#and i deserve to write stories and make posts about queer women without being attacked.

[poetrywise]

Life, sort of

I can't access Twitter lately, so I thought mb I should try to be more active here. Yes, I know I said it before, but my VPN hasn't been working for weeks and I kind of miss people. I miss life, in general. For the past nearly 2 years, life has been hell in my country: mass arrests, toxic propaganda, army drafts, idiotic laws, silencing the media and public opinion, to say nothing of the horror we have been inflicting on another country. I don't know about most people but I do feel ashamed and depressed, even though I am, have always been, and always will be staunchly anti-war. Seriously, how have people not learnt to solve their disagreements in a less insane way over the course of our history?

Today, yet another "great" news: LGBT is now considered an extremist organization. They've done all they could to torment queer people short of criminalizing queerness itself. They keep promoting so-called "traditional" values, debating whether women should be allowed access to higher education (I kid you not, this is us in the 21st century) and abortion, all the while wasting 40% of the budget on war; in the meantime, all their beloved "traditional" families live in poverty and find their social support cut. You can get 7, 15, 30 years in prison for changing price tags in a supermarket to anti-war statements, staging an anti-war play, digging into government corruption. Children are being force-fed "patriotic" claptrap at school. Bloggers get fined, arrested or forced to leave the country because they fear for their safety. Life here is a cruel joke.

I know that I personally have little reason to complain, since I haven't been arrested (yet), nor have any of my loved ones. But it doesn't mean I don't get panic attacks (I had them before, I've been seeing a therapist for 6 years, and this situation IS derailing my progress) or fear for the future. My personal future feels ruined too: I can't travel, I can't see my BFF who lives abroad, I can't get paid for my stories even if I do manage to publish them (I write in English and have had 4 stories published in America, but we can neither send, nor accept payment from abroad lately). All this feels so small compared to what other people go through, in both our countries, but it's big to ME. I can't look into the future with any kind of hope because I don't want to live in the country that makes its people and another nation suffer. (Don't get me started on actual things our politicians say, like: Well, if smb drops a nuke on us, it'll be fine, as long as it's not on the capital. [FYI, I live in the capital, but it doesn't mean turning the rest of the country into a nuclear wasteland is fine by me. WUT EVEN!])

Everyone hates my country. We deserve it. I hate my own inability to change that but I'm neither brave, nor smart enough to do anything. When it all started, I tried writing letters to politicians, but this ain't America, nb listens to the people here. The only reply I got was smth like: Well, the West is threatening us, we must defend ourselves, so STFU. Idk what bizarre illusionland these ppl live in. Last time I checked WE were threatening everybody. Including ourselves.

What's the point of this TL;DR? Idk. To speak out in some way, I guess. Like I said, my VPN isn't working, and I can't access Twitter, which is my usual platform for whining XD I'll try to post smth more positive some time. Among other platforms that don't work without VPN are: Instagram, Facebook, TikTok, Goodreads, AO3, various torrent sites, BBC sites, many kinds of Western media, and probably a hell of a load more I don't know about. I admire the reporters who are still publishing the truth. It's impossible to hide it from the people these days, but unfortunately, most people just watch TV, which spouts disgusting lies and propaganda.

Nostalgia is a fashionable thing lately, and here's my two cents: I loved the late 90s - early 2000s. Yes, we had problems then too. Like financial crises and local wars. But we had freedom of speech, independent news, we at least tried to respect human rights, we could travel, we had cultural exchanges, foreign tourists, and nb hated us more than any other country. I wasn't ashamed to admit where I was from. I never felt I'd be stuck in a totalitarian state because surely, surely we'd learned! We'd been through it and it wouldn't repeat again. But I guess "all of this has happened before, and all of this will happen again" is a very true saying. I'm so tired. I'm sure I'm not the only one, but I do feel very alone whenever I read the news. I'm lucky in the sense that my family at least shares my opinion, but on a grand scale? I don't know if any meaningful change can be achieved when we can't even form proper opposition: a few parties/organizations both here and abroad are usually at each other's throats instead of working together. So yeah, I'm tired, disappointed, depressed, and idk what else to say.

Wow, hope I don't get arrested for this XD

[adorpheus]

on fujoshi and fetishization

Lately, more and more, both here on tumblr and on other sites, I keep seeing people spew unfiltered hatred at fujoshi - that is, women who like mlm content such as gay fanfic and fanart featuring men with other men. And I don’t mean like a specific type of fujoshi, like the ones who are genuinely being weird about it, but just like a general hatred for girls (but especially straight identifying girls) who express love for gay romance.

I hate to break this to you all, but women (including straight women!) actually are allowed to like mlm fanfiction and fanart, even enthusiastically so. A woman simply expressing her love of gay fanfic, even if it is in kind of a cringey way or a way that you personally don’t like, is NOT automatically fetishization.

I’ve been on the receiving end of fetishization for my entire life, from a very young age, as many black and brown folx have, so I consider myself pretty well acquainted with how it works. Fetishization isn’t just like, being really into drawings of boys kissing, or whatever the fuck y’all are trying to imply on this god forsaken site. 

Fetishization is complicated imo, and can encompass a lot of things, such as (but not limited to):

1 - dehumanization, e.g. viewing a group of people as sexual objects who exist purely for entertainment purposes, rather than acknowledging them as actual people who deserve respect and rights

and

2 - projecting certain assumptions onto said people based on their race/sexuality/whatever is being fetishized. These assumptions are often, but not always, sexual in nature (like the idea that black people in general are more sexual than other races, etc etc etc).

I’m going to use myself as an example to illustrate my point. Please note this isn’t the best or most nuanced example, but it is the most simplistic. A white person finding me attractive and respectfully appreciating my black features as part of what makes me beautiful is not, on its own, fetishization. A white person finding me attractive solely or mostly because I’m a PoC is now in fetishization territory. Similarly, assuming I’m dominant because of my blackness (like saying “step on me mommy” and shit like that) is hella fetishistic. 

That being said, theres definitely a difference between how fetishization works in real life with real people, and how it shows up in fandom. 

Fetishization manifests in many different ways in fandom, but most commonly on the mlm side of things, I personally see it appear as conservative (or centrist) women who love the idea of two men together, but don’t actually like gay people, and don’t necessarily think LGBT+ people deserve rights (or “special treatment” as its sometimes dog whistled). These women view queer men as sexual objects for entertainment rather than an actual group of people who deserve to be protected from systemic oppression. I’ve noticed that they often don’t even think of the men they “ship” together as actually being gay, and may even express disgust at the idea of a character in an mlm ship being headcanon’d gay. In case its not obvious, this is pretty much exactly the same way a lot of cishet men fetishize lesbians (they see “lesbian” as a porn category, rather than like, what actual LGBT people think of when we read the word lesbian). There’s a pretty popular viral tweet thread going around where someone explains seeing this trend of conservative women who like mlm stuff, and I have also personally witnessed this phenomenon myself in more than one fandom. 

The funny thing is, maybe its just me buuuut.... The place I see this particular kind of fetishization happen most is not in the anime/BL fandom, from which the term fujoshi originates - I actually see these type of women way way more in western fandom spaces like Supernatural, Harry Potter, and Hannibal. I can’t stress this enough, there’s a shocking amount of people who are like, straight up trump supporters in these fandoms. If you want to experience it, try joining a Hannigram or Destiel group on facebook and you will probably encounter one eventually especially if you happen to be living through a major historical event. Like these women probably wouldn’t even be considered “fujoshi”, because that term doesn’t really apply to them given they aren’t in the BL/anime fandom, yet they’re the ones I personally see actually doing the most harm.

Of course this isn’t the ONLY kind of fetishizing woman in the mlm/BL world, there are other ways fetishization shows up, but this is the most toxic kind that I see.

A girl just being really into BL or whatever may be “cringe” to you, or she may be expressing her love for BL in a “cringey” way, but a straight woman really enjoying BL is not, on its own, somehow inherently fetishization. Yes, sometimes teenage girls act kind of cringe about how much they like BL and that might be annoying to you, but its not necessarily ~problematic~. 

That being said, IT NEEDS BE REMARKED that a lot of the “fujoshi” that you all hate so deeply, are actually closeted trans men or nonbinary people who haven’t yet come to terms with their gender identity, or are otherwise just NOT cishet. I know because I was one of these closeted people for years, and I honestly think tumblr and the cultural obsession around purity is one of the many reasons I was closeted so deeply for so long. STORYTIME LOL!!! In my early adolescence, I was a sort of proto “fujoshi”. I identified as a bi girl who was mostly attracted to men, or as most (biphobic) people called it, “practically straight”. I wrote and read “slash” fanfic and looked at as well as drew my own fanart. We didn’t use the term fujoshi back then, but that’s definitely how I could have been described. I was obsessed with yaoi, BL, whatever you want to call it, to a cringe-inducing degree. I really struggled to relate to most het romances, so when I first discovered yaoi fanfics (as we called them at the time), I fell in love and felt like I finally found the type of romance content that was made for me. I didn’t know exactly why, I just knew it hit different. LGBT+ fanart and fanfiction brought me an immense amount of joy, and I didn’t really think too hard about why.

At some point, in my early 20s, after reading lots of discourse™ here on tumblr and other places like twitter, I started to get the sinking feeling that my passion for gay fanfiction was ~problematic~. I had always felt a sense of guilt for being into mlm content, because literally anyone who found out I liked BL (especially the men I dated) shamed me for liking it all the fucking time (which btw is literally just homophobic, like can we talk about that?). In addition to THAT bullshit, now I’m seeing posts telling me that girls who like BL are cringey gross fetishists who inspire rage and should go die? 

