#beauty & the beat

[noodles-and-tea]

Good episode.

[sexymikayla3]

[feistyfuktoys]

[saydesole]

Monaleo

I just love her positive messages plus her music is lit🩷

IG: theMonaleo

TikTok: theMonaleo

[hualian]

Xie Lian keeping Hua Cheng calm 🦋 | Heaven Official’s Blessing S2 Ep9

+ bonus Xie Lian losing it himself:

[ornithorynquerouge]

Beate Muska for Playboy Magazine

[clownpurgatory]

will the real majima goro please stand up

[kibsss]

@sluttysymbiote - that one Beauty and the Beast scene buts it’s Bowuigi now

THANK YOU @l0c0l-l0v3r-b0y FOR BRINGING THAT POST TO MY ATTENTION

Click on the image for better quality <3

--

let's not talk about how late i stayed up to finish this after driving for 5 hours straight prior.

[brokenclockgears]

hi, yeah. there's a couple of grown men fist fighting in the parking lot again.

[yaeggravate]

✦ Sailwind Shadow ✦

[sexymikayla3]

[feistyfuktoys]

[casscainmainly]

Gender/Sexuality in Batgirl (2000): Part 2

@dailycass-cain asked some great questions on my other post, which I'm gonna answer here to the best of my ability. Also if you're reading this, I love your blog, your reading list is how I got into Cass in the first place!!!

This post covers issue #50 onwards (end of Horrocks into Gabrych's run).

World's Okayest Father

I'll start with Cass' warped thoughts on Bruce, which occurs in issue #50. Cass has just gotten fired, but chooses to go out anyway and Bruce confronts her. The issue opens with a flashback:

Cass and David Cain spar, Cain slaps her, she kisses him, and they continue to fight. Here, the kiss represents intimacy, something which Cain (judging by his disgusted facial expression) dislikes and represses. Cass, however, clearly wants intimacy with her father - this isn't romantic, rather a desire (as I said in my other post) to be wanted/needed/loved.

Back in present day, Cass and Bruce start fighting and this happens:

In the context of the opening flashback, her attempt to kiss him is a broader desire for intimacy, rather than a romantic desire. Importantly, both here and above the intimacy is mingled with violence - Cass struggles to distinguish between the intimacy of a fight and the intimacy of a familial relationship.

Just including this here because I love these two so much and this is the SECOND time she beats him up. As I mentioned before, Dick seems to represent patriarchy to Cass, so her beating him up here is another repudiation of typical feminine roles. This is exemplified by her costume: not her usual more androgynous full-face mask, but not Barbara's Batgirl either. She's beginning to sort out how she feels about her gender without conforming to feminine standards.

Then these iconic scenes. Here, she explicitly distinguishes between positive intimacy ("he never let me touch him... hold him...") and negative intimacy ("just fighting... and hurting..."). This is a major development from both the flashback and her attempt to kiss Bruce earlier. Just as Conner was essential to Cass separating romance from friendship, Bruce is essential to Cass understanding the difference between romance and familial love, between violence and tenderness. So while Cass' attempts to kiss Bruce is a little weird, it makes sense in the context of Cass figuring out the intricacies of relationships.

Bruce asks her where her loyalty lies: him, David Cain, or Barbara. Remembering the Soul panel (where Cass hallucinated Bruce telling her to stop being sexual and Babs telling her to go out and date boys), Bruce and David Cain represent sexual/gendered repression, while Barbara represents traditional femininity. By passing over them in favour of the gender-neutral Bat symbol, Cass is sort of asserting her new understanding of her gender, one that rebels against Bruce's disapproval and Babs' conventionality.

The Poison Ivy Parable

So I did just skip the Poison Ivy arc in my last post, but dailycass-cain is completely right in that it's integral to Cass' understanding of gender and sexuality.

Cass is a lot more assertive with her gender in this arc. She puts on a dress, quotes gendered reality TV ("you bet your cutie patootie, baby!") and says the above when a man expresses interest in her. Unlike her initial feelings about Conner's advances, she's more comfortable with being perceived as a woman, and doesn't let Bruce scold her. She's messing with him here - her sexuality isn't under his control anymore.

Poison Ivy makes a garden that lowers inhibitions, and Cass nearly kisses this guy named Chris (the designer of the garden). However, Cass snaps out of it to go to "work," defeating Poison Ivy.

Cass' choice to "work" instead of kissing Chris could be read as a repression of her sexuality once again, but I think it's different. Cass doesn't get told to stop kissing him; she makes the choice herself. Bruce alludes to this by saying "looks like you've got things under control" (emphasis added). Cass' sexuality and gender have been controlled for so long, whether by David Cain, Bruce, Babs, drugs like Soul, or gardens like Poison Ivy's. By breaking free of the garden's effects, Cass asserts control over her body.

