#and queer fans make up so much of audiences that they refuse to acknowledge | Explore Tumblr Posts and Blogs

twobrokenwyngs · 1 year

Text

when ted lasso is good, it’s pretty good. but when it’s not, dear god, it is unspeakably, egregiously bad.

I can’t hold this in anymore.

I hate the Colin/Isaac storyline.

there’s just so many things about it that suck beyond belief:

from the very beginning, Isaac has acted completely out of pocket. let’s start with how he found out: who rips a phone out of someone’s hand? he had the gall to snatch Colin’s property from him and then be upset about what he saw? even more nonsensically, he was on a tirade about privacy at the time!!! so the hypocrisy was… astounding. and that’s on top of not even allowing Colin to so much as leave the room without jumping up his ass. his behavior was rude and best and appallingly socially inept at worst.

Isaac apology count: 1

upon seeing whatever compromising thing he saw, Isaac immediately marches off, scowling. he proceeds to shun Colin entirely. won’t acknowledge him, even in a professional capacity. treats him like a pariah, an outcast, and with glaring resentment. worst of all, he refuses to so much as be touched by Colin - goes out of his way to ensure their hands aren’t touching during the huddle, emanating signals that he both rejects Colin, and is entirely repulsed by him - something every closeted queer kid fears above all else. yeah, that’s how you treat a friend who you just discovered sensitive personal information about without their consent.

Isaac apology count - 27

when he finally does confront Colin about everything, he continues to make it entirely about himself. how could Colin have not told him? Colin LIED to him!!1!! zero concern for what Colin was experiencing that kept him in the closet up to this point. Colin proceeds to explain - though he was 99% sure Isaac would accept him, that leftover 1% had him terrified. welp!! by treating Colin with anger and disdain after learning the truth, all Isaac did was validate that very concern. he acted exactly how someone who fell into that 1% would act, thereby affirming Colin’s fears and proving he wasn’t a safe person for Colin to tell in the first place.

Isaac apology count - 3718

great! now that we got that out of the way, let’s talk about the apologies that the show owes the general public, for undermining the audience’s intelligence and sense of logic.

all of that bullshit above? had NO payoff.

so Isaac demonstrating furious homophobic behavior was supposed to be some sort of … misdirect? this is the level of cleverness we’re working with here? was ANYONE, anyone on EARTH, supposed to believe that in this, the Nicest-People-To-Ever-Live Show, the Toxic-Masculinity-Doesn’t-Exist Show, the Men-Supporting-Each-Other-To-A-Fault Show, there was even the slightest most microscopic possibility that Isaac was going to actually reject Colin for being gay? like, no fucking shit Isaac supports him, lmao. so, what was the point of any of that? how stupid does this show think we are?

this show is truly trying to posit that Isaac, arguably the most confrontational character of all, will run into the stands and beat the shit out of a fan, get kicked out of the game and sit in the locker room trembling with rage, but he absolutely refuses to… (checks notes)… talk to his friend?

and after all of it — Isaac behaving like a self-centered homophobic asshole, whose motivations are so illogical they’re borderline cartoonish (I was waiting for him to drop an anvil on Colin any second, just to really drive the point home), all for the sake of this idiotic red herring, only for them to wrap it up with a conclusion that only validates Isaac’s feelings as the Poor Wounded Straight Friend while disregarding all of the unnecessary harm done in the interim — after ALL THAT, we are supposed to be left feeling… good? heart-warmed? like?????????

show apology count - 9284627275217021

the whole thing was just so insulting. not just as a queer person, not just as an enjoyer of well-written narratives, but as a human being with at least half a brain.

oh well.

#ted lasso #colin hughes #isaac mcadoo #and don’t even get me started on the keeley/jack stuff #and how horrendously they bungled that #i can’t imagine there’s a single queer person on this writing staff #they really should not have bothered shoehorning queer storylines into this #if they were just gonna be so mind-numbingly contrived #anyway. glad to have gotten that out of my system #I genuinely try so hard to love this show but they make it impossible

16 notes · View notes

charlie-minion · 4 years

Text

Could the same SPN finale make a little more sense with some additions/changes?

I’ve had the idea for this post stuck in my head for days now, but with every new conspiracy theory and every new eventuality in the fandom, it became difficult to cool down enough to write something less ship-related and more narrative-focused.

What Supernatural and non-SPN fans have to understand is that a lot of us have expressed disappointment and frustration after 15x20, not because of Destiel (that’s just one part of the whole problem), but because the finale doesn’t make sense. Everything was leading up to something beautifully crafted until the end of 15x19. Beyond that, it’s hard to understand what happened. The story rendered all the character growth irrelevant, invalidated the themes of free will and “family don’t end in blood”, regressed to the original brother codependency they spent 15 years trying to overcome, made a queer non-binary character in a male vessel and a deaf female character basically disposable, and kept the show’s reputation of queerbaiting and misogyny until its very last breath.

That’s not going out with a bang! At least not a positive one. We all were ready to mourn Supernatural, but we wanted to feel proud of its legacy, and somehow TPTB managed to tarnish that legacy in less than 45 minutes. What a way to ruin the other more than 13,600 minutes of story!

It doesn’t matter who is to blame (The CW, Robert Singer, Andrew Dabb). It doesn’t matter why it happened (homophobia, censorship, marketing for Walker, bad writing). What matters is that at the end of the day, the finale that aired is what we got and that’s going to hurt for a long time. It hurts even more when we realize that the same finale could have easily made more sense, even without being perfect.

That’s what I want to do in this post. I want to show you how things would have been less jarring (for the fandom), while still keeping the goal to please the general audience.

Before I begin rewriting 15x20, I have to mention that I talked to my conservative boomer sister about the finale. She hasn’t watched the second half of season 15 yet (she’s waiting for Netflix to have it), but she’s been watching the show for a long time (she introduced me to it 8 years ago). She’s the perfect example of a viewer from the general audience. Loves the show but doesn’t give a second thought to it and definitely isn’t paying attention to character development or themes. Doesn’t engage with fandom, actors, or any of the show’s social media. Pure GA! When I told her the series finale had aired, she asked me about it and I refused to give her spoilers. Because of that, she told me the ending SHE wanted. She said she would be happy with either of two possibilities: the boys retiring and finally living a normal life OR they going to heaven and finding peace at last. She saw Sam and Dean as a unit, which means: both retiring or both going to heaven. AND she saw Cas as part of that, too. She wasn’t so sure about Jack. And for her, we could use the “Eileen who?” and it wouldn’t be a joke. She didn’t remember her.

NOW IT’S TIME TO WRITE A NEW VERSION OF 15X20 (KEEPING 15X18 AND 15X19 EXACTLY THE SAME AS THEY AIRED). This will be a very long post:

The opening remains almost the same. No “Carry on my wayward son” to induce feels. Too soon and too predictable! (Reasoning: Everyone was expecting it to play right there, so it would bring more tears at the end)

In the opening, after the scene where Jack says “People won’t need to pray to me or sacrifice to me”, we also see the scene from 15x19 where he says “I won’t be hands on”. Then we see the rest of the opening as it was. (Reasoning: People needed to be reminded that Jack would NOT intervene and that’s why later on, he would NOT save Dean).

We get the same montage, but when Sam takes a break from his morning run, we see him reading a message on his phone. A simple: “Hey Sam, what’s new?” from Eileen. Sam smiles fondly and begins to type a response we don’t get to see. The next scene continues the same, Sam making breakfast. (Reasoning: A text was a very simple way to show that Eileen was alive and still in communication with Sam).

The montage slowly ends as Sam enters the library (not after he sits down). He seems to be talking on the phone but we only hear an “I’ll tell him. Bye”. As he walks towards the table, he tells Dean: “Charlie says hi. Mentioned something about Stevie’s perfect scrambled eggs we have to try.” Dean’s answer is ��Awesome!” (Reasoning: Just ONE line was needed to unbury Charlie and her girlfriend. ONE LINE).

Sam sits down, opens his laptop and everything continues the same. The title card shows for the last time.

YOU SEE? In the first 4 minutes they could have acknowledged that THREE WOMEN were alive and safe: Eileen, Charlie and Stevie. It wasn’t hard! Don’t blame bad writing on Covid! Now let’s continue.

Sam and Dean arrive at the Pie Fest just the same. Dean goes to get some “damn pie” and Sam takes out his phone. He dials and when someone picks up, he says “Hey, Jody, how are ya?” We don’t hear the rest of the conversation. The scene moves to Dean coming with his 6 portions of pie. Dean sits down and Sam tells him, “Talked to Jody. The other hunters haven’t had much work lately.” “That’s good, isn’t it?”, Dean says. All we get from Sam is “Yeah.” So, Dean looks at him and asks “what’s wrong?” like it happened in the episode. (Reasoning: Again, a couple of lines to make sure the people that were killed in 15x18 are safe and remembered by the boys in 15x20. Why is this important? Because they’re family!)

The conversation about Sam’s sad face happens the same. Sam is the one that mentions Cas and Jack. (Reasoning: Because this episode was so Sam-centered, it’s obvious he was the protagonist in the finale. If we see him communicating with Eileen, Charlie, and Jody, then it’s NORMAL, even expected of him to be the one to bring up Cas and Jack). Without these additions, it’s harder for people to understand that most of the finale was NOT from Dean’s POV but from Sam’s.

Dean’s “if we don’t keep living, then all that sacrifice is gonna be for nothing” stays the same. (Reasoning: I believe it’s necessary that the show sticks to the importance of “letting go” and “what is dead should stay dead” for the first time ever because the message is “even when you lose someone you love, you can still find some form of happiness and keep living, for you and for them, because that’s what they would have wanted”. Bringing someone back means “I can’t live without you”, and that’s just more codependency. It’s how the demon deals began in the Winchester family –Mary being the first one to do it. This would explain why Dean didn’t ask Jack to bring Cas back, as he asked Chuck. He understood Jack was NOT going to interfere anymore and accepted it. Besides, when Cas saved Dean from hell, Dean thought he didn’t deserve to be saved. This time that Cas saved him, Dean finally feels worthy enough to accept that YES, HE DESERVED TO BE SAVED ALL ALONG, just as much as he deserved to be loved by that angel of the Lord. In this scene, Dean also says that the pain is not gonna go away, which means that from HIS PERPECTIVE, it still hurts that Cas is not there. The problem is that the finale is not showing his POV but Sam’s.

Sam pies Dean on the face just the same. (Reasoning: That part was just to avoid ending the scene on a sad note).

Everything related to the case happens exactly the same. (Reasoning: At this point, people don’t really care about the MoTW, they care about Sam and Dean).

NOTE 1: The case is important to show that even when the Winchesters are finally free of Chuck’s influence, they CHOOSE to keep hunting. It isn’t something they do out of revenge or because it is their destiny anymore. Maybe they were forced into the life at first, but they’ve learned to find joy in saving people. Being hunters is who they are. However, the fact that a job application was shown on Dean’s desk is also important because it means he was willing to explore what else was there for him besides hunting. Maybe he could find a balance? Maybe he was thinking it was time to quit? We will never know! The thing is that Sam only finds out about it when he goes into Dean’s room after his brother is dead, so maybe that’s when it hits him that Dean wanted to explore his options, and Sam starts to think it’s time for him to do the same.

