#also try guys do act like over the top white self-aware fuck society guys

[spiltcandycoatedpunkblood]

so was that legitimately fake outrage at Watcher being "greedy capitalists" that people are now gonna go watch the try guys who are doing the exact same thing?? where's the outrage at their wealth and how they spend their money? why does Keith get people just watching him eat at expensive restaurants, but it's terrible seeing Steven go to expensive restaurants to eat food? it's got nothing to do with "the try guys did it better!!!" it's the fact that you got so outraged because of how much the economy is in shambles and people can barely afford food, let alone another streaming service, and now suddenly it's a great thing seeing the try guys be able to improve their situation with one!! I thought the whole point was that we didn't need another one!! what is it???

it's just obvious that they've both done similar things, but people are taking more issue with the creators of colour for daring to grow and move forward. EVEN AFTER THEY ALTERED THINGS AND GENUINELY APOLOGISED even whilst being fucking eviscerated online. and instead of being helped and understood by their white friends, they get fucking shaded by their friends with a sofa joke and "not to name names" bullshit

what is it with people of colour being left in the dirt by their white friends and/or costars???

[bigskydreaming]

If you were editor of Nightwing's book ever since at least the start of Rebirth to today and you were given free reign, what would your story mandates?

Oh no, this is dangerous. LOL. Hmm, I have no idea what to shoot for here, so I'll try to keep it to ten. That's reasonable right? Ten is good. Yeah. Is fine.

Okay, so, in no particular order:

1) Let Dick be competent 101. None of this him having to play hype man for every other character to pop up in HIS title bullshit. Nope. That's not what they're there for. He's the lead man, LET HIM BE THE LEADING MAN. Like sure, everyone has their areas of expertise, he doesn't need or have to be the best at everything, blah blah blah.....but its about the nuance. All of that is kinda lip service because the thing is, you don't go into MOST comic books and NEED to be reminded of that because the lead characters of those books are all constantly getting saved or shown up or chastised by every guest star in their books, you know? This is a very weird, very niche phenomenon very specific to Dick's character, and I'm super over it. I'm here to read about the guy who has literally been doing this longer than most superheroes twice his age. The guy who's been doing this since before he hit double digits. The born acrobat. The destined ultimate warrior or whatever of Gotham's Ornithological Society Of Murder and Pretentiousness. Gimme that guy. And that guy doesn't need to be 'humbled' every other page, because the thing is, he's not some egomaniac to begin with so the everpresent need to humble him doesn't actually come off as humbling! It just comes off as pandering and not even to actual fans of the actual character, so its like.....wyd DC.

2) Let other people take responsibility for their own crap with Dick rather than always just expecting a mea culpa from him. I'm so unbelievably tired of the words I'm sorry from Dick. I love personal accountability, so I never thought I'd have to say this about a character, but enoooooough. They have made it completely in character for this dude to apologize to everyone ELSE for being brainwashed, getting amnesia, being KILLED, like.....the amount of things he's groveled for forgiveness for when he didn't actually do a damn thing wrong or worse yet, was the ACTUAL victim of is like....pretty damn staggering. And meanwhile, there's nary a peep of apology from the people who regularly insult or belittle him, get physically violent with him, take advantage of him or take him for granted, etc, etc, etc. Its entirely too one-sided and imbalanced, and the pendulum needs to swing the other direction, like YESTERDAY, and in a fairly big way, IMO.

3) None of this Baby's First Social Justice Awakening 101 crap. I'm sorry, but no. Especially not when you go out of your way to acknowledge that Dick is Romani, only to then turn around and act like he's only JUST had his eyes opened to an awareness of like, classism and poverty and the real struggles people face day to day? Sorry not sorry, but especially for other white writers out there, do not use people of color as self-inserts for dipping a toe into Learning To See Past Privilege. And especially when talking about a character who has a history of being actively abused and hurt by the system and institutions of power, or hell, even leaving out that particular origin story, who has still been out on the streets helping people since he was a literal child. You can not tell me that this is his first face to face experience with social issues, or the first time he's had the inclination to try and address those head on. (And its also particularly egregious that the people second-guessing Dick in his own title and giving him reality checks or acting like they have more of an awareness of all this than he does like, happen to all be white? OPTICS. LEARN ABOUT THEM. COMMON SENSE. GET SOME.)

