#the doctorate in cultural studies would never

[santacoppelia]

Of fandom, age, and David Tennant being our own personal Time Lord

I read the fantastic post that @davidtennantgenderenvy wrote about David Tennant and aging (if you haven’t yet read it, go for it!) and, as a fan who is closer to DT's age range than to what seems to be the rest of the fan base's age (yeah, being well over 40 is A THING), I had an interesting mix of ideas and emotions. I was going to just reblog her post with some of these musings, but when this started getting longer (and I started searching for bibliography, ha), I decided that I was not going to hijack her post, but rather cite it (and reblog it on its own right, really, read it). I should say that this is a long essay, and it comes peppered with references to one of my preferred fields of study (but I make it light and fun, promise).

Becoming an “old geek”

The first time I came into the idea was when I found a thirst TikTok with that very nice audio that goes “I think I need someone older…” and clearly, the thirst was there, but also… David is 8 years older than me, and when you are 45, thirsting over someone who is 53 doesn’t feel as “edgy” (and thinking about “needing someone older” starts verging on thirsting over people well over 65, which is absolutely fine, but a very different category over all for the rest of TikTok). So yeah, it was weird. You see someone who you feel is "in your range" and everyone is calling them "old"… And you start thinking about aging, inevitably.

Of course, I "don't feel old", but most of my friends are younger than me, and I'm the oldest person in many of my "fun activities". Take, for example, my lightsaber combat team, where every sponsorship is pitched to people under 30, and you should be training at least twice a week and following a strict diet to reach the expected “competitive or exhibition” level (enter the “old lady” who is taking this training just for fun, who needs to take care of her joints and who is not going to be invested in becoming Jedi Master General or anything of the sorts in the near future). Or we can talk about the expectation about fandom in general being a “teenage phase”, and thinking about everyone who still is into it actively after certain age as “immature” or “quirky” at best (hi, mom! Hi, work colleagues! Hi, students!).

Society, aging and social constructs

Of course, this has a lot to do with societal expectations. For almost 80 years, popular culture has been built around "youth" and "young people": before rock & roll, most things (music, clothes, movies, art in general) were targeted to “adults”, and you were expected to be “a functional adult” since a younger age. There was a seismic shift in the way popular culture was built when consumer culture decided to see and cater young people: trends became shorter, being “hip” was desirable, staying younger for a longer period was a nice aspiration (a good, light reading to get a deeper view around this is “Hit Makers” by Derek Thompson. It is written for marketers, but that makes it an easy historic overview and I like that). This has a lot to do with the change of our view about old people, too: while being old 100 years ago (yup, 1924 still fits the bill) made you “a respected elder” and you were expected to be wise, to know best, to be the voice of reason and an expert, nowadays not even us older people like being seen as “old” or “older”.

Frequently, culture becomes entrenched in binary oppositions. The binary opposition between “young” and “old” is… well, old! And while the opposition is sustained, the meanings around it change over time (that’s what the past paragraph was about, really). If in the 1940’s being old meant “mature, respectable, wise, responsible” and being young meant “inexperienced, immature, foolish”, after the 1950’s those meanings shifted a lot: being young became “fun, interesting, in the now and in the know, attractive”, while being old was about being “boring, dusty, passé, uninteresting, dull”.

In reality, being young can be a mix of all of these things (inexperienced and fun and foolish and attractive), and being old can be, at the same time, being responsible and wise and a little dusty and dull, because that’s life *shrugs*, and the wonder of lived experience is that, even if we simplify it, it is complex and rich and sometimes contradictory in itself: we can be old and foolish and interesting and boring, or young and dull and inexperienced and attractive. But, as we need to make “social sense” of things, simplifying them is… easier. That’s why we build stereotypes, and why we use them! We need to have a “base” of signifiers to build upon, so we usually take what we have on our environment and run with it. If you find this idea interesting, welcome to the world of cultural semiotics! *takes her Iuri Lotman picture out of her pocket and puts it on the desk*

(Iuri Lotman, people. He is my "patron saint").

Pop culture versus “real culture”

Another cultural opposition that piques my interest in this area is the notion of “pop culture”, of course. It is opposed to “real, serious culture”, the sort of thing that everyone expects "older, mature people" to enjoy. In the sixties and seventies, there were a lot of studies and writing about "high brow" and "low brow" culture, trying to keep this distinction between "things that make you familiar with the now, but have no intrinsic value" and "eternal things that cultivate your mind, soul and spirit".

Evidently, if you ask me, this is a whole load of horse manure: probably useful to fertilize other things, but with little intrinsic value on its own. My main point is not dolphins, but the idea of culture: historically, it has used to mean a lot of things; from the notion of (exactly) fertilizing something and making it grow to make it come to fruition, to the hodgepodge of practices that a social group creates when they are together and are trying to make common sense of things.

I like the latter better (that is the one I’d ascribe to if this was The Academia TM, but this is tumblr!), but another popular definition, which comes from the Illustration and has been quite prevalent, is the notion of culture as the set of cultural practices that make you a better, more intelligent, far more educated person. For example: if you want to have real culture, you have to read Shakespeare and know what a iambic pentameter is, rather than watching “10 Things I Hate About You”. You must read real books, not listen to audiobooks, and “real books” should be written by “serious authors” like (insert old white Western European or American cis men, preferably born before 1960).

Here comes the notion of “cultural canon”, grinning widely. Yup, that set of practices becomes an expectation of what and how you should experience any area of the human experience, and they become a sort of “nucleus” of the whole experience, with people playing “defense” around them and culture shifting all around and sometimes across them. This is not exclusive to “high culture”: Have you ever heard about “gatekeeping”? Yeah, same fenomenomenon (Shadwell, of course). Whenever something gets this “shape”, it becomes a “norm”, the “common” thing, the “rule” if you participate in that set of cultural practices.

As every cultural set of practices tends to generate its own “canon”, they also have a lot of practices surrounding it, which are ever changing, shifting, learning from new and old practices, and redefining what everything means in their common/shared space. For example: Neil Gaiman, my beloved, was part of the “comics” frontier when Sandman first appeared, but as he and Alan Moore (yeah, I know he did it first, but Gaiman is my study focus right now, so let me be) and other very talented and interesting people started creating fascinating stuff that hadn’t been done, and they found people who loved it, they not only redefined the world of comics, but became part of the new canon themselves. And then, Neil’s presence in the world of literature and fantasy became widespread and recognized and then revered… And then he is doing it again by adapting his own work to a streaming platform in a serialized way… I hope this explains why I’m growing an obsession with studying Neil Gaiman as an author who crosses through different media: a transmedial auteur, an anomaly in his own right. But that is not an essay for tumblr, but a thesis, one that I don’t know if I’d ever have the time or mental resources to write (being a runaway ex academic with ADHD who works on their own is hard, people). Besides, this was about aging and David Tennant, so let’s cut this tangent short and start talking about our Time Lord and Savior: David Tennant, the king of frontiers.

David Tennant as a Frontier Lord

David Tennant is another fascinating case in this sense, mostly because he is an actor who has been able to build a whole very impressive career through crossing symbolic frontiers. Through his massive filmography (161 roles just for screens, as registered in IMDb) and his stage career (I love this gifset for this exact reason), he has acted his way through almost everything, from classical Shakespeare to improvisational comedy, from procedural police drama to wacky fantasy sci-fi. This has a lot to do with his personality (he loves acting, he decided to pursue acting as a career thanks to his love for Doctor Who, but he is also smart and inquisitive) but, as it happens with a lot of “frontier figures”, it also has a lot to do with “unpredictable” circumstances: less of a strategy, more of an instinct.

David has talked many times about how his impostor syndrome made him feel, for the longest time, that he had to keep accepting roles, because you never know if there is going to be another one after. He is talented and open and curious (this is quite a good interview about his perspective), but this… anxiety? meant that he had also lower quandaries about saying “yes” to roles and projects that were “less consistent” with a typecast (which has been, for the longest time, one of the main strategies to build an acting career). Yeah, he has some defining characteristics that make a role “tennantish” (I’m not starting that tirade here, but yeah, you know that almost fixed set of quirks and bits), but he has also worked his way through many different genres, budgets, styles and complexities. And he has usually been as committed and as professional in a big budget-high stakes-great script sort of situation, as he has been in a highly chaotic-let’s see what sticks-small scale project.

That can be correlated by the way he talks about “acting advice”. “Be on time, learn your lines, treat everyone the same, never skip the lunch queue”… Acting is a job, and he treats it as such. Yeah, he looks for interesting projects anytime he can, but the “down to earth” attitude about it is, once again, not-usual, not-common: pure frontier. Then, when David talks about his own self (specially at a young age), he is pretty clear about his “outsider” or “uncool” status (this interview is fantastic), and how strangely disruptive it was to become not only recognizable, but cool and sexy and… everything else, thanks to Doctor Who. He went from living in the frontier to being put in the canon, but he is still, at heart, a person who is more comfortable not defining himself by that “expected” set of rules.

Him being a very private person, who insists on having a family life that seems, form this distance, stable, loving and absolutely un-showbiz just makes the deal (and the parasocial love and respect) easier to sustain; as does his openness to talk about social and political issues that interest him (passionately, again; against the norm for “well liked celebrity”, again). His colleagues also talk wonders about him, mostly because he is this sort of down-to-earth but also passionate about his craft and easy to work with. Again: not the “norm”, not the “rule” of being such a celebrity.