Let me tell you, I internalized the fuck out of messages like this. I desperately wanted to avoid being ~problematic~. At the time, I thought being problematic was like the worst thing you could be. I was terrified of being “cancelled”, before canceling was even really a thing. I thought to myself, “oh my god, I’m gross for liking this stuff? I should stop.” I beat myself up over this. I wanted so badly to be accepted, and to be deemed a Good Person by the internet and society at large.

I tried to shape up and become a good ally (lmfao). I stopped writing fanfic and deleted all the ones I was working on at the time. I made a concerted effort to assimilate into cishet culture, including trying to indulge myself more deeply in the few fandoms I could find that had het content I did enjoy (Buffy, True Blood, Pretty Little Liars, etc). I would occasionally look at BL/fanfic/etc in private, but then I would repress my interest in it and not look for a while. Instead I would look at women in straight relationships, and create extremely heterosexual Couple Goals pinterest boards, and try to figure out how I could become more like these women, so I, too, could be loved someday. 

This cycle of repression lasted like eight years. Throughout it all, I was performing womanhood to the best of my ability and trying to become a woman that was worthy of being in a relationship. I went in and out of several “straight” relationships, wondering why they didn’t make me feel the way reading fanfic did. Most of all, I couldn’t figure out why straight intimacy didn’t work for me. I just didn’t enjoy it. I always preferred looking at or making gay fanfiction/fanart over actual intimacy with men in real life. 

Eventually, I stumbled upon a trans coming out video that someone I was following posted online, my egg started to crack, and to make an extremely long story short, after like 3 years of introspection and many gender panic attacks that I still experience to this day, I realized that I’m uh... MAYBE... NOT CIS..!? :|

I truly believe if I had just been ALLOWED TO LIKE GAY STUFF WITHOUT BEING SHAMED FOR IT, I probably would have realized I was trans way way sooner. Because for me, indulging in my love of gay romance and writing gay fanfic wasn’t me being a weirdo fetishist, it was actually me exploring my own gender identity. It is what helped me come to terms with being a nonbinary trans boy.

Not everyone realizes they are trans at age 2 or whatever the fuck. Sometimes you have to go through a cringey fujoshi phase and multiple existential crises to realize how fucking gay you are AND THATS FINE.

And one more thing - can we just be real here? 

A lot of anti-fujoshi sentiment is literally just misogyny. omg please realize this. Its “women aren’t allowed to enjoy things” but, like... with gay fanfics. Some of the anti-fujoshi posts I see come across my dash are clearly ppl projecting a caricature they invented in their head of a demonic fujoshi fetishist onto any woman who expresses what they consider to be a little too much enthusiasm for gay content and then using their perception of that individual as an excuse to justify their disdain for any women, especially straight women, ‘invading’ their ~oh so exclusive~ queer fandom spaces.

 god get over yrselfs this is gatekeeping by another name

idk why i spent so long writing this no one is even going to read it, does anyone even still use this site

*EDIT: HOLY SHIT WHEN DOING RESEARCH FOR THIS POST I FOUND OUT THAT Y-GALLERY IS BACK OMG!!! 

[jcmorrigan]

In Defense of Archibald Snatcher

Oh, wow, we’re coming up on almost the sixth anniversary of The Boxtrolls, my favorite film of all time, and though the fandom for it seems to be either dead or in hibernation, I still have the torch lit.

I actually have been of the mindset of the opinion/s I’m about to present here for all those six years, but never really thought it prudent to lay them out until I recently had a friend I was recommending the film to who I warned about some of the elements considered “problematic” and I offhandedly mentioned that I could do a whole essay about why they don’t bother me and said friend replied with a desire to want to hear it because we share infodump for infodump, so here we go, I’m poking the hornet’s nest surrounding a controversial film with a dead fandom.

But if you were on Tumblr back in the heyday, you might’ve seen the reaction to this film when it first debuted. Specifically, what a lot of people honed in on wa that the villain, Archibald Snatcher, employed a dragsona to be able to push his agenda and implement his evil scheme. There was outrage. There were accusations. There was lambasting. And above it all, one question hovers: was this transphobic?

I want to start, before we get into the weeds, by saying that if you are anywhere on the LGBTQ+ spectrum and you were offended by this film or this character, your experiences are completely valid. I’m about to present the counterargument in language that assumes my take is fact for the purpose of not having to write fifty thousand clunky disclaimers, but analytical as this may be, it IS an opinion, and if you don’t think it’s right, then hey, that’s super valid, and I’m not gonna try and change your mind, because if you’re hurt, then you’re hurt! You just may want to nope out of this post right now because I’m about to lay out my observations and thoughts to the contrary of the accusations of this being homo/transphobic.

First of all, the obvious facet that comes to mind is how strange it is that we only ever saw the word “transphobia” put on this phenomenon rather than “homophobia” when using a female alter ego as a disguise or a performance art is not the same as being a woman assigned male at birth. One only needs to take a look over at RuPaul’s Drag Race to see examples of this culture. Lots of gay men wearing dresses. No women perceived male.

All the same, I will say that on the surface, adding any kind of queercoding to the story’s villain, who the audience is supposed to boo and hiss at, looks really, really bad on paper. However you interpret it, Snatcher is definitely queercoded. He openly flirts with the man he’s trying to trick as a means of getting what he wants, he displays sincere enjoyment of wearing the dress, and he runs the gamut of flamboyant hand gestures. But if you dig a little further, there’s even more to the story: his tale is one of a man who desires to pass as one of the elite class in his society, but is held back by something he can’t change about himself no matter how he denies it.

Let’s look at the rest of his story. Snatcher is in pursuit of the White Hat: the ultimate status symbol. To that end, he’s decided to otherize the Boxtroll population of the town and play upon the culture shock in Cheesebridge to convince the humans of the “upper world” that the Boxtrolls are predatory monsters who must be killed. This sounds like a pretty black-and-white good-and-evil scenario, right? You’ve got your population of innocent sweethearts being attacked and your genocidal racist orchestrating their destruction. But there’s a third layer still: Lord Portley-Rind, the chief White Hat himself. Lord PR is actually the worst of the lot. It’s because he doesn’t accept Snatcher that Snatcher feels he has to resort to this tactic. He demonstrates open hatred of the Boxtrolls and of Snatcher (”I’m not sure who should be more worried: the Boxtrolls or us!”). There are implications in how he treats his daughter that he’s a textbook sexist who believes there are men’s roles and women’s roles in society and nary the twain shall cross. And he’s the rich guy controlling the entire city and letting children’s hospitals and crumbling bridges go to waste by spending the budget on frivolous cheese. In short, Lord PR is basically the ur-example of a nightmarish fictional Republican (and oh, how I WISH he hadn’t been so prophetic).

I’m not saying Snatcher was justified or good. No. He’s in no way redeemable. But over the course of his interactions with Lord PR, you can see just how much society’s elites treat him as inhuman or like a dirty buffoon. He’s looked down upon, he’s insulted even when he’s doing the “service” Lord PR desires, he’s rejected until he’s gone above and beyond his contract and I think it’s even a little bit implied that Lord PR would’ve reneged on the whole deal if the mob hadn’t cheered for Snatcher in the end. So what you have is a prim and proper billionaire who subscribes to gender roles telling a man of the lower class, obviously economically downtrodden, that he doesn’t deserve what Lord PR has.

The idea of meritocracy is woven throughout the film. Listening to the speech in the background of Snatcher’s anaphylactic attack, while the visuals are focused on Eggs rescuing Fish, you can hear Snatcher rambling about how his father told him that if you work hard, you will receive a White Hat, but he worked hard all his life and got nothing. One of the White Hats literally says he got his through being rich. It’s not hard to infer that Snatcher has figured out how broken the system is and realized the only way to win the game is to cheat.

But there’s still one more thing holding him back from his victory, something that actually trips him up when he achieves what he wanted. Cheese is presented as another status symbol: the rich eat it and are connoisseurs of its flavor. Snatcher is deathly allergic to it. The goal he’s chasing, he can’t even have without threat to his own life. His reaction is to pretend he isn’t allergic and to expose himself to having allergic reactions on the regular to show how much he’s ready to become part of the elites. I’ll reiterate: Archibald Snatcher wants to join the elites, but is held back because of something about himself he cannot change that only matters because the upper crust said it should.

Okay. So we’ve established the man is gay, or somewhere on the queer spectrum. How is this not really, really horrible?

Because the narrative invites you to feel some sympathy for him. No, not for his actions or any secret soft side or tragic backstory (that’s a job for the fans), but because he is chasing a dream he cannot attain. Perhaps the film’s biggest shortcoming is how little consequence comes to Lord PR in the end, because Lord PR, for all intents and purposes, is the worse villain on the board. Snatcher’s ploy is to take the class below the one he inhabits and paint its members as the bad guys: a nuisance that must be exterminated for the betterment of society. And we’ve seen this. We’ve seen plenty of real-life examples of have-nots turning on have-lessers because the haves benefit from oppressed groups infighting and being distracted from who holds the money and the power. A lot of times, you see that while intersectionality is definitely something we need to pay attention to, racism, sexism, and homophobia are not concepts that are all explicitly linked. If you experience one, that doesn’t mean you don’t project one or two of the others on other people - particularly if you’re trying to make yourself feel better about the discrimination you face.

