#cite black women

[padawan-historian]

Auntie Aja Monet speaking truth into streets and stars 🗣

[slowtides]

I'm reading a research article right about embodiment and disability right now, and I'm getting heated because the article uses terminology and theory developed by Audre Lorde but doesn't cite her. The article talks about "the mythical norm" and difference as a source of power, but doesn't even gesture toward Lorde and other Black feminist theorists who have been theorizing about these ideas for decades. I'm just shocked that this is a peer reviewed article.

[dykesynthezoid]

Mainstream true crime is for sure definitely saturated w white women who frequently struggle to actually address their privilege, and I do think it makes sense to be skeptical of the “women like true crime bc they live in fear of being assaulted or murdered” argument precisely because of that privilege going unaddressed… but bro it is so wild when people honestly try to claim that women, as a group, have never had a reason to fear violent crime. Like. Hello??? Are we living in opposite world???

Like yeah you don’t have to like true crime, but literally repeating MRA talking points about it is crazy… Also it’s very easy to say that true crime is all white women, that they all only ever talk about serial killers, that it’s all copaganda, when so much of it is literally. Not. Again yeah it’s a subculture that has a lot of gross stuff going on inside it, but like any community that big, there are inevitably a lot of people inside who are working pretty hard to address those things.

Also hey. Hey. Women do have to worry about violent crime btw. Which doesn’t mean men don’t, and doesn’t mean other forms of privilege can’t affect how vulnerable (or not) different groups of women are; but it boggles my mind that people can honestly think it’s not an issue at all.

[inkskinned]

it's because the bear wouldn't kill me just for being a woman. the bear doesn't kill me for fun. the bear can be shouted at, and will leave me alone. the bear won't make a tiktok complaining about how i crossed to the other side of the path when i saw him coming. if a bear kills me, it's just being a bear: it cannot understand logic. it is not acting out of malice - just fear or hunger.

bell hooks once wrote about how porches might be the only outside space left for women - it is still the domain of the house while it is also outside-but-safe. when i am in the woods, i am in the bear's home, and he has a right to defend his property. outside spaces - anywhere at night, certain parks in the day - those are often implicitly "owned" by men. i cannot explain the feeling of knowing when you have entered a man's "territory." you walk into a place and just know you are in their space. you get a sick sense - you're in danger.

the other day a group of about 8 men were fooling around in the woods while i walked my dog. i had to go around, take the extra 3 miles just to avoid them. it's okay, i like walking. this wasn't even a #feminism moment. it was just a tuesday.

what a plain and easy question. only one of the situations is seen as a tragic accident. i would rather die and have a park bench erected in my honor rather than have my family questioned about why they let me, an adult, walk in the woods in the first place when i should really be at home in the kitchen.

i worked in retail and food service. i have had women say and do absolutely heinous and abusive things to me - not because i was a woman, but because i was there, and they were angry. the way men treated me when angry was different - it was because i was a woman. you can always feel the difference, how there's an undertone of i'd hurt you worse if i could get away with it. i keep seeing people try to cite stupid statistics. why is there always a strange rage whenever women agree on things? like men can argue their way out of our lived experiences? it isn't a buzzfeed quiz - which of these traumas are you? 10 super cute ways not to fear strange men.

i have actually (thrice!) seen a bear in the wild, by the way. i died each time, obviously, and am a ghost writing to you. (it was scary but completely and utterly fine). the second encounter was a black bear with her cub. she looked at me like - do we have to do this or are we good? my dog was busy sniffing a bush, completely nonreactive. i felt like i was in a sitcom: feminist poet reacts - does she actually mean she'd choose the bear? my only thought was - she's so beautiful. her paws are massive.

and there's a part of me that feels the rage spinning out in a corner. why do we have to come up with quippy little comments in order to teach men empathy. would you rather die in a car accident or due to a mugging? and would you rather your house burn down due to an electrical fire or due to arson? gee willikers - it's almost like we're human people, and want to risk the accident versus the intention.

i would rather my last thought be oh shit, a bear rather than i'm a person too. why doesn't that matter? why don't you care?

[vintagetvstars]

Nichelle Nichols Vs. Eartha Kitt

Final

Propaganda

Eartha Kitt - (Batman) - No text propaganda

Nichelle Nichols - (Star Trek) - She speaks for herself. Legendary, iconic, at the forefront of feminism and civil rights in the 60s, she is a triple threat who did so much more. She volunteered from 1977 to promote recruitment diversity within NASA, including some of the first female and ethnic minority astronauts. Martin Luther King Jr. compared her work on Star Trek as a 'vital role model' to the civil rights marches. She refused to be dismissed, fought for visibility and shone whilst doing so. As a woman in stem, and simply a woman she means the world and stars above to me.

Master Poll List of the Hot Vintage TV Ladies Bracket

Additional propaganda below the cut

Nichelle Nichols:

She is the original badass babe. She was a black woman in a leading role on TV in the 60s, a trailblazer for black actresses for years to come. She is so beautiful and so awesome.

she's fantastic. have you seen her? paved the way for black actresses on TV even while her lines and scenes were being cut and improvised the most iconic uhura line in the series. (sulu: "I'll save you, fair maiden!" uhura, pushing him away: "sorry, neither!") she's incredibly talented and it's a crime the show didn't give her more screen time (or make her sing more often because she also has a beautiful voice!)

“Sorry, neither” in response to “fair maiden” was ad libbed by her. There’s a lot more I could say but what else do you need??

A sci-fi icon!

She was such a trailblazer, and Uhura was such an important character for so many people to be able to see on TV. Apparently Mae Jemison (the first African American woman to go into space) cited her as a reason she wanted to become an astronaut. She was just an absolute legend!

The story of Martin Luther King telling her not to quit Star Trek gives me chills. Representation matters. “Thank you so much, Dr. King. I’m really going to miss my co-stars.” Dr. King's smile, Nichols recalled, vanished from his face. "He said, 'What are you talking about?'" the actress explained. "I told him. He said, 'You cannot,' and so help me, this man practically repeated verbatim what Gene said. He said, 'Don’t you see what this man is doing, who has written this? This is the future. He has established us as we should be seen. 300 years from now, we are here. We are marching. And this is the first step. When we see you, we see ourselves, and we see ourselves as intelligent and beautiful and proud.' He goes on and I’m looking at him and my knees are buckling. I said, 'I…, I…' And he said, 'You turn on your television and the news comes on and you see us marching and peaceful, you see the peaceful civil disobedience, and you see the dogs and see the fire hoses, and we all know they cannot destroy us because we are there in the 23rd Century.'"

She shared the first interracial kiss on Star Trek, helped propel real life African American women into space-related careers, and looks divine in a mini skirt.

HOW DID UHURA WALK BACKWARDS SO FAR??? WOW!

[disteal]

I only ask cause you usually seem to be pretty up to date on the goings on of this site, but what the HELL is going on with tumblr's CEO? Why are they having a meltdown responding to asks? What's the trans misogyny accusation about? Why is tumblr apparently being run by children?

Thanks in advance.

This is kind of a long story so this is sort of TLDR for brevity but there’s more going on here.

Some context if you weren’t aware; Tumblr has been accused multiple times by its userbase for fostering TERF staff members and covering for them when making transphobic moderation calls. Things like; an overeagerness to ban trans women for posting nudes despite not addressing nazis or bots for years, or protection of notable TERF users who flagrantly break TOS by organising hate campaigns. The users who collected evidence of this became huge targets for these “””alleged””” TERF mods and users and were basically hunted online for sport. Up until recently the “terf mods” take was considered a bit of a conspiracy theory by some who assumed it was more likely to be an automation problem mixed with transphobic reports.

This week: tumblr user predstrogen was recently permabanned (for a second time) following a mass reporting by TERFs. This, obviously, pissed a lot of people off, and a fairly routine “the fuck haven’t you banned the nazis yet??” ask was sent to photomatt, the CEO.

Photomatt, INSANELY, replied, misgendering her multiple times and defending his decision to personally smack down the ban hammer by citing predstrogens nudes, but by his own admission the far more heinous crime was this absolutely ridiculous post;

Matt has also contacted the FBI over this stupid shit despite predstrogen not living in the US.

Lastly, during this very public announcement on the kangaroo court hearing, matty drops this absolute nuclear bomb about Tumblr having some internal drama when they’d discovered an external contractor was A) a transphobe wielding mod authority to be transphobic B) criminally selling moderation (likely to TERFs).

Despite this obviously being on the record somewhere, this is clearly news to fucking everyone including myself.

It’s also worth noting that predstrogen has not been the only recent ban; several black people and black transfems have been instabanned after directly asking matt for accountability (the user i’ve seen specifically named was @rulerofpurple and his partner)

So, naturally, people are fucking furious they spent years getting gaslit by staff, who had been assuring us of their even-handedness, but surprise!!! Trans women WERE being uniquely targeted, and even worse, likely targeted by the people who they could never seem to deplatform despite constant death threats and doxxing!! And despite all this assurance that Tumblrs internals are now perfectly free of transmisogyny and racism, it’s pretty obvious to just about everyone that Tumblr staff are chomping at the bit to ban trans women.