Know what would actually be a better way to approach this? Flashbacks. Show us Dick running into situations that make him think back to a case when he was still Robin, when he and Batman had started fighting over their approaches to things, actually SHOW us those conflicts and how their viewpoints had started diverging, and how much of that was due to Dick not having the same experiences as Bruce, or the same standing in society, no matter what house he lived in. THEN you can jump BACK to the present, with the reminder/awareness that this is something that isn't NEWS to Dick, but that he in the past felt he was forced to make his peace with as something he wasn't in a position to do that much about....only NOW, he's in a very DIFFERENT position, and suddenly it just hits him how he's still acting like he did when he was limited in resources or in having to be part of a chain in command or having to factor other responsibilities into things....now he ACTUALLY has the power and the resources to make meaningful change in the ways he ALWAYS wanted to, but maybe just needed time to figure out HOW.

Like you know what would have made Shawn Tsang's story arc so much better? If Dick didn't just remember her as the Pigeon's one time teenage sidekick he'd briefly fought as a kid, but like.....if he remembered her as someone he and Bruce had FOUGHT about. Because he didn't agree with sending someone to juvie for defacing public property as a form of political protest, when it was someone's LIFE who was going to be irrevocably damaged by that while the damage to the city could be fixed with a check, and what made Dick any more deserving of Bruce's leniency and faith in his potential or underlying goodness than Shawn?

But he was still a kid himself back then, and when Bruce responded with his usual conviction, talking about the importance about rule of law and etc etc, Dick just didn't have the words to get through to him then, to get him to understand that this wasn't just Dick not getting it because he was too young, it was BRUCE not getting it, that Dick was literally just saying well he wasn't too young to have been in juvie himself, and of the two of them, he's the one who has experience there so why was Bruce's opinion on whether this was the punishment that fit the crime the one that got to hold more weight here? When Dick's the one who knows what that punishment actually LOOKS like beyond the abstract, for whom it was a reality that still haunts him in ways that even defacing a few statues of some rich old fucks doesn't deserve?

Or hell, go back FURTHER than when he was Robin. Idk where any of those posts are, but I've always wanted to see something where Dick maybe runs into someone he remembers from his time in juvie, maybe a guard who is like, the source of the reasons Dick mistrusts figures of authority and is so hung up on independence and not being under anyone's thumb, or maybe someone who was in there with him, another kid who looked out for him when he didn't have to, etc. Gimme Dick tackling head-on his firsthand awareness that there's no rehabilitation to be found in a jail for kids, when most of those kids don't even need rehabilitation in the first place and only did what they did in order to survive or escape from worse situations or like, were there purely because of racist cops, etc. Let him go after THAT system, driven by personal experiences and memories that maybe only hit him in full after recovering his memories from the Ric Grayson arc, like they're things that he put in a box in his mind a long, long time ago because he didn't have the spoons or reserves to deal with them when he was a kid still so traumatized in so many ways, like, something had to give and so he put all those memories away for another day and just....never got back to them because life kept hitting him with new and fresh trauma every week.

But now something has him thinking back to those early days in Gotham, and reminding him that not everyone had a Bruce Wayne willing and able to give them an out from that place or acrobatic skills to escape it on their own, and like. You want to do something about the cycles of violence in Gotham and Bludhaven? Why not start with the places that literally MANUFACTURE cruelty on an institutional level, that teach kids that no matter what they did to get put there, even if that was nothing at all, they're all going to be treated the same way and given no reason NOT to do whatever it took to be top dog in a dog eat dog world by the time they got out.

There's SO many better approaches to social awareness in the Batbooks than what we're seeing, and like. Sheesh. The bar is way too low.