Many of his fans (should I say that I’m one? Or is it obvious at this point?) find this not only endearing, but comforting: he is a massive star, who has acted in a lot of terrific roles in huge productions… But he feels, at heart, as “one of us”. But he is, also, a well-respected thespian, a Shakespearian powerhouse, an international talent. He lives in a very authentic, but very unstereotipical frontier. And he seems happy about that and has made a career from it. Extensive kudos and all the parasocial love and the amateur-actress mad respect for that.

I should mention, just in passing, that a “natural” archetype for this characters that traverse frontiers… are tricksters. Think again about the “tennantish” characteristics. Here goes another essay I’m not writing right now.

Aging: The Next Frontier

This takes me to the original post that inspired the essay: living in a culture where the “norm” is “being young and famous is a desirable aspiration”, we have a fantastic actor, at peak of his craft, who is in the heart of middle age (past 50, nearing 55). Not only that, but he is an actor with whom at least a couple of generations have grown older: from the ones who feel him as “our contemporary” to the ones who grew up looking at him (like Ncuti Gatwa!).

David, being the frontier person he is, has been navigating this transition in a very “unconventional” way: he came back to the role that made him iconic (The Doctor, now with more trauma!), is starring in another fantasy series about middle-aged looking ethereal beings that at times is an adventure thriller, at times is a comedy of errors and at times is a romcom (having another beautiful trickster of a man as his co-star… There goes another tangent that is an essay); he is playing one of the quintessential Shakespeare roles for middle-aged men (Macbeth), and is, seemingly, having a lot of fun doing a lot of voice acting for animation roles (if you haven’t watched Duck Tales, you’re missing a whole lot of fun, really).

Traditionally, middle aged actors navigate that period of their career trying to reinforce their “still young, thus a celebrity” status (for example, doing a lot of action-packed movies and keep doing their own stunts while seducing women 20-30 years younger than them), or strengthening their “prestige thespian, so now a real culture person” position (fighting for more serious roles, going from comedy to drama, or working their way into The Classics©). Sometimes, they face the internalized societal expectation by also becoming a shipwreck in their personal life (yeah… the stereotype of “getting divorced, having an affair with someone half their age, getting another red convertible, getting in trouble…”) because we don’t have a good “map for aging responsibly” yet as a society. We have been so focused on youth, that we have forgotten how to age.

Again, switching to the personal experience. I was raised as a female-shaped person (yeah, being queer is fun), so part of the experience of growing (and then growing old) has been closely related with that concept from the female point of view. I decided, pretty early on (but not so much, probably 25 years ago), that I wasn’t going to conform to the norm… And that included aging naturally. When I found my first white hair, it was a shock (I was 21 or 22), but I had already seen my father fighting his own hair being white since forever. I decided it was a loss of time, money and effort… And the judgement from people in my generation and in the one that preceded me (my mother, my aunts) was stern and strict: “it will age you, and it will date us. You shouldn’t do that”. Men could do it, given the right age (being over 50) but women must not. Same with wrinkles and sagging and gaining weight and getting “pudgy”. But when men grew older, they needed to make a “show off” of their ability to seduce, to “still be a man”. Aging, then, was undesirable by any standard.

As me and my peers have grown older, and my hair has gotten increasingly silver, there have been women that come to me saying that “I look great” and “they wish they were as brave as me”. I would like to state in front of this jury of my peers (hi, tumblr!) that the only bravery it took was deciding, somewhere between my twenties and my thirties, that I wanted to be as myself as I possibly could, so no bravery at all, just the same lack of understanding of social rules that took me to become interested in… you guessed it, cultural semiotics. We’ve come full circle with this. Now, let’s finish talking about what it means for an aging fan to have an aging star to look up to, shall we?

David Tennant as a cultural Time Lord

I am pretty sure that he wouldn’t have chosen this role for himself (as he wouldn’t have chosen being a massive star just by playing his favorite character and being so talented and charming), but he is, as Loki would say, burdened by glorious purpose. Being “the actor of his generation”, and him crossing so many frontiers with such ease and grace, without even thinking about it too hard, just because he is a hard worker and likes to try new things and is just so good at what he does put him in the exact cultural crossroad for it.

He is not in a sudden need to “resignify himself” as anything: he has already shown his very flexible acting muscles through his very long career. He is not bounded to “keep his public image relevant”: he likes to have his personal life clearly separated from the spotlight, and being married to the brilliant and funny Georgia, who herself grew up with a famous father, so she is no stranger to staying sane and in control in the eye of media, and who manages their social media presence with a good mix of humor and well-set boundaries.

Therefore, he is in a moment where he can (and probably will) chose to do whatever he likes. And he has the public support to do so: he is prestigious and respected, but likes to make fun of himself and is not self-important; he has a lot of awards, but he is also a very likable person with whom most people in the industry enjoy working. And he is up to do a lot of things: heroes, villains, morally grey characters; romance, drama, thriller, fantasy, sci-fi, procedurals, historical fiction, classic plays, silly parts, voice acting… We are going to see him aging on screen and stage, with no playbook: the playbooks were written for people that certainly are not him. And I have some evidence to prove it.

He is starring in a groundbreaking series (yeah, Good Omens) where the protagonists are two middle-aged looking entities, full of queer relationships, written by another trickster. This series, in an on itself, is a showcase for characters that are rule breaking in many ways: in the narrative, by being hereditary enemies who are inevitably linked to one another by a loving bond that may or may not be romantic, but that has been in the making for 6,000 years; in representation, by having the protagonists being represented by a couple of middle aged actors who are “not serious” and “not action” coded, in a role where they are delivering romance, banter, intrigue, joy and a whole other range of emotions that are “not your stereotypical” middle-aged male-lead coded.

He also delivered the baton on a relay race with Doctor Who: he came back after almost 20 years, to bring back the generation who grew up watching him in the role, and deliver us into the arms of Ncuti Gatwa’s 15th Doctor, with the promise of taking a rest and working on getting better from all the trauma The Doctor has endured in 20 years Earth-time (which, as any Doctor Who fan knows, account for centuries of trauma in Doctor’s time). Not your usual Doctor Who Anniversary cameo, but one built to deliver some zeitgeisty emotional health promises that made the specials feel… healing. At least, for some of us.

Even when it wasn’t the hit series it deserved to be, his Phileas Fogg in “Around the World in 80 Days” is also a great delivery of an unconventional middle-aged protagonist, who goes from meek and scared and too worried about societal norms, to a lovely, tender, slightly awkward and daring person, with friends half his age who look at him but are also his peers (another kind of relationship that is not very frequent in media).

And, with all fearlessness, he has played a lively old duck in Duck Tales! Scrooge McDuck has never been a middle-aged character: he is, quite openly, an old gentleman. An adventurer, quirky, with a lot of spunk… but also quite clearly an elder to Huey, Dewey and Louie, and obviously older than Donald Duck (who is also not a young adult himself!). When you watch that series, and if you have the opportunity to catch any glimpse of him behind the scenes while recording the part, you can feel the joy he got from playing the part (and he has said time and again that he IS Scrooge McDuck, so it will become his “recurring bit” for the future).

Hopefully, David (and some other actors and actresses, for sure) will dare to build that new “aging publicly without making an arse of myself” playbook, and I (and I can imagine, many other fans in our middle age, but also fans that are right now leaving behind the “young adult” stage and becoming “adults” fair and square, and others who will arrive to this place at a future time in their lives, so I hope) will be there to bear witness, support, cheer… and learn from the model. Because that’s what fandom is about, but also because that’s how culture itself gets shaped and changes, continuously. And that is exciting and a little scary, and that’s why it is better if we do this together.

And I'd love to imagine diverse (in the full sense of the word) role models for this process and this playbook, too!!!

If you read all the way through this, I'm very grateful, take a cookie, have a gold star and suggest names for our aging interestingly role models on the "non-white-male" side of things!

Class dismissed!!

[timeisacephalopod]

You know as a horror fan "cultural Christianity" is such a useful term because as an atheist as well as a horror fan and a fan of haunted house stuff if it's done well I very, very quickly noticed how many horror movies are Christian propaganda. So few horror movies involving religion (which is a shocking amount of them btw) pick any religion that's not Christianity to center itself around and when they do that religion is bad and evil, not the cause of evil and the savior from it (because the demons may be Christian, but God and the bible are also the solutions in a way other religions aren't granted. Bonus points if it's an indigenous religion being portrayed as Evil and Bad).

Pretty much any exceptions I can think of to that rule use Judaism and the Holocaust as a backdrop and never in like a normal, the Holocaust is horrible way it's always playing on myths of Nazi Germany's experimentation on the Jewish population. Which I find highly troubling and disturbing, but regardless nothing like being a horror fan to convince you of cultural Christianity because no other genre leans on religion as a plot device so much unless it's straight up a Christian movie for a Christian audience using Christianity as it's main theme and through line.

[youreorangeyoumoron]

why is talking to doctors...........like this

[lordgrimoire]

So, an Idea, or AU I had regarding the good ol DPxDC.

I’m not sure what sort of disaster Amity’s ghost problem would be classified as, but think of what would happen if the local EMS (Emergency Services like Fire Departments, Law Enforcement, Emergency Medical, etc.) pretty much started jumping over the Mayor from the get-go? What if hard proof of these hijinx, for a brief time, were able to get out of Amity?