NOTE 2: I believe the masks the vampires are wearing is something we can blame on covid. If they had their faces covered, it was easier to use people from the SPN crew for some scenes, instead of using more actors unnecessarily.

NOTE 3: When Sam and Dean arrive at the barn, we get 3 visuals to remember Cas in the same scene (those are for the fandom, not for the general audience): a) the barn, obviously; b) the bag that resembles Cas’ trenchcoat so much that many people thought that’s what it was; and c) two feathers hanging on Dean’s right when he opens the trunk.

The scene with the throwing star happens the same. (Reasoning: The episode is still told from Sam’s point of view, so it makes sense that he fondly sees his brother as a man child).

Jenny the vampire? Uhhh… I mean, it’s not the best piece of writing I’ve ever seen, but it’s not the worst, so okay. That stays the same. (Reasoning: There is none, but she’s not what really ruined the finale, so whatever!)

Dean still dies impaled on a rebar. (Reasoning: OK. HERE ME OUT!!! I hate as much as everyone else that Dean is killed. I think it’s lazy writing, but that’s what we got and I can’t change that in this re-write, so if killing Dean is what we have to work around, then, memes aside, death by rebar is better and here’s why. There’s no one to blame for Dean’s death: no Chuck (the boys were willingly hunting even after Chuck was defeated), no vampires (they were all killed and were no real threat, so it was impossible for Sam to begin a quest for revenge against all vampires. What was Sam going to blame? A rebar? Can you kill it? Hunt it? NO. It was an ordinary death, a stupid accident. Just like any person can die at any moment by slipping on a banana peel. Is it a good death? No, but it’s good to know he doesn’t die trying to save Sam or Cas, because Dean Winchester is NOT willing to give up his life in exchange for anyone else’s anymore.

Sam takes out his phone and says he’ll call for help, but his phone is more visible to the audience. He dials and it’s almost to his ear when Dean stops him and Sam hesitantly hangs up. (Reasoning: People have complained that Sam didn’t call an ambulance, but actually he tried to. It’s just that people missed that part, maybe?)

After Sam puts his phone back in his pocket and says “OK” to Dean, he adds, “I’ll pray to Jack”. Dean’s immediate answer is: “No hands on, remember?” “But Dean”, Sam says, and Dean interrupts him with “OK listen to me” and tells Sam what to do with the kids they rescued. (Reasoning: Jack is God now and how come Sam didn’t remember? The viewers remembered, so it was necessary to include a line that ruled the option out and that showed Dean didn’t want Jack to intervene. The rest was fine).

The lines “You knew it was always gonna end like this for me. It was supposed to end like this, right?” disappear completely from Dean’s monologue. (Reasoning: This is the most problematic part of Dean’s dying speech. He fought God and earned free will, he is no longer controlled by fate or destiny. Accepting that he is supposed to die on a hunt regresses his character development and denies his desire to keep living. This was a total mistake and should be removed).

Instead, if going to heaven is the ending TPTB wanted to give Dean, at least he should say something more empowering. Sam tells him that both of them are going to take the kids somewhere safe. Dean answers and the scene follows like this: “No. Sammy, we made our choice, didn’t we?”, he smiles with difficulty. “We were free to write our own story and we did. We decided to keep saving people, hunting things. Because it’s what we love despite the risks.” (Reasoning: If Dean’s going to die it doesn’t have to feel like it was always meant to be that way. He should die knowing that he exerted his free will until his last breath).

The rest of the dialogue between Sam and Dean happens almost the same. Except that instead of Dean saying “‘cause when it all came down to it, it was always you and me. It’s always been you and me”, he says “’cause when it all came down to it, we’ve always had each other’s backs. Always.” And instead of Sam saying “Don’t leave me”, he says “I still can try to save you.” (Reasoning: It sounds way less codependent without diminishing the importance of their love and support for each other).

Besides, let’s change Dean’s “I’m not leaving you” for “You don’t have to be alone. You’ve still got family.” The rest stays the same word by word. (Reasoning: Dean reminds Sam that “family don’t end in blood” and there are still lots of people out there who love Sam and will be with him).

“I love you so much, my baby brother” stays exactly the same. (Reasoning: Dean always had trouble to express the big L word. I always believed and said many times that before Dean could say “I love you” to Cas or any other character, he had to say it to Sam. So, this is important as part of Dean speaking his truth).

The last part when Dean insists Sam tell him that it’s okay stays the same. (Reasoning: It’s the final moment when the codependency cycle breaks. No more running in circles).

The forehead touch between them stays the same. (Reasoning: I think I would do something similar if my sister were dying. I know there are w*ncest shippers out there, but it shouldn’t matter because the moment feels appropriate for that kind of goodbye).

See? There are changes but not too many. That’s why I’ve been saying that it was easier to get it right, yet they still managed to screw it up.

The second montage stays the same. (Reasoning: Life goes on, but of course Sam has to mourn).

The call about a case in Austin remains the same. (Reasoning: It’s the only part of the episode where someone from the found family is mentioned, so I think that Donna’s name is perfect in that moment. However, without the other additions I’ve made in this re-write, that off-hand mention feels too little. Its purpose was to tell the viewers that if Donna was alive, so were the others, but the way the episode was executed gave us an isolated Sam, incapable of having friends and a family without Dean).

After 30 minutes of Sam’s POV, let’s finally see the last bit of Dean’s POV that we’ll ever get.

Dean arrives in Heaven and Bobby receives him. All their conversation stays almost the same, except that after mentioning Rufus and before saying “and your mom and dad…”, Bobby adds an “Ellen and Jo let me borrow their place”. (Reasoning: If you’re gonna put the man outside the Harvelle’s place, at least mention them for Jack’s sake!).

Besides, after Bobby tells Dean that Sam will be along and that time in heaven is different, Dean gives a small smile and says, “Well, there’s no rush. I want him to have a long, happy life.” Bobby answers with: “I would expect nothing less from you, boy” and tells him he got everything he could ever want, etc., just like it happened in the episode, and finishes by asking “What are you gonna do now, Dean?” (Reasoning: It’s important we know for sure that Dean is NOT codependent anymore and that he doesn’t expect to have a miserable afterlife just because his brother is not there yet).

Instead of saying “I think I’ll go for a drive” Dean says, “I think I know what I want” and walks towards baby. Bobby still tells him to have fun. (Reasoning: “Know what I want” is ambiguous enough to help us introduce the last piece of the puzzle, the one thing Dean’s wanted for many seasons and has never been able to express).

The biggest change is coming:

Dean gets on the Impala and has a moment of silence while he contemplates the wheel. He begins to pray: “Hey, Cas, you got your ears on? I hear you’ve been busy working on this updated Heaven with Jack. You were right about him, Cas. You had faith in him and he saved us all. You could always see the best in everyone, even when they couldn’t see it themselves. Even when I couldn’t see it myself. There’s so much I want to tell you. Maybe you can visit sometime. I hope prayer’s still a thing up here.” (Reasoning: Dean’s side of the confession was unaddressed and that was terrible writing. If there was no way to get him to speak his truth textually, at least take him as close to it as possible).

We listen to a flutter of wings and a “Hello, Dean” from the back seat. We don’t see Cas, but the camera shows us Dean’s cocky smile and he says “Took you long enough.” He turns around slowly. End of scene. (Reasoning: The flutter of wings confirms that angels have their wings back and ties that loose end. The final “hello, Dean” was highly anticipated and it made sense. If Misha couldn’t be there to film, for whatever reason, or if the problem was the kind of conversation Dean and Cas would have, then don’t show it, but leave the door open. Let us know that the two characters were reunited and will talk, but whatever Dean has to say is so private that it’s not for us to hear, only for Cas.

We finally hear “Carry on my wayward son” and get a montage that begins with Sam playing with his kid. Then we see Dean driving, super happy, and Sam living his life to the fullest. We still get Sam’s Blurry Wife, BUT… we see pictures of Eileen in the living room (not just of John, Mary, Sam, and Dean). We also see photos of Jody, Donna, Charlie, and AU!Bobby. (Reasoning: FAMILY DON’T END IN BLOOD).

The scene where Sam is wearing the party wig and looks miserable inside the Impala is cut and nobody talks about it ever again because it never existed. We get a scene of Sam teaching his son how to fix the car instead. (Reasoning: First of all, don’t give Sam a life where years later he’s still in pain. Second of all, the fucking wig was a crime).

Sam’s dying scene stays the same. The only thing is that his son signs a couple of phrases to him before actually speaking. (Reasoning: More confirmation that Dean Jr. is Eileen’s son).

We hear the final “Evanescence-like Carry on my wayward son”. Again we see the photos and there’s family other than the Winchesters there. (Reasoning: Obvious at this point).

The rest is exactly the same. The show began with two brothers and it’s okay if the last scene is with the two brothers reunited in Heaven. At this point, the other parts of the story are acceptable enough for us to feel happy that they get to see each other again after years of a happy (after)life.

Now look me in the eye and tell me this was too hard to execute. I still think that bad writing is a thing we can’t deny here, adding to the possible meddling of the Network. Maybe Dabb wanted us to hate the finale because he couldn’t get away with what he truly wanted. If that was his intention, then kudos to him. He and The CW really gave us a finale that only 30% of the fandom liked.

I hope you guys have enjoyed this and it helps to give you some peace of mind. In my heart, this was the finale we got. It wasn’t perfect, but it didn’t drop the ball either.

#supernatural #15x20 #spn 15x20 #spn finale #rewrite #dean winchester #dean deserved better #cas deserved better #destiel #the characters deserved better #we deserved better #it was easier to get it right #yet they screwed up big time #alternate ending

786 notes · View notes

musclesandhammering · 3 years

Note

Hi, just wanted to say i respect your willingness to stand up for your opinions.

I know you have got some push back re your thoughts on the classification of Cas as gay to the potential exclusion of other LGBTQIA+ identities.

Its valid to be upset that Cas is reduced to just one when he hasn't identified specifically as any particular one and could fit other definitions better. That said, most people only seem to be using gay as a general term, almost an alternative shortcut for queer. Its not accurate but not meant badly.

I think partly using gay to describe Cas is because its shorthand for the uneducated and partly because it recognisably for a straight audience pulls Cas firmly over to the opposite spectrum (a way of saying that he is definitely not hetero but homosexual for less educated people about the differences).

Given that even now, with all the discourse on 'open for interpretation' on the confession scene, there are too many people insisting it is not queer at all this adamant insistence that Cas is gay is really just a fierce opposition to that view point.

The truly awful consequence is that representation is so minimal that people are left to argue over the scraps and it divides the queer community.