4) On a related note, if I'm editor of the Nightwing book, the FIRST thing I'm doing is making it a priority to find a writer of color for that book, ideally someone of Rom descent. Its waaaaay past time to let a Romani writer take the reins on Dick, Wanda, Pietro or Doom, aka some of the only prominent Romani characters out there? You can't tell me that there aren't talented writers who identify as Roma who would be more than willing to add their perspective to Dick's archive of narratives, and if an editor's gotta go looking for them? Go fucking look. DC and its fans have milked a lot of mileage out of the idea of Dick being Romani with very little in the way of nuanced storytelling to show for it in the past twenty years, and if DC wants to trot out little reminders that Dick is Romani every couple years, like in the form of a freaking line that has no follow up or expansion to any degree and is offset by an internal monologue that otherwise reads as incredibly privileged, the least they can do is TRY to expand on that with the narrative perspective of someone they claim to be representing via that character.

And no, this isn't gatekeeping, this is prioritizing. Its not about preventing other writers from writing this character, like just for the hell of it, its about being proactive about finding a writer who can write specific aspects of this character that have long gone unaddressed or poorly represented. And like. Okay. Its not easy breaking into the comics industry for anyone, but its particularly not easy for marginalized writers. Most every major comic book company just recites 'make your own stuff first and then show us that' but when you're a writer specifically, finding a compatible artist to partner with on creator-owned indie stuff first, when those artists are in the same position as you are and apologetically and understandably tend to have to take paying work over yours if you can't pay except on the back end, like....there are a lot of hurdles to getting your start in comic books, and while there are more and more marginalized writers in comics these days, DC and Marvel kinda fucked up, because you know what?

After being told 'make your own first, then we'll talk,' writers DID do just that....but then found out that well, due to the ease of online distribution and access these days, for any writers who CAN find an artist to partner with, its a hell of a lot easier to get their content out there these days WITHOUT a major publisher behind them.....and for a lot of marginalized writers in particular, its worth it to keep full creative control in exchange for smaller circulation. Especially when they don't have to deal with editors 'softening' their work to make it more palatable for audiences that quite frankly aren't necessarily their primary target. So yeah, marginalized voices are becoming more and more present in comics, but Marvel and DC for the most part are keeping the same voices centered they always have, and what these voices have to say is becoming less and less relevant and outdated. Because much like this arc from Taylor, even when they DO dip their toes into story matter that's of interest to wider audiences, they're doing so to a degree that still puts them years behind the conversations everyone else is having.

5) The same holds true of disability representation. I stopped reading Taylor's run for a lot of reasons but his way of responding to people unhappy with his depiction of Babs was a key one. If I'm editor on a book, and someone tweets at one of my writers that their depiction of a disabled character was hurtful because it feels like they're doubling back on everything Babs has ever said about not being defined by or ashamed of her disability and now its being treated like a dirty little secret, and that writer's response is essentially to just laugh at them and say there's nothing wrong or ableist about their writing of a disabled person, TO a concerned disabled person? That writer's ass is getting fired. Full stop.

Either you give a shit about this stuff or you don't. Don't pay your readers lip service about how important social issues are to you and how much you care about using superhero narratives to inspire people on these matters if you're gonna turn around and show your ass the second you don't feel comfortable and prioritized by the conversation, like it wouldn't exist without your oh so valuable contributions. ESPECIALLY if you don't identify as sharing the same identity of the marginalized character you're writing. You are a guest in someone else's lived experiences at that point, and you think you've got the right to belittle and talk down to the people who LIVE THERE? Fuck off, my dude.

6) Re-center Dick as someone who the superhero community RESPECTS. I love seeing Dick depicted as someone who has an awareness of his own limitations and an appreciation for what others bring to the table, and so I'm not opposed to him calling on others when he needs to.....but I also would like to see more of the opposite. But not in the way we usually see it these days, where he's asked to come help with a crisis and then usually second-guessed the whole way, and then sent back home without so much as a thank you when its done. Yawn. Sorry. I've read that story by now.