The Stephanie Brown Story

As mentioned in Part 1, Stephanie essentially kickstarted Cass' desire to understand her gender/sexuality. However, she 'dies' in War Games, leaving Cass devastated. There's a noticeable difference in how assertive she was in her gender in the Poison Ivy arc, and her attitude at the beginning of Gabrych's run:

She questions whether she is "the fairy godmother" or "Prince Charming," a feminine or a masculine role. Following from Horrocks' run, she's aware there's options beyond these prescriptive roles ("is this a.... whole new story?"). But unlike Cass' certainty in the Poison Ivy arc, she frames these thoughts now in questions. Stephanie's death seems to have shaken some core part of herself.

This section is very reminiscent of Cass' conversation with Stephanie that started the whole journey, except here Cass is comparing herself to Tim. Interestingly, where in the original conversation Cass says she's never had a "kiss," not specifying the gender of who she'd kiss, here Cass sticks to heterosexuality: "I've never even had a... boyfriend". There's a sense of regression, of having to start her journey all over again:

In many ways Cass' grief over Stephanie's death forces her to re-evaluate her thoughts on love, gender, and agency.

Eventually, Cass nearly drowns and hallucinates Stephanie in the water. This is the antithesis of the Soul hallucinations: where the imagined people there (which interestingly did not include Spoiler) harassed her with patriarchal demands, Stephanie is encouraging and kind. She tells Cass to do "what you taught me to do;" Cass taught Stephanie to fight, but Stephanie taught Cass the value of female relationships, to fight for a life worth living.

Right after this scene, Cass goes to Brenda's café, begins looking for her mother, and reaches out to the female police officer. Stephanie kickstarts another round of self-development for Cass, this time in the direction of forging female relationships for herself.

Connection

Throughout the rest of Gabrych's run, Cass forms connections with Brenda, Onyx, and Zero, as dailycass-cain mentions. Brenda seems to be a surrogate Stephanie and Barbara - she's sort of a parental figure, feeding Cass and giving advice, but she's also a friend, inviting Cass to parties. We get this iconic outfit:

It's somewhat gendered (with the skirt and the shirt), but it's distinctive and different from the normal dress she wore at the end of Horrocks' run. She's learning to express herself more, and because Brenda is less parental than Babs, she doesn't have the same need to make Cass 'normal'.

Zero is honestly a bit weird, in this analysis as well as in the story itself. I think it's part of Cass finding connections with civilians in Blud, and I actually don't think it's similar to Conner. With Conner, it was very rushed; with Zero, there's clear build-up, and Cass genuinely seems to enjoy herself.

Cass and Zero kiss, and Cass thinks "my skin feels... alive. Where his arms were. His lips." Was it love? Probably not, but it was a cute moment for Cass, and I think she enjoyed the excitement/novelty more than anything (in that case it is similar to Kon).

This leads into Cass' thoughts about her conception, and whether David Cain and Shiva were in love. There's a neat flip here - where in Horrocks' run Cass was puzzled about her own feelings, here she's questioning other people's. She's definitely grown in her capacity to understand herself and her gender:

She now has the language to identity herself ("a girl") and the way it makes her feel ("awful"). In contrast to her initial confrontation with the male gaze (Conner), she's more secure, beating people up and leaving the bar (sharp contrast to being stuck on that vacation boat).

There's other stuff besides this, like the brief encounter with Rose, the make-up with Babs, Onyx, Shiva etc. but I'll end it here. Again, there's a lot more to be explored but honestly Gabrych had more stuff than I initially though.

Hope this answered at least part of your questions dailycass-cain, and thank you for ALL you've done for the Cass Cain community!!

[ornithorynquerouge]

Beate Muska for Playboy Magazine

[cocogum]

What do y’all have against Amalia, man???

First it’s Sipho who’s telling her how he’s genuinely confused that Yugo can love her and now it’s Qilby?? (even tho he at least admitted she was pretty unlike that ugly lizard Sipho). Literally what is going on??

Since when did people around Yugo think it was weird for him to like sassy flowers???

[longreads]

We Got the Beat

The Go-Go’s burst out of the L.A. punk scene in the late ‘70s to become “the first, and to date only, female band to have a number one album, who not only wrote their own songs but also played their own instruments.” We delighted to bring you an excerpt from Lisa Whittington-Hills new book “The Go-Go’s: Beauty and the Beat.” 

The album cover was the first time I saw what the Go-Go’s looked like. I could finally put faces to my new heroes. In the days before social media, videos, and the internet, it was a lot harder to learn about your new favorite band. MTV would soon change that, but it wouldn’t launch until a month after Beauty and the Beat was released. Years after I first discovered the Go-Go’s, I was packing some records to move and noticed the similarities between the Beauty and the Beat cover and the cover of Cut, the debut album from the Slits. The Slits were naked except for loincloths and covered in mud, not Noxzema, but there was still the idea that both bands wanted to rebel against stereotypical, hypersexualized notions of what women should look like on an album cover. They were both powerful images that the bands chose themselves, which subverted the idea of how women should market their music. There was also the idea that the women wanted to conceal themselves, whether with face masks or mud, to keep a part hidden, especially from a music industry that wanted women to reveal themselves, and all of themselves, if they wanted to sell records.

Read the full excerpt on Longreads.