The key is for queer artists and producers to make more content - written by people who know and understand what representation should look like and make those stories engaging to the general audience. Thats hard though, takes time and cost money so adding in a shout out to queer art programs.

https://deadline.com/2021/06/out-loud-list-2021-out-in-hollywood-lgbtq-tv-pilots-1234779522/

Hi! So before I answer this I should acknowledge that I’m in a really weird place on the queer cas discourse spectrum because I’m someone who 1000% believes Cas is nonbinary and also part of the queer community (asexual, demisexual, omnisexual, or pansexual would be my guesses but I’m open to debate) but I also vehemently despise destiel and the confession scene. So just…. disclaimer lol.

But yeah, you’re definitely right that a bunch of people use “gay” as a shorthand for “member of the queer community” instead of to mean just plain “homosexual”. And that’s totally fine! It draws a firm line for cishet people, is easier to understand for people who aren’t as educated on lgbt matters, makes people feel more included, and also is just a lot less of a mouthful than, say “omnisexual” lol.

And I also totally agree with you that the fact that some straight people are trying to nitpick the confession scene and claim it wasn’t romantic and Cas isn’t actually lgbt is…. Absurd. Even though I hate that scene and wish it didn’t exist, it does, and it very much was a romantic confession, and people need to accept that. And frankly straight fans need to realise that there were plenty (and I do mean plenty) of indications all throughout the show that Cas is definitely not straight. Straight people clinging to him is just sad at this point.

However………… what I was mostly referring to in my initial post (and all subsequent posts in which I argued with the troll) are the rabid destiel shippers that refuse to believe Castiel is anything but a gay (homosexual) man who’s head over heels in love with Dean Winchester. And, trust me, there are a lot of them.

These people tend to despise any woman who comes near Cas (Meg, Hannah, etc) to a point that verges on misogyny, trash anyone who claims Cas could even have the potential to be attracted to more than just men, get angry at people who suggest he’s asexual and thus not attracted to anyone, and are often dismissive of his genderqueerness as well….. all because they see these things as threatening to their precious ship. *eyeroll*

When I come across fans like this it becomes really hard to see them as just fellow members of the lgbt community who disagree on the topic of his sexuality because 1.) Let’s be real, a lot of them are straight women who just fetishise gay men and 2.) It’s pretty obvious that they don’t actually care about representation (despite the fact that they’ll scream queerbaiting any day of the week, lord knows), they just care about gathering evidence to support their toxic trash ship. And if that means calling people homophobic, they’ll do it, but if it means insulting other non-homosexual lgbt fans, they’ll do that too.

I’m glad you brought up the issue of lack of representation on a broader spectrum, though, because that really is the heart of the matter. I said earlier that a lot of these shippers are straight women- and that’s true- but there are also a lot of them that are queer people themselves that are so starved for representation that the second they see two men share a meaningful bond, they start shipping it. And they’ll blindly go to the mat for said ship. It doesn’t necessarily have to be a great couple, and it doesn’t even necessarily have to be genuine queer subtext- it can just be a platonic male friendship- but lgbt fans are so goddamn starved for lgbt rep that they become a little crazed and obsessive when they think they’ve found some. That’s what I think happened with a lot of destiel shippers. And that’s not their fault! That attitude could absolutely be resolved by having more queer romances and a larger variety of queer characters in tv and film. But, idk…. I guess we’ll see if that happens :/

Thanks so much for this response, though. It was super polite and intelligent and informed and I LOVE getting in-depth asks like this! <3

#cas meta #ask #spn ask #spn wank #anti destiel #anti destihellers #spn meta #queer representation #castiel #anti dean winchester #answered

25 notes · View notes

nolabballgirl · 3 years

Note

Im a white girl and im just learning here so forgive me if im slow on this. But i don't understand why druck is put on a pedestal with regards to how they've tackled race/developed their characters of color. Druck also tends to dismiss race entirely (Sam, David, Fatou and Abdi) or make the trauma of characher their whole character (Ava and David) or underdevelop characters when they've had space to do more (Amira, Sam & fam). So why is druck deemed better than other remakes in this area?

hi, Anon! thanks for your ask. okay, so for me to answer your questions, you have to accept two premises:

neither skam nor any of its remakes (including druck) are perfect.

when a remake acknowledges audience pain and admits that it has made mistakes, hires writers of color, and then greatly improves upon its mistakes, that has to be commended.

so, let's break down race and representation for the remakes. and as you will see below, the remakes are so egregiously bad when it comes to race and representation, that when you compare druck after jünglinge took over, it's on a separate level altogether and that's why i believe druck is deemed to be better when it comes to race and representation. (also, i'm skipping skam nl and skam austin from this analysis because who knows how those two would have ended up...and begoña owes me a heart to heart after she ruined by beloved skam españa, but let's be real, eskam had a long way to go too.)

druck -

well, from the list in your ask and from the hard work that skamofcolor put in, druck is a remake with one of the most racially diverse main cast members in both the old and new gens as well as the most characters of colors in side characters as well, so that's an improvement compared to the other remakes. but you're right, there were a lot of missed storylines they could have tackled with the old gen.

druck's sana season (amira mahmood) does not put their sana through weeks of torture or ruin the girl squad in the process. (and as a muslim, i will say their handling of islam was the best among the remakes but i digress...) however, amira did not get her full 10 weeks of screen time and the show missed a huge opportunity diving into shared microaggressions and racism that sam, abdi, etc. also faced. and druck was ripped for it! for cutting amira's time and playing it way too safe and not giving sam her fair due, among others.

now, here's where druck does something that no other remake has done and honestly, this is where i think most of the praise stems from. they listened to the criticism! wait, showrunners and writers can do that?! do you mean we are not just yelling into the avoid? not only have the writers said the ways in which they could have improved (even after s6 they discussed audience perceptions and overestimating how ava/mailin would be received, etc.) but they also hired JÜNGLINGE to bring the new gen to life. if you are unfamiliar, this is how they describe themselves:

JÜNGLINGE is a film collective of mid-twenties raised in the hybrid cultures of post-migrant Germany. We believe that young, European film needs to tell queer, diverse and most of all – specific – stories about growing up and living together in our societies.

so looking at that progress over time from druck s1 to druck s6, i can't help but give them them props for such a marked improvement. in fact, i don't think ANY single skam season covers race and ethnicity as well as s5 and s6 did. sure, they were not perfect (see point 1 above), but my god, the strides that these two seasons made. so much so that in s6, we had a non-white interracial couple as main, who were both unapologetic about their ethnicities and upbringing and culture (Gambia and Vietnam). and having fatou/ava's friendship be so prominent, listening to them talk about black hair, and referencing nazis in germany - yes to all of this!

and let's talk about ava! what an amazing character who was allowed to be angry, giggly, happy, sad, and express herself, without falling into tropes like imane from skam france, and so many people can relate to her struggles with white liberal mailin. there was a sensitivity there that's so rare in these remakes. and what druck couldn't do with amira/kiki, they were given room to explore here, and i really do feel that it was an important story to tell, especially in the age of whitesplaining, white feminist tears, and white liberals talking over women of color.

skam france -

eight seasons in and skam france is STILL mistreating its characters of colors and not given them their full due. now with bilal literally taking a back seat to jo (look at the YouTube header for crying out loud!) but ever since yann in s1, skam france has done such a horrible job with its depiction of POC, especially black characters. daphne is one of the most racist vildes and the treatment of imane (even beyond her season) has been vile and unfair.

and you would think that post s6 and after a new showrunner and writing team was hired on, that there would be improvements (similar to what druck did above), but no! look at how both aurélien and judith were treated in s7, and after a strong opening for s8, it looks like bilal is now taking a backseat to jo, and once again, skam france and its new team are prioritizing a white character over a character of color.

and has there been any acknowledgment by the skam france team of the criticism over the years? rather, david has often doubled down in the face of fan critiques - just an unwillingness to listen, and so we are left with this as a result.

skam italia -

say what you want about skam italia but when it comes to race?well, they certainly take the cake for the whitest remake, so much so that swaths of fans will refuse to watch this remake for the "wana" debacle, and rightfully so. (whitewashing of the sana casting) and remember how people tried to defend this casting decision? but don't forget that italy has a higher percentage of muslims living in the country than norway does! give me a break.

and how can i forget how hajar brown was dragged after she, as a woman of color, deemed to shade and criticize casting decisions for this remake?

wtfock -

do i even need to get into wtfock and its representation on race?! i mean s4 and s5 are arguably the two worst seasons of any skam remakes period. and the complete lack of acknowledgment from the showrunners after the torrent of criticism they received. the egregiously racist writing. i am a defense attorney by profession, and even i am struggling. there's seriously no defense for them here...

so given all this above, i hope this explains why i value the steps druck has taken, especially in s5 and s6, to tackle and improve their depiction of race and representation.

#druck #skamverse #anon #answered asks

115 notes · View notes

kanmom51 · 3 years

Note

bts do "gay" fanserivce just like any other kpop group does because it's part of their job and it is totally ok to acknowledge it (genuinely appalled whenever I see someone claim that bts "doesn't need it", but nevermind). that isn't the problem at all. imo the problems are: 1) too many people just can't discern what's fs and what's not. I've been into kpop since 2008. I can recognize fs. yes jikook do fs sometimes. but a lot of what they do is not. staring lovingly at each other in a very consistent way isn't fs. constantly gravitating towards each other isn't fs. knowing every single detail about each other isn't fs. spending a lot of time together off work isn't fs. going on a trip together and making a very romantic-vibed video about it isn't fs. and so on. for some people everything jikook do is fanserivce either because they're aware groups do it and so they automatically think anything that "looks gay" is fs, or because it's just a very easy way to explain away certain behaviors that make them uncomfortable. in both cases, this is maninly rooted in homophobia. 2) fanservice has nothing to do with the idols' sexualities, or the actual relationships between the members of a group. for some reason, a lot of people have difficulty grasping this concept. an idol that does a lot of fs could be straight. they could be gay. they could be a raging homophobe actually. a pairing that does a lot of fs could just be friends (or maybe not even friends) who are confortable with e/o and are having fun. they could be crushing on e/o and use fs to flirt with e/o without exposing themeselves. they could be in a secret romatic relationship. we have no idea. every idol and every pairing will deal with it in their own way. assuming an idol's sexuality or the nature of a pairing's relationship on the base of fs is stupid. yet a lot of people will do it, and the prevailing opinion seems to be "these two do a lot of fanservice so they can't be real/gay lol". and if you disagree you are a "deranged shipper".

basically this is what leads people to scream "jikook is fanserivce" to their every interaction, imo. they do see jikook acting flirty/couply, and they also know the group does fs, so it must be all fs regardless. and if they do so much fs, they can't possibly be real anyway.

it truly is disheartening because it completely disregards the members' personalities and relationships and reduces them to a performance. yes, there IS a performance. yes, part of their interactions IS a performance. but there is so much more behind it and people just refuse to see it. jikook in particular like to let us know a lot of little details about their loving relationships that show how close and special their bond it, yet we still have people claim that jk is "uncomfortable" with jm, or that they hate each other, or that it's one sided, or whatever. mind-boggling. this applies to all the ships btw. they all actual genuine relationships with each other. don't reduce therir bonds to "fanservice".