You know what story arc I freaking LOVED as a kid, back in the 90s? In Green Lantern, when Kyle Rayner first became the sole GL, one of his very early arcs, before he ever joined the JLA or anything....was him realizing how little he knew about being a superhero. He was like, my predecessors all had a full fledged CORPS to teach them everything they needed to know, but I had a few lines of exposition from a funny little blue guy in a red pillowcase and then I was off to the races. That's not good enough. There's so much I don't know about being a hero, I don't even KNOW what I still need to know.

So he went on kinda a superhero training roadtrip. He went to Metropolis to ask Superman for advice, he went to Batman to learn from Batman and Robin (Tim at the time). He went to Wonder Woman, Sentinel (Alan Scott, the first Green Lantern), etc, etc. And in the end, Kyle very much became his own kind of hero who wasn't just a pastiche of all those other heroes and the advice they gave him, but like....this put him on the road to that.

And I'd love to see something like that happen in Dick's solo title. We've seen him train in a team setting, we've seen him train the other Robins.....I'd love to see like, young superheroes from OTHER books, not ones created by the title, but like names people actually recognize from other franchises, like, guest star in Nightwing's book to learn from HIM, specifically. I wanna see something where Wally looks at the latest speedster and is like, you know what, if you really wanna be the best hero you can possibly be, then Nightwing's who you gotta go to, because there's no one I trust to make a better hero out of someone than him. I want the newest kid on the JLA block to worry that people aren't taking him seriously because of his age or experience, and he's always hearing them talk about Nightwing and how young he was when he started and so if anyone knows something about how to gain the respect of your older superhero peers, that's the guy to talk to.

Gimme Dick's couch being crashed on at various times by a half dozen new or upcoming young superheroes who all heard or figured out that if they really want to up their superhero game, Nightwing's the guy to see.

7) Bring back Bea. There's no long paragraph expansion on this, its really simply. Bring back Bea. She was one of the freshest breaths of air in Dick's supporting cast in ages, most of the current run is based off her character direction in the first place, she's literally the best suited TO help Dick in this venture, and the reasons they gave for writing her out of Dick's life were all bullshit and they just wanted to focus on his previous relationships, which would be fine if they didn't fall into the same two endless cycles of bring back up, go nowhere with, awkwardly avoid each other for years, rinse and repeat. Like. Bring back Bea, please and thank you, the end.

8) Focus on new villains. Heartless is meh, but the idea of new villains is still better IMO than rehashing Blockbuster, Zucco, etc. Like, nostaglia ain't it. If I want to read Blockbuster fucking up Dick's life, I can do that. They're called back issues. The thing is, love it or hate it, the Blockbuster arc WAS iconic. It left its mark. And anything that doesn't leave just as much of a mark, if they're going to bring him up again, is just gonna be a waste of time, you know? It'll just dilute his overall presence when like, what he was - worked fine as is. We don't need Round Two.

The trick to good villains, IMO, is they have to speak to a fight that needs fighting.

What I mean by that is....the best villains are those who resonate on a more instinctive level because they embody something that already exists in a reader's mind as a conflict that needs fighting. Like, if superheroes exist, if the embodiment of larger than life presences and forces devoted to protecting the world from various things are real....then their villains need to embody the kinds of fights or conflicts that NEED larger than life figures to combat them, at least on a one to one level.

Look at Superman and Lex Luthor. Superman at his core embodies the strength of community. He's the ultimate hero of the people, his essence is that he was the last survivor of a doomed race who was raised by two honest, hard working people to see the beauty in just being ONE of them, in using what he had on behalf of all of them and not just himself. In contrast, Lex Luthor is basically the embodiment of capitalist greed, of excess, of the entitlement of being able to have anything with a snap of your fingers and thus assuming that gives you divine mandate to make the kinds of choices that he sees as only his right to make.

He hates Superman, ultimately, because Superman is the WRONG savior of the people. He wants their only savior to be HIM, half the time he honestly believes he's saving the world FROM Superman, but just as often he's perfectly content to be the villain and not shy about it....because Lex Luthor's ultimate motivation is he wants everyone to know when he's dead and gone that LEX LUTHOR WAS HERE. He genuinely doesn't care WHAT his impact or legacy is at the end of the day, just that it exists and it overshadows most everything else...because all that really matters to him is the irrefutable proof that HE mattered. And thus at their cores, Superman and Lex are perfectly opposed. Ideally situated to eternally be in conflict, their own forever war, because their core natures are incompatible. They CAN'T compromise, without compromising themselves and essentially ending up as someone totally other than who and what they are already.