[linkspooky]

TOGACHAKO VS. FUFFY: How To Save Your Evil Girlfriend

So, once again My Hero Academia has failed to deliver on its promise of saving / redeeming one of the main villains of its story, and victims of its ficitonal society. This time I'm going to make the added argument that not only does failing to save Toga make the story worse, it also makes Uraraka's character almost completely hollow. While you can dismiss Deku's lack of character development as him being a shonen protagonist, both Uraraka and Shoto had arcs and Ochako's is effectively ruined by her failure to save Toga.

In order to make my point I am going to compare it to a villain redemption arc in another piece of media that does it right, Faith's character, and her strained relationship with Buffy in Buffy the Vampire Slayer. A series which is overall anti-state punishment and pro-redemption and delivers on practically all the themes MHA promised us.

MORE UNDER THE CUT:

THE GOOD GIRL and THE BAD GIRL

There is a reoccurring dynamic between two female characters in media, usually between a heroine and a female villainness that I like to call: The Good Girl vs. Bad Girl complex.

However, if you were a Freudian you'd be calling this a Madonna Whore Complex.

To explain the Madonna Whore Complex, one of the biggest examples in other Media is Aronofsky's Black Swan. The entire movie is themed around the Madonna Whore complex, and the impossible double standards the male perception imposes upon women.

"The white swan and the black swan are not merely characters, and not merely characters that are relevant to Nina. The black swan and the white swan are archetypes of women. They are emblematic of the Madonna and the Whore [...] . The white swan is the Madonna, she is pure, innocent, the ingenue. The black swan is the whore, she is cunning and deviant. The seductress. Nina and her ballet counterpart Odette are characterized as perfect ingénues. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity. She is the fawn eyed damsel in distress and in literary films she's often the heroine or protagonist. On the other side of the coin from the ingenue, we have the seductress, embodied by Lily and her ballet counterpart Odelle. The seductress is characterized by her promiscuity, cunning nature and sex appeal. She is the alluring femme fatalle, willing to do whatever it takes to get what she wants. She's most often framed as the village. These draw parallels to Freud's psychoanalytical theory, a theory that suggests in the minds of some men they struggle to fully see women as fully realized and rather view them in archetypal categories." [SOURCE]

Black Swan is also a movie where Natalie Portman attempting to live up to the impossible expectations society has placed on her to be both the White Swan and the Black Swan goes insane, and quite possibly dies at the end of the movie.

Considering that Toga's entire story is that she is a shapeshifter who went mad because she could not fit both her parent's and society's expectations of being a "normal girl" then you can see why the Madonna Whore Complex is relevant, with the oversexualized, vampish, femme fatalle Toga quite obviously playing the part of the whore.

Before you call me a fraud for citing freud though, let me prove my point that the Madonna Whore Complex is quite literally everywhere in media.

I could literally keep going if this post didn't have an image limit: Jean Grey and Emma Frost, Jean Grey and Madelyne Pryor, Starfire and Blackfire, Raven and Terra, The Two Sisters from Ginger Snaps, t's literally everywhere all the way back to Lilith and Eve.

More intelligent takes on this trope play with the concept of the Madonna Whore Complex (MWC) to either present the archetypes as two fully rounded people (Catra and Adora) or demonstrate that it's impossible for women to fit into these two dinstinct categories (Natalie Portman in Black Swan).

Buffy the Vampire Slayer is a work that challenges the MWC, by allowing both its good girl, and bad girl to be fully realized characters. My Hero Academia plays the MWC straight to a sexist extent by not allowing Uraraka and Toga to escape their categorization of Good Girl and Bad Girl, and also going out of its way to punish and kill the seductress for her sexuality like this is a slasher horror movie. Actually, it's worse than a horror movie because at least Jennifer's Body plays with the MWC in a clever way.

It's not just bad writing anymore Hori's writing has crossed over into actively murdering female characters to enforce puritan values, but let's not get into that just yet we'll talk about the writing portion instead.

I'm going to outline what BTVS accomplishes, demonstrate how it does this below, and then go on at length picking apart how MHA fails.

BTVS:

Shows Buffy and Faith as fully realized people

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Breaks down those two categories

Redeems it's bad girl

With that out of the way let's get the ball rolling.

HOW TO (NOT) SAVE YOUR EVIL GIRLFRIEND

This is the part where everyone in the audience is going to gasp. Even though I'm using Buffy and Faith as a positive example of deconstructing the MWC and redeeming a villain, Buffy does not save Faith. The two of them reconcile in the end, but Faith is not redeemed or saved by Buffy, and in fact Buffy is in part responsible for Faith's fall.

So, why would I say Buffy and Faith are a better example of villain redemption then Uraraka who at least did everything she could to offer a helping hand to Toga?

Because Buffy not saving Faith is THE POINT and Faith receiving redemption even though Buffy gave up on her is also THE POINT. Lemme explain, by starting at the beginning.

BTVS is a story that exists to flip both horror tropes, and the idea of the chosen hero on its head. The concept started out with Joss Whedon noticing that the Cheerleader is always the first victim in any given horror movie, and wondering what it would look like if the Cheerleader could fight back. If the Cheerleader was the thing that monsters ran away from.

Which leads us to Buffy Summers. Buffy is chosen by the universe to slay vampires, she is hero with super strength that can easily take on legions of vampires and often has to fight even tougher villains for each season's conflict. Buffy carries all the classic features of both the ingenue and the chosen one protagonist rolled up into one:. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity.

However, after dying in the first season, and having to kill her boyfriend in the second season after he turned evil and inflicted a lot of psychosexual abuse on her Buffy has also got a whole lot of trauma. Which is when Faith appears on the scene. One of the first ways that the show challenges the idea of the "Chosen One" is that there are actually two Chosen Ones, Faith being the other Slayer.

Buffy much like Deku has a case of protagonism brain rot, but in her case she was actually chosen by the mystic powers that be to be the protagonist of reality. Buffy, who views herself as the hero of the story as a coping mechanism (we'll get back to this later) is suddenly challenged when the fates chose yet another chosen hero, challenging her pre-conceived notion that she is the hero of the story. If Buffy is not the only hero then who is she? What is all the suffering she's endured so far if it's not a part of her own personal hero's journey?

Buffy begins to dislike Faith on sight for projection reasons, before Faith does anything wrong. In a way Buffy herself the female lead is enforcing society's standards of the MWC because all the reasons Buffy decides to disturst and dislike Faith on sight are because she exhibits qualities of the seductress.

Faith is openly promiscuous, often comparing the art of killing vampires to sex, she is also someone who is proud of her power as a a slayer and uses it for her own purposes. She is a slayer for selfish reasons (apparently) while Buffy is the selfless hero. In the first episode Faith appears in, Faith, Hope and Trick Buffy is almost immediately hostile to Faith who has so far done nothing wrong for, trying to get along with Buffy's friends, getting a little bit too into vampire slaying and openly relishing her strength, and like occasionally making lood comments.

FAITH: Don't… touch… me…! BUFFY - yanks Faith off the unconscious vamp with one hand, stakes the vamp withher other. Then she turns to Faith who is breathing hard, high on adrenaline, rubbing her fists. BUFFY: What is wrong with you? FAITH: What are you talking about? BUFFY: I'm talking about you living large on the great undead here. FAITH: Gee, if doing violence to vampires upsets you, I'm pretty sure you're in the wrong line a work… BUFFY: Or maybe you like it just a little too much. FAITH: I was getting the job done. BUFFY: The job is to slay demons. Not mash them into sloppy joes while their

Buffy then escalates to like ableist slurs towards Faith within half an episode for getting slightly violent in a fight against vampires that were trying to kill her.

GILES: Well, Buffy, you have to realize you and Faith have very different temperaments… BUFFY: I know, mine would be the sane one. Giles, she's not playing with a full deck. She has almost no deck. She has a three. GILES: You said yourself she killed one of them, she's a plucky fighter who got a little carried away. Which isnatural, she's focussed on Slaying,she doesn't have a whole other lifehere like you --

The twist this episode is that no matter how much Faith tries to present herself as a free-spirit, she's actually a scared homeless girl who just happened to become the Slayer. Unlike Buffy she does not have a watcher, a mother, or friends to support her. She lives in the cheapest motel in sunnydale. The reason she's so violent against vampires is because she is understandably having a trauma flashback because her mentor was murdered right in front of her by a different vamp.

This is repeating pattern throughout the whole season, Faith is shown to be a victim of trauma, and occasionally acts in ways that are understandable for a victim like her to ask, only for Buffy to start mischaracterizing her as someone violent and insane and throwing the slurs.

You can compare both Faith and Toga as characters who are complex victims of trauma who society turns their back on and become bad victims, but Faith is a special case because we actively see her turn to the dark side. Faith starts out trying to be a hero like the rest and she practically does nothing wrong for half a season, and when she does finally make a mistake and become a bad victim it's the hero's desire to punish her and castigate her that turns her into a villain.

We actively see Faith's fall happen onscreen, and it's like totally Buffy's fault. Buffy throws her completely under the bus, because she's so desperate to see Faith as the Bad Slayer and Buffy as the Good Slayer. Faith is almost pushed into evil because of the MWC, the characters around her can't see her as a fully fleshed out human being so they are quick to demonize her when she starts acting like a bad victim.