When you look at the hierarchy, Snatcher is, I reiterate, a very bad person. But he’s also a victim. Not as much of a victim as the poor Boxtrolls, who get the malice trickling down from both the Red Hats and the White Hats, but he is a victim. We see him mocked, laughed at, turned away. And though he’s not redeemable, there are aspects in which he is sympathetic.

But what about Frou Frou? What about that particular disguise?

Well, for one, it’s used to make yet another allegorical statement. Snatcher is able to get attention paid to him if he weaponizes female sexuality - though it is a very shallow attention that largely results in the straight men of the town swallowing his propaganda while also objectifying him. Most of the comments made on Frou Frou are slimy, smarmy “compliments” on her body from the White Hats. Lord PR’s wife harbors a distinct distaste for Frou Frou because her husband most certainly prefers ogling Frou Frou to actually paying attention to their marriage. Frou Frou is a propaganda vehicle to make it look like more than one person is on the same page as Snatcher; Snatcher himself drives the action of his scheme and gets the dirty work done.

It’s also worth noting that if you take away the implications, villains using alter egos to trick their nemeses is a tale as old as time, from sea witch Ursula making herself more supermodel-esque in order to marry the prince to mythological Loki actually crossdressing much in the same vein in order to fool the Frost Giants. There’s a reason disguise masters and shapeshifters are intriguing villain archetypes: because we’re always a little bit afraid that someone isn’t who they say they are, and because - yeah, I’m about to go here - I think we all wish we could shift shape ourselves to take on new forms that suit the goals we’re trying to accomplish, even if that means “fooling” others. So it’s reasonable to think Laika wasn’t aware that there was any queercoding to even be had here - but I do think the crew was aware, and not in a malicious way.

However, watching Snatcher’s scenes as Frou Frou, there’s something that comes across in his character that you don’t see so often when he’s presenting male: he’s legitimately having fun. He dances, he flirts with the crowd, he adds more flourishes to his speech, he gets sassy. Frou Frou is a means for him to express himself, to allow himself to be feminine when he has built his philosophy on needing to do “what a man does” (he repeats this at least twice) in order to achieve greatness. He can be a little more himself when he’s Frou Frou, even though Frou Frou isn’t him. Taking a new identity that’s allowed the other half of the gender roles allowed in Cheesebridge (which runs on a binary because it’s run by the White Hats) lets him act a little less like what he needs to be to be taken seriously and a little more like he has freedom.

Put this back in context of the greater narrative: given all the parallels we’ve seen, it’s safe to assume that Cheesebridge, as a whole, is not accepting of deviations from gender roles, whether it’s being open and proud of your LGBTQ+ identity or simply wearing the clothes that don’t belong to your gender. Snatcher is taking an enormous gamble here by using Frou Frou at all. On one hand, it’s a calculated risk; he knows if he can appeal to Lord PR’s unchecked sexist libido, he can secure another avenue to being heard. On the other, however, it’s not really much of a leap to say this is something he wants to do, someone he wants to be more like, and isn’t allowed to, and since he’s cheating at the game anyway, he might as well go all the way and do what he wants with his life.

I’ve seen a lot of people take issue with the scene where he reveals himself to Lord PR and comparing it to some actual homophobic/transphobic media. And again, if that still stands to you as your primary analysis and emotional reaction, then feel free to turn away, reject my analysis, and know your thoughts and feelings are completely valid. But I think this scene differs from your usual “person with male parts tricked you into thinking they were a woman” scene in a couple ways.

For one, Snatcher decides to out himself on his own. To Lord PR, it’s when he’s got nothing left to lose. Again, when he realizes the game is broken and the odds are against him, he takes control and decides to be himself a little more. Now everyone knows he likes to act a dragsona because he wanted them to. But also, earlier on, when he revealed himself to Eggs, it was again on purpose. Eggs didn’t figure him out. Snatcher needed Eggs to know the level of the threat he was dealing with: that he was the person Eggs has been running from since the start and is no less dangerous in a dress. It’s always been of his own volition. There’s no “I thought you knew” or disrobing to see a body that doesn’t match expectations - Eggs ripping Snatcher’s wig off is maybe a little iffier, but again, in context, that’s him trying to show Snatcher’s identity, not as a man but as Archibald Snatcher, to expose the corruption, and Snatcher actually plays it completely off because he’s that good of an actor.

Which brings me to my second point. There’s only one person who reacts in an “Oh, gross!” manner to this revelation, and it’s Lord Portley-Rind. The one we’ve established is sexist, homophobic, and your textbook Rich White Straight Cis Man. The one at the top of the food chain. The one who’s been objectifying Snatcher and acting like a slobbering pervert about Frou Frou from the beginning. The homophobe realizes he has been a little gay. The sexist realizes his objectifying a particular person he perceived female has consequences. And this is why to me, that scene is actually hilarious. Because I don’t feel like I’m laughing at Snatcher’s expense. I’m laughing because Lord PR just got called OUT, and this is exactly the kind of discomfort that is karmic given how he’s treated his daughter, his wife, and everyone in his city who’s needed him.

Cycling back to when Snatcher outs himself at the ball, Eggs doesn’t really seem to care that there’s a gender-role-play involved here. His concern is not that this is actually a man; his concern is that it’s specifically the person who he knows is trying to ruin everything. Same with Winnie when Eggs passes it on. Eggs trying to reveal Snatcher to the crowd doesn’t even begin with “Frou Frou is fake,” but a line I will never forget: “Archibald Snatcher has lied to you all.” Not even drawing attention yet to the fact that he’s in the room. Starting out by having everyone remember that guy they are all sure ISN’T there and pointing out he’s bad news.

To look at Lord Portley-Rind’s “Oh my God! I regret so much!” as a dig at Snatcher is to say that Lord Portley-Rind is the lens through which we should be viewing this story, which it most certainly isn’t. The lens is Eggs and Winnie. Adjacent lenses are Fish, Shoe, and Jelly. Lord Portley-Rind is an antagonist to every single character in this film save the other White Hats.

Which is why if this film falls flat anywhere, it’s in letting Lord Portley-Rind get away without consequence. I think I can take a guess as to why this primarily happened: it needed to wrap up in a little under two hours, and dismantling systematic oppression and abuse of socioeconomic power can’t be done in a two-hour escapade. I still wish he were at least villainized a little more, as that’s where the narrative was leading up to that point. One of his earliest scenes with Winnie foreshadows that he will have to choose between her and the hat, and it takes him two tries to make the right choice. This story, until the very last act, has not supported him being a character to like or sympathize with, even in such subtle ways as Trout and Pickles stealing his hat and running around with it to taunt Snatcher - showing that a symbol is really only a symbol, and doesn’t indicate your worth. Anyone can put on a hat. Lord PR has just been brought onto an equal footing with them, if only for a moment.

Okay, so why have this whole three-layer narrative anyway? Couldn’t we have made this story more clear-cut between the Boxtrolls and White Hats, with no queercoded villain to get in between?

Yes...but I’m not sure that would have been best for the viewing audience. And there’s plenty of precedent as to why Laika thought it was a move for the better.

Queercoded villains are in every aspect of our fictional and fandom lives. Here’s a bitter pill to swallow: all your favorite Disney villains are queercoded. All of them. “But Frollo’s arc is about - “ Being a man in a religious system afraid of being tainted as sinful for being attracted to the wrong person. “Gaston, though, is - “ Very chummy with LeFou, and I’m talking the animated versions. They’re all colorful, flamboyant, foppish for the men and full of socially-unacceptable strength for the women. These were the cornerstones of our childhood nostalgia and characters we still feel culturally attached to.

It’s not just in Disney. Are you a fan of musical theater? Well, then your favorite villain probably got a big song and dance in which they wore some glitter. Classic lit? Google the name of your favorite literary canon villain and “queer theory” and see what happens.

I don’t think we can really say this is good or bad. On one hand, it’s not great that a marginalized group can only see themselves in the character we’re supposed to hate. On the other, though, we don’t always hate that character. Villains hold a unique place in our culture. They do bad things, horrible things, but the story can’t take place without a conflict, and we like when that conflict has a name and a cool design such as a tall, imposing sorcerer/witch in flowing robes - or perhaps a tall, graceful man in a long red coat and a towering crooked top hat.

I’ve had lots of friends and trusted Internet reviewers talking about how queercoding in villains can actually be really empowering. If you’re a fan of the villain, you get to see a power fantasy in which someone who has something very big in common with you gets to enact karma on others for wronging them! You get to wear the cool robes, sing the fun song, do things that are not really legal or acceptable! I think a great analogy is if you check out the book “Dead Blondes and Bad Mothers” by Sady Doyle. It’s primarily about sexism rather than queer issues (though it does touch upon them!), but examines how women throughout pop culture and storytelling history have always been the witch, the monster, the demon, and how that sucks, but it also means that women have a great pile of fictional power fantasies to pick from to indulge in. It’s the same principle. I myself may not be same-gender-attracted, but I am asexual, and still waiting on my glamorous villain who uproots society as revenge for being forced to do something analogous to having a sexual relationship...*taps wristwatch*

Meanwhile, queercoding is not as prevalent in heroes. And I think that’s where everything’s tripping on its own feet. Because a gay villain among a bunch of straight heroes does look pretty bad. Are some of the heroes queercoded as well, though? Well, that’s just realistic diversity. People are gay, and there happen to be some good ones and some evil ones here. I don’t think Snatcher’s dragsona is entirely unproblematic, but I do think it could have been mitigated a lot with more implications that Eggs and Winnie might be queer in some way (and believe me, I choose to interpret them that way, because the more the merrier).

