#fuck kinda villain are you in the 1800s? a white man?

[robbed-ghost]

Nah cause what the fuck at this point

[punkrogue]

Confession: I used to be one of those antis who hated the Roguneto age difference and saw Gambit as the "correct" love interest. But then I got older and stopped thinking about things in black and white, I realized that Rogue doesn't give a shit since her two adopted moms also have an age difference. I think a lot of Rogue "fans" project their thoughts and desires onto Rogue instead of accepting some of the less stereotypical sweet "Southern Belle" image they like to compartmentalize her into (one reason why 80s Rogue is superior to 90s Rogue is she's a subversion of the stereotype instead playing it straight like the more palatable to general audiences 90s version of the character). Looking back, I like how the "I can't touch a man" problem was sorta resolved with Roguneto in AoA, so instead Rogue's character focus in that universe is being a team leader and going apeshit to protect her son instead of angsting over Remy and how she can't have sex with him.

First off I think that regardless of context concepts like the "correct" love interest are never good. I think that's just become more and more obvious over the years as fandom has become more toxic and more people feel comfortable calling you shit like an abuser for liking a "problematic" or hero/villain kinda ship. The ships are fictional, the people aren't. Who gives a fuck if people ship milo from atlantis and yzma from the emperor's new groove (yes this is a real ship i've seen) it's not my problem. Neither of us will gain or lose brownie points with a god or whatever because we shipped the right ship. Not an attack on you just my Thoughts because that's a common issue now in fandom that I know I certainly didn't see it at these scales when I was a teen.

AS FOR THE OTHER STUFF--

god you're spitting SO MUCH TRUTH.

Okay I wrote the rest of my reply to this originally in notepad bc i don't trust tumblr and god.... this is so long 💀

But then I got older and stopped thinking about things in black and white, I realized that Rogue doesn't give a shit since her two adopted moms also have an age difference.

It never occurred to me before how the age gap between Mystique and Irene would effect her perspective but that’s such a good and interesting point! We’re not clear on even when Mystique was born or how old she really was when she met Irene and we know Irene is like easily 100 when she dies. She and Mystique met in the late 1800s — even if you keep her dying in the 80s and don’t fudge around the timeline at all for the current date 1880 to 1980 is a century. Rogue was raised by geriatric lesbians. Idk WHAT this means for her psychologically or in how her love map got formed but it’s a Thing lol. I think the big takeaway really from being raised by mystiny is really that she expects a certain level of partner care and maturity and in syncness. Say what you want about Irene and Mystique as people but they’re absolutely an in love and loving couple. They’re totally in sync and have complete faith in each other, they’re each other’s rocks. Which ofc is why Mystique went so off the rails when Irene died.

There’s definitely a lot to be said about her expecting/needing/wanting a certain amount of maturity in her partner as a result of being raised by two older women in a very established relationship. Barring the dudes who’re born in test tubes (Longshot and Joesph) basically all her love interests are older than her by some amount. Even Remy is at least a few years older than her no matter how you pace out his life.

I tend to think worrying about age gaps in a society/world or whatever like comics is dumb when everyone in question is legal. Half of them are like 50+ by now (the 05 were teens in the 60s technically, xavier fought in the KOREAN WAR, etc), some are aliens, some are gods, some people got stuck in a time loop for like 2 years, some people where in another dimension for a while, etc etc etc. It’s more trouble than it’s worth to get up in arms about it when you’re not talking about adult/minor pairings. Magneto is like, 100 now sure. He’s also been de-aged like, twice, once that I remember to the point of being a fucking toddler again. This is automatically so fucking wild and impossible to map to anything real world you’re just gonna hurt yourself trying to comprehend the ramifications of that catastrophic life change on even how the fuck he STILL REMEMBERS HIS PREVIOUS LIFE AS AN ADULT AFTER THAT let alone his future relationships with anyone lol.

I think a lot of Rogue "fans" project their thoughts and desires onto Rogue instead of accepting some of the less stereotypical sweet "Southern Belle" image they like to compartmentalize her into (one reason why 80s Rogue is superior to 90s Rogue is she's a subversion of the stereotype instead playing it straight like the more palatable to general audiences 90s version of the character).