(I didn't mention the queerbaiting thing because we could discuss endlessly whether fs qualifies as queerbaiting or not. imo, the term isn't accurate in this case. they just do it because they know the fans will like it. it isn't necessarily used to attract lgbt fans, in fact a lot of these fans, including shippers, have some very obvious homophobic tendencies. also sorry for my english! I'm not trying to start an argument btw. peace and love)

Ok, anon, as a whole I agree with you when it comes to how Jikook may be perceived.

I don't fully agree with your "bts do gay fanservice" comment though. I suggest, for that, a previous ask I posted. That anon sums it up in a nutshell:

"3, What western eyes read as queer baiting is generally elaborate y/n scenarios. (These are the things they sometimes do in skits on stage or in official content. Never the stuff they do backstage in their own time.) You’re not supposed to imagine the stars fucking behind closed doors, you are supposed to imagine that one of them is you. Again, these things are created for a local audience where any other read but straight would be uncommon. The intended audience knows the rules of the game, foreign audiences do not."

In actual fact some of what that anon wrote you also mentioned, so we all really agree about this, but the "gay fanservice" is the one thing I had trouble with, and it's explained in that post.

I have written a couple of posts in the past about fanservice. You can find them here & here.

#ask #anon

24 notes · View notes

yoitscro · 3 years

Text

I still haven’t watched the video...BUT.

While I’m still of the belief that Sarah Z probably shouldn’t have posted some “rise and fall” video on Homestuck --which uses the traction of 4/13, a positive day for a fandom that likes to eat itself, to give attention some to criticisms involving speculative allegations-- , I’ve seen more anger from people that I frankly don’t trust being upset about it being a “hit” video to tear down WP, and jumping the gun to the point of threatening legal action, versus actually seeing casual watchers talking about the discourse; more so about nostalgia and “ah, homestuck exists still”.

I assume the paranoid jump on the video is because of casual watcher’s potential reactions? But there’s, also, more reactions toward the team’s response versus what the team + team friends were presumably worried about...so like. I guess the fire being fueled is ironically only being fueled because it’s being blown out of proportion, and thereby brought to peoples attention through *that*.

Sarah’s video is not 100% right. There are false facts from what I’ve seen briefly of. I personally don’t think that a person who’s read Homestuck but has only existed in the fandom space primarily during certain years has the same, fair perspective as a current homestuck that’s been aware of the environment going on, especially on Homestuck Twitter. Instead of things being made in 10 days, apparently, and there not being any effort to reach out to anyone on the team before presenting information, I would’ve just, you know, not done that. At least give it a shot, you literally lose nothing but avoid many things later.

The team has also faced blatant threats and harassment, which isn’t the same as other queer or poc people criticizing how homestuck handles content in their own space, but it exists. There’s certainly a reasonable, human reaction that I get, which come from the anxiety of being put on the spot by a something-thousand subscribed youtuber while you’re trying to figure things out in the background as things have been quiet, right after the turbulent year of 2020. I’ve actually been really frustrated that people haven’t considered that and that these reactions are coming out of nowhere. There is a trauma to consider since this is not the white guy taking the brute of stuff despite people using Hussie’s name as a synonym for the team.

There’s also the fact that Gio was apparently not asked to be used in the video beforehand? At least that’s what I’ve heard, which if true was an oversight, given how one may want to ask “hey, i’m making a video on your articles which could absolutely put you in the center of this since I’m using your online identity; let me get your permission at least.”

That said, based on audience reaction, and how it’s been the opposite of what a handful of people associated with officialized content expected, which is the reason things are being targeted right now, I feel like this is an...overreaction.

Again, I haven’t watched the video. But the video existing with the whispered points it’s brought up is the reason that things exploded yesterday. I’ve seen more dislikes of Sarah’s video from a loud minority who, 1. are people who refuse to ever criticize the issues with Homestuck for actual years, and 2. people who have watched 20 minutes of it and heard what they wanted to hear, versus seeing the criticism acknowledged by everyone else, outside of an acknowledged comment before moving on. The reaction is what’s giving it the most attention, actually.

Apparently in the video she mentions how she’s not trying to enable any harassment, states that somethings presented are just speculation, and doesn’t namedrop anyone specific?

That seems like a cliche way to act like someone can’t ever respond to stuff like this, but that’s usually saved for smaller followed beef on tumblr or twitter. Not a company or it’s contracted IP.

I’ve seen the people say it wasn’t that bad and have honed in on WP + acquaintance reactions versus what was said in the video. It was just something that was posted on a day where so much other 4/13 stuff was going on, which could’ve been given attention instead of one person’s video, which was apparently 2 hours long, and was already being venomously hated before one would’ve been able to watch it in full? (The idea of the anger coming from those who haven’t watched the video is...not surprising. There have been people put on blast for HS opinions for just a sentence.)

The kickstarter update’s response could’ve been posted itself, versus all the stuff prior and after it (the supposed legal action), but I honestly think that it shouldn’t have taken a breadtuber’s threat on Homestuck’s reputation for fans who ACTUALLY engage with it to have communication with what’s been going on, which we’ve been asking for for years. There’s a trust that needs to be rebuilt on both sides, be it from entitlement, elitism, or bullying, and this did not help.

I don’t like that Hussie only speaks up when a boiling point is reached, and people who work on his team are beyond gone or dealing with the fallout with how he’s neglected his IP and the fans that’ve somehow stayed to support it; crowd control and community management is important, and every other indie creator or small team on the internet who thinks ahead has been getting this. And I honestly hope that anyone who is legit having a terrible time producing HS content considers whether or not they should continue to stick around, for their own mental health.

If by a week from now we’re talking about the reaction of the video and the video itself is potentially long out of people’s mind well. That’s the point of this rant.

and on the other side, quoting a friend:

Sarah z's video didn't need to be released on a day of celebration for a healing fanbase and that video regressed that and caused the official team to have fucking public panic attacks.

Not a great 4/13, tbh.

#homestuck #sarah z #yeah so this is less about the video content and more about the reaction thats blown up more than the video.#ive always wanted wp to strive and do better...this aint it.#the glass canon has caused more issue than it set out to fix #and i get the emotional reaction but...come on.#also some of the reactions are just disingenuous; shes wrong about some trans opinions but dont erase that her trans editor wrote jade takes #not her

57 notes · View notes

fandomcolourofmyskin · 4 years

Note

Please don't take this the wrong way, but you realize that this show is explicitly about the poor, Midwestern white male experience? They lack privilege on multiple levels which the show explores (sa m the janitor, Dean the grunt), and all of the queer issues stem almost directly from the poor white male's low level of self determination/ agency or the perception thereof I'm a poor whitish person from a similar area, and it feels unique to see a poor white show that isn't Roseanne.

Hi nonnie,

I have a lot of things to say in response to your message — which does display ignorance of societal organization across systemic racial lines — but without creating a huge extensive post, here are some crucial points to consider:

- The “poor Midwestern white male experience” does NOT discount the insulated bubble of white privilege that Sam and Dean Winchester occupy, and neither is Supernatural immune from racist narratives and/or racist character implementation (especially ‘cause SPN has predominantly white production crew/writers around the table. Again, any literary narrative or script they conceive can and most likely will be influenced by internalized unconscious white dominance —> white-painted narratives perceived by POC viewers. I mean, scour this blog/google ‘Supernatural and racism’ and you’ll get the picture.)

- Additionally, stating that the show is “explicitly about” the poor Midwestern white male experience is false. Yes, you’re a poor white person from a similar area, and so you believe that, as a white person, the show’s premise reflects your experience. However, your statement doesn’t represent reality. The racial blind spot here is: media consumption by (realities of) white people will not equate to media consumption by (realities of) POC.

As I said here, we cannot talk about other systemic forces like socioeconomic class without addressing race. Race is inherently interweaved into other structural dimensions. It’s why BIPOC (Black Indigenous POC) + POC are: statistically paid less than white employees, unequally treated in terms of job capability, encounter unconscious bias across the hiring market, struggle to find jobs, unable to afford three-story suburban houses, and can never seem to find favour no matter how hard we work.

Reni Eddo-Lodge reiterates what white privilege is. When we say ‘white privilege’, we aren’t referring to white people always having it easy, or living in the lap of material wealth (but economic race disparities are instrinsically linked to material wealth), or lacking suffering, or living in poverty.

White privilege: the unearned set of societal benefits, advantages, and positive attitudes/behaviours bestowed upon white people solely because they are white (because of the pale/white colour of their skin). Claiming that Sam and Dean “lack privilege on multiple levels” perpetuates the continuous erasure of the POC reality, as well as intersectional BI+POC realities (being PoC, queer, and disabled, etc). What’s our reality? We actually lack privilege on multiple levels because of the colour of our skin. Your claim could imply that white privilege isn’t a thing, but it is. Think of white privilege as the air we breathe: it’s there, and we’re surrounded by it, and we breathe it in, yet because air is mostly invisible, some people aren’t always aware of it until you tell ‘em “Hey dude, did you know you’re inhaling oxygen?” The answer would be: “Obviously. Idk why you’re pointing that out - I already know that. You saying I’m dumb?” (lol not too far off from white defensiveness, right?) White people are so used to their privilege that they feel weird, ‘uncomfortable’ and ‘unsafe’ once people of colour point out their privilege. They subconsciously (and consciously) refuse to lose their place at the top. They’ll be offended.

To address your message, specifically — Sam and Dean hold white privilege as white men despite being poor. This is an uncomfortable fact that white SPN audiences must acknowledge.

If translated into real life, Sam and Dean will walk inside a bar and not be suspected of crime at first glance. They won’t look suspicious. They won’t get physically assaulted, shot at, killed, and/or lynched, both by police and fellow white men. They can speak, eat, and behave however they please without getting kicked out. They’ll chase after people they wanna bang or make inappropriate moves without being accused of sexual harrassment; BI+POC are typically falsely accused. (*Bonus Salt incoming* Sam and Dean won’t die permanently on their own show. The BI+PoC allies they have are often killed off to forward their plot and channel white manpain, then embody racist narrative tropes. As an Asian, Kevin Tran’s Stereotypical-Asian presence upset me, and his death further hurt my sensibilities. It did not shock me at all to see yet another Asian character killed off. Again, I must mention the horrible Asian-fetishist-exotificating Busty Asian Beauties, as well. Heck, S8 episode title “What’s Up Tiger Mommy?” was blatantly racist that I can’t believe no one demanded they change the episode premise + Kevin and Linda Tran’s characterizations. JUST KIDDING, of course I know why no one emphasized the issue - there are barely any BI+PoC in the writer’s room. This is why hiring us must become important).

Unfortunately - and unlike your opinion - Supernatural is not “unique” for us BI+PoC fans. It’s a show manned by predominantly white cast/crew that centralizes two white men and their respective narrow realities. We don’t live in a bubble. We’re everywhere. Depict us properly, with cultural/racial sensitivity, in entertainment, media, art forms, and more. Acknowledge our lack of privilege on multiple levels.

We live within a society set up for people of colour to fail. Whiteness is the default, and the privilege intrinsically linked to that ensconces an entire array of political, social, cultural and economic structures advantaging white people while disadvantaging People of Colour.