Well the Governor would probably have someone take a look, and once nonsense is confirmed (especially of its weird nonsense that looks a little to close to supers) they send in the National Guard, at first to keep an eye on the situation.

Then comes the Ghost Investigation Ward, and things go from moderately worrying to “WTF” real quick. And things start looking less Small Town USA and more Stalins Town USSR, at the height of Stalins Purges.

Admittedly it’s not immediate, and during the time between being put on “Indefinite Alert” and actually being relived this unit (I’m thinking a Battalion Sized force so about 1,200 soldiers/guardsmen total) ends up befriending the locals, and much to the Mayor, and GIWs, frustration, Phantom, as well as Red Huntress.

This leads to a standoff, the GIW can really only do what they want because of the Governments permission for them to do so, but engaging National Guard, who had not been federalized, may cause an issue or two. So they bring up the issue with someone who they think will back them up, their new boss Lex Luthor.

Now Lex isn’t a fool, but he figures out how the Justice League isn’t being called is due to a jammer the GIW set up and figures he can take a look around incognito like, or more accurately get trusted members of The Goonion, who he had Federally given approval to, to go take a look around.

When Alex gets the full story, and not just the GIWs original story but also updated info from the Doctors Fenton, who are now VERY worried, because they were wrong about Ghosts in more ways than they originally thought they may have been. Suffice to say, when Lex manages to get a copy of "The History of The Infinite Realms" and finds that Krypton's Afterlife is GONE, as in they did something similar to what the GIW is planning, he starts hitting the "Abort" Button with fury. Only to be told "Too late we're underway, we're going through a tunnel, what? What?" And now Lex decides Enough is Enough. Lex does two things, first he sends the GO order for the National Guard Battalion in Amity Park, then he starts trying to get a hold of the Justice League because "Listen I know you dislike me but I am willing to drop it all if you HELP WITH THIS BS THAT I JUST INHERITED!" Meanwhile back in Amity Things go from 0 to 100 faster than an Flash, that being the National Guard heard "GO" and immediatly started blasting. The Townfolks: Confused The Ghosts: Confused Team Phantom: Confused and Afraid The Ghost Hunters who are now studying Ghost Culture and the like: Very Confused and sorta getting Arrested. The GIW: Full of Bullet Holes, Screaming, and On Fire Meanwhile, The National Guard are waiting around two hours later with Phantom for any "Federal" News to come through: So the New President decided the Anti-Ecto Acts are BS, unfortunately they haven't been overturned yet so we're all most likely going to be marked as traitors. Mind if we hide out somewhere our bosses can't find us? Also the Justice League never actually knew any of the BS we've been going through, GIW Had some Jammer set up.

Phantom, Tired of all the damage and killing the GIW has caused in Amity Park: I'll try, but I'm not sure how much good it will do if the League shows up.

TLDR: Amity Park during it's entire run has a Battalion of US National Guard camped out in the outskirts/abandoned parts of town and they figure out most of the situation regarding Phantom not being the Villain Mayor Masters and the GIW Claim him to be. Following this logic they turned around and at the first opportunity attacked the GIW and pushed them out of Amity Park.

[she-is-ovarit]

Identifying as.

This is Rachel Dolezal, who legally changed her name to Nkechi Amare Diallo. Dolezal is a white woman who identifies as black and insists that she is transracial. Growing up, her religious white parents adopted four black babies, claiming that they "saved them from being aborted", and routinely delivered strict punishments to their kids including Dolezal. Dolezal does not seem to have a good relationship with her parents and, based on interviews, wanted to distance herself from them and distance herself from rural white culture.

"I've never questioned being a girl or woman, for example, but whiteness has always felt foreign to me, for as long as I can remember. I didn't choose to feel this way or be this way, I just am. What other choice is there than to be exactly who we are?"

She apparently "passed as black" for several years before her parents came out and said that she was white and is identifying as a black woman, and she was asked in a TV interview if she was African American and responded with "I don't understand the question". She taught Africana Studies at Eastern Washington University. She crafted a fake story in growing up as black and has argued that she experiences race-based related hate crimes. She darkens her skin and gets perms and started using hair products she observed her adopted black sibling to use. She lied about her father being black and lied that her black adopted brother was her son.

I hope that as details of Dolezal's story are read about, we are able to understand that tanning white skin does not make someone a black person, that blackface is wrong and racist. I hope we recognize that what makes someone black isn't a collection of racial stereotypes, isn't based on feeling a kinship with black people more than with white people, and that being black isn't based on not feeling a connection with white culture. I hope we understand that a black person cannot identify out of racial oppression, and that a white person cannot identify out of white privilege.

Jewel Shuping, age 38 now, was born healthy but dreamed of being blind since age 13. She stated her mother would tell stories about finding her walking down dark hallways at age 3, and mentioned that by age 6 the thought of being blind comforted her. When she was a teenager, Shuping bought a white cane and learned to read braille, becoming fluent in it by age 20.

She claims to have asked a psychologist to pour bleach in her eyes so she could fulfill her lifelong dream of being blind, and that the psychologist "understood her" and agreed to do so after giving her numbing eye drops to help with the pain (which was not ultimately helpful). She deliberately waited to seek medical attention so doctors were unable to save her eyesight. Gradually, over the course of six months, she became blind.

What Shuping has is considered a real mental health condition called Body Integrity Identity Disorder (BIID), a rare condition in which people who are born without disabilities believe with conviction that the should be disabled. There is another name for this in political activist circles, termed "transableism".

"I went blind on purpose, but I don't feel it was a choice."

Several other people with BIID are pretending to be paralyzed to use wheelchairs, with many not being driven to the point of causing harm to themselves to become disabled but instead living full lives faking being disabled.

I hope that as details of the stories of people pretending to be disabled are read about, we are able to understand that feeling like oneself should be disabled is an incredibly serious mental health condition and does not really mean that a person is "disabled inside". I hope we recognize that identifying as disabled does not make someone disabled, and that feeling a kinship with disabled people or a comfort in the thought of being disabled does not mean a person truly is or should become disabled. I hope we understand how people with mental health disorders claiming to be disabled can place further strain on resources and accommodations provided to disabled people. I hope we understand that inflicting pain, disfigurement, or physical altercations on healthy people to "help them physically match how they feel" is an inhumane way to treat a mental health condition.

Paul Wolscht, who changed his name to Stefonknee Wolscht, was married to a woman for over 20 years and fathered 7 children before deciding to live life identifying as a six year old little girl. Living as a six year old little girl allows Wolscht to escape depression and suicidal thoughts because Wolscht gets to now play - even when in jail in solitary confinement for nine days for an undisclosed reason.

“If I’m six-years-old, I don’t have to think about adult stuff.”

Wolscht still drives and drinks coffee, but does so feeling and identifying as a six year old.

Emile Ratelband, age 69, petitioned the courts to allow him to change his age to 20 years younger because he "does not feel" 69 years old. Ratelband has argued that he did not feel comfortable with his date of birth, that age 69 did not accurately reflect his mental state, and that at age 69 he experiences limits.

“When I’m 69, I am limited. If I’m 49, then I can buy a new house, drive a different car,” he said. “I can take up more work. When I’m on Tinder and it says I’m 69, I don’t get an answer. When I’m 49, with the face I have, I will be in a luxurious position.”

Ratelband even asserted that doctors have told him he has the body of a man 20 years younger, and he said that he was willing to renounce his right to a pension. He argues that if people are able to legally change their sex on documents, there is no reason why he should not be able to change his age.

I hope that as we read these stories of people identifying as a different age, we are able to understand that feeling like you are 20 years younger or 40 years younger does not really make you that age. I hope that we understand that even though identifying as a different age might help avoid suicidal thoughts, being discriminated against on dating apps, or denied resources, it does not really change biologically what is. I hope we understand that there are also broader societal and legal consequences to being able to legally change one's age. That an adult might identify as a certain age to trick kids into trusting them so they can sexually abuse them, and/or that allowing an adult to legally consider themselves a different age would make it easier for adult predators to gain legal access to kids in environments in which they would normally be socially and legally discouraged from being in.

[feminismisstillahatemovement]

In 2017 I interviewed Bernadette Wren, then head of psychology at the Tavistock Gids clinic, and asked what effect puberty blocking drugs have on the adolescent brain. Looking highly uncomfortable, she replied that the evidence so far was only anecdotal but that the clinic would study its patients “well into their adult lives so that we can see”.

Even back then, before whistleblowers had exposed the rush to medically transition children, it was alarming to hear that heavy-duty GnRH agonists such as triptorelin — used to treat advanced prostate cancer and “chemically castrate” sex offenders — were being prescribed to arrest puberty in hundreds of children as young as 11.

Moreover, they were being used “off-label” before any clinical trials. And the long-term study Wren promised never materialised: Gids (the Gender Identity Development Service) routinely lost touch with patients, and the 44 it did follow reported little long-term mental health improvement.

This shocking chapter in medical history, where the ideological objectives of trans rights campaigners trumped the welfare of disturbed children, is coming to an end worldwide. The decision by NHS England effectively to ban the prescription of puberty blockers comes after the Cass review noted these drugs could “permanently disrupt” brain development, reduce bone density and lock children into a regime of cross-sex hormones requiring life-long patienthood.

NHS England unites with other national health services including those in Finland, France, Sweden and, most notably, the Netherlands — where the “Dutch protocol”, a regime of early blockers then hormones, was devised in 1998 — in pulling back from prescribing them.