I think you’re very right about that. When you sit down and read Rogue’s comics through all at once the difference between her in the 80s and her in the 90s is wild and not in a good way. All the edges get knocked off of her, her morals become simplified, they gloss over her tense relations with the rest of the X-Men even more than they did before. She was created with the kind of character design slogan “the girl from the wrong side of the river” and it very much seems like few people remember that when writing or drawing her and I know why that is to some extent — stripping away her “problematic” nature (remember, Rogue DID stalk and attempt to murder Dazzler and did some other fucked up shit), stressing her more mainstream insecurities, removing her heavy metal/punk/butch interests and making her more in line with a 90s pinup girl in looks makes her more appealing and fuckable to the mainstream predominately male audience of comics. Alt girls are niche. She only got to get her tat sleeve and be a motorcycle mechanic and sing rock songs and be really wild again when Claremont takes her over again in X-Treme X-Men in 2001 and it really does feel like a breath of fresh air. She’s rough and coarse and rude again. She and Storm are at each other’s throats at times. She’s angry and she’s reckless and she’s funny and she’s you know That Bitch.

“Okay but characters change and grow, they kind of have to, and just because their creator intended them to be one way doesn’t mean they have to stay that way,” some will say and this is true! If we kept to the letter of the character creator’s intentions Cable would be boring as fuck and Shatterstar wouldn’t be pansexual. But here’s the thing—

Both of those Liefeldian monstrosities still to this day have maintained their “character slogan”, their Vibe, their Flavor if you will.

Cable is still a super douche with mega guns and 80 pouches who loves shooting things and is Edgy. He’s just better written now and has more depth. Shatterstar is still an American Gladiator made into a Real Gladiator clone boy thing who loves carnage and communes thru media lingo. He just sucks dick now. And is better written.

Note how this is not what happened with Rogue. Consider how LITTLE of her time in the 90s was say, about her conflicted feelings about her Still Evil Mom or her trouble really making friends in the X-Men because of personality differences or you know HOW HER POWER SUCKS THE SOUL OUTTA THEM or her love of mechanics or any of the other things that really only seem to crop up when it’s Claremont or someone taking notes from his characterization at the wheel. Her Character Vibe is “girl from the wrong side of the river joins a different paramilitary group for better healthcare”. THAT’S LITERALLY WHO ROGUE IS. THAT’S WHY SHE JOINED THE X-MEN. There’s absolutely room for growth here but that growth does not mean she has to stop having a mullet, or stop wearing studded belts, or stop being the other lovable unwashed mongrel in the house next to Logan.

But Possum Girl is not fuckable to most men so they don’t wanna write it and they don’t wanna see it and very few girls wanna see it because they can’t project themselves onto that. Also, misogyny— internalized or otherwise. Girls aren’t allowed to be ratty, loud, coarse, butch, aggressive etc etc etc. Rogue’s name is FUCKING ROGUE she’s NOT A SOUTHERN SWEETHEART that literally DEFEATS THE PURPOSE OF HER.

“When she was younger, Rogue thought the name made her sound like an outlaw. she played the part to perfection—using her power to imprint the skills and psyches of anyone she touched—until she realized she was stealing little bits of their souls." — X-Treme X-Men I think I cannot for the life of me remember what issue this is from but I know it’s a comic quote I had to type it out myself years ago since it’s not quoted anywhere else.

“The name 'Rogue' is not just a super hero code. She is very much a wild child. She likes danger and is much more of a Mississippi soul than a Louisiana soul.” — Claremont in a 2016 interview.

Rogue is SUPPOSED to be rough and wild and reckless and YEE-FUCKING-HAW MOTHERFUCKER. She’s r/THE_PACK in mutant form. There’s SO MANY WAYS to allow her to grow and change that do not mean she must sacrifice the skynyrd. But she doesn’t get to keep that. Cable gets to keep his stupid fucking pouches and his grimdark 90s patina but Rogue’s gotta have BIG 90S BAYWATCH HAIR and wear DAISY DUKES LIKE THAT ISN’T FUCKING VICIOUS ENDANGERMENT OF EVERYONE’S LIVES all so she can be the sexy southern gal and spend the majority of the 90s hemming and hawing over the practical logistics of hopping on Remy’s dick as though that man doesn’t have enough working general sex and BDSM knowledge to tackle the logistical end of a hookup with her and instead of trying to WORK WITH HER ON THE PSYCHOLOGICAL ISSUES just kinda fucking pressures her like a 10yo boy demanding a kiss from his crush for a while there before someone fucking LET HIM HAVE BETTER WRITING. Both of them are done dirty by that and most current writers more likely than not came in on this version of Rogue and Remy which is why we’re now being subjected to their malformed vapid bastard children in modern comics.

