#class protector

[spuffyarchive]

Class Protector by Ginger [NC-17]

Buffy wasn’t sure if she was sensing some major badness brewing or if it was merely the impending awkward of making nice with a bunch of people she hadn’t seen in two decades and who, even back in the day, had merely tolerated her because she kept saving their lives. Either way, the weekend was bound to be a disaster.

[theatrical-penguin]

It looks like Michael Sheen stole Buffy Summers’ Class Protector award

[guardedgala]

Crying VERY hard over class protector

[murdercrowsblog]

Favourite moment?

Way too many to list but for the sake of this game, I'll say Buffy winning the "Class Protector" award.

[pose4photoml]

Hi

Phone

Here

Bye

[violettathepiratequeen]

One of the best decisions that show ever made was to give her that award

Damn, Buffy getting the Class Protector award always makes me cry. They noticed her! She works so hard and sacrifices so much to keep them all safe, and they noticed and they love her and 😭😭😭😭

[gothicrepetitions]

Feminist Perspectives on 9/11, J. Ann Tickner

[francesderwent]

what Buffy has that no other supernatural show has: the Class Protector moment where the hero gets credit for everything she’s done and the community at large gets to show gratitude

what Teen Wolf has that no other supernatural show has: a good parent for the main character who is neither ineffective, constantly misunderstanding, or dead

what The Vampire Diaries has that no other supernatural show has: a well-articulated and consistent redemption arc wrapped up in an effective and poignant love story

[tororocchi]

With me going fully back into Frog Mode, I need to get back to this Etrian Odyssey mod I made last year so I can actually finish my playthrough... I spent too long making it Just Right for me not to see it all the way through, lol.

[boyfriendgideon]

as yr favorite local jason todd fan sometimes i get so fed up with the apparent inability of most dc comic writers to write a class conscious narrative about him.

and yes, i know that comics are a very ephemeral and constantly evolving and self-conflicting medium.

and yes, i know they’re a profit-driven art medium created in a capitalistic society, so there are very few times where comics are going to be created solely out of the desire to authentically and carefully and deliberately represent a character and take them from one emotional narrative place to another, because dc cares about profit and sometimes playing it safe is what sells.

and yes, i know comics and other forms of art reflect and recreate the society within which they were conceived as ideas, and so the dominant societal ideas about gender and race and class and so on are going to be recreated within comics (and/or will be responded to, if the writer is particularly societally conscious).

but jesus christ. you (the writer/writers) have a working class character who has been homeless, who has lost multiple parents, who has been in close proximity to someone struggling with addiction, who has had to steal to survive, who may have (depending on your reading of several different moments across different comics created by different people) been a victim of csa, who has clearly (subtextually) struggled with his mental health, who was a victim of a violent murder, and who has an entirely distinct and unique perspective on justice that has evolved based on his lived experiences.

and instead of delving into any of that, or examining the myriad of ways that classism in the writers’ room and the editors’ room and the readers’ heads affected jason’s character to make sure you’re writing him responsibly, or giving him a plotline where his views on what justice looks like are challenged by another working class character, or allowing him to demonstrate actual autonomy and agency in deciding what relationships he wants to have with people who he loves but sees as having failed him in different ways, or thinking carefully about what his having chosen an alias that once belonged to his murderer says about his decision-making and motivations, you keep him stuck in a loop of going by the red hood, addressing crime by occupying a position of relative power that perpetuates crime & harm rather than ever getting at the root causes, and seesawing between a) agreeing with his adoptive family entirely about fighting nonlethally in ways that are often inconsistent with his apparent motivations or b) disagreeing and experiencing unnecessarily brutal and violent reactions from his adoptive father as if that kind of violence isn’t the kind of thing he experienced as a child and something bruce himself is trying to prevent jason from perpetuating. because a comic with red hood, quips, high stakes, and familial drama sells.

it doesn’t matter if it keeps jason trapped, torn between an unanswered moral and philosophical question, a collection of identities that no longer fit him, and a family that accepts him circumstantially. it doesn’t matter if jason’s characterization is so utterly inconsistent that the only way to mesh it together is to piece different aspects of different titles and plotlines together like a jigsaw. it doesn’t matter if you do a disservice to his character, because in the end you don’t want to transform him or even understand him deeply enough to identify what makes him compelling and focus on that.

and i love jason!!!!! i love him. and i think about the stories we could have, if quality and art and doing justice to the character were prioritized as much as selling a title and having a dark and brooding batfam member besides bruce just to be the black sheep character are prioritized. and i just get a little sad.

[snailfen]

whenever a lot is going on and im not necessarily overwhelmed but i am Buzzing with energy cus theres a lot to get done i just imagine this image i have set as the icon for my personal emoji discord server

[afirewillrise]

I'm not crying, you're crying...

[bragganhyl]

*taps mic*

I love Giatta lots

That is all

[wolfchans]

waiting for my packages 🤠

[if-you-fan-a-fire]

"As has been observed by urban historians in the post—Civil War era, the growing cities were viewed as seething centers of unrest, poised on the cusp of riot and rebellion and rooted in the fear of the “dangerous classes’’—the tides of toughs, vagabonds, gang members, ‘plug uglies,’” and assorted scalawags that swept the cities. These images and fears were intensified by mounting class conflict. As an English observer noted, wealthy Americans seemed “pervaded by an uneasy feeling that they were living over a mine of social and industrial discontent with which the power of the government, under American institutions, was wholly inadequate to deal, and that some day this mine would explode and blow society into the air.’’*

*The mine metaphor and similar images—the fuse and the dynamite bomb, the spark and the tinder box—expressed the fears of the establishment generated by the ease with which bombs could be made with newly invented dynamite. Other versions of a feared eruption also proliferated. According to Wilbur P. Miller, by the 1860s, “the image of a volcano under the city became a cliche’ (Cops and Bobbies [Chicago: University of Chicago Press, 1977], p. 141). Writing in 1859, Samuel B. Halliday warned, ‘We are sleeping under a volcano, from which already there are irruptions [which] . . . are comparatively mild premonitions of the more terrible irruptions that are certain by and by to belch forth with an all-consuming power” (Lost and Found; or, Life among the Poor [New York: Blakeman & Mason, 1859], p. 332). The impact of the Paris Commune greatly impressed Charles Loring Brace, who wrote in 1872, ‘‘Let the law lift its hand from them for a season or let the civilizing influences of American life fail to reach them, and, if the opportunity offered, we should see an explosion from this class which might leave the city in ashes and blood” (The Dangerous Classes of New York and Twenty Years Work among Them [New York: Wynkoop & Hallenbeck, 1872], p. 29).

These anxieties, constantly refueled by a febrile press, as well as by ministers’ sermons based on a biblically rooted apocalypticism, contributed to the strengthening of stereotypes that reflexively identified industrial conflict with violence by its worker participants and screened out evidence to the contrary." This fear syndrome attributed to the immigrant worker a central role in labor disturbances and stamped him with a “brand of unworth.”’

- Frank L. Donner, Protectors of Privilege: Red Squads and Police Repression in Urban America. Berkley: University of California Press, 1990. p. 8