Even in the United States, where a toxic combination of extreme activism and medical capitalism has pushed child gender medicine to grotesque extremes, with double mastectomies performed on 14-year-old girls, there is some retrenchment.

Leaks from the World Professional Association for Transgender Health, the body which formulates guidance on “trans healthcare”, reveal doctors perplexed at how they should explain to an 11-year-old child that drugs will render them infertile. Crucially, liberal media such as The New York Times are now reporting grave medical misgivings about child transition, once dismissed as a culture-war issue for the Republican right.

Yet the question remains: how was this ever allowed to happen? For years, puberty blockers were cheerily billed as a mere “pause button”. In 2014, Dr Polly Carmichael, the last head of Gids before the Cass review ordered its closure, went on CBBC in a show called I Am Leo, saying of blockers: “The good thing is, if you stop the injections, it’s like pressing ‘start’ and the body carries on developing as it would if you hadn’t started.”

The BBC permitted her to make this unevidenced claim to an impressionable audience of six to 12-year-olds. Imagine hearing this as a developing girl, freaked out by your new breasts and periods. No wonder Gids referrals subsequently rocketed.

Carmichael failed to mention that she did not know if pressing “restart” on puberty is always medically possible — it is not — and in fact, almost every child Gids put on blockers went on to irreversible cross-sex hormones.

After years in a Peter Pan state while their peers developed, they understandably felt there was no way back and forged on with treatment. Yet if allowed to experience natural puberty, almost 85 per cent of gender dysphoria cases resolve themselves.

Nor did Carmichael tell CBBC kids that the blockers-hormones combination, if taken early enough, not only results in sterility but kills the libido so that a young person will never experience an orgasm.

At the 2020 judicial review brought by a former Tavistock clinician and Keira Bell, the brave young detransitioner rushed onto hormones by Gids, judges expressed astonishment at Gids’s lack of an evidence base.

Reporting on this issue for seven years, I too have been struck by a complete clinical incuriosity. Not only was data not collected, but those who queried treatments or pressed for evidence faced angry condemnation. Perhaps activists knew what research might find because one long-term Finnish study, recently reported in the BMJ, destroyed the myth used to justify blockers: that a child will commit suicide if denied them.

The Finns found that “gender-affirming care” does not make a dysphoric child less suicidal. Rather, such children had the same suicide risk as others with severe psychiatric issues. In other words, changing bodies does not fix troubled minds.

Yet even after NHS England’s announcement, activists refuse to heed the now-overwhelming evidence. In its response, Stonewall persists with the myth that puberty blockers “give a young person extra time to evaluate their next steps”.

Many questions remain unanswered: will private clinics still be permitted to prescribe puberty blockers; and is Scotland’s Sandyford child gender clinic still determined to close its ears to all evidence? Plus, we have few details on how the NHS’s new “holistic” treatment for gender-questioning children will operate when it opens next month.

This repellent experiment — in which girls who like trucks or little boys who dress as princesses, and who invariably grow up to be gay, are corralled inexorably down a road towards life-changing treatments — belongs in the book of medical disgraces. As do the cheerleaders who raised money for Mermaids and those who persecuted whistleblowers or damned journalists asking questions as transphobic.

In 50 years, chemically freezing the puberty of healthy children with troubled minds will be regarded with the same horrified fascination as lobotomies — which, never forget, won the Portuguese neurologist Antonio Egas Moniz the 1949 Nobel prize.

--------------------

{Article source (behind paywall)}

[canisalbus]

It's probably fair to say that, as a child, Machete's goal was to just survive. Even as a young adult, survival obviously remained a principle goal.

But slowly, over time, he gained power, and is now a cardinal. He no longer struggles to fend off death (weakened constitution notwithstanding.) He probably still sees himself as trying to survive day-to-day, but clearly it becomes more than that, even if he's not fully cognizant of it.

I guess what I'm wondering is, besides "survival", what are Machete's goals? As a cardinal or otherwise. What prevents him from leaving or resigning his post? Does he have aspirations other than Vasco? Does he see himself as subservient to God, or is it something else?

I'd say his aspirations are pretty mundane. Security and stability are probably the biggest priorities overall, financially and health-wise. He doesn't thrive in unreliable and unpredictable surroundings. The fact that he knows he will have his basic needs met for the foreseeable future, there are people ready to prepare him a warm bath at a moment's notice, a reputable doctor to look after him, and armed guards that are never too far away, eases his mind considerably. A large part of his work revolves around routine, carefully crafted plans and immutable etiquette, with relatively few unpleasant surprises. He's so high in the hierarchy that very few people can treat him disrespectfully and get away with it.

He wants to prove that he's capable, competent and useful. His deeply rooted inferiority complex (that largely stems from the demeaning and belittling way his mentor treated him when he was his apprentice) has made him a lifelong overachiever, which in turn has served him well in his career. He's ambitious and driven but I wouldn't call him power-hungry in an egoistical way, he can come across as overbearing but it's because he's a perfectionist control freak who's obsessed with doing his job well and has a tendency to think most people around him aren't up to the task. He isn't in it for fame and wealth in itself, it's more about having a purpose that makes you worthy of respect.

On a more personal level he's passionate about reading, studying and learning. Partly because he's inquisitive and genuinely enjoys it, knows he's good at it and feels good about being good at it, but also because he wants to be the most learned, most cultured and most academic person in the room. Not necessarily for bragging rights, but to feel like being smart will always keep him one step ahead of the others and that way no one can pull the rug from under his feet.

He would never be able to afford the things he wears and the luxuries he has access to if his life hadn't taken the exact turns it did. He spent his early childhood in a monastery and was trained by a priest who valued asceticism and self-denial so he didn't have a lot of nice things growing up. Now as a high ranking church official he has more spending money than he could've imagined, and while he has an expensive taste, he oftentimes fails to enjoy the benefits of his status properly. He has a comfortable home with a massive bed, but it's not uncommon for him to sleep in his office or forgo rest completely. Even though he could be savoring the rarest most complex dishes every day, there aren't a lot of foods he likes eating. He would like to look pretty but even his outlandishly costly and carefully tailored silk garments can't redeem the fact he doesn't feel comfortable in his skin.

He can't resign because his sense of self-worth and lifestyle are tied to his job. It's the one thing he's demonstrably skilled at. He's worked himself to the bone to get where he is now and the prospect of losing it is simply unfathomable. He doesn't have ties to his biological family and his friends are few and far between, if he gave up his position he'd have functionally no one to rely on but Vasco. On top of that he does feel like he owes his life to the church and serving it to his best ability is his lot in life. His state of faith and relationship with God is complicated at best but he's nonetheless terrified of what might happen and how he might be punished if he ever chose to abandon his post.

[fanhackers]

Fandom/Activism

I interrupt my dive into Abigail DeKosnik’s work to note that as the United States moves deeper into its (apparently endless) election season, we’re seeing a lot of fandom-as-activism starting to emerge, as well as activism-as-fandom. De Kosnik herself was one of the early writers on fandom/activism, writing “Participatory democracy and Hillary Clinton's marginalized fandom” for the very first issue of Transformative Works and Cultures in 2008; more recently, Aja Romano wrote about how Donald Trump’s followers can be seen to be acting like a fandom for Vox: “If you want to understand modern politics, you have to understand modern fandom.” 

TWC hosted an entire guest issue on Transformative Works and Fan Activism, edited by Henry Jenkins and Sangita Shresthova; Jenkins and Shresthova also collaborated on By Any Media Necessary: The New Youth Activism (NYU, 2016) which collects essays on fan activism. Other essays on fandom/activism have been published by TWC with Alex Xanthoudakis’s Mobilizing minions: Fan activism efficacy of Misha Collins fans in "Supernatural" fandom (2020) and  Hannah Carilyn Gunderman’s Fan geographies and engagement between geopolitics of Brexit, Donald Trump, and Doctor Who on social media (2020) being recent examples. Meanwhile, Tanya Cook and Kayle Joseph are the authors of Fandom Acts of Kindness: A Heroic Guide to Activism, Advocacy, and Doing Chaotic Good (Penguin Randomhouse 2023), a guide on how to use fandom and fannish strategies to make a difference. 

Some examples of fandom/activism emerging this U.S. election season include Heroes 4 Harris: Kamala-Con  which is scheduled to happen online today, Sunday September 8, 2024, 1pm PT / 4pm ET: this is billed as “a Comic-Con for Kamala” and “the largest fandom led gathering in support of a presidential candidate in American history.” It will feature: “actors, writers, directors, and super fans of Hollywood's most inspiring heroic fandoms” and promises not just inspiration from some of our favorite stars (Mark Ruffalo, Sean Astin, Rosario Dawson and others - not to mention Henry Jenkins himself) but also breakout groups and training in “fan mobilization.”  

Meanwhile, Lynda Carter (always a Wonder Woman!) is also trying to get out the fan vote for Harris with her group Geeks & Nerds for Harris Walz (@GeekOutTheVote); this is also billed as “a fan activist campaign” and they are planning special online events, the first of which will be an online call on September 24, 2024.  As they describe on their website: “Fandom has never just been about media consumption. Fans are artists, creators, and digital ambassadors. When we share what we love, it radiates around the world. And to paraphrase the Vice President, it’s how we show them who we are. By connecting battle-tested campaign canvassing strategies to the heritage and practices of fan communities, we can encourage fans to get out the vote in key battleground states.”