80s Rogue (and a lot of 00s Rogue) Imo are the superior Rogues because she’s an alternative girl. We have PLENTY of more mainstream girls in the X-Men but we don’t have any really who are ratty and mentally unstable and metal/punk and cause issues and don’t always sync up totally with X-Men “philosophy” and who’re Really Okay with committing Lots Of Violence and who are like, AGGRESSIVELY not perfect.

Why they chose to live in fucking nowhere Mississippi and what their financial situation is and just— whatever the fucking deal with Mystiny while they raised Rogue aside — Rogue is created as a mentally ill at risk runaway youth living in a foster/adoptive home and is heavily coded as poor/white trash. Like, I get very baffled by what the fuck is going with her early childhood with Mystiny (there’s a LOT of conflicting info) but i tend to assume they're living middle-classish since you know Mystique got that $$$. But Rogue absolutely at least coded as a lower class rough and tumble girl in the 80s and that’s like….. actually very important????????? That’s huge????????? Especially since the X-Men are the Disenfranchised Minorities with Superpowers wonder show.

Now look at any 90s comics or 10s-20s comics and show me ANY issue where “white trash” or “raised by Mystique and Destiny” shines through. Didn’t find any did you? Yeah. Thought so. This is why they’re the shittiest eras of Rogue Comics.

Looking back, I like how the "I can't touch a man" problem was sorta resolved with Roguneto in AoA, so instead Rogue's character focus in that universe is being a team leader and going apeshit to protect her son instead of angsting over Remy and how she can't have sex with him.

Part of why I like Roguneto in general is we just generally skip all the gross borderline fetishist talk about how she can’t fuck because she’d kill a dude or whatever. Magneto fucks. He just DOES. You look at him and you go "oh this man FUCKS". We don’t need to spend time on the fucking mechanics of it — in fact to do so seems INSANE. OFC HE FUCKS!!! NEXT QUESTION! Now yes Remy elicits the same kind of response but not the same level. Magneto is 3 grown children levels of fucks. DILF and GDILF fucks levels. This whole drama is completely fucking stupid with MAGNETO as the stage partner. HE’S LIKE 100 YEARS OLD AND HE OWNED A METEORITE. ROGUE HAS FIST-FOUGHT LIKE ALL OF HIS CHILDREN AT LEAST ONCE. WE HAVE OTHER THINGS TO ADDRESS.

After like 20 years of writers being weird little fetishist creeps about how exactly the logistics of Rogue and Remy fuckin would work when like that’s what a gimp suit and condoms are for, it’s refreshing to just not feel the WEIGHT of that forced conflict hanging over a romantic relationship of hers. With romy there’s SUCH a hyper focus by the writers on their sex life half the time not their overall relationship and it’s just weird and gross. Like they fuck, they figure it out and she works thru her fear of touch— can we talk about rogue’s mental instability and how that affects the relationship and remy’s fear of rejection/abandonment now?????????????? THAT'S WHAT I'M ACTUALLY HERE FOR!!!!!! YALL CAN'T SELL ME SMUT SO STOP OBSESSING OVER IT LIKE PRETEENS AND TELL ME ABOUT THEIR MESSY RELATIONSHIP DRAMA!!!!!!

Rogue also tends to just be fucking bonkers more when she’s with Magneto and I like that. She’s less southern belle and more fuck it we ball and it’s refreshing. It’s a nice combo of personalities platonically and/or romantically because Magneto is really an EXCELLENT emotional/mental rock which she needs and Rogue is 10000000% not afraid to call him a lil bitch to his face and he NEEDS people around him to help keep his ego/doom spirals in check.

Their arguments feel more like real conflicts and debates. When they team up it feels more solid and like a partnership. They just feel like there's more weight and oomph in their interactions. Magneto has such a power and gravity to him. He's literally one of the immovable tent poles of the X-Verse. They'll be finding ways to keep him on the field even when he'd be 1,000 in comic years. So by interacting with him it let's her be more of a serious character. She gets to square up unstoppable force to immovable object and really test herself against him while also knowing at the end they're gonna shake and say "good game."

You don't get that with Remy because Remy's not solid like that, he's built to move. He's meant to be flexible. If you take away his flexibility (morally, in personality, in allegiance, in wants, in self-image etc) then he's just not him anymore. But the issue there is Rogue is also malleable — she's literally absorbing other people. That's two rubber people trying to help each other stand. It ain't gonna work and none of the comic writers wanna put in the real effort to MAKE it work. (fic writers ofc, have cracked this code and know how to write romy who can actually work and be compelling even into the modern era)

for me, Remy was a good first love interest for her and I love his character and I still love their dynamic — just now in a more platonic way. Meanwhile Magneto is a better second and potentially endgame relationship for her. He's more where she is in life now and he both gives her someone to depend on when she's going fucking batshit from her powers and also someone to sharpen her claws on who can take it and dish it back.