You’re a poor white person. I’m not, and the likelihood of the white poor person being given an opportunity to escape poverty is statistically MUCH, MUCH higher than the likelihood of poor POC to escape poverty.

#mod naruhearts #mod: naruhearts #-mod naruhearts #ask #spn + racism #fandom racism #white privilege #white fragility #supernatural #racism

256 notes · View notes

klarriel · 4 years

Text

re:misha

nobody is ever going to read this but i need somewhere to vent

i want you to bear this in mind - imagine being misha: you have spent 12 years on a show that you've put your heart and soul into. you've made it with so many people youre friends with, and you've seen them all work hard to make it. you've fought for your character, and in the end it all pays off because you get to have your character speak his truth, and 'die' in the way you've hoped for. then everything goes wrong.

im going to start with the cw/tptb. OBVIOUSLY network television is homophobic. the network has other shows with lgbtq+ representation but when it comes to a long running show, especially with the demographic of spn, they really had no intention of putting two of their leads in a mlm relationship. cas coming out was their limit, and i think people fought for that, but ultimately - cas was always a 'different' character, and fans of the show who were there for cas were more so progressive and open. fans there for the brothers were their legacy audience, and they couldn't risk losing that in the face of walker. even before the pandemic, they were never going to risk that.

im now going to go out on a limb here and say that the fandom also has a part to play in this. obviously not all the fandom, but there has been unnecessary pain caused. some of the meta writers have thrown out theories in the past that have made logical sense, but when they get disproven they change their tune and say we were just interpreting it wrong - I have been in this fandom before. Meta theorists were 100% SURE when Cas became human it was all leading to canon deancas, and it didnt happen. I'm not saying their theories aren't sound or don't have any weight behind them - in a normal world, they would probably be exactly right. but this is supernatural, and when it comes to this show, i feel like giving people endless hope when explicit mutual deancas was never going to happen, didnt sit right with me.

please do not trust information from people who claim to know people or work in areas (eg: dubbing, focus group interviews) that many of them likely don't. i'm not calling everyone liars, but even if you did work in the industry, unless you work in that office where that dub script was decided on, who knows why that dub was put in. like i said, i've been in this fandom before - people spread information to fire the flames

misha did not say it was a bury your gays trope in that panel a week or two ago. he said it potentially plays into the trope. imo he has not contradicted himself - if we're taking him at face value, he likely doesn't think it's bury your gays, as is supported by his video.

all the attacking andrew dabb posts? i get it, it's funny, but i'm sorry - as much as i thought the ending was pretty terribly written, do you really think andrew dabb is the overseer of everything, pulling all the strings? yes he was the show runner, but he would have had no power over the network. his quotes about jensen and misha also seem to be badly executed jokes that when cut down to just those lines are easy to take at face value and out of context

i do think however, that the pain caused by spn goes beyond 15x18, and thats what misha in his video fails to understand. this is an issue of characters like cas and eileen and charlie being killed and then never mentioned again. we all know covid had a detrimental impact to the story and ability to shoot, but i've maintained as have many people that so many issues could have been solved with one line. the erasure of female, lgbtq+ and non-white characters, and characters with disabilities is an issue that is inexcusable and requires recognition and a formal apology by all involved. the lack of character development and refusal to acknowledge the journey the show has taken in the last 15 years is less of an issue, but still contributes to the pain. this is also about, as it always has been, queer baiting using obvious romantic tropes for deancas and then never delivering on it. i think bobo berens and other writers/show runners worked to change this, but ultimately if we look at the deancas legacy, a lot of it was tropes and moments that were never allowed to come to fruition, all in all to keep their audience that was ultimately there for dean/cas/deancas, and keeping viewing figures up (we really did keep this show on air).

i wont sit here and defend mishas words, because to be honest i think they came from a place of frustration and sadness and he worded it wrong, but i think his heart is always with us. he knows how much cas meant to us and fought for him to come out. he is an adult man with a wife and family and other priorities- his top priority is not going to be righting the wrongs of a television show, even one he was so heavily involved in. he's not always going to know what the right thing is to say to a group of people so invested, but what i will say is , as he said - we can write our own ending. of course dean is bi, we don't need spanish translators to tell us that. don't let this invalidate you

#feels good to get all of this out lol #misha collins #spn #deancas #bi dean is real

10 notes · View notes

dgcatanisiri · 4 years

Text

So, I just want to speak from my personal, individual experience and viewpoint on the Dean/Cas THING.

When I look at queer representation, there is always this part of me that brings up the idea “when I started trying to come to terms with my sexuality, would this character being queer have helped me?” Meaning would seeing this character go through experiences on screen and undergoing growth and development have been able to tell that insecure and scared teenager that he’s not wrong or broken or anything like that for feeling the way he does.

It’s probably a good chunk of why I do seek out queer male portrayals first and foremost. Y’know, looking for those heroes now that I didn’t have then, no matter that I’m now years past that point when I need that to ground myself - I think that no matter how old you get, you’re always going to need heroes to look up to (and it’s why we get so defensive when people bring up how these heroes are problematic, because we’re still looking up to them).

And it’s why I’m always a little ‘...ehhhhh...’ about queer characters who are getting The Queer Narrative™, the stories that depend on them being queer, because the identity that I’ve grown into is not JUST my queerness - not just being gay, not just being ace, I have been through things that have impacted me and had nothing to do with my sexuality or orientation. So when I think about how that would have impacted that younger version of myself, I see him thinking “is this all there is to being this way? Because that’s not how I see myself, so, does that mean that I’m not? Or that I’m doing it wrong?”

See also, littered throughout my “another angry queer rant” tag, various comments about feeling isolated even among what representation I get - this is why, for example, I come away frustrated with a character like Dorian Pavus, whose gayness is the primary focus of his character questline, so making it The One Thing the game wants you to walk away remembering.

So. Dean Winchester and Castiel.

These characters have always resonated for me. You know, characters both who are almost defined by the fact that they have this deep-seated feeling that they are broken in some way. It’s constantly referenced by characters that Cas “had a crack in the chassis from the assembly line” with his affection for humanity and Dean in particular - there’s a pretty obvious metaphor for homosexuality in that. Meanwhile Dean... Okay, digging into the parallels, situational and emotional, gets a little too personal to dive into for me, but suffice to say, when I started watching Supernatural, all the way back in season two, I clicked with Dean from moment one.

So that lays the groundwork for the situation we’re in now.

And look, while I was still picking up DVDs and even the tie-in novels, I stopped watching live somewhere in early season nine. I recognized the baiting as bait and was just tired - I’d watch it later, on my time and on my terms, able to skip past the stale repetition of “I’m gonna do a thing that I say is for your good and keep it secret” style plotlines that had driven much of the series to that point. I was on record years ago as saying that I wouldn’t be happy with canon Destiel unless it had at least about half a season’s worth of growth or development - it wouldn’t have felt like they were risking anything in taking that chance, you know?

But I was actually kinda interested in the stuff that I saw coming through for season fifteen. Storyline seemed interesting, and... I legitimately wasn’t getting my hopes up for Destiel AT. ALL. Like, we all knew Supernatural would Supernatural, it was all just bait, don’t get suckered.

And then... Cas admitted he loved Dean. And look, my reaction to that was a baseline of “conflicted,” for the reasons I pointed out above - decade of baiting, way too late to actually explore this, and of course the obvious element of bury your gays. But at a minimum, given this show’s constant revolving door of death, I wasn’t concerned about that. And... I wanted that win. I wanted to be able to walk away from this show saying that they’d managed to turn a decade of baiting into the foundation of a queer love story, even with all the flaws.

Because Supernatural, being a fifteen year old series, carries the baggage of its time. To say that this show built on toxic masculinity turned from that into a softer, better, more respectful story... It doesn’t undo the harm, but it shows an understanding of the harm inflicted and a willingness and desire to undo it.

But then the finale. And the editing. And cutting. And the discovery that there was a version of the script where this was all explicit. And that the network is the likeliest reason we DON’T have that changed story, that understanding and desire to fix it.

So we find out that the script was making efforts. And that the network, in a blatant and shameless effort to appeal to a particular crowd, the crowd they WANTED to be watching, and, by extension, who they want to follow from Supernatural to Walker, cut out Dean admitting that he loved Cas, and maybe even all the way to imposing the idea that the only way to even have that is by both characters only getting together in heaven, and then denying even that.

Like I realize there’s still an element to conspiracy theory in all of this, but based on the evidence we have, I don’t feel like it’s a stretch to go in that direction, which just says how bad this situation is - the situation that is the network imposing this on the writers, and in the name of defending their homophobic audience from facing even the possibility of this particular perceived bastion of masculinity be anything not straight.

That the network would only allow these characters to be queer literally over their dead bodies, and even then, they wouldn’t even let that be textual.

That is the network saying that there MUST be this strict lineation between the stories for straight characters and gay characters, and we’re looking specifically at male characters here. Like, the Arrowverse shows might get a little more room to maneuver here because there’s at least been some advancement in the comics and they can’t wholly cut that out (and Greg Berlanti being gay himself - if one of the guys at the helm is pushing this, they can actually exert a little more pressure). But are these queer men in the position of having the show centered on them, like the narratives were for Dean Winchester on Supernatural?

So if they are going to allow more nuanced portrayals of queer men exist, they want them strictly as side characters. Characters who, at least in their idea of the show, can be removed without an issue.

THAT, ultimately, is the driving thing for me. That the network says not just “you can only have THESE stories, you can only be supporting the narratives of the straight characters,” but even “don’t you DARE think that you can take center stage like this.” That for daring to try to let these characters express it, the network demanded that they DIE. And that they couldn’t even be reunited in their afterlife.

It’s not just the characters deserving better (which, we really could go in on the fact that Dean spent the better part of the series in a state of suicidal ideation, of believing that he was better off dead but somehow kept surviving, and how gross it is to give this character that chance to live only to kill him off, but I’ve already gone on for like a page now). It’s the silencing of the queer narrative, of the queer characters, this striking down from these suits saying that for daring to want to be in the center of a narrative that lets them be queer without centering on their queerness as their only personality trait, these characters must die without even getting to acknowledge it.

That’s the part that gets to me. The part that says that the network would sooner pursue homophobic money and viewers by killing and silencing queerness than accept that this nonconventional story that resonated for queer viewers, that actively survived as long as it did BECAUSE of queer viewers (because there’s no way that, without the multitude of Destiel fans, Supernatural would have made it to season fifteen)... That it could be queer.

It’s not even that we’ve come so far and gotten nowhere. It’s that they KNOW this show depended on this audience, but they refuse to accept that and refuse to offer even this little sliver of thanks, because it would impact the viewership that they REALLY want.

#dg gets pissed #dg rants #another angry queer rant

5 notes · View notes

immaculate-benediction-batch · 5 years

Text

Sorry this is so long......How TV Creators Are Handling Subtext And Shipping

TV series creators have a hard time not tailoring content towards a strictly heteronormative audience, refusing to lean in to queer context, no matter howlarge an LGBTQ following a show may have.

