoro who is taught that men don't cry. That men are strong. That men don't die to silly things like falling down the stairs. That men must protect the women they love even at the cost at their own health.

Trans Zoro growing up terrified of what might happen if anyone found out he was trans. Terrified of losing his place in the dojo. Terrified of being seen only as a weak woman.

Trans Zoro who tells Chopper that "real men don't cry" because he doesn't cry and he's a real man. The fact he doesn't cry proves it.

Trans Zoro whose dysphoria hits harder every time he loses a fight.

Trans Zoro who overcompensates for his dysphoria by falling into the patterns of toxic masculinity he was raised with. Who tries to be the kind of man his sexist teachers would be proud of.

Trans Zoro who refuses medical treatment because he doesn't want anyone else to look at his body.

Trans Zoro who is "found out" after his fight with Mihawk.

Trans Zoro who is shocked to discover that nobody sees him as weak because he was born a woman. Who only needs to shout "I'm a man" to go back to being seen as one.

Trans Zoro who learned that men have to be strong, but is slowly learning that it's okay for them to be weak too.

Trans Zoro who is learning that he can be whatever kind of man he wants, his teachers be dammned.

[ragnarssons]

why tf do we live with people in this fandom, pretending that sokka being sexist and "overcoming it" is sokka's SOLE ARC on the show???

[evilkitten3]

one of the most frustrating things about reading naruto meta is that every now and then you'll run into a post that's absolutely brilliantly thought out, has stupendous points, and pulls out all the stops on almost every level....

and you just have to stop and wonder how someone can simultaneously be so good at media analysis and so fucking bad at accepting that sometimes authors just cannot and/or will not write female characters on any level

[the-witch-of-woods-beyond]

Team Green aren’t real. How do you not get that? How old are you? If you’re over 18, please get a refund for any education you’ve paid money for because you were terribly failed. If you’re under 18, keep up the Percy Jackson blogging and gtfo of adult spaces because you don’t have the mental capacity or intelligence to engage with ASOIAF/HOTD.

lol first ever after high and now percy jackson - if you think you’re insulting me, you’re wrong. at least those fandoms aren’t batshit insane. and at least they have READING COMPREHENSION.

how many times have i said it - team green are not real, the issues that people use them to justify and defend (eg. rape and sexism) ARE real. if you come online and defend those actions, then you agree with and support them. i don’t care what you think. i don’t care what you enjoy. if you see something in a general tag that you don’t agree with, then you FUCKING SCROLLL. and if someone (rightfully) calls you out for supporting rapists and abusers, then don’t double down and defend yourself and make excuses for those actions. i made a post - you don’t like it, SCROLLLL. do you know how many posts i see on a daily basis that i don’t agree with? i don’t leave shitty comments or hide behind an anonymous tag to insult someone. i made a post criticising the amount of people excusing and support team green and their actions and i tagged it correctly.

my god, it’s not that hard and i’ve had enough of going in circles. i hate rapists and sexists and abusers. for whatever reason, you don’t. i don’t give a shit. enjoy what you want. don’t come under my posts or on my blog and hide behind an anonymous tag to spread your bullshit, because i will respond. keep to your side and i’ll keep to mine.

[lightshiningforth]

[poppy5991]

Interviewer: When are you having kids?

Mirko: I’m not having kids.

Interviewer: What do you mean you’re not having kids?

Mirko: I’m not having kids.

Interviewer: That’s what you were born to do.

Mirko: No, it’s not.

Interviewer: Why wouldn’t you want to have kids?

Mirko: Why would I?

Interviewer: I’m asking you.

Mirko: I don’t see any benefit. I want to live my life for me.

Interviewer: That’s selfish.

Mirko: Ok. And kids are annoying. No one is perfect.

Interviewer: *flummoxed*

-

Watch the original video below. She fucking killed me. Just like me fr:

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[vampireslovedeepseafishing]

Angela Carter, The Bloody Chamber and Other Stories; from ‘The Company of Wolves’

[thejakeformerlyknownasprince]

What do you think the best ghostwritten book is in the series. I lean towards 29 myself.

Oh man. There are some really good ones.

I like how #25 handles Marco's unreliable narration, from him calling himself "Mr. Ruthless" as he's worrying over the baby seals who just lost their mom, to his pointed "Yeah, Dad, what do we do?" as a way of calling out everyone else for being too demanding on Jake. Plus, Visser Three going "Cursed parasites!" while scratching a flea bite and Rachel shooting back "He's one to talk" makes me laugh every time. Between that and #35, I think Jeffrey Zeuhlke (credited in both books) might be my favorite ghost.

That said, I think Ellen Geroux does a great job with specifically Tobias's navel-gazing in #33 and #43. He spends a lot of time in both books just thinking, and in a series as dialogue-heavy as Animorphs that could get slow if not handled as skillfully as it is. That said, #43 is also one where Jake and Rachel are weirdly out of character (Jake "snaps at" Ax to "watch it!" after they bump each other; Rachel "more sweetly" asks if Ax is okay) so it's never going to be a winner for me.

But never mind that. Because #29 might just be the best Animorphs book. It's tightly plotted. It's beautifully written. It has humor, and sweetness, and melancholy. It gives us excellent character moments for all four boys as we see their separate responses to falling ill. It shows Rachel being good in a crisis, and Cassie being friggin Wonder Woman in a crisis. It has former enemies working together to save a friend. It has hunter-tracker bots defeated by bird poop. It's making me want to find out what else Melinda Metz has written, because honestly it might be better than any of the books K. A. Applegate wrote alone.