Donald Trump, aside from being his own fandom with himself as fan in chief, also seems to have had some self-identified fandoms collectively organizing for him over the years - these include Fans of Kanye West, Fans of Race Car Driving, and, strange but true, Fans of the 1980s, who apparently believe that Donald Trump would also be a fan of 80s horror movies, Scritti Politti, and  the soundtrack to Pretty in Pink. (I’m not making that up; it’s on their Twitter.) That said, Mel Stanfill’s newest book Fandom is Ugly (2024) argues that, despite its popular reputation, media fandom is not essentially progressive; that in fact, “reactionary politics and media fandoms go hand in hand.” Stanfill’s book looks at the ways in which fans have organized in conservative, reactionary, or even hateful ways, from Gamergate to the collective abuse and harassment of actors in the latest Star Wars franchise. 

The discipline of fandom studies is now being used to study all different kinds of affiliations and advocacy movements, not just those based around film, tv, sports, or music. Fan studies is now applied to political and social movements. Jenkins is still a powerful voice on the relationship between fan studies and participatory democracy (whether progressive or reactionary): read this 2024 interview with him published in Communication and the Public: “The path from participatory culture to participatory politics: A critical investigation—An interview with Henry Jenkins.”  As Jenkins notes:

Part of the ethos of fandom is to ask questions—from nitpicking to imagining other outcomes, different trajectories for character arcs, and other worlds where the story might occur, all of which is expressed through fan works. I would say that fans are often more critical than the general audience in asking these questions, which makes them somewhat different from many partisans and activists I might know who rarely question their beliefs and ideological commitments. And fans are more tolerant—as an aggregate—of different interpretations than partisans are of different ideological stances. So, you could do worse in grounding a democracy than engaging with fans.

[mychlapci]

We need more absolutely deranged merformer aus!

I always sees mers portrayed as “almost as Cybertronians”, in terms of intelligence and acting, but what if yes, mers are indeed smart, but also like, evil little shits… like old folklore fairytales or dolphins. They intelligent but also incredibly aliens and with a totally different cultures, like, they feel love, attraction, know how to use tools, solve riddles and understand basic cybertron… but they also consider cannibalism ok.

They’re also incredibly unpredictable, they might look soft and curious, but in a matter of second they can turn into vicious killing machines that will start eating their prey before they’re drown.

So, Ratchet is somewhat an odd mer, as he’s very easy to handle. He’s kind, curious, and doesn’t show aggressive behaviors. Maybe he used to live in a part od the rust sea where contacts with land mech where at minimum, and he never had bad experiences, or maybe cause he was handled very young, it doesn’t matter. Ratchet is quite the unique specimens and Pharma can’t help himself.

It starts very easy, very innocent, Pharma would test Ratchet, both his intelligence and on a physical level, rewarding him with treats every time he acted right. Soon enough, Ratchet feels comfortable enough to be handled back and forward from his tank to the lab.

Soon, Pharma becomes obsessed with his new pet. It seems like Ratchet would let Pharma do anything to him, accepting even the most painful treatments.

At some point a new mer is introduced into the tank and he and Ratchet are immediately all over each others. If the stats is at first worried to death, they soon realize the two mers are not fighting, but mating. The new mer, someone calls him Drift, for the way he always seems to be Drifting by Ratchet’s side, some others calls him Deadlock, for how vicious he is against the staff’s members, was found hunting close where Ratchet was caught.

Pharma is livid, his Ratchet doesn’t seem interested in their games anymore, only focused on their new guest. But the doctor can’t really say anything about it, as having a living couple in the tank and being able to observe their mating rituals and maybe, even a gestation is something no other lab has been able to do.

Soon enough, Ratchet began showing signs of a possible litter growing inside his belly, and the staff comes out with a plan to release the couple of mer back into their habitats, with a localizer welded on their armor. Pharma is not happy about it, but he’s reassured in the knowledge that he will be able to track Ratchet and takes him back.

The mers are released back into the ocean and quickly disappear in the depth. Pharma keeps track of their location and during off shifts, tries to find them and lure Ratchet out, believing he will be able to attract the mer back.

In reality Ratchet has never been attracted to Pharma. Even among his kind, Ratchet is not a warrior, but a healer. He can defend himself but often prefer to play along, to study his surroundings and buying time for his bigger and way more heavy armored partner, to come to his rescue. Ratchet would often distract their enemies and potential predators, just for Deadlock to lunge in and kill them quickly and efficiently. He acted all sweet and soft with Pharma cause he had to.

But not that Pharma has come in their lair…

auhhh... Forgot about this one.

Ratchet acting docile and soft with Pharma because he's actually scared shitless of his current predicament is so interesting... He knows he can't lash out right now, that he needs to keep his cool and just tough it out until he can figure out a way to solve this. Pharma does not harm him, he's a little condescending, a little presumptuous about the level of Ratchet's intelligence, a bit clingy and overbearing, but he can handle it. Drift finds him quickly enough, and with his personality, most of the facility staff don't really bother messing with Ratchet's tank anymore. Not even Pharma.

Once they're released, Pharma wants his pet mer back. Ratchet was so good, so domesticated, so obedient, he can't be put back in with those savage mers... Pharma would honestly keep him in a tank in his home if he could. He's sure his old buddy Ratchet wouldn't mind :) Of course, he gets quite the surprise when he meets Ratchet back in the wild, his tail fat with pups... The mer is not as responsive as he was before. His wary body language turns aggressive the moment Pharma floats a little too close for comfort. Ratchet and Drift are on top of him in an instant.

And then Pharma gets torn apart and eaten <33 poor guy, but that's what he gets for trying to poach a wild mer!

[olderthannetfic]

Did Americans really not know smoking caused lung damage until the 1980's? I've gotten several comments to that effect on a fic of mine, but, um. While the story is set in 1940's USA, over here in Britain we've had doctors linking smoking cigarettes to lung cancer as far back as the 1690's that I could find (albeit they don't say 'cancer', but describe cancer symptoms). It was never a totally foreign, unknown idea no one could ever have imagined. And I love dunking on the US as much as anyone, but... it's just so obvious I can't imagine no one in the US ever put two and two together? Even when I was 4, I understood the reason my mum's father was out of breath and coughed all the time was that he smoked because I understood, without being told, that inhaling something yucky yucked you up inside.

I'm aware you as a nation have some dumbasses amongst you but surely the majority were not so stupid that it took until the 1980's for anyone to go, "I think inhaling smoke is bad for you"?

--

My grandmother forced my grandfather to give up his pipe decades before the general public had their faces rubbed in news stories about the dangers. My mom's not around anymore to ask, but I think this must have been either in the 50s when the definitive study came out or in the 60s when the surgeon general wrote about it.

It's not that the info wasn't out there so much as that US tobacco companies spent millions running propaganda campaigns to confuse and delude the public. By the 1980s, people managed to debunk these. In the mid-century, they were heavily muddying the waters.

Here's the first reasonable-looking link I found with some info about this kind of thing: The history of the discovery of the cigarette–lung cancer link: evidentiary traditions, corporate denial, global toll.

I gather this is the Tobacco Control journal, which seems like a reputable source.

The broad strokes seem to be that few people, including in the UK, would have known anything until the late 19thC. From there to the 1930s, evidence was growing steadily as scientists researched a possible link. In the 40s and 50s pretty definitive evidence came out in multiple countries. In the 50s-70s, US companies did junk science as propaganda. In the 80s and 90s, the US swung hard towards seeing cigarettes as dangerous, dirty, and gross.

I remember this cultural change during my childhood. It was massive.

So yes, unfortunately, your 1940s American characters probably wouldn't know that smoking caused lung cancer. Lung damage? Maybe. Like you say, a lot of people could just apply basic logic and observation for that one.

I'm not sure whether they'd be more likely to have no clue or whether they'd know that someone thought it was bad, but they'd think those people were paranoid.

So yes, someone put two and two together, but it could still be OOC for your particular characters. I think it very much depends who they are and exactly how you presented things in your fic.

[briarpatch-kids]

They don't even name diseases after people anymore. Like, if you're gonna act like you have something ultra rare and dangerous for clout, don't follow it up with "they're gonna name it after meeeee" because that's NEVER been how it works, it's always been the doctor, and it's considered a social faux pas to name it after them now because of the whole "ego, confusion, and cultural bias" thing.