And you can go down the list. The Joker is the chaos to Batman's order, while Mr. Freeze is the stagnancy of that order taken too far, he's what you get when you freeze everything in your grief and refuse to let anything go on, anything new grow, because that would mean having to admit once and for all that what you're mourning is really gone. Two-Face is the ultimate embodiment of Man vs Self, a once good man at war with his own worse nature, and reminding everyone who looks at him how easily they could fall to the same fate.

And so on and so on. What Dick needs, is more of the same. Like, as much as I'm not a huge fan of Talon stories, I maintain that the Court of Owls were a great foil for him - just they tend to be poorly used in canon as well. But I also think how poorly they come off in canon has a lot to do with canon not really touching on WHY they're such a perfect foil for Dick....and that's Dick's history with being outside the system, mistreated and even exploited by the system. Because the Court, their core concept, is they ARE the system. They are entrenched, enfranchised, institutional power, passed down through generations, dynastic control that is a perfect counterpart to the dynastic power of the Wayne family, embodied in its youngest generation in the form of Bruce's FOUND family, the children he adopted regardless of whether or not his peers found them deserving of that honor. The Court, and their entire....thing...about the Gray Son, is the entitled fury of those denied something they deem theirs simply because they WANT it, and who will burn the whole world down rather than admit defeat or let someone else have it instead.

And that resonates. It could resonate a lot MORE if DC would actually lean into those concepts and allow Dick to explore how the Court are nothing he's not used to, they're literally made up of the same people who have looked down on him ever since he came to Gotham, but now they're actually a face and a name put to all those attitudes, something he can literally FIGHT BACK AGAINST. The Court are literally human-sized embodiments of everything and everyone who's tried to confine Dick since his parents' deaths, tried to define him without his permission, tried to make him other or lesser than who and what he is.....and who thus now exist in a form that Dick can literally BATTLE. So that he doesn't HAVE to just take this stuff lying down.

Thanks to the Court, he doesn't HAVE to just passively accept it, that this is just how life is, that some people are going to view him this way and think this about him and there's nothing he can do about it. He CAN do something about it, in superhero stories. He can kick its ASS, in the form of the Court of Owls and everything its members think about him and intend for him. He can refuse to bow down to them, to accept their mark on him. He can say lol, no, and then blow their shit sky high, ideally with a little help from his family. He can BEAT them, in this incarnated form, and in doing so, even though he can't beat everything they stand for and represent, that victory still matters, still means something symbolic to readers it resonates with.

And that's what we need more of. Villains created specifically to embody concepts that are diametrically opposed to Dick and what he represents. The system, yes, but also villains who embody the kind of tyranny and control he fights back against in his constant battles for autonomy and self control. Villains who embody the 'new hopes' of a second generation just like Dick himself is the focal point of the hopes embodied by the second generation of heroes. I'm actually not the hugest fan of multiversal constant Dick Grayson, but I might like it more if he had an opposite number there, someone he was specifically contrasted with. Idk.

But you get it.

9) Dick having a social life. Gimme the Titans and his siblings showing up JUST to show up. We have room enough for at least a couple pages every other issue where we just get to see these characters having some breathing room, taking a beat to stop and be something other than just a superhero, to be human as well. There's more to life than 24/7 fighting, even for them, and that's largely been lost in modern superhero comics, which kinda sucks, because that was what made most of the more iconic and lasting dynamics between various characters like, STAND the test of time. The larger than life battles between good and evil might be what many of us come to superhero comics FOR, but the relatable back-and-forths and ups and downs of their private lives spent with friends and family tends to be what keeps most of us coming BACK. And lately its all just mission, mission, mission, and I'm like blah, blah, blah and its like, meh, meh, meh. Y'know? Give the guy some down time, and let his friends come spend it with him.