The thing is that in pop culture as of late, there seems to be a trend to scrub away all villainous queercoding because it’s seen as a black-and-white issue. To go back to the Disney villains, do you feel like the live-action recreations of Jafar, Scar, and Gaston are missing a certain je ne sais quoi? Well, think about it through this lens and it might be that you savez quoi after all. They’ve all been made incredibly straight as of late, with off-the-record actor confirmations about having obsessive crushes on the film heroines. I can’t speak to why this has happened; there’s a lot of history behind any given social movement, and I haven’t managed to really unpack this one. “Blame Tumblr” is too easy; I would want to know who were the loudest voices, why they said what they said, and what was the intended accomplishment, not to mention if this had built on other social-media or real-life platforms over the years and was influenced by any outside source by news or marketing. I can’t say why queercoded villains are being burned; I can only say it’s happening. And it was happening big-time in 2014, when The Boxtrolls was released.

I also feel like I would be remiss to mention that The Boxtrolls is based on “Here Be Monsters,” which I believe to be one of the worst books I’ve ever read, bar none. That version of the story has...pretty much everything that’s perceived to be in the film version’s text as problematic. Frou Frou is presented as something to laugh at Snatcher about throughout, largely because everything about Snatcher is presented to make him seem gross or like a buffoon. There’s a whole scene of the hero rifling through his desk to find soiled underwear. Not to mention that the original purpose of Frou Frou in the text was to manipulate the town’s women by dictating the fashion trends they should follow and the beliefs they should hold in order to fit in. This is something that does need commentary on it, but in that text in particular, it seems like the women are silly and easily swayed, and that they’re the town’s weak link because they’re slaves to fashion. The Boxtrolls completely flips this around so that the town’s weak link re: Frou Frou is the rich MEN who objectify women, particularly the men that happen to be in charge of the whole town, and looking at that divide alone tells me how much care was put into this adaptation at every level.

So why’d I do this, besides having a friend who wanted to read it? Because Archibald Snatcher is legitimately one of my favorite fictional characters. Yeah, I know, he’s a horrible person and terribly racist, and no, I don’t think his demonizing an entire people is anything to be emulated. But on one hand, there are places where I not only empathize but identify with him, particularly where it comes to living out the majority of one’s life trying to live up to a meritocracy - I did everything right, so why am I not on top? He’s also just fun and satisfying to me. He’s the exact brand of evil I eat up. He’s quippy, flamboyant, sadistic to a point, and altogether enjoying his job way too much. Even though he isn’t in power all that long, he is a power fantasy for me, too - wishing I had his talent to talk my way into others’ hearts by saying the right thing, and maybe cultivating a little bit of that I didn’t realize I had (but not to use for evil purposes). I loved him from the moment he turned up because of his sheer dynamic presence - his drawn-out vowels, his sinister smile, his silver-tongued manipulations - and to this day I find him an inspiring character when it comes to writing fiction, both in the realms of fanfiction and original villain creation. You could say he’s a comfort character to me. And maybe this has been the delusional rambling of a woman trying to protect a character she likes for surface reasons by spelling out what look like analytical points of discussion.

But I don’t think Laika was trying to be mean-spirited or homo/transphobic in their character creation. I think they were trying to make an engaging villain who had some layers you could pick at to see more about the narrative as a whole and the message of societal corruption and how the way to overcome it is to be true to yourself rather than defined by your status: a lesson Snatcher fails at the finish line when Eggs gives him one last chance to “make you.” And ultimately, if you really and truly did like Archibald Snatcher, you’re not wrong or invalid in the least.

[constant-instigator]

In comes a rant. I will not be reading replies.

Ownvoices writing is good. Ownvoices writing is vital, indispensable. Worthy of so much support.

But JESUS CHRIST people need to settle the fuck down about others “writing outside their lane.”

Let me explain.

1) A shit ton of marginalized people- largely creators, have worked our collective asses off helping people write beyond their experience. Claiming that nobody of a particular marginalization wants anyone outside their community to write about them is a massive disservice to people doing the work to make sure that writing is good. 

2) For every marginalization, there are those at the border- at the egde. Who see these demands for ownvoices only rep and tailspin into wondering if they are ______ ENOUGH to write from their own life. I have seen these calls for ownvoices-only make people consider either giving up writing, or only writing white, straight, cis, nondisabled, allo characters which honestly we do not need a bunch more of. Creating ranking within our own communities just re-establishes harmful hierarchies within communities that have already been harmed by such hierarchies. And honestly this kind of thinking contributes to so many harmful stereotypes about what people of different marginalizations feel/think/act like. This kind of thinking stops people from finding help. From finding community. Stop hurting marginalized people with gatekeepy bullshit. No more “not trans enough” to deserve transitioning support. No more “not depressed enough” to deserve mental health help. This an incredibly harmful scarcity mindset that helps nobody.

3) NOT EVERYONE WANTS TO TRADITIONALLY PUBLISH. I bring this one up only because there’s a lot of talk about people “taking up space” by writing a particular marginalization. By all means, take publishers to task for their “we already have a black book this year” bullshit. But some people just wanna self publish and we do not need to act like every marginalized community has like 3 book slots per year and wont read more than that. The thirst for books about marginalized folks is VAST. People are hungry to be seen. The market can bear it. And those that self-pub aren’t taking anything away from anyone else.

4) Multi-POV books are a thing? Like honestly why would I write a queer cast if they’re all gonna be white? What unrealistic whitewashy bullshit is that? Why would I bother writing about disability if I’m gonna exclude queer folks, who are disproportionately affected by a number of disabilities due to medical negligence? If you write communities, if you write multiple points of view, you shouldn’t be contributing to the media mass removal of people who don’t fit hollywoods idea of real people.

5) Stop treating people who have different experiences of marginalization as different goddamn species. I’m really seeing people say queer women shouldn’t write queer men and vice versa? So who is my nonbinary ass supposed to write, huh? Just only nonbinary people? Yeah ok, I hate book sales. Lemme just do that. Or maybe we could stop acting like our differences make us incomprehensible to each other- especially when dealing with adjacent communities.

6) If your answer to #5 was “well the more marginalized can write the less marginalized” then you have just bought into the idea that marginalization can be ranked and rated and my dear that is a bullshit idea. Yes, there are some clear cut exampled. Being white is gonna protect you from racism. Granted. But who is “more marginalized” a queer woman or a queer man? An autistic person or someone with bipolar? A Muslim or a Hindu? If you just tried to answer any of these questions stop. Go get a glass of water. Take a few deep breaths, and realize that creating hierarchies is half of how we get into these situations in the first place.

7) Said hierarchies would, under ownvoices-only rule, ensure that those with the greatest barriers, on average, bear all the responsibility, with the LEAST amount of support from publishers. This isn’t a “boo-hoo where will Black people get Black books if white people don’t write them?” It’s “if queer women can only write queer women, and not queer men, then they are relegated to the less profitable section of queer publishing and the patriarchal order is maintained”. I think my community can do better than that. I refuse to invite those models into my community.

8) “Well if you listen to people who are X, they want-” Stop. Stoooop. No. We are not a monolith we are never a monolith. Go read #1 again.

In conclusion, a lot of harmful bullshit books make it out into the world. Those books can and should be called out. But we don’t need to harm marginalized people to do that. We don’t need to water down our communities. We don’t need to uphold hierarchies that the craptacular establishment approves of. We don’t need to ignore the hard work so many people have put into helping there be more good rep in the world.

Ownvoices stories are vital. We must uplift them. By all means, side-eye anyone you see writing what they’re not without uplifting those who educated them. 

But #ownvoices is a beacon, not a cudgel.

I will not be reading or responding to any comments on this post, because Tumblr purity bullshit culture may well find this post one day. And a lot of people want to use the concept of “safety” to attack anyone who makes them feel anxious by pointing out that there is no simple, cut and dry way to avoid harm, to avoid messing up, to avoid their ever-encroaching sense of anxiety-riddled guilt. Life is messy. Learn to apologize and do better, because you will never be free of making mistakes.

[wily-one24]

I hope there's not a question limit per ask lol... Paint it Black: 3, 4, 5, 11, 12, 14 and 15 (or as many of those as you feel like answering lol)

Okay, two things.

A. Of *course* there’s no ask limit. I am an attention whore and will talk all day if you encourage me. Ask away!!

B. WTF tumblr? When I reposted that, it was a paragraph basically saying “ask about my fic!”, but now there are NUMBERED QUESTIONS? What? Where was the second half of that post when I came across it in my dash? 

ANSWERS

3. What’s your favourite line of narration?

Oh geez. How the hell am I going to answer that? I have favourite lines per chapter, I have favourite lines per scene! Each part I’m reading at any given moment happens to be my favourite. Every time I reread it, I find something new... and... maybe I suck for saying this... but I think “you’re a fucking genius”, then I get all sad, because I think that was probably one of the last great things I’ll write. I’ve been going downhill ever since... but anyways, to seriously answer your question, I’ll give a few examples... 

 - That face off scene between Regina and Snow, where Snow claims her father was a good man and Regina answers “To you!”, the entire scene is charged and emotional and brings up so much shit between them that was never explored in canon. 