I know a decent amount of people with ultra rare and orphan diseases, myself included, and most of the time the response is more "huh you're a weird one aren't you" than "I'm gonna name the disease after youuuu" or like "there's no study validating that this treatment would work so insurance says no"

[sharksupermacy]

backstage

backstage - sana x yoo! reader

synopsis: apparently your sister didn't tell everybody about you

genre: fluff, reader being terrible at directions, confusion, reader is a 98' liner, not nayeon being a little bit delusional

it was nice attending an american university. new friends, different culture, even a fun new language to learn. you were attending harvard for your doctorate in archaeology. you had always loved the discovery of things even when you were very young having those little dig kits when you were a kid.

remembering how after a successful "dig" your mom would always yelling at you when you had end up making a mess in the living room. even when one of your sisters had time they would take you to the local park with you having a shovel and bucket in hand trying to find the buried treasure in the sand pits.

you had formed a bond between all four of you were all tight knit, cheering each other and beaming when seeing their dream being achieved. when your eldest sister had made her actress debut in i love lee tae-ri all of your family gathered in the living room watching the episode debut. or when your entire family showing up when jeongyeon had been announced to make her debut in twice, your elder sisters faces all covered in tears when holding up the banners you had all made. you just smiling at your confident older waiting for the other announcements of other members. even your second eldest sister when she had graduated all your sibling had attend even you who had school during that time but nonetheless you were all there supporting one another.

it was the same when you had told your sister you were going abroad to america to go to havard on a partial-scholarship. facetiming your eldest sister and nayeon who was with jeongyeon when you broke the news to both of them. all of them supporting your decision to go abroad to study archaeology making you promise to them that you would return every summer to visit them.

you would always your honour your promise with your family always returning every summer for two months. you had even gotten your work visa in the us, allowing you to get a job at a local skate shop wanting to not just rely on your family money in the us.

so when your sister had annouced that she was going on tour in the usa you knew that you just had to go. so when the concert dates and locations dropped you found out the nearest one which was the just 3 hours away. so like any reasonable person you decided to use some of the money you had earned the year prior before to buy VIP tickets to your sister concert and then tell her you couldn't go.

suprise, suprise, your sister was dissapointed to say the least but she had understood. however the shock on her face after realizing that you were standing in the front row and had tricked her into believing that you were not going was worth it. you weren't really revealed to the public, so it wasn't really a shock that barely any of the twice member knew you as you were never presented the option to meet them that much. but the other member you enjoyed going into shock was nayeon as you and her were close to her often meeting with her and jeongyeon to go shopping when you were in korea.

as the concert was drawing to the close each member had a speech dedicated at the end the ones that had resonated with you the most was sana saying how hard it was being away from home and grateful she was surrounded by people who helped her. then of course, your sister speech about how grateful about how onces and even one of her siblings could join her today as she had face of gratefulness looking out to the audience in your direction. the onces around you had started looking around as you pulled out your camera to take a picture of your sister crying for blackmail later.

soon the concert had ended and the audience slowly filed out you sat there because you had received a text from your sister telling you to wait at your seat so that a manager could get you. you talk and chatted with the security guard when there was very few people left just mainly clean up crew, and 2 or 3 people still waiting to get into a line. you see manager-unnie approaching you telling the security guard you had go and thanked him for being so chill to let you stick around for a bit longer.

manager unnie was another person who knew you as she had seen you multiple times while dropping jeongyeon and nayeon off at cafe to meet you. she told you to take off your pass and handed you a new staff one as you both chatted about random things while heading down to the change room. waiting outside the room for a bit while the manager-unnie went in to check if it was good to come in. coming back out to invite you in, the person you see is jeongyeon with her arms wide open as you hugged her with nayeon seeing the both of you and hugging you.

"uh... mind to explain what is going on here manager unnie," sana whispered wondering why two of her member was hugging and crying into a random staff.

"oh! did jeongyeon never told you? thats y/n her sibling." manager unnie said a bit confused as she had thought jeongyeon had told the entire group about you.

"wait the abroad one?" jihyo stated a bit louder than she intended getting the other member attention who were on their phone only realizing that there was a stranger hugging thier member.

"yep. have you guys never met her before?" manager unnie turned around at the other twice members who she knew was listening. half of them turn away from sheer embarrassment of being caught but still shook her head to respond no. but sana no she looked back at the two oldest seeing jeongyeon crying into something she hadn't seen very often. huh. she's pretty. was the observation sana had made seeing two of her members crying into the taller frame.

the two removed themselves from y/n finally deciding they had enough of hugging the younger. "guys, this is my sibling who studies abroad y/n," she said as she pointed in your direction, making you wave towards the 7 pairs of watching eyes.

"she's my sibling too," nayeon started trying to start a fake argument with jeongyeon as both yoos laughed at the statement as nayeon pouted.

the older members dragged y/n towards their members, both knowing that if they wouldn't do it, their sibling never would.

you were pulled toward the person who drew you in the most.

"hey, i'm sana," were the words she had said.

"i'm y/n," you smiled back towards her. then there you found the missing treasure: who knew your sister was hiding you from her and vice versa.

a/n: just a short one this time. THE WAY THAT FUNNY VALENTINE ACTUALLY HAS A GRIP ON ME. anyways, i might post some angst soon...

[cellarspider]

26/30 PIE to the face

(Previous) | (Index) | (Next)

⛬

We return to a movie that is going to linguistically hurt me again, Prometheus. You get to read a ramble about PIE. You’re welcome.

Content warning for MORE OF ME. I cannot be stopped.

So. Imagine you have found a sleeping alien. You believe that they were on a mission to destroy humanity as a disappointment. What do you do? Not waking them up is certainly an option. But what if you do? You’re going to want to not disappoint them.

One could, for example, study the records still maintained within the alien ship. Learn about their culture. Get more than one guy to learn their language, particularly since this translator you’ve got seems to be a little gung-ho on things like “seeing [his] parents dead.” That’s a bit of a warning sign.

And hey, something horrible happened on this ship, probably right before or right after this alien was put into hibernation. There’s a lot of dead bodies on the ship. Having a trauma counselor or three there would be a good call. People trained in de-escalation, definitely. Give you a chance to talk the alien down, and help them process stuff in what’s hopefully a culturally appropriate manner, given your xenological research before waking them up.

You’ll probably want to make sure to take the “kill humanity” button away from them too, that would be a good idea. And, preferably, not have exploded the head of one of their colleagues.

Am I describing a process that would take years? Yes. It should. This is the most important thing humanity’s ever done.

It’s been two days since the Prometheus landed.

As stated before, my faith in fictional humanity was not high in this scene.

David wakes the Engineer up. Rather than any of the measures I described above, the Engineer is met with David, Weyland, some security guys, Doctor Franenstein the head-exploder, and Shaw.

It took most of the humans a good hour or so to stop looking like death after waking up after a two year nap, and this Engineer’s been under for a thousand times longer. The poor bugger is visibly hung over and feeling sick, almost falling over on Weyland.

Shaw starts demanding David ask where they’re from, what’s in the ship’s cargo, why was it made for humans, all in English as Weyland tries to talk over her. They are speaking a language that only took its modern form 1600 years after the last events on this ship took place. The Engineer has zero clue what anyone’s saying.

The Engineer remains silent, and visibly disturbed by how Wayland orders his security guy to hit Shaw, which just makes the still unintelligible questions louder and less coherent.

And then David starts speaking to them.

There was a short dialog between them filmed, but in the final cut, the Engineer doesn’t speak at all.

The final cut also removes Weyland’s pitch for why he should have immortality–he created life in David. David is something more perfect than human. Therefore Weyland is a god, and gods never die.

This is, as you can imagine, not convincing. It would’ve made Weyland slightly more explicable as a character, but the movie hasn’t even done that for its lead, so of course it doesn’t for Old Man Capitalism.

In the full release, David only says a few sentences. To quote Anil Biltoo, who wrote the translation:

The line that David speaks to the Engineer (which is from a longer sequence that didn’t make the final edit) is as follows: /ida hmanəm aɪ kja namṛtuh zdɛ:taha/…/ghʷɪvah-pjorn-ɪttham sas da:tṛ kredah/ A serviceable translation into English is: ‘This man is here because he does not want to die. He believes you can give him more life’.

This is–okay. In the theater, I did not know precisely what this language was. But I was making a fair imitation of the Engineer's expression in response to this, because I was pretty sure it was PIE.

Proto-Indo-European, that is. A massive swath of world languages are all traceable back to one source, though we have no records of it. Linguistic reconstruction of how they evolved from earlier roots allows us to infer a language that must have existed, and we call that the Proto-Indo-European language. PIE for short. And this is a big ol’ slice of PIE right here. 

And I had a whole thing in early drafts of this post. I’d convinced myself over the years that my inexperience with PIE had led me astray in the theater. I’d convinced myself this was a PIE conlang. Meaning, I thought this was a language created for this movie that sounds like a cousin to PIE. That’s still howlingly weird, for reasons I’ll get into. But then I saw this featurette:

[Video description: A behind the scenes featurette for Prometheus entitled “Language Of The Gods”. It interviews Anil Biltoo on his work for the movie, in which he explains the concept of a proto-language, of PIE in specific, and what he did for the movie.]

It’s PIE. It’s a different reconstruction of PIE than the current standard, but it’s PIE.

And I feel vindicated, because that’s what I heard in the theater. David opened his mouth and out came PIE. 

I can actually read a few words in the excerpt. I could hear them in the theater. The word /hmanəm/ is clearly meant to be a root word of “man”, which standard reconstructions indicate is the descendent of PIE *ǵʰmṓ. /Namṛtuh/ is very clearly from PIE *ne-mért, “not-die”, because anything that looks like “mort” in an indo-european language probably has something to do with death. And “/kredah/” is close to PIE *ḱréddʰh₁eti, hence Latin “crēdit”, hence modern italian “créde”, “he believes”. 

PIE is just like that, sometimes. Some roots are unrecognizable, others are instantly identifiable. I’ll include my attempt at a gloss (a brief technical explanation of the meaning and grammar) at the end of the post.

The implication is that the Engineers taught their language to humans. That was Proto-Indo-European, which then spread from there. I almost started laughing in the theater at this. 

In the real world, we know a few things about where PIE came from. PIE was probably spoken by people north of the Black Sea, at least five thousand years ago. This guy who’s just woken up with a hibernation hangover went to sleep three thousand years after that. 