[theliterateape]

I Like to Watch | The Walking Dead

by Don Hall

I have this great idea. At the end of Return of the King, following the battle to destroy Sauron, we follow Aragorn and Gandalf as they continue battle lesser evils in Middle Earth. You know, maybe like a Balrog with delusions of grandeur or an evil faction of dwarves. In the meantime, Sauron, instead of being destroyed, is held captive and we get to know him a little better. Maybe we extend the saga to show his backstory and exactly how he became evil?

Hell, we could milk the battles for years!

No?

How about this: a The Princess Bride follow-up wherein Count Rugen survives the sword fight between he and Inigo. Then, later, the two form a bond and travel the countryside looking wrongs to right.

NO?!

OK: After Luke Skywalker kills the Emperor and we spend three prequels on the backstories of both Vader (as a kid) and the Emperor (as a Senator), we jump forward in time. There is a new threat with a bad guy not quite as bad as Vader because he's so openly conflicted and kinda horny for the female Luke. Then, when things come to a head at the third sequel, we bring back the Emperor so we can kill him AGAIN!!

No. You're right. That is a shitty idea.

At the (long) tail-end of the pandemic, the rest of the 10th season of The Walking Dead resumed airing and I found myself undeniably un-inspired. I didn't really care much for The Whisperers and after they bumped Rick Grimes off and then carted him away on a helicopter, the show sort of fizzled. I couldn't figure out what was missing (besides Rick) so I decided to go back to the beginning and watch the whole thing again.

The zombie trope goes back a ways into horror history. The concept of the dead re-animating and going for our living throats has elements of the Golem, aspects of Frankenstein's Monster, and a historical basis in the slavery practices of the French in Haiti.

The zombie archetype, as it appeared in Haiti and mirrored the inhumanity that existed there from 1625 to around 1800, was a projection of the African slaves’ relentless misery and subjugation. Haitian slaves believed that dying would release them back to lan guinée, literally Guinea, or Africa in general, a kind of afterlife where they could be free. Though suicide was common among slaves, those who took their own lives wouldn’t be allowed to return to lan guinée. Instead, they’d be condemned to skulk the Hispaniola plantations for eternity, an undead slave at once denied their own bodies and yet trapped inside them—a soulless zombie.

In 1968, George Romero shot (on a budget of $114,000) what was originally entitled Night of the Flesh Eaters and later renamed Night of the Living Dead. He didn't refer to his walking dead as "zombies" but as "ghouls." 

The grainy black and white film was far more than a gruesome horror flick—it was an allegory for the protests of both the Vietnam War and the riots of those fighting for Civil Rights. Later, his sequel of sorts, Dawn of the Dead, is another social satire disguised as gore flick with the zombies (he now called them zombies) acting as stand-ins for the suburban consumerist ethos. 1985's Day of the Dead is an allegory about the mindless authoritarianism of the military. Land of the Dead was a satire of class division; Diary of the Dead spoofed the age of blogging and YouTube.

What were the zombies? How did they come to be? Romero gives us a comet. A cosmic incident with no more explanation. This gives the satirical representation the foreground.

Along came more zombie apocalypse movies: Re-animator, Dead Alive, 28 Days Later. Certainly a lot more including Night of the Creeps and Zombie. In 2004, we get Zach Snyder's brilliant re-make of Dawn of the Dead. This list of the undead had as much in common with the classic atomic monsters as they did the dinosaurs in Jurassic Park—these ghouls were created by man. These were the inevitable result of humankind's hubris and god-complex. We created the end of the world and now must make sense of our creation.

In 2003, Robert Kirkman and Tony Moore co-created a long-running comic series published by Image Comics: The Walking Dead. In 2010, AMC picked up the comic for a television series of the same name and what set these zombies apart from the previous strain is that one didn't have to be bitten in order to turn. These zombies represented a natural human-wide disease that re-animated anyone who died. Like a bizarre metaphor for Purgatory, becoming undead was inevitable for all living people. This created a completely different dynamic for those surviving.

Which brings us up to speed.