- The flashback of Emma’s tenth birthday (technically collectively, all of the flashbacks, really. They’re angsty as fuck, but so formative in their characterisation that sometimes I forget they’re not actually canon). I have this habit of tearing Emma down to her bare bones and then trying to build her up again. I actually do this with most of my main female characters, and I do apologise for that Buffy, Kaylee, Veronica, Emma, and Alex. You all deserve so much better than me. 

- The scene where Regina is alone in the castle and revisits the old chamber of Leopold’s. It’s hard to read but that is some weird little cathartic release right there. There is some great imagery that I don’t think many people allow Regina when it comes to her healing. Everybody tends to go the “being married to Leopold was a BAD THING” route, without ever really exploring the day to day soul destroying aspect of it. The reality of being the King’s prisoner wife. But giving her the ability and strength to revisit it, so she can finally acknowledge to herself how damaging it was, to close herself off from it both literally and figuratively, and then to be self aware enough to compare that situation to the one she has Emma in. That is empowerment. 

- The parallel scenes of Emma and Henry at the start and the end of the fic. The first being when Henry is so adamant to rescue Emma and curse everyone again just to take them back... and the last where you can see how much indoctrinated he is into the fairy tale land, how much he is drifting from “our world” being the real one, to the fairy tale land being his reality, and how his morality has shifted... but then... he also brings it back by getting vulnerable and shows his concern not just for Emma but for Regina... which also shows great advancement from the child like black/white morality of good vs evil he begins with to an acceptance of a more adult grey-area morality, his willingness to examine the facts and the truth to make up his mind. 

All the minor characters... Nancy (sweet, voiced Nancy), and Miss Edith (poor Miss Edith), Rachel, all the little characters that had such minor parts, but had such great effects in the lives of our main characters. 

Oooh, writing Rumple was fun. I got to write him as nobody really does. As that creepy reptilian imp from the first few flashbacks in S1. Before they really woobified him. The hysteric giggling, maniacal creature who smelled the air and exuded pure malice. It was really enjoyable writing him like that. 

Well, this went terribly off topic... anyway, yes, flashback scenes and confrontation scenes, be they between Snow and Regina, Emma and Regina, Regina and Maleficent, Emma and Snow, Emma and Henry... it’s in emotion that the true power of the fic lives. 

4. What’s your favourite line of dialogue?

oh, this is harder than the first. It would take me ages to reread this fic (and now I most likely am, thanks) to really go through it and cherry pick my favourites. But, if a line has happened to truly hit home and resonate with you as a reader, it most likely did the same for me. I remember quite a few times writing this fic, thinking “holy fuck!” and knowing, just knowing, that it was definitely the line to write. 

5. What part was the hardest to write?

The first two chapters. Up until the pivotal moment where Regina heals Emma, those were difficult to write and definitely difficult to read. I’ve had many readers tell me they were about to give up, bc it was too much torture porn to enjoy, but that moment specifically was a turning point for them because it built up the trust that I could and would reign Regina in beyond the point of no forgiveness or return. 

11. What do you like best about this fic?

I liked writing it. 

It took me to some pretty intense places. Fic writing, for me, has always been a form of therapy. I work through to some pretty intense fucking emotions through the angst of it all. Like, no, I have never been magically transported to a fairy tale land, collared, enslaved, and held against my will for the sake of my family and community’s lives... but if you look deeper in my life at the time, I had just been through a pretty horrific pregnancy that nearly killed me, my spouse and I separated, and I was left ill, recovering, and a single mother of a toddler and infant. I felt like I was being ripped apart from all angles, forced into a live of servitude for the betterment of everyone around me at the cost of myself. Even, though, like Emma, I didn’t blame them, it was still a period of mourning and loss.

I didn’t realise it at the time. This revelation happened years later when rereading the fic and trying to see where all the emotions had been coming from. It happens a lot with some of my more intense, dramatic, and (strangely enough) most popular fics. I don’t always see the correlation to my life at the time, but if I look back I can generally trace the rationality behind what my muse was trying to work through. 

12. What do you like least about this fic?

The polarisation. The controversy. That fucking chapter fucking four. I still cannot reread that chapter without having to take a step back and breathe. That scene has some good imagery, but even now sometimes I just skip it. It’s not worth the shakes or unease or... ugh, just thinking about it upsets me. 

I made a mistake in the tagging and I learned from it, but holy fuck was I attacked at the time and used as a sacrifical cow to the radfems. It was, honestly, surprising to me. Not only the reaction, but the harshness of it, all the accusation and personal attacks aimed at me.  

I mean, I knew the fic was always going to be confronting to some. It dealt with some pretty hard issues and subject matter. I had warned for all the violence and non/dub con. But... I didn’t expect or prepare for the backlash in including a male, even if the male used was... just used... and never actually amounted to anything more than a tool for Regina to control/bind/further entrench Emma to her own will in one scene. 

I, very naively, went into it thinking “surprise!”, and that an almost canon past pairing that was heavily explored in the actual show would not be controversial in the least. More fool me, I suppose. I definitely went back to re-tag it, I apologised. I am not sure what else I could have done, but to this day this fic is held up as an example of queer baiting and everything wrong with false lesbianism. And it is definitely used as an example by biphobic people as to why bisexual women cannot be trusted as we’re all “really straight women at heart”.

To be fair, I never explicitly labelled the fic as “lesbian”. I begin all my fics (no matter how AU or ‘out there’) from a canon stand point. Meaning, everything that happened in the show up to that point counts. Which includes every prior relationship both Emma and Regina had been in up to the Season One finale. Which, surprise, were with men!! 

14. Is there anything you wanted readers to learn from reading this fic?

I don’t know if there’s anything they should ‘learn’, but I definitely hope readers realise that this is in NO WAY AN EXAMPLE OF A HEALTHY BDSM RELATIONSHIP. It is not meant to be a guide, a ‘how to’, or a ‘goal’. This is an incredibly fucked up way for two already fucked up characters, to find some kind of semblance of existence in a world/s stacked up against them from the very start. I didn’t think I needed to state that out loud, but apparently I had to. Many times.  

If not that... then definitely I hope perhaps some of the writing made people think about the characters more in depth, or differently, that it gave the reader a new way of thinking about the show and the storylines/characters in it.  

15. What did you learn from writing this fic?

Tagging. Tagging fucking matters. Tag properly. Like, just do it. 

In all seriousness, though... I think I learned a lot about my own trauma. 

I also think my writing developed throughout the fic. There is a definite shift from the first two chapters... you can definitely see where it became less of a short one off smutty fic set up and more of an in depth angsty character exploration of the soul kinda thing. 

I learned about set up and development and bringing in stray bits of plot development later in the story to tie up loose ends.  

[theradioghost]

Audio Drama Podcast Recs

EDIT: well jesus this thing is getting old! If you’re looking for podcast recommendations I would recommend checking some of the newer posts I’ve made. I’ve expanded my subscription list from about 30 to over 150 in the years since I posted this, & at at this point it’s a pretty inadequate rec list.

Because I’ve gotten a few questions over time about podcast recs, both from people who are curious about audio drama, and fellow denizens of Podcast Hell™ who need something new, I wanted to put together this list so I could go a bit more into detail about why I love and recommend each of these amazing audio dramas.

Rather than trying to rank them, I tried to organize this list roughly based on popularity, at least based on my dash! More well-known shows are listed first, and then my faves that I don’t see getting nearly the love that they deserve. Especially with the volume of new innovative audio drama being created, there’s some really good stuff out there not getting nearly enough attention. Which is not to say that, if you’re a new podcast fan, you have to start with the most popular – but those shows are more likely to have an active fandom. (Of course, there are a ton of great podcasts out there, and plenty (both popular and obscure) that I don’t listen to yet.)

I also have a podcast rec tag and a very long list of audio dramas, if you want to go hunting for something beyond these recommendations here. Additionally, if you want more details or content warnings about any of these shows, feel free to message me on or off anon and I’ll do my best to answer! This post really focuses on the positives of each show and who I think might enjoy them.

WELCOME TO NIGHT VALE – Community radio from a friendly desert community where the sun is hot, the moon is beautiful, the dog park is forbidden, the mayoral candidates aren’t human, the weather is a mystery, and mysterious lights pass overhead while we all pretend to sleep.

If you know anything about audio drama podcasts, there’s like a 99.99% chance you know about Night Vale already. If not, just go listen. It’s weird and amazing and beautiful and helped to make a lot of this possible. Or if 100+ episodes plus live shows is overwhelming, don’t (but come back to it someday. It is magical).

For people who like: surrealism, humor, ‘radio show’ format, somewhat less emphasis on plot, diversity, indie music, experimental storytelling, a large back catalog of episodes, a fandom considered large by regular standards and not just podcast standards.

ALICE ISN’T DEAD – As she travels across America, a trucker tells the story of her search for the missing wife she had presumed dead, of the mysterious danger stalking her down freeways and backroads, and of the much bigger – and more terrifying – mystery she is uncovering.

The first and most popular of Night Vale Presents’ other podcasts. Gothic Americana soft horror lesbians! The writing, atmosphere, and orchestration are all superb, as is Jasika Nicole’s monologue performance. I personally recommend car/transit listening. (Also, you can get the whole soundtrack for free, and you should definitely do that.)

For people who like: surrealism, horror, Americana, female leads, lesbians, atmosphere, introspection, mystery, great music, something to drive to.