But, y’know what? Fine. Let’s say it’s a liturgical language. David’s done the equivalent of walking up to somebody and speaking to them in church Latin. Weird, but not impossible that it could be understood. Or maybe they’re just so damn long-lived and linguistically conservative that it’s more like talking to somebody in an old-timey news broadcaster voice. Still weird! But comprehensible.

But you know what we can’t possibly link back to PIE? Egyptian, Sumerian, Akkadian, Hawaiian, or the Mayan languages, most of the other ancient cultures the movie says the Engineers definitely contacted. Did all those come from the same ur-language? We don’t know. We can’t know, because our reconstruction methods are ineffective past a certain point. But if they did, then their root language had to have existed before the Bering Strait closed off the Americas from Asia, making any common ancestor at least twice as old as PIE. The movie’s implication is that it was PIE. The language of the gods is PIE. PIEngineer.

Apparently everybody who the Engineers talked to just forgot the language of the gods, save for the linguistic descendants of some nomads on the Black Sea Steppe.

And that’s before we get into the worse implications. We can’t tie East Asian languages back to PIE. Austronesian languages. American languages. African languages. Were these people just not contacted by the Engineers? Did they forget? Did they refuse to listen?

None of these are good answers! None! They’re all bad!

In Anil Biltoo’s defense, he’s an academic linguist, and, to my knowledge, not one who’s a conlanger. Ridley Scott specifically wanted to work in the oldest possible human language, and Biltoo delivered on that, based on modern scholarship. He did not make an alien language that evolved into a human language. If Scott had wanted that, David and Jesse Peterson would probably go feral for the project, but they weren’t asked. What would be the most naturalistic thing to do, if you wanted to get across the idea that humans inherited language from the Engineers?

You make a Proto-Human language. People have tried before, and others have argued their attempts are bullshit. This is one of those times that Wikipedia has a “the neutrality of this article is disputed” flag at the top of the page, because there are nerd fights everywhere on this. We don’t even know if a Proto-Human language ever existed–there could have been multiple independent origins of language–but if you’re writing fiction, sure, Proto-Human exists.

Come up with a vocabulary and grammar that could work for Proto-Human, have David speak it to the Engineer, it sounds alien to everybody, nobody gets to be the special children of the gods, and no linguistics dork in the audience will laugh at you.

They will definitely laugh at what happens next, though.

But the post is not done! Bonus linguistic nerdery below, including a sample of my constructed language and its script.

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Citations for alt-text rambles:

https://moomin.fandom.com/wiki/Stinky 

https://www.deviantart.com/pretty--kittie/art/Prometheus-Engineer-407327934 

https://www.uni-wuerzburg.de/en/news-and-events/news/detail/news/new-indo-european-language-discovered/

Edit: additional citations!

Movies in 15 Minutes review of Prometheus by @cleolinda, as retrieved from the Internet Archive. Hat tip to @kantama for identifying it!: https://web.archive.org/web/20120726203957/http://m15m.livejournal.com/23209.html

PIEngineer gloss

Alright, for the language nerds in the audience, I’ve put together a potential gloss, entirely based off of PIE roots available on Wiktionary and a shaky understanding of PIE verb construction:

/ida hmanəm aɪ kja namṛtuh zdɛ:taha/…/ghʷɪvah-pjorn-ɪttham sas da:tṛ kredah/ this.[singular neuter??] man.NOM [anaphoric demonstrative].1.NOM.MASC here not-die EMPHATIC/towards.3MASC.PRES(?)…life-many-[resultative or inchoative verb suffix? adjective of possession, accusative singular?] [genitive singular reflexive?] give.[middle 3S] believe.[stative(?) 3S] A more literal translation would therefore be “This man here does not (want to) approach death…he believes he (can be) given more life-having to himself.”

I am not good at figuring out suffix affixation for PIE verbs, so I probably missed or misinterpreted a few in there. I’m not sure how to break down /zdɛ:taha/ in particular, and /sas/ is a bit mysterious to me. Biltoo definitely created his own PIE reconstruction for this. Vowels are all shifted (ex *éy -> /aɪ/), there’s more palatal consonants (*ḱi-Ø -> /kja/, *polh₁-r̥-m -> pjorn), and other sound shifts I’m too scatterbrained to categorize right now.

PIEngineer to Tade Taadži translation

Alright. I previously mentioned that I have a conlang. I have yet to mention that it is distantly related to Prometheus, powered by the spiteful creative energy this movie engendered in me.

So it’s only fair I translate this passage into my language, write it in my script, and give a thorough gloss.

Jàà odormàà, hu sàà id aannãgu … midadjã kii jur kaas ʻus mogeso. /jɐː odoɾmɐː hu sɐː id aːnːãgu/ / … /midadjã kiː juɾ̥ kaːs ʔus mogeso/ This.VOC not-native-person.ALL, death.INST not go.ATTR want.PRES. Forever.NOM give this.ALL 2S.VOC ACC 3S.NEAR.ponder.PRES.3P.FAR.ACC

Translation notes:

I am assuming David is speaking formally, clearly, and respectfully in this translation, even if one of the people he’s being respectful about is Weyland. Both Weyland and the Engineer are thus addressed using the Vocative case when first directly mentioned.

Due to the formality of the speech, formal style glyphs are also used: these require significant planning ahead of time, to identify ligatures, aesthetic considerations, and, ideally, to select a total number of words that works out to a multiple of six, as this is culturally the ideal number for a line of text.

Formal ligatures can cross glyph boundaries, and are read every time you encounter part of them in the left-to-right, top-to-bottom reading order. The most common ligatures are between grammatical markers, as in this text, but can extend to whole glyphs or even individual components of them. If one is feeling particularly artistic, aesthetic ligatures may also be joined between thematically similar glyphs.

Gendered pronouns are not used in this context. Politeness dictates that any third person pronouns be replaced with the equivalent of “this” or “that”, unless given express permission to use more informal terms of address. This is especially true when referring to non-native speakers, as they do not have an equivalent social role to the five (yes, five) genders of Taadži culture.

The word for “non-native person” used to indicate Weyland literally means “thing that has a spirit”.

Following my shaky PIEngineer gloss, I tweaked the verb in the first sentence: “to die” would normally be “hur hybà” (lit. “to stand at death”), but this has been changed to “hu iddà”, “go to death”, indicating that Weyland fears even getting near the idea.

The word for “forever”, “midadjã”, is derived from the word for 6^6, or 46,656. Tade Taadži uses a base six number system, because I felt like taking Jan Misali up on his heximal advocacy.

The normal word order for the language is SVO, but in dependent clauses it becomes OVS, just to make things harder for everyone, including me, who muttered “ah fuck” when I had to check my notes to remember where to put an allative and vocative in there. It’s after the verb, apparently.

The language has verbal person marking in some contexts, and I deliberately bent the second sentence into a more poetic mode so that I could show it off while retaining formal speech, referring to Weyland’s belief as if it’s a person. The glyphs ligate the person marker to the tense marker, Both to save space and for aesthetic purposes.

I had no word for “believe” when I started writing this sentence, so I grabbed a verb already associated with thinking during unmoving meditation to stand in for it, to get across the idea that “this is something he has thought about a lot”.

It’s a shame David’s being polite, because while I didn’t have a word for “believe”, I do have a word for “to believe despite evidence to the contrary”.

Bonus citations:

https://en.wikipedia.org/wiki/Daemon_(computing)

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[abrakuxas]

More classic Teen Titans (part 2 of my personal redesign/alternate version of some DC guys)

Part 1

Lilith Clay Jupiter/Omen (15) - In this version of Lilith I'd like to make her the daughter of Mr. Jupiter, yes, but also of Apollo. As a demigod she is the new heir of the same precognitive powers of the Oracle of Delphos. This is somewhat inspired by her pre crisis origin as the daughter of the Sun Titan Thia, but adapted to Apollo. She's good friends with Donna and teached her everything about the more human girly things. Her boyfriend is...

Gnarrk, the Cave Boy (16) - The last survivor of his people, Gnarrk is an artist, a painter of cave walls and a very smart boy. He kept his people's culture of praising the sun god and when Kid Flash accidentally sent the Titans back in time, Gnarrk was convinced Lilith was the answer to his prayers. The Titans saved Gnarrk when he was about to be killed by a beast and noticing that not only was he alone but he should've been dead, they decide the best they can do is take him back to the future to guarantee his living wouldn't affect the past. Gnarrk and Lilith become fast friends as she teaches him about the modern world and he teaches her about a culture never documented. Lilith and him are the last speakers of his ancient language and that means everything to him.

Mal Duncan/Herald (15) - Mal is a musician, he learned to play at the church his family went and developed into jazz after that. In a moment of near death experience he ends up winning a game against the Angel of Death. He wakes up surprised at the house of young genius Karen Beecher, now carrying a magical horn, a gift of the Angel for his victory, an item capable not only of beautiful music but of affecting space, allowing him to change the location of things and people, teleporting them or switching their places. Karen and him quickly fall in love. He is a support to the Titans, helping them get to places and maneuver in the battlefield.

Karen Beecher/Bumblebee (16) - A young genius working at S.T.A.R. Labs, she is an assistant to the mysterious doctor Arthur Light and his studies on light. Karen learns of a secret project of his to an organization called the H.I.V.E and the development of secret battle suit that used her own ideas and designs which her mentor stole from her. Betrayed, she steals the suit and destroys her own notes, bringing what she learned to the Titans together with her boyfriend Mal. With the help and support of actual superheroes she finished the suit and became the Bumblebee.