So the two episodes appropriately named: Bad Girls and Consequences depict Faith's fall. In that episode Faith and Buffy are fighting vampires, and one human is mixed among the vampires. The human grabs Faith by the shoulder, and Faith thinking that the human is a vampire turns him around and stakes him.

It's a complete accident, something that Giles even says later on is an accident that can happen to any Slayer on the job and is completely normal. It's a murder that Buffy herself could have committed.

GILES: This is not the first time something like this has happened. BUFFY: It's not? GILES: A slayer is on the front lines of a nightly war, Buffy. It's tragic - but accidents have happened. BUFFY: What do you do? GILES: The council investigates, meters out punishment if punishment is due… I've no plan to involve them,however. That's the last thing Faith needs right now. She's unstable, Buffy. She seems utterly unable to accept responsibility. Shows no remorse.

However, even in the same breath Giles explains that it's an accident and not Faith's fault, he's also calling Faith unstable and irresponsible. Basically when they're not calling her a psycho (just hitting her with the ableist slurs), the protagonists all lowkey imply that Faith is somehow inherently violent and unstable because she displays symptoms of a bad victim.

I might also remind you Faith has not done anything to earn any of these accusations, until she kills someone in a complete accident. A complete accident that Giles once again said wasn't her fault and wasn't really a big deal.

FAITH: My dead mother hits harder than that.

Faith is stated to be a victim of physical abuse, heavily implied to be a victim of sexual abuse, and is homeless (none of the main characters offer to let her stay in her house she spends half a season in a terrible motel). However, Faith is quickly demonized by the white wealthy main characters for acting in ways that are completely typical for a homeless teenager.

The moment she commits one mistake they all turn on her and use that mistake as proof of these violent tendencies they all want to accuse her of having. Faith can never be the ingenue so she must be the seductress, because she can't just be a person.

Buffy: So, I, uh... (sees Faith scrubbing) How are ya doin'? Faith: (still scrubbing) I'm alright. You know me. Buffy: Faith, we need to talk about what we're gonna do. Faith: (looks at Buffy) There's nothing to talk about. I was doing my job. Buffy: Being a Slayer is not the same as being a k*ller. Faith has nothing to say. She's finished scrubbing. Buffy: Faith, please don't shut me out here. Look, sooner or later, we're both gonna have to deal.

It is essentially two episodes of this, Faith after killing someone on accident in a life or death fight is constantly called a murderer by others. She wasn't even like, drunk, or high, or being especially reckless she was being a normal slayer.

FAITH: So the mayor of Sunnydale is a black hat. Shocker, huh? BUFFY: Actually - yeah. I didn't get the bad guy vibe off him. Faith shakes her head. Scoffs. FAITH: When you gonna learn, B? It doesn't matter what kind of "vibe" a person gives off. Nine times outta ten he face they're showing you? It isn't the real one. BUFFY: I guess you know a lot about that. FAITH: What's that supposed to mean? BUFFY: Look at you, Faith. Less than twenty four hours ago you killed a guy. And now you're laughing and scratching and zipidee doo dah. That's not your real face, and I know it. I know what you're feeling because I feel it too. FAITH: Do you? So, fill me in. I'd like to hear this. BUFFY: Dirty. Like something sick creeped inside you and you can't get it out. And you keep hoping what happened wasjust some nightmare…

Faith is dirty, faith is disgusting, faith is unstable, Faith is sick for... killing a guy on accident in a way that Giles said was a perfectly understandable accident, and not showing clear guilt because the moment she did it everyone around her jumped on her and started accusing her of being a murderer.

Why do the selfless main characters suddenly start demonizing this girl before she even did anything wrong - well it's because she's poor problem solved.

No, but it does play a factor. Why do most american white middle class look down on the homeless? Because, they must have done something to deserve it, right? If Faith killed a man, that clearly is an indication that she was violent all along and the heroes don't have to sympathize with the fact she's homeless or you know lift a finger to help her.

Now, this makes it sound like I hate Buffy, but Buffy is actually my favorite character in the whole show. The thing is Buffy's complete lack of sympathy for Faith makes her a better character. Buffy needs to demonize Faith and throw her under the bus, because Buffy is a victim of sexual abuse too. Her boyfriend turned evil after having sex with her once, and spent an entire season stalking her and terrorizing her the entire season 2 Buffy / Angel plotline is a thinly veiled groomer metaphor.

The thing about Buffy is she's not allowed to show any kind of reaction to her trauma. The episodes preceeding Faith, Hope and Trick are Anne, an episode where Buffy runs away from home after being sexually abused (stalking is sexual abuse) by Angel for a whole season and feeling like no one would understand her, and Dead Man's Party, an episode where every single one of Buffy's loved ones ruthlessly criticize her for having run away. Like, how dare a teenager not react perfectly to being horribly stalked by a serial killer after she had sex with him for like half a year.

JOYCE: Buffy! You didn't give me any time. You just dumped this… this thing on me and expected me to get it. Well -guess what? Mom's not perfect. I handled it badly. But that doesn'tgive you the right to punish me byrunning away. BUFFY: Punish you? I didn't do this to punish you XANDER: Well you did. You should have seen what it did to her. BUFFY: Great. Would anybody else care to weigh in? What about you? By the dip. XANDER: Maybe you don't want to hear it, Buffy. But taking off like that was selfishand stupid. Buffy's breaking down. It's all too much. BUFFY: Okay - I screwed up! I know it - alright!? But you have no idea. You have no idea what happened to me or what I was feeling

The reason Buffy is so hard on Faith is because everyone else is equally hard on her. The label of the ingenue is so difficult for Buffy to maintain, because she has to be pure, and without any flaws, especially when reacting to trauma that she throws Faith under the bus for her bad victim behaviors.

The white middle class demonize the homeless because they don't want to face the reality it can happen to them, Buffy doesn't want to reflect on all the things her and Faith have in common because she could very easily become Faith. Buffy is the victim of extremely similiar trauma to Faith, and being pressured to be the perfect victim of that trauma in a way that's destroying her mentally slowly.

FAITH: It was good, wasn't it? The sex? The danger? Bet a part of you even dug him when he went psycho BUFFY: No FAITH: See - you need me to tow the line because you're afraid you'll go over it, aren't you, B? You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you... ( Something snaps in Buffy. She rears back and POPS Faith a good one. Faith falls back, but she's smiling as she puts a hand to her bleeding mouth. ) FAITH: There's my girl…

Buffy is suffering under the expectations of the MWC too, but in her desperation to make Faith out to be the seductress instead of... like... a csa victim... Buffy is reinforcing those standards on both herself and another woman.

The entirety of Bad Girls and Conesequences is Faith being called a murderer by several people, having another trauma flashback to a sexual assault because Xander came to her motel room under the guise of "helping her", getting hit over the head and chained to a wall, then getting the swat team called on her and almost dragged to London for trial. Then the heroes do nothing to help her. The first thing Faith does is go to the main villain, who buys her an apartment AND A PLAYSTATION. So... the evil main Villain of the show helped Faith with her homelessness situation while none of the main characters lifted a finger.

it sounds like it sucks but it doesn't because it's all intentional. Buffy cannot process her own sexual trauma so she is just awful to people who are also domestic abuse victims. here's one of my favorite scenes, Buffy yells at a girl being beaten by her boyfriend with a visible black eye.

Buffy: Where can we find him? Debbie: I-I don't know. Buffy: You're lying. Debbie: What if I am? What are you gonna do about it? Willow: Wrong question. Buffy takes her by the arm again and pushes her up against the sink in front of the mirror. Buffy: Look at yourself. Why are you protecting him? Anybody who really loved you couldn't do this to you. She takes a few steps away. Debbie turns around to face them. Debbie: Would they take him someplace? Buffy: Probably. Debbie: (shakes her head, sobbing) I could never do that to him.(Willow sighs) I'm his everything. Buffy: (disgusted) Great. So what, you two live out your Grimm fairy tale? Two people are dead.

That poor girl gets her neck snapped like five minutes later and Buffy just kinda, moves on even though it would have been an easily preventable death.

Buffy getting mad at an abuse victim for showing textbook behaviors of abuse victims in bad relationships. Buffy is a good character because she is a hero, she can be empathic, but she really only understands heroism in term of defeating the bad guys, and when called to relate to people with complex trauma, especially trauma that reflects her own trauma she can't! She just can't process it! The expectations of being the ingenue, the perfect hero are so crushing she can't cope with a messy reality so she needs to have a black and white view of herself and other people.

Buffy needs to be firmly in the good category, and Faith needs to be firmly in the bad category in order for Buffy's brain to keep working.

Not only does Buffy's conflict with Faith characterize how much Faith suffers for being a bad victim, it shows how the pressure to be a good victim destroys Buffy mentally to the point where she starts using Faith as a punching bag.

Literallly.

It's all intentional too, Buffy gets called out on it, Faith always gets the last word and the final episode of the season makes out Buffy to be a hypocrite. After Buffy literally threw Faith under the bus, called her disgusting for murdering a man, Buffy is completely willing to murder Faith to get a cure for her vampire boyfriend who's been poisoned.

All human life is sacred and needs to be protected, but Fuck Faith I guess.