WOLF 359 – Doug Eiffel doesn’t want to do his job, Hera is a friendly but faulty AI, Dr. Hilbert is probably a mad scientist, Commander Minkowski wishes she wasn’t in charge of these idiots, and together, the four of them make up the entire crew of the USS Hephaestus space station. It’s not a picnic at the best of times: they’re isolated in a constantly malfunctioning tin can, orbiting a red dwarf star eight light years from Earth, and working for a shady corporation with coworkers they can’t stand. Then Eiffel starts to receive inexplicable transmissions from deep space – and everything gets so, so much worse.

It’s a hilarious office sitcom! It’s a character-driven deep-space sci-fi thriller! It’s a tragic, thematically powerful story about personhood, communication, and isolation! It’s all of those things, often within three lines of one another and frequently all at once! Wolf 359 is probably a masterpiece and now, heading into its fourth and final season, it continues to surprise and impress me every single time. Alan Rodi’s music is evocative and superb and the cast and writing are top-notch. One of the best. Listen to it.

For people who like: excellent character-driven writing, great music, well-written women, a gender-balanced ensemble cast, intimate sci-fi, hilarious and often referential humor, scary corporate overlords, cerebus syndrome.

THE PENUMBRA PODCAST – In Hyperion City, metropolis of a far-future Mars, a private eye named Juno Steel is pulled into life-threatening criminal conspiracies, and tangles with an even more dangerous, nameless thief – who could be his worst enemy or the love of his life. Within the Second Citadel, human civilization is protected by knights who venture out into the jungles to fight the monsters that threaten them – but some knights are discovering monsters who seem just a bit different. On the Painted Plains, a train-robbing bandit steals away a schoolteacher – and her heart. All of these and more are stories waiting to be heard behind the doors of the Penumbra, the grandest hotel this side of Nowhere. And absolutely none of them are straight.

Fabulously written genre-bending “queer AF” anthology show. The best is the Juno Steel series, about a bisexual, nonbinary sci-fi PI, which remains eminently and hilariously quotable even as it wrenches your heart out with genre-deconstructive depictions of mental illness and one of the most believable and emotional romances I’ve seen in ages . The Second Citadel fantasy series is also starting to come into its own in the second season and the standalone stories from the first season are a pretty damn good listen (LISTEN TO THE GAY WESTERN. DO IT.) I love this show, I love everyone from this show, I love everyone associated with this show, and I love Mick Mercury.

For people who like: playing with genre tropes, OTR, noir fiction, diversity, romantic chemistry, a variety of stories, suspense, heartache.

THE BRIGHT SESSIONS – Dr. Joan Bright isn’t an ordinary therapist, but her patients aren’t ordinary patients. Sam’s panic attacks bring on bouts of involuntary time travel; Caleb has it hard enough negotiating teenage emotions without also experiencing the feelings of everyone around him; Chloe can’t escape hearing other people’s thoughts; and the less said about Damien, the better. But Dr. Bright, too, is more than she first appears.

It’s a hard-hitting and poignant show about mental illness and people recovering from deep traumas, and also it is about superpowers. As the concept implies, the show is highly character-driven, and it develops an ensemble cast incredibly well. These guys are friends with the Wolf 359 crew and apparently have taken lessons from one another in how to ramp up a plot from “fun” to “oh god why,” but let’s be honest: that’s what we’re here for. Also, unjustifiably sweet gay teen romance, really cute friendships between ladies, at least one cat.

For people who like: highly character-focused narrative, superpowers, moral questions, ensemble casts, cool female leads, shady government activities, great acting.

ARS PARADOXICA – One minute, Dr. Sally Grissom is conducting cutting-edge physics research in her lab in early-21st-century Texas. A single mistake later, she’s on the deck of the U.S.S. Eldridge, in Philadelphia, 1943, smack dab in the middle of a classified WWII weapons experiment. She’s accidentally put time travel into the hands of the US government just as the nuclear era kicks off. And she can’t ever go back.

I assume everyone has heard of ars P because I assume that everyone knows Mischa Stanton. (They work on what must be like 50% of all podcasts that exist at this point, including The Bright Sessions.) Everything they do is pretty much a must-listen, but especially ars p, the “sad time show” to Wolf 359’s “sad space show.” The writing sticks out to me for its sense of consequence; it’s a major theme of the show that everything that happens will have serious and cumulative effects. Deservedly award-winning sound design. As a bonus, it crossed over with The Bright Sessions; if you like one, you might like the other.

For people who like: sci-fi, period settings, cold war thrillers, cool female leads, time travel with rules, complex and grey moralities, science lesbians, diverse ensemble casts.

EOS 10 – Dr. Ryan Dalias has enough to deal with just as the new head surgeon on a massive space station (alien aphrodisiacs, space anti-vaxxers, mind-controlling plants…) But as if that weren’t enough, his boss is an alcoholic misanthrope who has received an unwelcome ultimatum about his drinking; the nurse may or may not be inclined to bite people; there’s a deposed alien prince in the examination room who won’t put his pants back on; and an intergalactic terrorist who wants his name cleared is hiding in the cargo bay. And those are the people on his side.

I have my issues with EOS 10, not least of which is that it is still mired in a two-year hiatus (though Season Three is finally going into production soon? FINGERS CROSSED). I usually forget those issues when I listen because it’s still a frankly hilarious space comedy and the entire main plot is kicked off because of a potentially deadly boner. Think of it as the strange offspring of DS9 and Scrubs. Come for wild space shenanigans, stay for surprisingly heartfelt storylines about addiction (and even wilder space shenanigans). If W359 sounds cool but maybe a little heavy for you (or if the first season was your favorite), EOS 10 might be more up your alley.

For people who like: Star Trek, comedy, space scifi adventures, alien characters, gay space pirate cowboys, waiting.

THE THRILLING ADVENTURE HOUR – “America’s favorite new time podcast in the style of old time radio.”

An anthology show like The Penumbra which takes a comedic approach to its old time radio inspiration instead (and it is very OTR inspired – not just playing with the same genres). Has a lot of segments, not all of which are created equal; two are standouts. Sparks Nevada: Marshall on Mars (which has a continuous plot) follows a deadpan robot-fighting lawman, the Martian tracker who provides him with somewhat vitriolic companionship, and their various allies across the sci-fi-comedy-western landscape of Space Future Mars. Beyond Belief (which is episodic) stars alcoholic socialites Frank and Sadie Doyle, who may be world-renowned paranormal experts, but who mostly just combat supernatural evils so they can get back to their two greatest loves: booze and one another. It was recorded live, often featuring celebrity guest stars (most notably and frequently Nathan Fillion), and recently ended its many-year run.

For people who like: OTR, forties/fifties culture, really REALLY cute couple chemistry (Beyond Belief), humor, much more lighthearted content, a large back catalog, great music, corpsing.

GREATER BOSTON – Leon Stamatis’s perfectly organized life abruptly ends one day at the top of the first hill of a roller coaster – and that’s where the real story begins. His death will start a domino effect of change rippling through a Boston where activists agitate for subway lines to form their own city, shadowy executives watch over offices where magazine editors predict the future, and Google Calendars are updated from beyond the grave.

Guys, I am never gonna shut up about this show. At this point it’s probably my favorite podcast. Experimental fiction, a sort of regional-gothic-slice-of-life, with a plot that builds into the story of an interconnecting community of people, all of them growing and learning and changing and interacting, even the dead ones. And it plays more brilliantly and hilariously and beautifully and poignantly with format and writing and character than you’d think possible. I sometimes see it compared to WTNV (the “weird town” angle), but I think it’s likely to appeal to fans of The Bright Sessions: its characters may be dealing with incredibly strange situations, but the focus (and the appeal) is the development of those characters and their relationships with one another. Alternately, just literally everyone should listen. It’s that good.

For people who like: ensemble casts, experimental fiction, awesome women, strong character development, lesbians, playing with format, characters named Extinction Event, political intrigue, great music, Boston.

WOODEN OVERCOATS – Siblings Rudyard and Antigone Funn, along with their assistant Georgie, run a funeral home on the tiny Channel island of Piffling. It’s the only one, which is how they remain in business even though Rudyard is a punctuality-obsessed misanthrope and Antigone hasn’t left the morgue in daylight for 17 years. Then the world’s most perfect man, Eric Chapman, opens another funeral parlor directly across the street.

A British sitcom about rival funeral directors in a small town, with all of the dry, witty black humor that implies. "British” does always feel like the best adjective to convey the distinct sense of humor here. Also, it has amazingly high production values. Like, it just sounds really, really good. Also, it’s narrated by a talking mouse. The third season was just announced, so now is a really great time to catch up.

For people who like: black comedy, British comedies, rivalries of both business and sibling kinds, mysterious backstories, just a whole lot of dead people jokes, a more episodic structure.

THE BRIDGE – Once, you could drive all the way across the Atlantic in luxury and style, using the Transcontinental Bridge. Now, the Bridge is virtually abandoned. The employees of its Watchtowers are the only people left to tell its stories: stories about ghosts, about curses and illusions, about vanished and abandoned people and places, about the monsters whose places these were before the Bridge, and the strange and dangerous people who came there to find them.

IMHO, possibly the highlight of the writng for The Bridge is that they can create atmosphere like nobody’s business, and the show has a gorgeous soundtrack to boot. The characters are charming, the plot is intriguing, and the world they are building is like absolutely nothing else. Like Archive 81 below, it might appeal to those who’d enjoy Lovecraft if he didn’t suck so much in every possible way, although it’s much softer on the scary factor.