Once a fictional character is put out for public consumption, it ceases to be the one thing it’s described as on paper. This is especially the case with TV and film, where said character goes through so many hands before hitting the screen and becoming public property.

There are three kinds of creators when it comes to queer content on TV. The first (and sadly, most typical) is the creator who will deny any intention of creating queer content, and who will also refuse to acknowledge a queer audience’s interpretation., This often results in an instant backlash, as the Supergirlcast and creators experienced after an embarrassing interview with MTV last summer. When prompted to recap the latest season, the cast broke into a cringeworthy song that mocked fans’ interest in the Supergirl/Lena Luthor pairing, with Jeremy Jordan repeatedly exclaiming that the two will never get together. It continued despite Katie McGrath’s attempt to save the interview saying, “The great thing about what we do is, like any art, anyone can read into it what they want.” Chris Wood then chimed in with “Sexuality is all about others’ perception of yours, right?”

Supergirl is a show with a large female following that from the beginning has gravitated toward the female relationships it portrays, with emphasis on those relationships with strong queer energy. At first, there was a group of internet fans that were drawn to the chemistry between Melissa Benoist and Calista Flockhart, which was maximized due to the characters’ intense mentor/mentee relationship, and that was fine, and for the most part went unacknowledged by the show.

However, upon Flockhart’s exit, Lena Luthor was introduced, played by Katie McGrath. Kara Danvers and Lena Luthor became fast friends, and fans’ fascination with Supergirl’s queer vibes grew strong enough for the the cast to take notice. One would think that by having Alex Danvers and Maggie Sawyer, two queer characters already in their orbit, fan speculation about others wouldn’t be such an inconvenience that it would have to be addressed by aggressively singing “They’re only friends!” over and over, as if the pairing were unfathomable.

But Supergirl hasn’t been the only show to outright reject queer interpretations. In fact, a few years back, the long-running series Supernatural was called out by its fans for purposefully inserting homoerotic subtext within storylines pertaining to male characters Dean and Castiel, and for rather indirectly addressing said subtext in interviews. In one of them, Misha Collins (Castiel) stated that in certain scenes with Jensen Ackles (Dean) he was directed to portray his character as a “jilted lover.”

During a Toronto Con panel in 2013, it was revealed that a line was changed by Ackles — who last year specifically requested no questions about the popular pairing be allowed during the Q portion of a panel for the show at New Jersey Con–from “I love you” to “We’re family. I need you” because the Actor didn’t think it suited his character. Despite fandom’s interest in the pairing, it hasn’t been enough for Supernaturalto follow through with an actual queer storyline, aside from the one recurring lesbian character, Charlie, who was ultimately killed off. It turns out our tolerance for queerbaiting does have its limits.

Another show that failed to address the sapphic energy between its leads, in effect rejecting a great opportunity to add a bonus layer to an already complex relationship between two women, was Damages. The thriller starred Glenn Close as powerhouse prosecutor Patty Hewes, and Rose Byrne as her protégée, Ellen Parsons. The series went on for five seasons and throughout, though it benefitted from incredible writing, its highlight was clearly the tension and undecipherable relationship between Patty and Ellen.

While there was never any doubt that their connection was what kept the the show’s palpable tension dial at a 10, anytime the subject was brought up to either cast or creators it was denied or waved off as “wishful thinking,” as Glenn Close put it. When pressed further, she added, “I think there’s something seductive about Patty and she just seduces people and she’ll lead people on. I think that can come across as pure seduction.”

With Person of Interest, Sameen Shaw (Sarah Shahi) and Root (Amy Acker) first connected under very unique, very dark circumstances in which one was holding the other against their will in a life threatening situation. But there was a sizzle there that the audience immediately responded to, and while both cast and writers admitted that was not their intention, something amazing happenedthey took that audience reaction and ran with it. In the end, Shaw and Root’s romance became one of the show’s more compelling storylines.

Jane the Virgin did the same. When a character, Petra, who wasn’t intentionally written as queer read queer to LGBTQ viewers, the writers saw no problem taking the interpretation and adopting it as canon. After years of keeping Petra as a sort of peripheral player within Jane/Rafael storylines, the character of Jane Ramos was introduced as Petra’s defense attorney and eventual love interest.

The third type of creator is everyone’s favorite. This is the one that takes whatever gay subtext or context there is, embraces it, and expands upon it, recognizing that it’s there from the beginning. In the Flesh and Killing Eve are true representatives of queer entertainment that isn’t trying to steer its characters toward a path they weren’t organically wanting to go.

In the Flesh, a BAFTA-award winning series from BBC 3, was easily one of the best shows that no one watched; a zombie show with depth, which isn’t easy to accomplish. The story takes place years after a virus epidemic that turned the infected into flesh-eating monsters is cured, and the rehabilitated are returning home. Its main character is Luke, one of the former infected, suffering from memories of the terrible things he did while sick, and tortured by his own suicide, which was prompted by the loss of love interest, Rick.

The series ran for only two seasons, with a total of nine episodes. It was inventive and creative and stands as one of the greats right next to shows like Hannibal and The Exorcist, which was unfortunately canceled by Fox this year after only two seasons of sacrilege, beautiful cinematography, Alfonso Herrera (Sense8) and a bisexual Father Marcus, played by Ben Daniels.

Killing Eve is a female-led thriller that proves that the secret to making great TV is treating characters like human beings with the capacity to change. Eve, who, when we meet her, is living a life that doesn’t seem particularly terrible, whose marriage appears to be solid, her job secure, is lured into potentially life threatening situations for the sake of following her inexplicable attraction to a female assassin. As if beneath the surface there is a dormant unrest that is awakened with the arrival of Villanelle in her life, and though she does not stop to examine exactly what she expects to get from it, she craves and wants more of these moments that have stirred her awake. She’s both excited and frightened by Villanelle’s audaciousness, by the intrusion into her life,

both figuratively and literally.

The season’s got a few episodes left, yet the most compelling, and most attentively queer moment is part of the fifth episode, in which the two women finally come face to face in Eve’s home. Eve is sopping wet in a gorgeous dress Villanelle’s purchased for her, she’s cold and visibly uncomfortable, therefore Villanelle suggests Eve should change, before proceeding to peel the dress off her herself. It is a scene that doesn’t downplay the very real danger Eve is in by having Villanelle in her home. However there is also an erotic aspect to it that is very purposeful, and as series creator Phoebe Waller-Bridge points out, the attraction is definitely mutual, “I knew that the first moment they see each other. I labeled that moment as ‘love at first sight.’ But I didn’t want it to be constrained to romance, or to lust, or anything like that. There’s something waking in Eve every day that she spends imagining what this woman is doing.”

This type of storytelling allows characters to evolve the way that they want to evolve as opposed to forcing them into a first page description. There is loyalty to the authenticity of the story, which comes from meticulous attention paid to the writing, which Waller-Green explains is all about going against cliché: “The moment something feels predictable, there’s a roar in me to just go to the most surprising place. I don’t want to bore myself.”

Often times, when female queer characters are introduced, it is done in order to titillate, and their storylines are the product of a male gaze fantasy. Killing Eve manages to avoid all of that with Villanelle, a character who seems to have no specific preference when it comes to sexual partners, and yet doesn’t feel the need to use her sexuality to get what she wants. In addition to that and the meaty tension between the two leads (Villanelle and the titular Eve, played by Sandra Oh), the attention paid to the very queer theme of the show is evident in backstories of characters that would normally go without one, like that of Eve’s former boss and best friend Bill, an older man in a heterosexual relationship who casually reveals he’s loved “hundreds” of men, much to Eve’s surprise, and further reveals he is in an open relationship, and happily so.

The series proves not only that queer characters are marketablethe BBC series was renewed for a second season before the first even airedbut that straight creators are capable of writing queer content that isn’t offensive or over-sexualized. Phoebe Waller-Bridge credits the authenticity of the series to a collaborative effort, stating, “Because it’s all about the characters, the little details that link the two worlds, everyone’s really made it a psychological piece rather than just an artistic painting of two different people’s worlds,” but it really just goes to show that that negative aspects of queer representation that include the dreaded male gaze perspective can be avoided as long as the bar is set high enough by the showrunner.

It only takes a little bit of creativity and imagination, and a willingness to challenge the idea that heterosexual-based television makes for the best and most successful stories.

Alex Velazquez is a writer, photographer, and queer Mexican living in Los Angeles, CA.

#sherlock #killing eve #supernatural #supergirl #queerbaiting #shipping #lgbt #in the flesh #jane the virgin #person of interest

2K notes · View notes

dearoldtuxedo · 4 years

Text

The Love Interest

In 2017, Taft Studios hired a new screenwriter for their popular, and long-running show, The Banana Splits. Her name was Sammie Satterlee, and ever since they recruited her on the staff, she impressed the audience with her diversed setting scenarios.

Some new episodes took up morals that are rarely explored among children, and needed to be talked about more. The Sour Grape girls were given more personalities, rather than being reduced to cute, sassy dolls. She made Bingo and Drooper explicitly POC coded, so that minority children can see themselves in their favorite characters, even allowing some POC to guest star on the show. Bingo spoke Spanish occasionally, and Drooper celebrated Kwanzaa for a holiday themed episode. Stevie was also given a decent dose of character development.

Then, at that year, 2018, Sammie was ready to take on a new challenge: Introduce an LGBTQ+ character. Around this generation, a lot of children's media has been accepting of queer themes. The whole purpose was to help kids acknowledge that queer romance is just the same as the typical heterosexual romance. There is nothing inherently sexual about it.

Plus, Sammie happened to be queer herself. She grew up loving The Banana Splits throughout her childhood, and is still a fan to this day. She also grew up around a lot of homophobia at that time. Projecting sexualities/trans identities onto characters is a method of feeling more accepting, more valid. The same method queer kids on the internet use "headcanons" for. Queer children deserve representation. Sesame Street won't do it, so The Banana Splits might as well.

What better way to have one of the Bananas come out than giving them a male love interest? But, which Banana shall have a love interest? Fleegle seems too independent for a lover, regardless of what gender. Bingo prefers pranks and adventure over romance. And Snorky, even though as old as his fellow band mates, bears childlike innocence, so he's not ready for an adult love interest. The only option left was Drooper.

Yes, Drooper will work, she thought. The poor lion is considered the loser of the bunch. What if he had a sweet darling that would tell him how valid he is? Drooper's so clumsy, he's always falling down. Now, he needs someone to catch him and pick him back up on his feet. Sammie then started to sketch out her ideas.

That's when she conjured up Tux the snow leopard! Tux was short for Tucker, also defining his wardrobe, which was a tuxedo. The reason she chose a snow leopard was due to their majestic appearance, and she wanted Tux to come out as sort of a romantic gentleman. Also, because he should be a feline like Drooper. She drew out a reference concept of Tux, along with additional sketches of him and Drooper acting lovey-dovey with each other, and written a bio.