10) Boone. This is purely self-indulgent, but if you know anything about me, you know my obsession with Robin: Year One, Dick's brief time at Vengeance Academy, and the hate/hate relationship he has with his brief frenemy from that period, Boone aka Shrike. This character has SOOOOO much potential to be Dick's true archnemesis and rival, and like. *Sobs* I can't get into it all again. Its too much. I can't do it.

Okay, I absolutely can. And will, probably. But like. Later.

BONUS ROUND:

Other thing I would absolutely insist upon if I were Nightwing editor....

GET THAT FUCKING MEME SHIRT ABOUT BRUCE SLAPPING DICK THE FUCK OUTTA HERE.

Like. Seriously. WHAT THE HELL. Why would you double down on THAT? Why is Babs STILL wearing it? (Last I checked, like I think I saw it in a scan from last issue? I'm pretty sure its still there? If not, forget this entire rant, and I am very embarrassed. Okay not that embarrassed. I don't really care if I'm wrong here but like, in case I'm not)...

WHY. Who thought that was funny? No, seriously, on behalf of any other abuse survivors who like me are SERIOUSLY not amused, who the FUCK thinks its FUNNY to have one of Dick's best friends sporting a shirt that no matter what it represents IN universe, to readers OUT of universe, is always going to call to mind the fact that this meme only freaking EXISTS because of all the times DC has obliviously and without acknowledgment written Bruce abusing his children, including the BFF that Babs is literally wearing that right in front of.

Like omg do you hate her, DC? What other possible reason could you have for thinking that would be a cute, funny thing for her to wear around the guy getting SLAPPED, by his DAD, in your shirt's iconography.

Okay I'm done.

LOL.

Sorry, that last one was brewing for awhile. Deep breaths. Woo.

[thecinephale]

Love, Simon and the Limitations of Allyship

*mild Love, Simon spoilers*

The key scene in Love, Simon, the first gay teen movie from a major studio, comes midway through the film when Simon questions why he’s expected to come out as gay, but nobody is expected to come out as straight. There’s a montage of his straight friends coming out to their parents and facing the various reactions a gay kid might receive. The comedy of this scene is pretty soft, but the point acts as a firm rebuke to anyone who questions whether this film holds importance or whether all communities still have a long way to go towards LGBTQ+ acceptance.

I’m not going to waste too much time getting into the arguments about whether this movie is “needed” or whether it’s inclusive enough or whether it’s fluff. I will say that I personally loved it as an emotional experience and as a film. It’s funny, well plotted, well acted, wonderfully sentimental, and has a perfectly teenage soundtrack. There really is room in the world of cinema for mainstream movies, and there’s even more room for a wide array of queer coming of age films.

That all said what I’d really like to focus on is Love, Simon’s portrayal of allies. Because this is where the film surprised me in its depth. It’s set up in the very first moments that Simon has a “perfect” family. His parents are beautiful, wealthy, and liberal and he has a close relationship with his sister. And if his family seems idealized that’s nothing compared to his friend group. Oh how lovely to spend your adolescence with a small group of funny, kind, attractive people picking up ice coffee and listening to Bleachers. I was fully under the impression that high school friend meant someone who was mean to you. But I digress.

A lot has been made about whether Simon’s life is too perfect for him to connect with other queer people (personally, no, but I also do share many of his privileges). But what this discussion is missing is the brilliance of allowing straight audience members to see themselves in so-called perfection. Straight audiences everywhere can look at these people and say, yes this is the type of parent I am, or, yes, this is the type of friend I am. Or even, yes, this is the type of assistant vice principal I am. And then the movie slowly shows that even still they aren’t enough.