I was hooked to TWD for the first four seasons. The conclusion of the Governor arc was satisfying and everything about the prison was exceptional but I was exhausted by the time they arrived at Terminus. The thing became taxing to follow and I believe I'd hit my limit. I dropped away until I was talking to a friend who loved the show and she told me that Negan was the best villain she'd ever seen.

I rejoined the Grimes Gang with Season 5. Terminus cannibals. Again, I got sucked in. The tragic end of Bob. The back-and-forth conflict of Gabriel. The whole Beth in the hospital with the corrupt cops was weak but that may have been because I don't find Beth remotely interesting. Then we get to Alexandria and the dynamic between the people so blind to the world that they're having cocktail parties and the group who have endured almost comical loss and tragedy makes for some excellent storytelling.

Then came Season 6, episode 4 He's Not Here. 

Both loosely connected to the journey of our merry band yet set completely apart, this standalone episode finds us with Morgan (the extraordinary Lennie James) being brought back from the insanity he's afflicted with by Eastman (an equally wonderful John Carroll Lynch). Eastman slowly brings Morgan back from the edge.

A psychiatrist, Eastman tells the story of his prison practice. He explains that he has worked with over 800 incarcerated patients and only one was irredeemably evil. He tells him of that patient, Crighton Dallas Wilton. While a model prisoner in the eyes of the prison staff, Eastman saw Wilton for what he was, an evil, manipulative psychopath. When the time for Wilton's parole came up, Eastman was the one to interview him and it was here that Wilton realized that Eastman had seen through his facade and attempted to kill him. 

Later, we find out exactly how evil Wilton was and how Eastman came to be who he is in this apocalyptic world.

This episode is beautifully done and, upon re-watching the whole thing all over again, stands out for one important aspect. Eastman tells us that in this world of heroes and villains surrounded by the undead, there is only one truly evil person to watch out for.

The Governor isn't evil. He's an asshole. An authoritarian. He's also insane from grief which has driven him to become a villain. He's no more or less brutal in many ways than Rick. The Terminus cannibals are likewise justified in their choices as sickening and horrifying as they may be.

Eastman is warning us of true evil on the horizon.

That evil is Negan.

From the moment we see him (Jeffrey Dean Morgan) and his barbed wire bat, Lucille, he is the embodiment of gleeful malevolence. He is brutal and he fucking loves it. He kills both Abraham and Glenn with such casual smug pleasure that the fact that he just offed a beloved character who has been on the journey since the second episode of the entire franchise only hurts more.

Negan is the anti-Rick. No conflict within himself, convinced that he is righteous in his path with so little regard for even his own Saviors (his 'relationship' to Dwight is a thing of remarkable cruelty). It isn't even the body count (both the Governor and the Terminus gang kill more onscreen) but his enjoyment in brutalizing people, teasing them into submission, then gutting them on the street is Hannibal Lecter territory.

Negan is the one truly evil man Eastman warns us about.

In my marathon from the start, I realized sometime during Season 8—I had no interest in seeing any more following Negan's defeat. Having seen the episodes before, I didn't want to see the character redeemed. I didn't want him to be at all relatable. I wanted Rick to kill him and for a sense of closure.

Now take a peek at Season 8. The writers wrote the end of the series in this one. The alliance of Alexandria, The Hilltop, and The Kingdom against The Saviors. Eugene finds his safe place and Gabriel struggles to redeem himself. Fucking Carl dies! Rick beats Negan one-on-one in a field and cuts his throat with a piece of stained glass. FINIS. OVER. DONE, for chrissakes.

Carl's death means nothing if the ending isn't peace. I'll be honest, the first time I watched Carl die, I didn't much care. He wasn't a heavy weight character in my mind. The second time, I bawled like a baby because, in a few weeks, I watched him go from scared kid in the camp when Rick (presumed dead) strolls in to the young man sparring with Negan. Carl's vision of Rick's future is the end. Except for the Negan part. FUCK THAT. Negan doesn't get to survive.uck that

Rick cuts his throat. He doesn't instruct Sadiq to save him. Negan dies. Maggie gets her revenge. Rick makes his "a better world" speech. Cut to black.

HBO’s Six Feet Under, The Sopranos, The Leftovers. All could have continued following their obvious and arguably brilliant endings but they didn’t. Game of Thrones could’ve just stopped as soon as the Night King is defeated but they couldn’t help themselves and tarnished the legacy of one of the most watched television series in history. I loved Lost all the way up until they explained everything poorly.

I get it. AMC needs the cash cow. Lots of people employed so they just have to continue the tale but, man, when you get to an ending that good, walk away.