Duela Dent/the Pierrot (14) - Duela was raised in an orphanage where the only thing she ever learned about herself is that her mother said she was the child of a Gotham criminal to whom the woman worked for. Duela ran from the orphanage into a life of crime, trying to get into the underworld of Gotham to learn about her parents. She learned her mother worked to Two-Face and took the name Dent, but she soon found her mother had worked with multiple different villains and lost any hope of finding out who her dad actually was. After fighting Robin a couple of times, she learned to let it go, as she was too old to be the child of any masked villain in Gotham. He helped her locate an older crime boss who could maybe be her father but at that point she noticed she didn't really care, and only ever wanted a family. Robin then took the girl to the Titans and they slowly became her friends and family.

[stargazerlily7210]

Hello, and welcome to my TED Talk.

In this essay, I will demonstrate why I think Mrs. Flood is Susan Foreman (aka The Doctor's Granddaughter, aka The Unearthly Child, aka The Boss, aka The One Who Waits).

I know, I know. Not exactly the hottest take out there.

But buckle in, cause this goes deep.

Getting this out of the way first: I know this season has been billed as a bit of a fresh start (what with calling it Season 1, and all) and thus people are wary about assuming Mrs. Flood is a returning character. But let's be real. Just look at the 60th anniversary specials. Ya know, the massive 3 parter whose plot has set everything in motion for this next season.

They feature The 14th Doctor (aka The 10th Doctor revamped) with Donna Noble and her family (from the 2000's), Kate Lethbridge-Stewart (from the 2010's) who is both the current leader of UNIT (from Classic Who) and the daughter of The Brigadier: original leader of UNIT (throughout all of Classic Who), The Meep (from a Classic Who comic strip of all things) The Toymaker (Classic Who) and Mel (Classic Who).

And that's just the characters. Never mind the near constant references to both New and Classic Who.

They made it appealing and approachable to new viewers, sure. But they've already proven they're not actually interested in distancing themselves from the show's past.

So why do I think she's Susan, specifically?

Well, for starters, although the age of an actress doesn't really mean much in a 60 yr old time-travel show that's already had (MAJOR SPOILERS FOR THOSE WHO HAVENT SEEN THE 11TH DOCTOR'S EPISODES!!) a parent-child dynamic where the daughter is not just played by an actress who's noticably older than the parents, but also canonically met the doctor first, despite her parents being the primary companions, (and each of them are played by both adult and child actors). But Anita Dobson is 74. Which would have made her 14/15 when the show started in 1963. Around the same age Susan Foreman is supposed to be/appear.

But again, that doesn't really mean anything in this show. So why else would I think she's Susan? And why do I think this means she's also The Boss mentioned by the Meep, AND The One Who Waits mentioned by The Toymaker?

Well, because I think it all falls into place with some of the big themes they've been pushing in the episodes so far, if she's Susan.

I mean, from what I know of Susan, she was a refugee from Galifrey, with her grandfather, The Doctor. As far as we know, he's her only family. He'd basically been raising her until she caught feelings for a human guy, so The Doctor decided she'd be better off staying on Earth. Effectively abandoning his very traumatized teenage granddaughter in 1960's London. It wasn't malicious, he was trying to do what's best for her. But he still left her there against her will and never came back for her.

So she's an orphaned teenage refugee, raised in a high-tech alien culture, stuck in the 1960's, with her first major crush as her primary confidant and caregiver. Let's be real. She'd have been deemed a mentally unstable minor, and at best institutionalized, at worst dissected/studied, in a heartbeat (or rather, two heartbeats (a surprise tool that'll help us later)).

So here we have a woman who's likely been drugged and tortured ("psychotherapy" in the 1960s, am I right?), gaslit, and desperately isolated for a significant portion of her life. With a massive list of reasons to both deeply resent and have seriously dissociated from The Doctor and the TARDIS.

And now we finally get to the new episodes:

The Meep says that creatures with two hearts are so rare that it can't wait to tell The Boss about The Doctor. So we have The Meep, who just happened to pick Earth to "crash land" on, answering to a nameless Boss who's on the lookout for 2 hearted creatures. Thus, we're looking for someone with both a connection to Earth and intimate knowledge of Timelord biology.

The Toymaker says even he didn't dare face The One Who Waits. Which says a lot, considering the importance and prevalence of people described as Waiting with a capitol W.

(MAJOR SPOILERS AHEAD IF YOU HAVEN'T SEEN THE 10TH and 11TH DOCTOR'S EPISODES!!) Off the top of my head, I can think of Jack Harkness aka The Face of Boe who waited billions of years to see The Doctor again. We have Amy Pond aka The Girl Who Waited, and Rory Williams aka The Boy Who Waited. We even have Sara Jane Smith, who's first real conversation with the The Doctor after finding him again had her admitting she'd spent her whole adult life waiting for him to come back. So to be The One Who Waited, above and beyond all others? You'd have to have somehow waited more than the rest. And when you're already talking about Waiting upwards of 5 Billion years, that's tough to do. Unless you're looking at it from The Doctor's perspective. And the Granddaughter he'd abandoned 15 lifetimes ago would absolutely fit that bill.

So we have an individual who is intelligent/knowledgeable enough to be called The Boss by an alien kapable of mind control and space flight, who's searching for creatures with 2 hearts. Who's earned the title of The One Who Waits, above so many other candidates.

And we just so happen to meet a character who's being played by an actress the same age Susan should be.

Speaking of, we can finally look at Mrs. Flood herself. When I first watched the episode, it struck me just how angry she was at seeing the TARDIS. When it's far more normal to see people ignoring the thing. So her reaction is weird, both in general, and for a character the actress herself described as a friendly neighbor lady.

It's only after she's utterly shocked by the TARDIS disappearing in front of her that she starts acting different. As if seeing that unlocked her memories. From there on out, she's a different person who knows exactly what's going on. She even addresses the audience at the end and knows to call it a TARDIS. Which Susan of all people would know, as Susan claimed to have come up with the acronym herself, during her time with the 1st Doctor (whether that's technically canon or not, idk).

It's also worthy to note, that if you look at the houses during the scene where she's complaining about the TARDIS, you'll see that on the outside, her house, while the most extravagantly decorated outside, is noticably stark and empty inside, unlike each of the other houses where you can clearly see decorations through the windows. Not to mention, her door is the only one that looks like the TARDIS. The other doors are either the wrong shade, or style, or both. And her's is the only one that doesn't have stairs going to the second level. I don't know how much of this is just working within the confines of the location, and how much is intentional, or what it would mean, but we see enough wide shots of the house fronts, it seems potentially relevant.

So if Mrs. Flood is, in fact, Susan Foreman, she's exactly the right age, she'd have had more than enough reason to be triggered by the sight of the TARDIS, more than enough intelligence/knowledge to reach Boss status in her search for a rare two-hearted creature and being The Doctor's Granddaughter, could absolutely intimidate The Toymaker, and have more than enough claim to the title of The One Who Waited.

And if she turned out to be a future Big Bad, she would have the trauma, reasoning, skillset, and intelligence to truly challenge The Doctor and force him to deal with the repercussions of his habit of never stopping or looking back at his actions or mistakes.

We've never seen if Susan can regenerate as far as I'm aware, but we know she's a Timelord and significantly younger than The Doctor. So if she can, the actress has already suggested that Mrs. Flood will go through quite a transformation throughout future episodes. We might be seeing the birth of a new antagonist for a new generation of the show.

Honorable Mention: I feel like The Boss is right up there with The Doctor and The Master. And RTD would absolutely make The Boss a bada** boss babe.

Phew. That was a whole essay. If you've made it this far, congrats!! I'd love to hear your thoughts!

[i-am-become-a-name]

Was having a wee think about five, (what's new, you may ask) and ruminating on why I am so very peevish about his semi-recent designation as 'the (single) dad' doctor. Like, yes, he travels with a young-ish cohort - a boy who never gets the chance to grow up, a girl who does and begins to chafe under his wing. But then Tegan has studied, moved to a different country to start her job. Turlough was a soldier, exiled from his own world.

And five is young too (at least at the beginning) - he's exuberant, he jumps in feet first and expects the best of everyone. He also loses almost as much in his short life as eight does in the audios and books. And it's such a short life.

Just pointing at five and going 'dad!', to Nyssa and Tegan 'daughters!' and Adric 'son!' ignores all those cultural differences, all that tension that it's because of five Nyssa's family, her whole world is gone. Tegan's aunt is dead, and he can't seem to get her home. Adric went off with someone he admired but who is now a completely different person, and (I'm starting sense a theme) can never go home. It smooths over all the fascinating interplay between a crew where none of the characters quite seem to fit together, where all of them are lost, and have lost such vital things because of the doctor.

It's boring, and it's reductive, and I've noticed it a hell of a lot more since polls were added on here. Maybe it's easier to point at a character and go 'chanel boots', or 'single dad', or 'doctor I would want to smoke weed with', but it also feels like a massive dumbing down where people don't want to see complexities in fiction anymore, they only want to nice fluffy bits and that's all that the fandom is becoming. Like people have been raised on a disney adaptation of a fairytale where suddenly everything has a simplistic happy ending and that has to be applied to everything else now too.

And obviously it's not just the fifth doctor and his companions where this is happening, they're just ones close to my heart, but this simplification diminishes us all. Reach for those vnas, edas, early big finish audios. Absorb those complexities, think about those consequences. Get more fucked up about it all.