Faith: I could say the same about you. I mean, you're still the same better-than-thou Buffy. I mean, I knew it somehow. I kept having this dream, I'm not sure what it means, but in the dream the self-righteous blond chick stabs me, and you wanna know why? Buffy: You had it coming. Faith: That's one interpretation, but in my dream, she does it for a guy. Faith: I wake up to find the blond chick isn't even dating the guy she was so nuts about before. I mean, she's moved on to the first college beefstick she meets. Not only has she forgotten about the love of her life, but she's forgotten about the chick she nearly k*lled for him. So that's my dream. That and some stuff about cigars and a tunnel. But tell me, college girl, what does it mean? Buffy: To me? Mostly, that you still mouth off about things you don't understand. (Sirens) Uh-oh. I guess somebody knows you're here.

So the show goes to great length to show you that there are two sides to this conflict, Buffy demonizes Faith, because her friends expect her to be the perfect hero. Faith reacts badly to trauma because she has no support system, and the people around her have no empathy for her because they're too privileged to imagine the things in Faith's life ever happening to her.

Buffy and Faith are fully realized people.

Buffy and Faith are presented to the audience as the ingenue and the seductress but they're both fully realized characters. Buffy's not the ingenue because she's just as capable of murder as Faith is. Faith isn't the seductress because she's a homeless teenager. They are both victims of sexual trauma, though one reacts in what people consider an "acceptable way" and the other is a total slut about it.

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Buffy throws Faith under the bus specifically because the pressure in her life to be the perfect slayer is so immense that it could be her that takes the fall so she needs to believe in black and white concepts like she is inherently good and Faith is inherently bad to justify the bad things that happen to Faith and therefore convince herself said bad things could never happen to her. "You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you..."

Faith: Angel said there was no way you were gonna give me a chance. Buffy: I gave you every chance! I tried so hard to help you, and you spat on me. My life was just something for you to play with. Angel - Riley - anything that you could take from me - you took. I've lost battles before - but nobody else has -ever- made me a victim. Faith: And you can't stand that. You're all about control. You have no idea what it's like on the other side! Where nothing's in control, nothing makes sense! There is just pain and hate and nothing you do means anything. You can't even.. Buffy: Shut up!"

Buffy needs to fit her and Faith into neat little boxes because she cannot face the inherent senselessness of the world (and also that she is a victim too "you made me a victim")

Breaks down those two categories

Even in Seasons where Faith is not present she haunts the narrative, because the writers were well aware that Buffy and Faith are the same person under different circumstances.

All of Season 6 Buffy is faced with many of the same situations that Faith was, she suddenly becomes poor and in danger of losing her house, she has extreme depression from coming back from the dead (long story) she can't share those feelings with any of her friends because they treated her much like they did Faith - having no sympathy for imperfect victims. Buffy even gets into an unhealthy, sexual relationship, and like Natalie Portman basically changes from the ingenue into the seductress.

A relationship she has to keep a secret because once again, Buffy must fit into the box of the ingenue in order to be loved by her friends. This leads to her committing several bad behaviors, and at times borderline emotional abuse towards her sister (and debatably her boyfriend) and all comes to a head when Buffy is faced with the exact same situation as Faith.

Buffy in Season 6 believes she has killed a person accidentally while being the Slayer. It's a repeat of Bad Girls with several paralels, including someone trying to hide the body only for it to turn up later, and Buffy insisting she has to turn herself into the police and face jailtime.

However, in this version Buffy unlike Faith has friends who try to stop her from turning herself in and explain to her the murder wasn't her fault - and Buffy still reacts the same way Faith does. She basically borderline quotes Faith.

Faith: Shut up! Do you think I'm afraid of you? [Faith grabs Buffy and throws her down, then sits on top of her and starts punching her.] Faith: You're nothing. [Punch. Punch.] Faith: Disgusting. [Punch. Punch.] [Faith grabs Buffy's hair with both hand and bangs her head.] Faith: Murderous bitch. [Bang. Bang...] You're nothing. [Bang. Bang...] Faith: [Switches back to punches] You're [Faith is now crying.] disgusting.

This is an earlier scene which plays out as an exact parallel to this scene:

BUFFY: You can't understand why this is killing me, can you? SPIKE: Why don't you explain it? She hits him a few more times. He takes it, not fighting back. SPIKE: Come on, that's it, put it on me. Put it all on me. (She kicks him) That's my girl. BUFFY: (yelling) I am not your girl! She hits him hard. He falls back onto his butt. Buffy gets on top of him and begins hitting him over and over. BUFFY: You don't ... have a soul! There is nothing good or clean in you. You are dead inside! You can't feel anything real! I could never ... be your girl! She continues hitting him throughout this. Now Spike goes back to human face. He's looking very bruised and bloody, but he doesn't fight back, just takes it. Buffy hits him again and again, looking angry and desperate. Finally she stops and looks at him in horror.

So if Buffy can react the exact same way that Faith does, when faced with the same trauma there is no good girl or bad girl, there's only two people who are complicated human beings.

The story *gasp* lets the hero be a bad girl.

Redeems it's bad girl

Faith's redemption is a shocking contrast to MHA the plot of BTVS does not allow Faith to commit suicide in order to redeem herself. In fact, her entire arc is an argument against the "put her down like a mad dog" trope. Starting with the fact that the heroes who are partly responsible for Faith's fall in the first place, are all too willing to just let the homeless teenager fall by the wayside, and then put her down for her own sake.

As I stated above, the inherent hypocrisy Buffy shows in her calling Faith a murderer and irredeemable for killing someone on accident because all human life is sacred to her, and then going on to try to murder Faith at the end of the season already shows the "put her down like a mad dog" argument doesn't work. Faith isn't too far gone, it's just Buffy who sees her that way. And because Buffy has given up on Faith she's failing at being a hero.

As I said above, Buffy is not the one to rescue Faith. In fact, in the episodes where Faith's redemption arc starts, Buffy is the one trying to hunt her down and enforce punishment on her. The episodes "5x5" and "Sanctuary" are both focused on Buffy going to LA to hunt down and interfere when Angel is trying to help Faith get back on her feet. The two episdodes basically explore the concept of redemption vs. punishment and how punishment saves no one.

5x5 depicts Faith's spiral as she runs away to LA to escape Buffy who is hunting her down, and accepts a job to assassinate Angel, which if she succeeds will get her rich and also get the cops off of her trail. We're led the whole episode to believe Faith has learned nothing until the confrontation with Angel at the very end, which you should really watch because it's great television.

Faith: You hear me? - You don't know what evil is! - I'm bad! - Fight back! Faith keeps whaling on Angel, sometimes he ducks, sometimes the hits connect. Angel grabs a hold of her: Nice try, Faith. He tosses her away from him. Then walks after her. Angel: I know what you want. She hits him and he hits back dropping her. She comes back up hitting and screaming, but not making much of a dent. Wesley leans out of the window and sees Faith beating up on Angel. He goes into the kitchen and grabs a butcher knife, then heads for the door. Angel as he dodges another hit: I'm not gonna make it easy for you. Faith throws herself against Angel screaming: I'm evil! I'm bad! I'm evil! Do you hear me? I'm bad! Angel, I'm bad! (She begins to sob, grabbing a hold of Angel's shirt and shaking him) I'm ba-ad. Do you hear me? I'm bad! I'm bad! I'm bad. Please. Angel, please, just do it. Wesley comes running out of the house. Faith sobbing: Angel please, just do it. Just do it. Just k*ll me. Just k*ll me." Angel wraps his arms around her shoulders and pulls her against him. She over balances them and they sink to their knees, Angel still holding her as she cries. Angel: Shh. It's all right. It's okay. I'm here. I'm right here. Shh.

Faith tries to take the Toga approach to commit suicide in order to atone, but Angel actively understands that is what she's trying to do, and denies her the chance to die to redeem herself and instead holds her until she calms down.

Angel doesn't just save her once though he spends the entire next episode defending Faith from Buffy who has come to LA to take her revenge, and trying to talk Faith into believing she can still keep on living in spite of all the bad things she's done.

Faith: Are you saying I got to apologize? Angel: Think you can? Faith: I don’t' know. - How do you say 'Gee, I'm really sorry tortured you I nearly to death? Angel: Well, first off I think I'd leave off the 'Gee.' And secondly I think you have to ask yourself: are you? Faith: What? Angel: Sorry. Faith: And what if I *can't* say it? There are some things you can't just take back, no matter how sorry you *are*, right? Angel: Yeah, there are. I've got some experience in that area. Faith: Right. And you've been doing this for a hundred years! I'm not gonna make it through the next ten minutes. Angel: So make it through the next five, the next minute." Faith: "I don't think I can. Angel: Yes, you can. Faith walks away: God, it hurts. I hate that it hurts like this. Angel follows her: Oh well, it's supposed to hurt. All that pain, all that suffering you caused is coming back on you. Feel it! Deal with it! Then maybe you've got a shot at being free.

Angel's advice is "Guilt is supposed to hurt but if you face your pain you can try to find a way to be free of it" which is something much more profound then any of the forgiveness crap they peddle in MHA. More importantly though, the conflict the whole episode goes out of its way to show that revenge is bad, and punishment doesn't save a soul.