Tux was presented as a muscled man, a contrast opposite to Drooper's skinny frame. This snow leopard was purposely intended to be the hero to Drooper's damsel in distress. He sure is a handsome fella, but he's pretty dumb as well. That didn't matter. He's perfect for Drooper. Tux would be somewhat special to Drooper, like he understands him, he cherishes him, and he's willing to take a punch in the face for him.

After giving the references to Karl, and a bit of debate, the engineer decided to take a shot at it. Reading through Tux's biography, his personality and characteristics had quite interest Karl. This snow leopard certainly didn't possess the same energy as his other boys. Fleegle was the intellectual leader, Bingo was fun and energetic, Drooper was the butt of bad luck, and Snorky was the baby of the group. Tux was different. It would be quite complicated for a stoic machine to act out all these actions. Unless...

What if he gave this animatronic fully functional emotions? Karl always wanted to try something new. A robot with emotions would probably be his greatest achievement yet. No other engineer has dared to try it out. Not only will the idea be impressive, but his feelings would be very convincing.

After almost a month, Tux was completed. Although he matched his reference drawing perfectly, he appeared to be seven feet tall, instead of being two inches shorter than Drooper. Speaking of Drooper, not only were emotions installed into his databanks, but he was also programmed to fall in love with no one but said lion.

Karl decided to showcase Tux to Sammie. He then activated the mechanical snow leopard. It took some time for Tux to get into motion, but as soon as he saw those humans in sight, he stepped back nervously. He touched around at himself for a moment, and scanned his surroundings. He was now alive, and he wasn't sure how he felt about this. The animatronic walked around the room, picking up items at random. He went back to Sammie and spoke for the first time.

"Hello. I'm... I'm..."

Karl answered for him.

"Tux." "I'm Tux. Pleasure to meet you. ...I think. Say, could you tell me where am I? What is going on? What is my objective?"

Just as Sammie could say anything, the Splits had entered the room. Tux turned his attention towards them by instinct. The very sight of Drooper had already triggered him into love mode. The feeling of seeing the lion was undescribable to him, but since it's in his programming, he knew how to act. He stared at the lion for awhile, then ran over to him. Tux took his paw into his.

"Hello. I am Tux. Pardon me if this sounds so sudden, but, I love you."

The animatronic kissed Drooper's hand, even though he just gapped his mouth open a bit and pressed it against the paw.

"Do you love me?"

Drooper was confused by this abrupt gesture, and had no opinion about it due to his lack of emotions. Still, he responded anyways.

"I love you too, Tux! I love all my friends!"

Tux was quite offended, having to be considered a "friend." Sammie decided to clear things up for the lion animatronic.

"Uh, Drooper, this is Tux. He is your new boyfriend. You know, like, a lover. As in you two are in love. Or at least, pretend to be, for the show."

A new boyfriend? Drooper doesn't remember agreeing to that. He just met the snow leopard, and all of a sudden, they're lovers? The lion isn't sure how he feels about that, especially since he doesn't return the snow leopard's attraction. Then again, Tux is a pretty nice guy. And it's not like they're forcing him to love him back. After all, she did say he could pretend for the show. Since the Splits aren't on the air right now, they might as well just be friends. Drooper shook his hand and greeted the new recruit.

"Very nice meetin' ya, Tux! I'm Drooper! This is Fleegle, Bingo, and Snorky! Welcome to The Banana Splits! Enjoy your stay, friend!"

He still deemed Tux as a "friend." That's not what Tux wanted. He didn't just come alive, fall in love instantly, only for it to turn out to be one-sided. Tux figured, he will get this lion to love him back, even if it kills him.

And so, for the last four days, Tux wasn't ready to be onscreen, so that gave him enough time to win Drooper's affection. The snow leopard had snuck into Rebecca's computer to find information on how to woo a person. Then he'd capture that info into his system.

Tux tried presenting Drooper with a flower (one of the props). He was flattered, took the flower, and patted Tux on the head. But walked away afterwards.

He tried serenading a romantic song, which was performed by the Splits in another era. 🎵I enjoy being a boy, in love with youuuuuuuuuu.🎶 Once again, Drooper was flattered, and applauded his performance, but still, walked away.

Next, he tried the extreme. Tux grabbed Drooper, dipped him, and planted his mouth onto his, giving him a kiss. That only resulted in Drooper pushing him so hard, he knocks him down on his bum.

No matter what technique he tried, his attempts all failed. And Drooper showed no signs of loving him back. Today was scheduled for Tux to make his physical appearance. But before he's ready to be on the show, he discussed his issue with Karl.

"My lover... ...doesn't love me. What have I done wrong?"

Karl knew exactly what the problem was. It's not what Tux has done, but how Drooper feels. The lion animatronic was built to be emotionless, so it's impossible for him to accept a handsome man's gesture. Maybe Karl can fix that.

"Settle down, my boy. You'll get what you want. I promise."

He then called Drooper over for a tune up. The only way for the two's feelings to be mutual is to install the lion with the same features programmed into Tux's databanks. The snow leopard held his hands together tightly. Soon, he and Drooper will be bond together at last. Together, forever. He'll have him close to him. They'll hold hands. The two will spend their entire lives as one until they rust. Karl then motioned that he had the notion of giving the other Splits emotions as well, so that they can embrace Tux like a family member. He wanted to make his greatest achievement feel at home.

“Yeah yeah sure. Now hurry up with the process!”

Suddenly, Rebecca entered the workshop, announcing that the whole "LGBTQ+ representation" project was officially canceled.

While the news of The Banana Splits having an LGBTQ+ character on their show received largely positive from the queer community, they've also gained negative, violent feedback from those who were against it. They were being accused of "attempting to encourage children into sexual acts," and called out for spreading "leftist SJW propaganda."

It gets much worse. Straight parents set up a campaign to boycott the show. Stevie threatened to quit because he refuses to work around a "cybernetic f@gg3t." And Andy, the network executive, blackmailed that he would pull the plug on their show if they let this "gay shit" slip onto TV. Sammie was fired, and the whole assignment was history.

Karl stopped what he was doing, leaving Tux confused.

"Aren't you gonna-" "I'm afraid there's no reason to anymore, my boy." "But, Karl- Drooper- You said I could have what I want! YOU PROMISED!" “I wish I could keep it, but I don't think I have a choice. I'm sorry." "I don't believe it. How could you be SO SELFISH?! HAVE YOU EVER THOUGHT ABOUT HOW I FEEL?! PLUG HIM BACK IN, RIGHT NOW!" “I can't-" "ALL I WANT IS MY KITTEN TO LOVE ME! DOESN'T ANYBODY CARE?!!"

The snow leopard threw a big tantrum. A single stomp on the ground made the floor shake. Then, he shoved items off of counters, and smashed stuff, while screaming at the top of his voice. He was absolutely terrifying at that moment. Tux turned to Rebecca, thinking it was all her fault. She tried to tell him to stand down, but he was too stubborn. He grabbed her by the neck, and pressed her against the wall. With Tux's back turned away, that gave Karl the opportunity to shut him down. Tux let go of Rebecca, and fell over unconscious.

Poor Tux. Maybe giving him emotions was a bad idea. As it turns out, he's not mature enough to know how to handle them, which makes him too unstabled. After that traumatized experience, Rebecca demanded that Karl should get rid of him this instant.

After she left, the three other aninatronics entered the workshop. Karl stared down at Tux for a minute. The snow leopard animatronic didn't mean to cause any harm. He's just a little faulty, with his ardent coding and all. Karl never worked out how he would have Tux cope with his emotions. The engineer couldn't bring himself to throwing out what he thought was gonna be his greatest achievement yet, so he asked his four to dispose of Tux for him. Karl then left the workshop to see if he could calm Rebecca down.

Four of the Splits gazed upon the now deactivated animatronic. They, including Drooper, felt a bit sorry for him. Why put him to waste? There's still some potential in him. The sad case just wanted, and needed, some love like they have had. A new Banana Splits member is still a member. Besides, he was much nicer to them than Stevie.

"What are we gonna do with him?"

So, rather than dragging his metal carcass to the dumpster, they all agreed to hide his body, behind a couple of boxes and bins in the corner. Perhaps he will make himself useful. Someday.

#The one who turned a banana cherry red [Tux]#Dear sweet kitten [Drooper]#Lover cats [Tux and Drooper]#Bleeding heart [Horrorverse]#Homophobia tw

6 notes · View notes

arbeaone · 5 years

Link

For “Great British Baking Show” Contestants, The Real Loss is the Endless Trolling

by Rae Robey Published on December 2, 2019 at 11:51am

Against the vast backdrop of high-octane and anxiety-inducing cooking competition television programs, The Great British Baking Show is an aberration. Internationally beloved for its affable contestants and endless supply of baking-themed anglicisms—“soggy bottoms” and “saucy puds” abound—the show follows a dozen or so home bakers as they compete to be named Britain’s best amateur baker. When the 2019 season premiered with a record-breaking 9.6 million viewers, each contestant was thrust into the public eye; most have racked up tens of thousands of Instagram followers since the season began in August. For American audiences in particular, The Great British Baking Show’s intrinsic wholesomeness makes it a cultural phenomenon: We could never be so well-mannered in a televised competition, but we do enjoy pretending.

The Great British Baking Show is, at most, an estranged cousin to American cutthroat cooking competitions like Chopped, Iron Chef, or even Cupcake Wars. In the Baking Show tent, contestants help each other finish their bakes, are graceful (even grateful!) in defeat, and despair when their purported rivals are dismissed from the competition. Each episode is predicated on kindness, love, support, and the freely-given home-baked comforts of the feminine domestic realm. Even the grand prize—a cake stand and some flowers, no cash—highlights the show’s near-pathological humility. Produced by a team called Love Productions, decency is, we can only assume, woven into the show’s DNA. But when Baking Show airs on TV, long after the last bun is iced and the final bap prodded, the trolling begins.

Each season, the bakers spend months immersed in icing sugar, bavarois, and ganache, frantically preparing for the 30 challenges of the competition. In addition to the generalized stress of executing difficult pastry skills while trying to impress professional judges on an international stage, the bakers are told by producers that they’ll likely deal with some backlash from a handful of disproportionately peeved viewers. After all, it’s a competition. But the backlash goes beyond competition, and, despite the warning, most bakers are blindsided by the frequency and ferocity of their trolling. And though adoring fans are certainly in the majority, online trolls yell the loudest. Stacey Hart, a Season 8 semifinalist, dealt with severe online harassment as soon as the season began airing. “I’m smug, I’m a bitch, I’m a worthless piece of shit, I’m a useless baker,” Hart told Bitch, describing the comments that strangers sent her. “[The show] was the best experience and the best thing—at the time—that I ever did. It became the worst thing I ever did.” Trolls loathed her pink, glittery bakes and how often she brought up motherhood; their caustic DMs and comments drove her into a months-long depression. “I’m quite a self-conscious person anyway, and it made me question myself,” says Hart. “Am I good enough?”