For people who like: atmosphere, storytelling, great character dynamics, sea monsters, spookiness, really fun ladies, ghost stories, mysteries, the bottomless depths and siren’s call of the ocean.

THE STRANGE CASE OF STARSHIP IRIS and UNDER PRESSURE – Starship Iris is the story of Violet Liu, a biologist forced by circumstance to join up with a ragtag crew of spacefarers to determine whether the explosion which killed every other person onboard her spaceship was really an accident. Under Pressure presents the notes of Jamie McMillan-Barrie, a researcher whose literary background did not prepare her to negotiate the kind of office drama that takes place on a research station at the bottom of the Pacific Ocean.

Both of these are part of Procyon Podcasting Network, which also has more upcoming shows which I am beyond thrilled about; both are also incredibly diverse, both in-universe and behind the scenes. Both are charming and very, very gay as well as racially diverse; I’m particularly fond of Starship Iris, but everything that comes out of Procyon is more than worth a listen. They’ve started pretty recently and have only a few episodes each.

For people who like: space scifi, found family tropes, workplace drama, human/genderless alien romance, space lesbians, diversity, cool female leads.

THE ORBITING HUMAN CIRCUS (OF THE AIR) – The dreamy, accident-prone janitor of the Eiffel Tower does his best to get himself a place in the fantastical, impossible radio variety show being broadcast from the tower every night. Will he ever be successful? Will the show survive his attempts? And just where do the mysterious and magical acts come from?

Considering it’s a Night Vale Presents podcast and stars an A-list of my favorite underappreciated creatives I was kind of shocked at how little discussion I see. OHC is so charming and dreamlike and heartwarming; it’s like recapturing the feeling of a particularly magical bedtime story. It features Mandy Patinkin singing Cheap Trick and you need that in your life. Also, it has a platypus in it.

For people who like: OTR, John Cameron Mitchell/The Music Tapes/Neutral Milk Hotel, a gentler weirdness than other NVP podcasts, Paris, charm, experimental storytelling.

WITHIN THE WIRES – You are a patient at the Institute. You have been instructed to listen to this series of relaxation tapes to aid in your treatment. You must trust my voice. You must trust only my voice.

NVP’s other highly underappreciated show. WTW manages to tell a narrative in a format (self-help relaxation tapes) I would have never thought possible, and though it’s difficult to say much about what makes it so good without spoiling the effect of that excellence, it’s a great choice if you’re weird-fiction-inclined. Like Alice Isn’t Dead, it also features lesbians. (It may not be good for anyone who has trouble with unreality, disturbing second-person commands, or depictions of institutionalization.)

For people who like: experimental storytelling, WLW love stories, surrealism, dystopic fiction, suspense.

INKWYRM – Mella Sonder was hired to work with a recalcitrant AI, not to be personal assistant to Annie Inkwyrm, head of outer space’s premiere fashion magazine – and the two of them will probably be fighting about that, along with all of the other disasters they get tangled up in, until the star they’re orbiting explodes. Or until they fall in love.

My money’s on the latter (fingers crossed please make it happen), but this show just finished a really fun first season and I absolutely cannot wait for more of it. I’m a sucker for dysfunctional coworker comedy, and an even bigger sucker for girls falling in love; this offers both and is excellent, and is just incredibly done for an amateur podcast. The peeps making it are inspiring and badass and really, really talented.

For people who like: The Devil Wears Prada, scifi, diversity, vitriolic romantic tension, cool female leads, alien characters, wlw romance, incompetently homicidal AIs.

THE BEEF AND DAIRY NETWORK – The number one podcast for those involved – or just interested! – in the production of beef animals and dairy herds.

Honestly almost impossible to describe. What really gets me is the hilarity of how it somehow perfectly imitates the public radio/industry podcast style, delivering you important updates from the world of cattle products, except not from a world anything like ours. Endless beefy fun times with the occasional sharp right turn into body horror and potent unreality played for comedy. This and Alice Isn’t Dead are my dad’s favorite podcasts, which probably says something about him.

For people who like: Wooden Overcoats (it’s by the same folks!), weirdness, humor, much less of a focus on narrative, ‘radio show’ format, satire, rich beef sausages.

ARCHIVE 81 – Dan Powell is missing. He was hired, so he thought, for a simple job cataloguing an archive of tapes for the New York state government: a series of interviews that a woman named Melody Pendras conducted with the tenants of an odd apartment building. Then the story on the tapes becomes impossibly strange and terrifying, and so does Dan’s life.

Another one where I’m not sure whether everyone knows about it and just isn’t talking, but they should be. It’s probably a sign of how fantastic A81 is that it’s one of my favorites even though I ordinarily can’t stand horror. This post really extolls its virtues in a better way than I can. This show has some of the most incredible sound design I’ve heard yet, so if visceral body horror conveyed solely through the audio medium isn’t for you, then neither is Archive 81. On the other hand, if you like extradimensional lesbian apotheosis and the nickname “Boombox Fuckboy,” listen to this. On top of that, the acting is superb. (The creators, Dead Signals, also did an apocalyptic scifi survival-horror miniseries thing called The Deep Vault, which is similarly beyond well-made.)

For people who like: horror, weirdness, found footage format, great music, absolutely stellar atmospheric and action sound design, excellent and realistic acting, The King in Yellow, a ‘Lovecraftian’ feel not based on hatred of anyone who isn’t straight/white.

JIM ROBBIE AND THE WANDERERS – Three trouble-seeking wandering musicians (one brash and upbeat, one an argumentative engineer, and one a grumpy robot brought to life from a radio and assorted cutlery) wander a post-apocalyptic America populated by strange towns and fantasy beings, some friendly, others dangerous.

This is another show that really charmed me right out of the box. Not to mention that it’s a take on “post-apocalyptic” that I’d never seen before – why have grim ruins or cannibalistic societies when you can have giant friendly genderless bees, an NYC inhabited by partying undead, towns full of squid-people, and desert-dwelling leprechauns? It’s much more of a fantasy take on the genre and the characters are incredibly sweet. I was also really impressed by the quality bump it’s undergone over its run so far.

For people who like: fantasy, more lighthearted narratives, fun and creative concepts, a villain called “The Fig-Wasp King,” great music, friendship, cool female leads, diversity.

THE HIDDEN ALMANAC – A thrice-weekly, four-minute show hosted by the plague doctor Reverend Mord, offering historical anecdotes from another world, the feast days of unlikely saints, and useful gardening advice. 

Tired of that one analogy from every news article of the 2013 Night Vale boom (“like Stephen King/H.P. Lovecraft wrote A Prairie Home Companion”), writer/artist Ursula Vernon decided to take a crack at recreating Garrison Keillor’s other show, The Writer’s Almanac, in a similar fashion. Compared to WTNV, it comes off as less ‘weird’ and more fantastical, and is on the light side continuity-wise, though both the historical events and the frame show have arcs. In the past couple of years there have been a lot more story arcs, many lasting months, and a lot more appearances from guest character Pastor Drom and other characters. I find it incredibly charming and relaxing.

For people who like: fantasy weirdness, the actual Writer’s Almanac, WTNV, gardening, vitriolic friendships, worldbuilding, short runtimes, less of a focus on plot, large back catalogs, worldbuilding, crows.

[elfrightsactivist]

Hey. Im a beginning writer and I saw your post about trans characters. Im cis but i want to do it properly. What would you like to see? How do I make them come out? Sorry i just want this to be good yknow? Thanks

Hi there! Thank you for asking, and never apologise for wanting to be respectful about including people. I wish more people did that. 

I tried to make this short at first but it’s just impossible for me, so buckle up because I’m passionate about this. 

Same as with writing any minority, including trans people in your story doesn’t mean you get to talk about the experience of belonging in said minority. While you might have some empathy, unless you’re basing your trans character’s story on a specific experience of a real person, you have an enormous chance of being misguided by pop culture and its obsession with turning us into tragic, suffering figures only there to be pitied or as a way to shock the audience or as a way for the writers to get diversity cookies. We’re just people, and even if we do have traumatic backstories, let us talk about them in our own terms. Make a character that just happens to be trans, but don’t focus on that part of their identity because that bit is not yours to tell.Example: Madeline is an actress. She likes sci-fi and is currently studying French literature while she follows her passion for theatre. She also sings and plays the ukulele and piano, she has a YouTube channel where she does operatic covers of video game themes and makes nerdy songs about popular fictional characters, and wants to play the main part in a West End musical one day. She knows it’s hard because she’s trans, but she trusts her abilities, and she’s grateful for the few fans she’s gotten from YouTube who are super supportive.

Don’t be misguided by stereotypes. 99% of trans women don’t dress like drag queens, trans men are not butch lesbians who just desperately want a dick, and not every trans person has a tragic past with their family because of their identity. Also, no need for your trans char to be 100% feminine or masculine to PROVE they really are trans, and there’s no need to be a short-haired, flannel-wearing, very non-gendered white thin model in order to be non-binary. Example: Madeline has a girlfriend and two dogs. She lives in a small flat and struggles to pay rent, but she’s happy. Every Sunday she visits her dad. She’s an only child, and he absolutely adores his daughter and her girlfriend and likes to cook for them. She’s got her differences with her mother because she wanted Madeline to be a doctor, not a starving artist, and thinks she’s irresponsible, but Madeline was tired of trying to live out her mother’s dream and has chosen to take some distance. 