Angel: I didn't - I didn't think it was your business. Buffy: Not my business? Angel: I needed more time with Faith. I'm not sure... Buffy: You needed - do you have any idea what it was like for me to see you with her? That you went behind my back... Angel: Buffy, this wasn't about you! This was about saving someone's soul. Buffy: I came here because you were in danger. Angel: I'm in Danger every day. You came here because of faith. You were looking for vengeance. Buffy: I have a right to it. Angel: Not in my city.

Faith's suicidal ideation is a recurring theme that carries through her character arc in the following season - she does in fact go to prison for awhile (Elizabeth Dushku had to go make Bring it On) but Buffy remains anti-state punishment because going to Prison doesn't help her whatsoever. In fact, she just breaks out when she has to save Angel and spends the rest of the season free.

There are two episodes that actually are dedicated to showing prison didn't help, and what Faith needs to redeem herself is to spend every day of her life trying to be good, not just accepting punishment.

ANGEL: Faith, wake up! FAITH: (wakes) I've rolled the bones. You for me. ANGEL: I used to think that. That there'd be a point when I'd paid my dues. Angel and Angelus are fighting in the alley again. Angel leaves the fight and goes over to Faith's side, holding her up in his arms. ANGEL: Faith, listen to me. You saw me drink. It doesn't get much lower than that. And I thought I could make up for it by disappearing. FAITH: I did my time. ANGEL: Our time is never up, Faith. We pay for everything. FAITH: It hurts. ANGEL: I know. I know. ANGEL: Get up! You have to get up now. Faith, you have to fight. I need you to fight. Do you understand what I'm saying?

So you have one manga series where the teenage girl who did bad things commits suicide because she believed she was going to be in prison for the rest of her life and had no future, and you have the other where the teenage girl tries to commit suicide - only for Angel to stop her and encourage her every step of the way that there's still a future for her even if she can't be "forgiven".

One work ends Toga's life because she's done "unforgivable things" and the other tells Faith that the things she should feel guilty for the things she's done, and she should feel that guilt so she can keep working to be a better person every single day.

One of these is a good message to send to your teenage homeless trauma victim, the other is incredibly harmful. With that out of the way let's switch to BNHA.

HOW TO BURY YOUR GAYS

Now I'm going to attempt to demonstrate why MHA fails to truly deconstruct the MWC, and this not only ruins any potential character development for Uraraka, it also sends a deeply harmful message with Toga's death.

I think I've gone to great length above explaining how BTVS communicates it's stance of being anti-punishment and pro-redemption and even goes as far to demonstrate how punishment does not save anyone. Yet, here is the manga about heroes saving people that completely fumbles those exact same themes.

MHA:

Doesn't show Toga and Ochako as fully realized people

Doesn't show the pressure to conform to the "Good Girl / Bad Girl" label.

Doesn't break down down those two categories

Doesn't redeem it's bad girl

So let me start by saying outside of the context of the story Ochako and Toga both had the potential to be great characters. Unforunately this isn't Gacha, so the way the characters are written in the story, and the quality of their story arcs affects how well they are characterized.

Toga is much better off as a character as opposed to Ochako who sort is reduced to a satellite that revolves around Deku, but their story arcs and the way they conclude does a disservice to both of them as characters. They fail entirely to be shown as fully realized people by their narratives, because of the narratives desire to force them into the good girl and bad girl box.

More or less, Ochako isn't allowed to have flaws, and Toga isn't allowed to redeem herself in any way that doesn't involve killing herself.

Let's get to the characters though, the basic premise of the comparsion between Toga and Ochako is that Ochako perfectly fits into the mould of what society considers a "good, nice girl" she perfectly embodies the ingenue. Whereas Toga was horribly abused for most of her life until she snapped, because she was unable to simply pretend to be the normal girl that Ochako is naturally.

One thing I will give credit to MHA for, it does Toga being pushed to the margins and eventually falling off the edge of society as a young eventually homeless girl that no one cared enough to help about as effectively as Faith did. Toga and Faith were also both demonized before they did anything wrong, and were further demonized because they didn't act the way good victims were supposed to act.

The manga is almost masterful at portraying how much being forced into the box of the ingenue caused Toga's mental decline, until she eventually snapped and became the seductress instead.

Toga hasn't even done anything yet, she's already being punished and demonized simply for appearing deviant. Because once again the categories of Ingenue and Seductress aren't for viewing women and girls as fully realized people, you are either a perfect, innocent, girl, or you're a whore.

Toga is also hypersexual the same way Faith is. Of course it's not done with any of the same amount of nuance of BTVS because Hori has a habit of using Toga for fanservice, but Toga does have a habit of sexualizing herself, in a way that would be classified as deviant love. We also in the manga first view her as nothing more than a shallow yandere who creeps Uraraka out with her blushing and hot desire for blood, only to be shown she's actually capable of being an emotionally intelligent and caring individual when it comes to how she relates to her friends.

Toga viewing sucking blood as love is a clear metaphor for deviant sexuality, or even hyper sexuality, it's something that makes her a literal vamp. Toga being overly sexually aggressive and suggestive with the way she sucks blood is something the society she's in demonizes her for, Deku even makes a thoughtless comment that pushes her off the edge that he'd never even think of hurting someone he loved.

Faith is a CSA victim who is constantly trying to play off her trauma, so she's totally into sex guys, she loves sex, she loves it rough, she goes to clubs and grinds on guys, she's all into sex and violence and safety words are for chumps.

Toga was told her way of expressing love and attraction was wrong and deviant from a young age, and as a result of that the same way that Faith embraces hypersexuality, Toga embraces her femme fatalle / yandere persona and plays it up. Well everyone was right about her, she's fine with being a monster, so she just wants to live as a monster stabbing people randomly and taking their blood before moving onto the next victim.

They can't ever be the ingenue, so Faith and Toga embrace being the seductress instead. Yes, Hori does use Toga for fanservice, but at the same time you can't deny she's deliberately playing up her sexuality like a femme fatalle in a way that is not healthy (Faith is a hypersexual teenager too, I'm saying it's a trauma response for both of them).

MHA also shows much like with Faith how Toga despite being just a teenager is someone all of society has given up on - the same way that everyone gave up on Faith for being a homeless teenager. Then further demonized her for acting in ways homeless teenagers act, until she at last finally committed one crime and they turned on her.

Toga's first crime was committed after her mental breakdown, but it's revealed much later on that Toga wanted to ask Saito for permission to drink his blood, and if she'd just been granted it or at least the emotional abuse heaped on her had stopped she never would have had her breakdown.

For Toga it was Saito, for Faith it was killing by Mistake, after being abandoned they endured violence that further radicalized them with no help from the heroes.

Toga's character also textually acknowledges that the heroes are not going to help her, and are likely going to kill her, whereas in Buffy it stays subtext. Which isn't a problem, it trusts it's audience to go "Oh, the good guys are being jerks here" however, it's a direct facet of MHA's worldbuilding that Toga has watched the heroes kill her best friend, and now thinks she has to fight to the death because the heroes will kill her too. She can't back down and let herself be saved, because the heroes don't even see her as human.

Buffy can't forgive Faith for accidentally killing some random guy because all human life is sacred, but also she tries to kill Faith multiple times, because Faith's not human I guess. Uraraka and Deku believe themselves to be heroes but they actively support people like Hawks, who murdered Toga's best friend and have done absolutely nothing to show her that they won't kill her.

Toga reflects a lot of Faith's suffering for being a bad victim that society allowed to fall through the cracks, and a Seductress who needs to be punished for expressing her sexuality. In fact if it were just Toga, you could call it at least an effective deconstruction of the "seductress/whore" because Toga is a fully realized character and her entire backstory is about how society's expectations for her to be a perfect ingenue, and then punishing her when she wasn't a perfect ingenue is what led to her complete mental breakdown. She couldn't be the white swan or the black swan, so she became the blood-soaked swan instead.

Where the comparison starts to fall apart is Ochako. Toga is a character, and Ochako is not. Just like Deku Ochako more or less just kind of morphs into a plot device that exists to save the villain counterparts to prove what good heroes the kids are - and then she doesn't even do that part. Failing to save Toga is the final nail in the coffin for Ochako being a character and not a plot device to show how good and virtuous the heroes are.

BTVS goes to painstaking extents to establish how Buffy and Faith are the exact same girl in different circumstances. They are both victims of sexual abuse. They're both the Slayer. They both lose their mom at different points in the story. They both struggle with the fact that slayers are also killers, they're both the "chosen one". They both have issues that makes them conflate sexuality with violence.

Buffy is put through several situations that parallel Faith, she loses her mom, she becomes financially destitute, she starts exploring her sexuality in a very faith-like way. The two of them swap bodies at one point and nobody can tell the difference.

There's no strong parallel between Ochako and Toga to give the audience a reason why we should care about the relationship between the two girls in the first place. Ochako's connection to Toga tells us nothing about her character, because there's no strong parallel as shown to us by the story.

There are some parallels, the story attempts to tackle the emotional repression angle of how much the ingenue suffers because she's forced to repress her emotions and how much she envies Toga's free expression.

Why does Ochako think that way? Why does she focus on Toga in particular? The plot tells us why Buffy feels she has so much in common with Faith, they're both the chosen one but Buffy feels like she's under such intense pressure to be perfect that seeing Faith get to act out and express herself makes her jealous.