I hate the word “ally.” I hate it because being aware and being thoughtful do not exist on a binary. Identifying as an ally feels loaded with a self-congratulation that will never be earned. Because there are not simply allies and non-allies. Maybe there are people who try and people who don’t and even a third category of people who are actively malicious. But those categories blend together and are far more complicated than just “good” and “bad.” My relationship to race and my whiteness was completely changed by something Heben Nigatu said on an episode of Another Round. I wish I remembered the exact episode so I could properly quote her, but the gist was that white people need to accept the discomfort of never doing the right thing. There is not a selection of books to read or community service to do or protests to attend or podcasts to listen to that should assuage discomfort. Because white supremacy and our white supremacist society should make us uncomfortable. I have to live in that. And the discomfort I may feel is nothing compared to what someone directly affected is feeling.

With the exception of the two over the top bullies I’m sure every straight character in Love, Simon would identify as an ally. And my point is not to go through one by one and explain why they aren’t. Rather, like the scene I first mentioned, it’s to call attention to the inequity of our society and therefore reveal the impossibility of any one individual existing outside that framework.

Let’s start with Vice Principal Worth. I still distinguish principal vs. principle by remembering “the principal is your pal” and that absurdity is Worth’s dream. He prides himself on being relatable and supportive. And while relatable was never in the cards, he does at least appear supportive. A sign in his office reads, “Open Door, Open Ears.” But from the beginning he tries to relate to Simon guy to guy, which, to him, means heterosexual guy to heterosexual guy. He wears a pride flag pin after Simon is outed but he also feels the need to clarify to Simon that he isn’t gay. He then automatically assumes Simon must be dating the other out gay person at the school. But most of the audience recognizes all of this. Worth is the cartoonish ally every good liberal knows not to be. That’s mostly because we’re in Simon’s point of view. A lot of people act like Worth or have certain Worth-y moments and wouldn’t otherwise realize it.

It’s a bit more complicated with Simon’s family. His dad makes a similar mistake to Worth in trying to relate to Simon through heterosexuality. He makes a crack about Gigi Hadid to show he’s the cool dad and references homosexuality on TV in a way that isn’t flat out offensive but shows a clear othering. When Simon comes out his dad doesn’t say much of anything and he looks clearly upset. Simon’s mom also doesn’t say much. And Simon’s sister suggests he deny his outing to avoid the high school drama. All three of them eventually have very heartwarming moments with Simon where they make sure he knows he’s accepted and loved. But during those initial days and during the years of seemingly innocuous heteronormativity, Simon had to seriously contend with the possibility that his family wouldn’t love him for who he is. There are certainly ways even this family could be better, but they could never be perfect, because our world is what it is. The film allows the audience to feel what it’s like to be Simon which allows them to see that his family’s “pretty damn good” reactions are still really upsetting and insufficient.

And this leads us to his friends. One of my favorite things about the movie is how harsh Simon’s friends are on him. I’m not going to get into all the plot mechanics, but Simon is being blackmailed and in order to not be outed he manipulates his friends in some really cruel ways (there’s a reason multiple teen comedies based their plots on Shakespeare). I was worried once he came out his friends would understand why he did what he did and forgive him. But they don’t. They confront him and he apologizes and they stay mad at him for a bit. I not only felt like that was realistic, but it also felt fair. And so I was totally surprised when a cis, straight friend of mine disagreed. He even went as far as saying to Simon’s best friend, “get the fuck over yourself.” That’s when I realized what this movie had accomplished. It actually showed how incredibly difficult being in the closet and coming out is even for someone with all the privilege in the world. It also showed how a heteronormative society will not only hurt a queer person but all of the people in their life. It says both of those things, but prioritizes the experience of the queer person and that’s what’s so important.

I’m so lucky to be a Simon. My coming out has been mostly met with love and acceptance from friends, from family, and, as of last week, even from my employer. But that doesn’t mean it’s been easy. Because until our society is less heteronormative and cisnormative even the most well meaning person still falls short. And this isn’t meant as a criticism of individuals. It’s a criticism of the society. Nigatu’s point was not that white people should give up trying to be better, just that perfection is unattainable when our surroundings are so imperfect. So straight and cis people, keep being or trying to be like the people in Simon’s life. That’s the first step to changing this society. But I’m also really glad this movie exists. I’m glad it exists for its over the top, melt your heart, make you cry love story. And I’m glad it exists for showing that even this version of coming out still has its realities.