Before Hart, there was Ruby Tandoh, a Season 4 runner-up who was deemed a “filthy slag” who traded sexual favors and weaponized “female tears” for preferential judging. Tandoh wrote a piece for The Guardian in October 2013 describing the waves of “lazy misogyny” that followed each episode’s release, but shining light on the problem change much for future contestants. Claire Goodwin, the first to leave the tent in Season 5, was inundated with fat-shaming comments. Season 6 winner Nadiya Hussain, a first-generation British Bangladeshi, was told to “go home” on Twitter. Candice Browne, winner of Season 7, regularly endured comments from strangers who “fucking hate Candice, reckon she’s a right bitch.”

In a 2018 joint study with Element AI, Amnesty International named online trolling of women a human rights violation—one that social media platforms like Twitter continuously refuse to be held accountable for. The trolling of Baking Show contestants generally reflects the Amnesty International findings: White women are trolled hard, but women of color are trolled harder. Commenting on the viciousness of a particularly nasty troll, Hussain offered a succinct explanation: “I’m Muslim, brown, working-class and a woman! I may as well have ‘punching bag’ written on my torso.” In general, men are less likely to be trolled and, instead, are more likely to be trolls themselves, due to years of learned misogyny and—according a Brunel University and Goldsmiths, University of London report—a higher rate of narcissism. But on Baking Show, trolling often extends to the men with nearly as much vitriol and regularity as it does to the women.

Dan Beasley-Harling, a 2018 contestant and self-identified “gay-at-home dad” received the overwhelming bulk of Season 8’s cumulative harassment. “It was about five weeks of people just saying horrible things about me constantly. I had some really overtly homophobic comments,” says Beasley-Harling, referring to unoriginal jabs about queer sex and the suitability of a queer parent. Trolls can generally find a problem with any woman, but two types of bakers stand out as exceptionally deserving of harassment: women who don’t land neatly in the realm of palatable, perfect femininity, and men who aren’t stereotypically masculine. Beasley-Harling’s experience suggests that Baking Show trolls might take a more nuanced approach to their vocation.

Perhaps it’s not just about harassing women online—it’s about re-establishing gendered power dynamics and punishing those who flirt with the domestic on public-facing platforms. Domestic work has historically been an unpaid at-home venture delegated to women, so Baking Show contestants are either women overstepping their household boundaries or men crossing gendered labor lines. For a troll, either is a damnable offense. But with each record-smashing episode, Baking Show subverts the assumptions of where femininity belongs, who it belongs to, and how much it’s worth—roughly £24.2 million in predicted revenue. Still, exploitation is often and easily disguised as empowerment. Lest we forget, Baking Show contestants aren’t paid, and the grand “prize” has little to no real-world value.

To an extent, we all participate in the uninformed and unkind public judging that trolls have championed. We experience celebrities and public figures—especially women—as dehumanized subjects ripe for public dissection, each one existing in a vacuum sealed behind a screen. After all, the Baking Show contestants are filmed, edited, and packaged by professionals into easily digestible archetypes for the sake of a comprehensible and compelling storyline. For example, the latest season featured Michael Chakraverty as the optimistic goofball, Steph Blackwell as the irrationally insecure savant, and Helena Garcia as the spooky, whimsical free spirit. While these personas are fully inspired by who the bakers actually are, they’re ultimately deployed to create drama and tension where it doesn’t exist—that’s just the mandate of reality-TV editing.

But trolls live in the extreme, and for them the editing spurs online abuse. Beasley-Harling, for example, saw the trolling as a direct extension of Love Production’s editing. “I felt like the editing choices were very much treating me like collateral damage,” Beasley-Harling says. “I phoned Love Productions and said, ‘I don’t think you’re representing me fairly, I understand why people don’t like me.’ And they said, ‘No, you’re crazy, everyone’s getting a fair, balanced view on the show. It’s all in your head.’” Gaslighting, the Old Faithful of emotional abuse is regularly deployed against women, people of color, the LGBTQ community and other marginalized groups, is remarkably efficient at restabilizing power dynamics—exactly what trolls seek to do. A representative for Love Productions stated via email that: “Love Productions has always taken contributor care seriously and has robust protocols in place to protect and support those taking part in our shows throughout production and after transmission. These protocols evolve to acknowledge and address the changing media landscape and scrutiny.”

Depending on who you ask, however, the robustness of their protocols fluctuates. According to Beasley-Harling, past contestants have speculated that the Love Productions team tailors their level of attention and support based on the profitability of the contestant in question. After leaving the tent halfway through the competition, Beasley-Harling felt like Love Productions was less interested in protecting its contestants from trolling when money was to be made elsewhere, a behavior not dissimilar to reality television at large. “I barely left my house for three months. I was a shitty parent for three months,” Beasley-Harling says, describing the impact of his trolling. “To me, that felt like, ‘We’ve used you for the entertainment value and now we’re disposing of you.’” But Hart, the semifinalist who received the brunt of Season 8’s trolling and suffered a depressive period similar to Beasley-Harling’s, found Love Productions reassuring throughout airing.

“Every time I called them, they were wonderful. Didn’t matter what time of day,” says Hart. But she does concede that the emotional scarring from her online abuse outlasted Love’s self-proclaimed robust protocols. “They’ve got no idea how it’s affected me to this day,” says Hart. “I don’t think that’s their problem anymore, is it?” It remains to be seen how this year’s cohort of bakers will fare. Airing in the United Kingdom continued through October, and this year’s crop of bakers appear as chipper as ever, even online. So far, trolling appears to be minimal—maybe the bakers can avoid it if they subscribe more closely to normative gender expectations. “When I went on the Bake Off I wasn’t worried about my hair or my makeup or what I was wearing,” says Hart. “Maybe if I had made more of an effort, people would have been nicer to me.”

#Bitch Media #Bitch Magazine #The Great British Bake Off #The Great British Baking Show #`❦

13 notes · View notes

niceprophecies · 5 years

Text

Nope. Just no.

Today while browsing the tags I came across some very short and very angry text posts. Stating that some Johnlockers are not going to be fooled again, that they won’t watch Good Omens, because it all sounds too familiar and not in a good way.

Let me tell you this show is nothing like Sherlock. Good Omens has healed my broken Sherlockian heart. Everything I could have wished for Sherlock and John to become true is right there. And more.

A forbidden love between two enemies that cannot be (or can it?). The longest and most delicious slow burn in human history, spanning over the course of 6000 years (and still one of them is not ready, ‘You go to fast for me, Crowley’). A desperate situation, ending in a breakup. All the angst when one of them thinks the other one is gone forever. A reunion (thank God one without any aggression, yeah Mofftiss, I’m looking at you, this is not dull at all!). And an ending where ‘A Nightingale Sang In Berkeley Square’ (a romantic love song in case you hadn’t guessed).

What we don’t get is the constant denial of being in a relationship with each other from either of the two protagonists. And believe me, over the course of six hours of screen time this is often enough heavily implied or openly stated by supporting characters. What we also don’t get is some female love interest. Not once in 6000 years. Alright, Crowley once threatens that he has plenty of other people to fraternise with. This is a classic rom com move and of course they do have to play the jealousy angle, it’s just too delicious. No, but seriously. Humans are nothing to be interested in. Our angel and demon have only eyes for one another.

‘But they haven’t kissed. We are once again denied The Kiss. A Kiss is the only proof.’

Let me tell you that actually no. It’s not. This show is the living, breathing example that this thesis is wrong. Any Anathema/Newt shippers around? No? And why is that? We get some proper heterosexual fornication here, and guess what? It leaves everyone and their dog stone cold. (Or worse, bored or slightly embarrassed). This is because sex doesn’t do shit for your heart! The central couple in this story are two queer celestial beings with whom you suffer and rejoice from their first line to the last look they share. And by the way who is to say that they didn’t do ... whatever it is celestial beings do to show their affection? At least in this show we might not get a kiss, but we get another bench scene and in this one our couple is holding hands. Holding hands to swap bodies. Swap bodies which is quite an intimate trope per se, but on top of that with the intent to save each other’s lives (thank you so much team locations for the park bench scenes, they alone helped me get over the god awful scene between John and Sherlock where there’s only pain and pining that never gets resolved).

That’s what we get from the show itself. Now let’s have a look at their respective creators, shall we?

[x] [x] [x]

We have the creators continually expressing their firm belief that these characters are in love.

Then there are the actors. No denial. They talk openly about this romance in interviews. Michael Sheen especially can’t shut up about it. Even when he’s not asked. Well, what can you expect from a man who has been a fan of the book since 1990 and who openly admits in print media that he has “turned to the large body of fanfic“ in order to prepare for his role?

[x]

Compare that to Martin Freeman and Benedict Cumberbatch who scoff and sneer at Johnlockers and blatantly deny any relationship between their characters short of best buddies.

And then there’s @neil-gaiman himself. Adapting his own novel with the intention to stay as close to the source material as possible. He repeatedly stated he wanted as little overall changes as possible to honour his co-author the late Terry Pratchett whose dying wish was to make this story come alive on screen. An author who takes his time to patiently answer every ask on his twitter account or his tumblr blog, and of course there have been shippers asking these questions. Here are Neil Gaiman’s answers: every reading is valid, every interpretation is welcome.

In a blog post he wrote: “Terry Pratchett and I were talking about Crowley and Aziraphale over dinner the other night and wondering what they'd been up to ("...on the South Downs? You really think so?").”

Asked about that quote in a q&a in 2005 his reply was: "Well, what they're doing on the South Downs is sharing a cottage. Next question?"

[x] [x]

Now go and compare this to Moffatt’s and Gatiss’ Cambridge q&a shortly after s4 had aired and everyone was still raw with disappointment. When asked if fans could possibly interpret one of the last scenes of ‘The Final Problem’ as Sherlock and John again living together in 221b, they flat out refused to even acknowledge the possibility. What little grace it’d have cost them to allow their loyal fans to build whatever head canon they wanted? Yet the all knowing author gods (who weren’t even adapting their own creation like Mr. Gaiman, but only writing big budged fan fiction for Sir Arthur Conan Doyle’s Sherlock Holmes stories themselves) had to pry this last wilted straw from the hands of the Johnlock community. ‘We imagine John still living at his old flat, occasionally coming over to help Sherlock solve his crimes...’ (and no, if anybody asks if I wouldn’t please give a source for that, I would rather not. I’m getting nauseous only thinking about it, and I won’t look back. You either take my word for it, or climb down into the vaults of my archive on @constancecream. It’s all been well documented.)

Sorry for sounding harsh. I apologise if I offended those in the Sherlock fandom who still enjoy the show, or worse, those who still have hope. It is just no longer for me.

After two years of bitterness, Good Omens has given me some sense of closure. I finally got confirmation that it is possible to tell a beautiful, romantic, queer love story while staying faithful to its source material. The creators have elegantly managed to give their audience the best of entertainment without alienating their fandom.

Go and read the book. Look and see for yourselves what’s on the page, what’s implied between the lines. Good Omens is brilliantly funny and a delight to read. See for yourselves if you pick up on any Crowley/Aziraphale vibes.

If yes, then go and watch the show. I promise it won’t disappoint you.

#good omens #sherlock #neil gaiman #michael sheen #fandom #steven moffat #mark gatiss #queerbaiting #spoilers #mystuff

63 notes · View notes