The manga tells us that Ochako is emotionally repressed, but it doesn't show us, because there are never any real consequences for Ochako repressing her feelings. Natalie Portman in Black Swan, and Buffy both experience mental spirals because the pressure to be the perfect woman is too much for them - to meet the impossible purity standards of the ingenue while still being a sexual creature.

In Uraraka this is the extremely simplified belief that she can't have feelings for a boy, while also being a hero because those beings are selfish and she should be focused on saving people. However, we never see her suffer because of these feelings. We don't even get the bare minimum of having her angst over unrequited love.

I don't want to give Ochako too little credit, there are several things that could have been a connection to Ochako, but they all turn out to be non-starters. Ochako is poor and often makes remarks like "The best way to save money is to not eat" in omake and she hangs out with mostly rich friends. She had early angst about the fact that her friends were becoming heroes for mostly altruistic reasons and she became a hero for money.

That could have also connected to the scene where Ochako witnessed the scene of a hero quitting amongst all of the destruction after the end of the first war arc, to show her the consequences of all the heroes who were heroes for less than altruistic reasons.

Ochako could have even told Toga something along the lines of "I was poor, I know how it is to struggle" especially since Toga spent a good portion of time homeless after she was throne out by her parents.

Instead that goes unaddressed except in this scene which makes it look like Toga is ignorant for assuming Ochako never suffered.

Toga and Ochako both feel like they need to repress their feelings but Toga was emotionall abused by her parents, then experienced psychiatric abuse, and then was disowned after her mental breakdown led to a violent incident. Uraraka feels like she can't tell the boy she loves how she feels. One of thsee things is not like the others.

There are more possible connections that you could draw between them, Uraraka gives a big speech about how the heroes have it rough too guys and at that point it cuts to a picture of Toga crying and that could have led to a revelation that if Ochako is asking the common people to see heroes as human beings, then they should try to see villains as human beings too.

This could also couple well with the fact that Toga believes Ochako wants to kill her the same way that Hawks killed Twice. Both of these facts, Ochako originally only being a hero for money and watching heroes for money quit, and also Ochako learning about Twice killing Toga's friends could lead to some self-reflection on the hero system and Ochako could listen to Toga and be the one to convince her that heroes will save her.

However, none of these happen so we don't know why Ochako feels compelled to save Toga, other than the fact that Ochako is just that nice.

It is really a repeat of Deku's writing, we are told that Himiko just really, really, really wants to save Toga, but not only are we never given an in character reason why that is, but we're also supposed to ignore all the evidence that contradicts this.

Ochako wants to reach out and touch the sadness inside of Toga, but she never actually does anything to try to understand or talk to Toga until the last possible minute. In fact, it's Toga who reaches out several times and Uraraka who ignores her. It is Ochako who insists several times that Toga's deeds are unforgivable and then the conversation stops there.

There's also the scene where Deku and Ochako are looking over the cliffside and Ochako is actively reminding herself of the damage that Ochako caused as a reason that she doesn't have to think of her as a human being.

Ochako doesn't even go in with a plan to take down Toga non-lethally like Shoto did with Toya, nor does she even think about what she wants to say to her until the last possible moment.

Ochako's actions make her more like Buffy, someone who actively doesn't empathize with the villain and doesn't want to save her because of her own personal hangups. (However, we're given no personal hangups for why Ochako, the most perfect hero ever wouldn't want to save Toga). Her actions are like Buffy's, not reaching out a hand to Toga she only gets worse and worse, but we're told the opposite. That she's someone who wants to reach and touch Toga's sadness.

It would be better if Ochako DIDN'T want to save Toga, because at least there would be an arc to it. The lack of empathy would be a character flaw on Ochako's part, something that she needs to overcome to be a proper hero. It would be better if Ochako DIDN'T want to save Toga, because then she'd need an in character reason why she doesn't empathize with Toga, like Buffy does with Faith.

Ochako is supposed to be deconstructing the ingenue, but she's not allowed to have any flaws, or be anything other than the perfect, empathic hero and because of that she ends up reinforcing the Ingenue instead. The ingenue isn't allowed to be anything other than perfect, and the Seductress must be punished.

Doesn't allow the Bad Girl to be redeemed:

Toga's death ends up reinforcing basically every backwards double standard about the MWC including the need for men to punish and villify women who freely express their sexuality. Toga's entire character arc is asking the question if soemone like her is allowed to live in this society, if the heroes will save the life of someone like her and the answer we receive is: no she can't live.

Toga can't live in this world, she has to die. Not only does Twice die and never receive justice and his murderer get off scott free, Toga who asks the question of if she's going to die too, the answer is yes.

In both of these plotlines you have young woman who have done bad things but are still teenagers, who are struggling with suicidal ideation who believe their only escape is death. Faith is told that the guilt of the things she's done is painful, but she has to live in order to make up for it because that's the only way to free herself. Whereas, Toga comes to the conclusion that there is no future for her other than being in jail for the rest of her life and therefore it's not worth living.

Toga has to be punished by the narrative in a way that's completely unnecessary, because characters like Bakugo and Edgeshot somehow survived doing open heart surgery in the middle of an active battlefield, but Toga dies from a blood transfusion.

One of these narratives is telling a troubled young abuse victim who's still a teenager to live, and the other is telling her to die. Now which one of these plotlines would you want a young girl to read?

[omgthatdress]

Half-mourning suit

James McCreary & Sons and Co., N.Y., 1894-1896

The Metropolitan Museum of Art

Confirming that a dress was worn for mourning or half-mourning can be next to impossible, but one way is by identifying that the maker specialized in mourning goods.

"This half-mourning dress of vivid purple accented with boldly arranged black and white trimming, exhibits the full gigot sleeve that defined mid-1890s fashions. The ensemble was purchased from James McCreery & Co., a New York department store that maintained a mourning-goods section that offered textiles as well as made-to-order and ready-made garments. The availability of an expanding range of ready-made goods for women was facilitated by the invention of the sewing machine, increasing standardization of dress patterns, and the rise of department stores that capitalized on these innovations. Fashion magazines often cited well-known retailers of mourning goods, including McCreery, as sources of information on current mourning styles and standards of etiquette."

[padawan-historian]

On August 8, 1863, Tennessee ratified the 13th Amendment, abolishing the domestic slave trade of Black + indigenous folks in the state. 159 years later in 2022, Tennessee folks voted to abolish all forms of slavery in the state, including the "Slavery Clause" that allows for incarcerated slavery to persist in both state-sanctioned + private for-profit prisons.To this day, the United States continues to build wealth off the exploited labor of impoverished, (dis)abled, undocumented + racially marginalized people who are incarcerated.

Each community and country that participated in the Transatlantic Slave Trade has its own emancipation day (or year).

And yet, as of 2023, Colorado, Alabama, Oregon, Vermont, Tennessee + Nevada (2024) are the only U.S. states who have made steps to abolish slavery in all its forms. That's not even touching how slavery, both state-sanctioned and illegal bondage, continues to bleed into our everyday places from child labor + forced s*x work to penal plantations and chocolate factories (looking at you at hershey chocolate)

In this second wave of Jim & Jane Crow flooding our world, we must arm ourselves with the tools to disrupt systems, distribute resources + deepen our collective action + good trouble ~

If you wanna explore the full Emancipation post + readings, come join us in the garden community over on Patreon where we upRoot our miseducation through history lessons, community conversations + book talks + decolonizing our everyday practic, our classrooms + our communities.

Reclaim your emancipation + immerse yourself in the ancestral, antiracist liberation! 🖤✊🏾✨️

[sokkastyles]

I think people tend to forget when they talk about Katara in ATLA that she's a woc written by white men, and that shows in some of the ways that she is idealized by the show for her proximity to white femininity, particularly when it comes to her relationship with Aang.

I'm thinking in particular of how the show compares her to Meng in "The Fortuneteller," who is written as undesirable because she's an ethnically coded girl who aggressively pursues a boy, who remarks that she can never measure up to Katara because "her hair seems so manageable." I do think that often in the fandom, Katara runs up against stereotypes of black and brown women as aggressive and unfeminine, but in-series, Katara is expected to be feminine, praised for being so in comparison to other women, and also derided for it. She is told that she should heal and not fight. Her maternal qualities are there to make her an ideal love interest for Aang while also making her out to be bossy and irrational if she also doesn't want to kiss him.

And while I do think it's important that Katara is one of the few protagonists of color in animation who does get to be seen as a romantic ideal, who gets to be the "heart" of her friend group, in universe, Katara very much speaks out against the perception that she should be soft and nurturing at all times (but only when convenient to those around her) and take a step back and let men handle things. You can't talk about intersectional feminism without talking about both what Katara wants in universe and how she is portrayed by white American writers. So when I see people say "let Katara be feminine," mostly in defense of how the white writers used her as a prize for their hero and then shelved her, citing intersectionality as a buzz word, I have to wonder if they actually know what that means.

[brainwashed-bimbo]

Walking into my first college class, I was fairly nervous at meeting my classmates and fitting in with everybody. Upon entering, every seat was filled, except for one, next to a rather curvy blonde girl. Quietly sitting next to her, she gave me a soft smile before we brought our attention to the class. Once class was over, the girl, Brynn, invited me to lunch with some of her friends. Given I had nowhere else to go, I accepted and we walked to a restaurant near campus.