How to make them come out? The same way you’d say anything about anyone’s past: respectfully. Don’t make someone find out against their will. Don’t have someone from their past misgender / deadname them and then put them in the awkward situation of having to explain themselves to both the people they once knew and the people they’ve chosen to surround themselves with in their current life. Everyone in my life knows I’m trans, and if they don’t yet, it’s because of circumstance, not a cunning plot of shame on my part.If you do want to have them be stealth, don’t treat the moment of coming out into a huge betrayal. No more hiding genitalia because they’re ashamed to tell their partner, no more telling their date and their date storming off because they trusted you, how could you not tell me, [deadname], if that’s even really your real name, WHAT ELSE ARE YOU HIDING, ARE YOU A MURDERER, and so on and so forth. Example: Madeline is accepted in a new acting group, and makes a new friend. They hang out, compliment each other’s Star Trek t-shirts, and have rehearsals together. They talk about parts they’d played in the past, and Madeline mentions that in high school she was given all the male parts even though she tried to get the female ones, but they wouldn’t give them to her because well, we all still thought I was a boy back then, but one teacher ever gave her the one she wanted, and she was her favourite, and hopes to invite her in the premiere of the play. “Aw, that’s so sweet,” her new friend says, who has met trans people before and realises that Madeline wants to focus on the affection for her teacher and not her own past at the moment, “I’m so glad you showed them who’s the boss, I hope your teacher makes it. If you ever wanna talk more about that time i’d be glad to listen.” They keep eating their ice cream. Here you can easily pull a Raymond Holt and make her openly trans but the people around her just don’t seem to get it because she’s way too casual about it. I know I’d love to do that at some point but I tend to write in fantasy universes where it’s not a big deal in the first place. If you can do that, even better. In sci-fi and fantasy, it’s always so refreshing to see people who actually imagined worlds without transphobia. 

Now, what I’d like to see. I kept this one for last, because I’m picky.I guess, no more transphobic violence. No more showing who the bad guy is by verbally / emotionally / physically attacking the trans character for shock value.No more trans character being there just to be trans. Make a Krem, who’s there to tell weird stories of past jobs and be the second in command; make a Rhett Hennesey, who’s there to be the protagonist and kill paranormal creatures and find his destiny; make a Nomi Marks, genius and very queer and an incredible hacker, kind, badass, there to be part of something bigger and share the love; make a Cheri Littlebottom, forensics expert extraordinaire, who makes friends and reinvents herself and claims her identity tooth and claw and earns people’s respect and will not get rid of her amazing dwarven beard or her lipstick and high heels; don’t make a Sophia Burset, who is forgotten after a few episodes and she’s only there to waste a talented actress’ abilities and remind people that hey, look, there’s a trans woman in here, look how tragic her life is, look how her identity is tearing her family apart and literally put her in prison. And in the end, because I’m picky, no, don’t make a Krem or a Rhett either, because they’re treated as cross-dressing women from their narratives, and they’re both awesome and deserve better than that.In the end, I’d like to see trans protagonists. Trans teachers, and lovers, and criminals, and superheroes, and space captains. Feminine and fat and black and Native and Mediterranean and alien and elven and muscled and disabled and ugly and hot and creative and famous and feared trans people. Two or even three trans people per story. Non-tragic trans people. Well-rounded, loved characters, whose motives are something else besides being trans, whose families value them, or if they don’t, it’s not because of their gender.

Write people. And if they talk to you and tell you that they’re transgender, hear them out, and make it happen. But make them people first. 

[shipinpeace]

RE: Women and m/m fiction

Continued from this

@twoblogz​ Thank you for your response and the link. I would like to comment on it and I’d like @anakinsbugs​ to read it as well, because it is directly related to his post. 

Before I begin, let me make this clear: I am glad posts like this exist and people discuss the issues of how gay men are portrayed in the media (both officially released and fan created). We still live in a homophobic world and there is so much that has become the status quo for gay fiction, and the way it affects gay men is a crucial topic to discuss and share. However, discussing issues and attacking other are not the same.

First of all, neither you, not anakinsbugs specify what what fetishizing is and where does one draw the line between fetishizing and representation. Moreover, are gay men allowed to fetishize male/male relationships? If yes, how is that fetishizing different from fetishizing by women if the end result is the same?

The author mentions the women who started the whole slash movement in the 70s. Well if it wasn‘t for them, we don‘t know how long it would take for male/male relationships to get so popular. That (the Kirk/Spock community in particular) was what began slash as a fandom phenomenon and it has played a pivotal role in slash fiction (written by anyone) being so widespread today. 

The author said he was feeling like an outsider in the genre, which is a perspective I never thought about. I wish the genre felt more welcoming towards him, but I still believe this shouldn’t stop him or other male content creators from creating their own stuff. Why not make a tumblr blog where you collect stuff made by men? 

Next he discusses male/male in published literature and points out that most published authors are women and their books get more recognition. Well, it‘s a problem in our society, if books about gay people written by straight people are more popular than the ones written by gay people themselves. Think about it. If the public consumes the former, yet pretty much ignores the latter, would banning the books written by women make the ones written by men more popular? Not while we have homophobia. 

In my discussion with practicalityinpraxis they talk about this exact point:

“When a straight person writes queer characters, even very poorly, they tend to have their work touted and complimented excessively. It’s “avant garde,” it’s “intimate,” it’s “powerful,” it’s “perspective shifting.”

When queer authors write queer characters, it gets shoved off as autobiographical niche fiction that is never given the exposure necessary to turn it into a success.”

And sadly, that’s exactly what’s happening and more people should be aware of it. However, we shouldn’t forget that it’s publishers who make decisions here and their decisions are guided by money.

However, I don’t believe all books written by women show bad or inaccurate depictions. If it wasn’t for some of those books, gay men would barely get any representation at all, because, as the author said, books written by men are less popular, therefore they would still be not as easy to find.

At the same time, a book written by a man can be just as “shallow” as a book written by a woman. As I mentioned in the same discussion with practicalityinpraxis:

“Although I do agree that in essence queer writers are more likely to, as you put it, “fight for the accuracy” of their stories, it doesn’t mean all do. A queer author might agree to water down their work if the editor refuses to publish it otherwise. A queer person might also have internalized prejudice against their own identity, which in turn would make their work unrepresentative.”

Next, the topic of sex is discussed. I agree there’s a huge issue of inaccurate representation when sex is depicted in literature. But what about a gay male author who has never had sex? Would his sex scenes automatically be accurate just because he’s a gay man? Also, don’t gay men have fetishes?

As for safe sex – it is an issue in all sorts of pornographic literature. Written by anyone about anyone. I think (but that’s just my subjective opinion based on nothing but observation) that it is related to the desire for escapism. People may want to emerge in a world that is different from their own, or a world that provides them immediate gratification, neither of which is a bad thing, really. We all need different things to let of steam and we all deserve it. 

Also, what about the barebacking community? Gay men who promote unsafe sex in real life?

And here is it, the reason I keep arguing with people on this topic:

“and when men who love men like myself bring up the fact that maybe you guys should stay in your lane a little and let us take the wheel in a genre entirely dedicated to us having sex with each other, you somehow claim that we are “kinkshaming” you and being misogynist by taking away “the one place where women can explore their kinks without judgement”.”

Should stay in their lane? What does that imply? Does the author want to forbid women from writing gay male fiction? Let’s say he succeeds and women do just that. Then what? Will male/male fiction automatically improve? The depictions become more realistic? Safe sex gets portrayed more often? Fetishizing disappears? Weird kinks disappear? Homophobia disappears?  

First of all, it’s not very likely that published authors will ever care about this, so the people who are most likely to obey this demand are fans. Which means the only thing the author would have accomplished would be bully a bunch of fans into dropping a hobby they love (or might emotionally depend on – people are very complex creatures), stripping them away of the only thing some might consider escapism. And for what? To feel better about himself? 

I know these are harsh words and I’m sorry for being so blunt, but anakinsbugs, please, if you’re reading this, I ask you to consider this possibility no matter how uncomfortable it might feel. I deeply sympathize with your feelings and I wish we lived in a better world, but we don’t. And many people who share your point of view are only one step away from becoming bullies.

The author also adds “the one place where women can explore their kinks without judgement” as it’s something unbelievable and ludicrous, but that’s a reality for most women. They have been shamed for desiring sex for so long, no wonder for some gay sex has become the only safe outlet of their sexuality.

However:

“which is complete and total bullshit because FIRST OF ALL gay people are not your kink.”

And this is something I agree with 100%. When I first read saw him mention “kinks”, I thought he was being general, but if people consider gay sex a kink - it is deeply troubling. Frankly, I haven’t encountered such opinion in a long time, although I wouldn’t be surprised someone still thinks this way. But it’s one of these homophobic remarks we can fight by educating people.

At the end, the author states:

“i need a little more clarification about why it’s such an evil no-no for us to want to represent ourselves or speak for ourselves or tell our own stories. because it kinda seems homophobic that you’re so angry about gbt men wanting to represent themselves.”

and: 

“nobody’s saying you can’t be supportive of gbt boys and want to write about them in your stories. but for the love of god, don’t get angry when we want to tell our own stories, and don’t pitch a fit when we express that we’re uncomfortable with being objectified for your own sexual gratification.”

There is a difference between expressing discomfort and policing. Perhaps the author didn’t mean it, but then I’d like him to consider better wording. 

Sorry for making it so long. I’ve put the whole thing under cut so if you reblog it, it won’t spam your blog.