At this restaurant was where I met Brynn’s friends, Coco and Ava. Coco was a beautiful, dark haired and accompanied by huge features, and I struggled to avoid staring down her massive cleavage. Ava rocked blonde highlights over her long brown hair, similarly exposing her massive chest every time she bent over the table to talk. I felt out of place, surrounded by 3 stunning women, squirming in my chair as they asked me questions about where I came from, what I enjoyed in my free time. When lunch ended, they invited me back to their dorm, but I politely declined, citing how I needed to go back to my studies. The girls looked at me with disappointment, but accepted my apology and turned away, asses shaking, almost hypnotically, away from me. It took me a second to realize I was staring, but eventually I forced myself to stop and make my way back to my dorm. That night, I couldn’t help but think about Brynn, Coco and Ava, their frames, their faces, how absolutely stunning they were. I promised myself that I would accept their next request to spend time with them, heading to bed feeling rather lonely, but also quite excited for the following day. Making it to lecture, I was greeted by Brynn, her bright smile and bouncing breasts catching my attention as we sat down. I found that, during lecture, I was unable to focus on what the teacher was saying, but that Brynn was taking up all of my thoughts and vision. She talked to me about a large range of subjects, but all I could remember was her offer to study back at her dorm for our test the next day. Staring blankly into her eyes as she stood up and offered me a hand, guiding me out of the classroom and through campus, talking the whole way. All I could do is listen, following her up the stairs and into her dorm as she sat me down on the couch in the living room. Coco and Ava walked down the hallway, greeting me happily. I smiled back, feeling so good to be with them in their apartment. Brynn sat down next to me and began talking about our class and how we should prepare for our test tomorrow. She told me she had some videos that would help us in our studying, and after retrieving her computer, pulled up a video. Upon pressing play, a pink, bright spiral with flashing words appeared on the screen. Confused, I tried to stand up and figure out what was going on. But a firm hand on my shoulder kept me in place, as Coco and Brynn sat next to me, pressing up against my sides. Ava came up behind and placed a pair of pink headphones over my ears, and words began playing out of them.

Obey. Sink. Submit. Empty.

At first, I couldn’t make sense of the situation. Brynn redirected my wandering eyes over to her computer, over to the spiral. The same words flashed on the screen, and as I stared at it more, the more I began to feel… good. The girls massaged me as the spiral continued to take up my vision, the words in the headphones looping, putting my mind into a state of serenity, of relaxation. In fact, everything seemed to be relaxing. My whole body slumped back gained the couch, helpless to stop the caresses of the girls as I continued to stare. I couldn’t stop. Why would I want to stop? The pretty spiral kept on spinning, and the relaxation continued to flow through me. I kept staring for what felt like only a few minutes, but eventually the screen faded to black, and the headphones were lifted off f my head. Still entranced by the pretty spiral, Brynn called out for me, and I came face to face with her, a playful smile dancing across her lips. She raised her hand, and snapped her fingers, and everything went dark.

I woke up the next morning in my bed, feeling very well rested and in a positive mood. The only thing that was bugging me was that I couldn’t remember anything from the past afternoon. I tried to remember, but it was as if my mind had been wiped. All of a sudden, I got a text on my phone from someone. I opened it, and I instantly was filled with the realization of what had happened. A message from Brynn, reading “come to our dorm, we have a surprise for you” filled my body with both fear, but also curiosity. What did they do to me? I wondered, throwing on my shoes and walking out the door. Approaching their dorm room, I realized that class began in less than 10 minutes, so I rushed to the door and entered. Upon closing the door behind me, I turned around to find the three girls, a pair of headphones, and a laptop, with a familiar pink spiral playing in the background. I froze, completely unable to move as Ava approached me with the headphones, placing them over my head, and guiding me over to the computer, where the other girls placed it in front of my vision. I wanted to get out, I needed to if I didn’t want to miss class. But something about the spiral, about the words playing through the headphones, seemed to strip me of my resistance. After sitting in front of the spiral for awhile, Brynn took off the headphones, and snapped her fingers once again. My eyes rolled to the back of my head, and my mind went blank.

I woke up again in their dorm, this time reading the clock to say 7:00pm. Trying to gather myself, I attempted to stand up, but fell back into the couch out of a lack of balance. All of a sudden, Coco appeared, licking her lips and putting her arm around my shoulder as she sat down with me. “Congrats on passing your exam” she said with a soft smile, a smile that filled me with an unknown feeling I couldn’t quite put my finger on. A point of her finger dragged my attention to a piece of paper, with a red “A” right over the top. Even without seeing the name, I knew this must have been my test. But, how did I take it? I had been completely out of it for the last 10 hours. Before I could say anything, Coco shushed me and put her finger to my mouth, keeping it shut and rubbing my face with her hand. It felt oddly comforting, and I felt my body relaxing into her caresses as I let her work my body. I leaned into her chest and started into her almond eyes, so easy to stare at as she rubbed my head and chest. After a good 15 minutes of this, Ava and Brynn walked through the door and approached the two of us with satisfied laughter. I sat up, feeling so warm and fuzzy as Brynn began to talk, her soothing voice filling me up with a calm feeling, not even paying attention to what she was saying as she talked. All of a sudden, I heard her snap, and instantly my mind cleared, and everything seemed to flood back into my mind.

“Now that I have brought you back up, I would like to formally begin your training to become our next… roommate.”

“Roommate?” I asked, struggling to understand what she was saying, forcing my eyes to avoid drifting down to her massive cleavage. Brynn laughed and sighed, adjusting her breasts and sitting down in front of me.

“Yes, we have decided as a group that we would like you to join us here. Before you can, however, you must agree to some… changes on your body and mind.”

Before I could respond, Ava raised her finger up to my mouth and held it there, restricting me from talking.

“We won’t bother telling you what changes we are going to make to you, but just know that it’ll make you feel so good, so happy, you’ll be thanking us for a long, long time. Now, I need you to go blank.” And with a snap, my mind completely emptied out, only leaving a lingering feeling of relaxation, as the headphones were placed back on my head. This time, a new audio was playing, filling me up with a feeling of happiness, making me whole. I stood up, completely empty and smiling as the girls giggled, seemingly pleased with how easily I had fallen under the spell of the headphones. Knowing I made them happier only increased my own happiness, and my training began.

I started the first few days with changing my daily routine to include a very girly method of cleaning myself and holding myself. The girls taught me how to take care of my skin, how to apply makeup and how to apply a special cream into my hair that would make it grow faster. By the third day, I was just as giggly as the girls as I strutted down the hallway to the kitchen, where we would eat our meals. Everything we ate included a creamy, warm drink that tasted incredible, filling me with warmth as I drank it up. Some days, I would ask for more, slowly increasing my intake of the drink. The girls were very pleased, teasing me with constant caresses and compliments on how well I was doing with my training.

We attended classes as normal, but now that I had moved into their new apartment I was always with at least one of the girls, there to guide me along whenever I needed it. Despite not falling behind in my studies, I noticed how much… dumber I was becoming. I needed basic directions to find the simplest places, and every mistake I made was followed up by a sweet, girly laugh that made me feel so, so dumb. Brynn lovvveddd to call me dumb, and I was always so pleased to hear it as my brain became filled with more and more fun, girly things. I waxed all of my hair off and became more comfortable wearing more feminine outfits, and my body seemed to be changing with it. My frame became more slender, my ass grew and grew as my hips and thighs widened. My chest, oh my chest. Within 2 weeks, I had expanded to a double D cup size, and every time I noticed my new boobs I couldn’t help but giggle with delight. My hair grew and became smoother, thick and luscious due to following the hair routine Coco had made for me. I walked around the apartment in panties and a mini bra, constantly licking my wet lips and admiring my feminizing body. My manhood had been completely replaced with a new, tight pussy, glimmering in between my thighs. I constantly found myself rubbing, as per instruction by the girls, along with my audio files becoming more and more lewd. After a month, i had completely transformed into a beautiful, feminine bimbo, as they called me. The girls looked at me with pride and arousal, and every time i listened to my files I became so so horny along with them. I would rub my cunt for hours after lecture, bouncing my breasts and drooling over my new, round tits and basking in the pleasure of knowing how much of a good girl I had become. Brynn had bought me my own toys, and I always had something up my new, voluptuous ass, often vibrating and causing tingling sensations to run through my body. I completely had forgotten my old self, my old name, replaced my new one, Ella. I had finally completed my transformation into the newest member of the dorm, joining them as their bouncy, feminized bimbo.

Eventually, we began walking around the house completely naked, constantly touching each other and ourselves as we delved deeper into the bimbo lifestyle. My audio files were completed, and all I thought of in my head was the arousal that being a girl brought me. How I could bounce my tits, stroke my pussy and play with my long, flowing hair. I was beautiful, and Ella was so happy to join Coco, Brynn and Ava as their newest member.

[lesbianyarnkit]

it is very sus to me that many of you people recognize the white influences of hozier’s work while simultaneously being radio silent about the Black women’s music he himself cites as direct inspiration

[vintagetvstars]

Gillian Anderson Vs. Nichelle Nichols

Propaganda

Gillian Anderson - (The X Files) - GILLIAN MY QUEEN

Nichelle Nichols - (Star Trek) - She speaks for herself. Legendary, iconic, at the forefront of feminism and civil rights in the 60s, she is a triple threat who did so much more. She volunteered from 1977 to promote recruitment diversity within NASA, including some of the first female and ethnic minority astronauts. Martin Luther King Jr. compared her work on Star Trek as a 'vital role model' to the civil rights marches. She refused to be dismissed, fought for visibility and shone whilst doing so. As a woman in stem, and simply a woman she means the world and stars above to me.

Master Poll List of the Hot Vintage TV Ladies Bracket

Additional propaganda below the cut

Gillian Anderson:

Nichelle Nichols:

She is the original badass babe. She was a black woman in a leading role on TV in the 60s, a trailblazer for black actresses for years to come. She is so beautiful and so awesome.

she's fantastic. have you seen her? paved the way for black actresses on TV even while her lines and scenes were being cut and improvised the most iconic uhura line in the series. (sulu: "I'll save you, fair maiden!" uhura, pushing him away: "sorry, neither!") she's incredibly talented and it's a crime the show didn't give her more screen time (or make her sing more often because she also has a beautiful voice!)

“Sorry, neither” in response to “fair maiden” was ad libbed by her. There’s a lot more I could say but what else do you need??

A sci-fi icon!

She was such a trailblazer, and Uhura was such an important character for so many people to be able to see on TV. Apparently Mae Jemison (the first African American woman to go into space) cited her as a reason she wanted to become an astronaut. She was just an absolute legend!

The story of Martin Luther King telling her not to quit Star Trek gives me chills. Representation matters. “Thank you so much, Dr. King. I’m really going to miss my co-stars.” Dr. King's smile, Nichols recalled, vanished from his face. "He said, 'What are you talking about?'" the actress explained. "I told him. He said, 'You cannot,' and so help me, this man practically repeated verbatim what Gene said. He said, 'Don’t you see what this man is doing, who has written this? This is the future. He has established us as we should be seen. 300 years from now, we are here. We are marching. And this is the first step. When we see you, we see ourselves, and we see ourselves as intelligent and beautiful and proud.' He goes on and I’m looking at him and my knees are buckling. I said, 'I…, I…' And he said, 'You turn on your television and the news comes on and you see us marching and peaceful, you see the peaceful civil disobedience, and you see the dogs and see the fire hoses, and we all know they cannot destroy us because we are there in the 23rd Century.'"

She shared the first interracial kiss on Star Trek, helped propel real life African American women into space-related careers, and looks divine in a mini skirt.

HOW DID UHURA WALK BACKWARDS SO FAR??? WOW!

[opalblade]

17 JUNE 24.

𓂀 NEPTUNE, GLAMOUR AND PERSONAS .

marilyn monroe - neptune in 1H

an AMAZING post comparing and contrasting neptunian and venusian beauty includes kim and kylie copying other neptunian icons, marilyn monroe and naomi campbell.

this, along with the post describing neptunian beauty as being an idealistic persona rather than enhanced natural venusian beauty, made me realise why kim and kylie aren't seen as these amazing icons (anymore).

other neptunians (while obviously inspired by others) create personas and tailor it to themselves, so it's unique.

this is neptune we're talking about... as a higher octave of venus and an outer planet, you have to put the work in to reap its benefits.

norma jeane read books, was an actress and worked HARD to create the marilyn monroe persona. the post cites her favourite book 'The Thinking Body', which helped her create the legendary marilyn monroe persona.

naomi campbell perfected her walk, could sync with other people on the runway, change it for the specific collection AND knew how to highlight specific clothes like a real masterclass in modelling, so they're both revered and rightfully so!

naomi campbell - neptune conj. MC

but we have kim and kylie who copy others and don't really create anything new. look at kim literally taking and destroying marilyn's dress....

kim kardashian perfected the 2000s bombshell look, got rich off a ***tape and had a reality show. the girls wanted to BE her. that kim era is still iconic, but her abandoning that to rip off black women and become some weird kanye walking mannequin ruined her mystique.

kylie jenner (neptune in 1H) had her iconic king kylie era and persona and everyone was copying her, wanted to be her and bought her lipkits.. that was undeniably a MOMENT in 2010s pop culture. yes, she was just another tumblr girl BUT she made it her own and also inspired others. now she's just the same as the other ig girlies and some even do it better because she abandoned her uniqueness and persona.

kim kardashian - neptune in 1H

. *     .     　⁺ 　 .⁺ 　　    ˚ . *     .     　⁺ 　 .⁺ 　

© 2024 opalblade. do not copy, repost, or translate my works to any other platforms.

[valrvn]

Survey Results pt. 2

Sorry about the wait, I had a six day work week.

Please Note: Many respondents said they weren't sure of the cause of their fetish, and could only offer suggestions. So again, some of these answers are guesses on the part of participants, and should be taken with a grain of salt.

Also, a couple of these graphs are breakdowns by percentage, these are indicated with a '(%)' next to the title

Reported Causes of Respondents' Fetish (%)

*Most respondents who said their fetish stemmed from encountering a pregnant person were young children at the time, a handful were teens. None were adults. Most pointed to pregnant grade school teachers and family members. Only a few cited complete strangers.

*"always had it" refers to respondents who claimed they had an unusual interest in pregnancy for as long as they could remember. Some of these cases started as a more general interest in large/round bellies that later crystalized into an interest with pregnancy.

*"kink osmosis" refers to those who developed their pregnancy fetish through other similar/connected fetishes.

*"didn't know" refers to those who claimed to not know (obviously) and offered no suggestions or guesses.

*"association of pregnancy with sex" refers mainly to those who first made the connection between pregnancy and sex in their childhood/early teens. Things like the first picture of a naked woman they ever saw being of a pregnant woman, leading them to subconsciously associate pregnancy with sex/sexuality.

*"playing pretend" refers to those who reported developing the fetish after playing pretend (either with dolls or with friends) as young children. NOT TO BE confused with those who claimed they would explore their interest/fetish through play, but didn't actually derive it from said play.

Types of Fetishes Which led to the Development of the Respondent's Pregnancy Fetish

*Many cited just a belly kink without going into further detail

Kink Osmosis (When Developed) Breakdown (%)

*As expected, only a small minority of respondents who cited kink osmosis as the source of their pregnancy fetish reported developing their pregnancy fetish during childhood.

*People who developed their pregnancy kink in adulthood are hugely over-represented in this category.

Types of Media Cited in by Respondents who Blamed Media Exposure (%)

*Many people specifically cited cartoon episodes where characters would get fat/round/inflated.

*Media cited by multiple respondents included Birth Stories 2000-2004 (a Canadian documentary TV series), A Baby Story 1998-2007 (an American reality show that ran on the Discovery Channel and TLC), Birth Day 2000- (an American TV series), The Fairly Oddparents 2001-2017 (specifically the episode where Cosmo gets pregnant), Charlie and the Chocolate Factory (which adaptation was never specified), the Aliens franchise, Men in Black II (2002), and The Sims.

Breakdown of Responses by Those who Stated that the Interest in Pregnancy was Always There

Gender of Respondents who Cited Fear as the Cause of their Fetish

Gender of Respondents who Cited Their Gender as the Cause of their Fetish

*Cis men reported their fetish as stemming from a need to prove their masculinity/male identity, cited a lack of confidence in said masculinity

*Trans women often cited gender euphoria associated with fantasies of pregnancy

*most trans men, AFAB NB people, and cis women cited a discomfort or fear regarding their ability to become pregnant, though a few trans men and AFAB NB also claimed that transitioning led to them reclaiming their reproductive abilities.

Types of Experiences Among Those who Cited Personal Experience as the Cause of their Fetish

A FEW NOTES

*two people specifically cited the art of metalforever on DeviantArt as the cause of their fetish

*YouTube was cited by 13 people, specifically birth videos, and in one case, those Elsa Spider-Man content farm videos.

*fanfiction and fanart were also a common source of people's fetishes

*6 people pointed to a parents/close relatives or family friends who were medical professionals who worked regularly with pregnant patients (midwives, nurses, doctors, OBGYNs).

*23 people recounted 'playing pretend' as young children and acting out scenarios involving pregnancy and/or birth.

[queerasfact]

Black History Month: Rosetta Tharpe

“All this new stuff they call rock ‘n’ roll, why, I’ve been playing that for years now.”

—Rosetta Tharpe, London Daily Mirror, 1957, quoted in Gayle Wald’s Shout, Sister, Shout!: The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta Tharpe

Known as the godmother of rock and roll, Rosetta Tharpe had her first hit song in 1938 and continued to perform almost up until her death in 1973.

As the first gospel musician signed to Decca records, Rosetta brought the music of her Black, working-class gospel church to the world. Her sound - especially her distinctive guitar-playing - was a pioneering influence on rock and roll, with Johnny Cash, Elvis Presley, and Chuck Berry all citing her as an inspiration.

Rosetta never spoke publicly about her sexuality, but friends remember that she was attracted to women and men, and that she and her musical partner Marie Knight were lovers.

Learn more

Image: Black-and-white photo of Rosetta, a young, smiling Black woman in a long dress, holding a guitar