right, sigh, so this is the glee post.

okay, probs the last i’ll say about this as i by and large really do watch this show for the music, and i really am not all that invested in the lives of any of the characters, but, just. just, no, this is not how you handle a storyline about a teenage girl being outed as a lesbian in small-town ohio, it’s just not, it’s just SO NOT.

so, here’s a list of everything ETA: NO WAIT IT’S NOT EVERYTHING I HAVE REALIZED THAT I FORGOT THINGS, oh my fucking god, here’s a list of most of what wasn’t okay about yesterday’s ep, and the reasons why it wasn’t okay! 

  • hi, was that an episode about a girl coming out as a lesbian that didn’t once actually use the word “lesbian”? i mean, correct me if i’m wrong, i only watched the episode the once and i was busy trying to lamaze breathe to calm myself, but i’m preeeeetty sure that was an episode about coming out as a lesbian that didn’t once use the word lesbian. not cool, glee! lesbian is not a dirty word; acting like it is just makes people think it is. 

Read More

what to remember when someone comes out to you: a five point guide.

i…afhdsklf. so, i have to put aside for a second the fact that i just watched a show that literally bungled a lesbian storyline so badly i cannot fathom it, because! i was going to make a post about that (and may still), and i went looking, in research, for a few links to articles that discussed the CORRECT things to do when a friend or family member comes out to you. i thought, perhaps naively, that these would be fairly easy to find! so you can IMAGINE MY FUCKING SURPRISE when i couldn’t even find one, barring a piece that was so shaming that i honestly regret having read it. 

so! here are some things to keep in mind when a friend or loved one comes out to you as queer, because someone apparently needs to say them somewhere!

[a quick note: i am using queer as an umbrella term to encompass the various and assorted different variants of gender and sexual identity. for more information on those variants, feel free to check out this website.]

1. this is not about you.

certainly—certainly!—it may feel like it is. you may be thinking of how this information impacts your life, or how you feel about it; you may be remembering your own experiences with queer perceptions, or queer people, or queer pamphlets, for all i care. and you know what? that’s just fine. on your own time, you may feel free to pour yourself a large cup of tea and work out how you feel about this new development in your life! that’s natural and normal; we, as human beings, have feelings about everything from our families to our favorite brands of cereal, and none of them are wrong.

however! when you are with the person who has come out to you, especially in the immediate wake of that conversation, you must swallow that down, because it is selfish! talking about your feelings on someone else’s coming out is like talking about your feelings on someone else’s loss—and i should point out, at this point, that i do not in any way mean to equate coming out as, or indeed being, queer with any kind of tragedy. it isn’t, and we will get to that in a second. i use loss only because it is the clearest parallel in terms of depth of feeling; the person who has come out to you, let’s just call them Person A, has done so against the weight of a thousand coming out stories that resolved badly, against the negativity still in our media and politics, against the fact that, just to use one example, as recently as 1973, “homosexuality” was listed as a psychological disorder by the American Psychiatric Organization! even if you are a deeply tolerant person and have made that known, there is still, always, the fear that your tolerance does not extend to Person A specifically! thus, the loss parallel makes sense, in the sense that some part of Person A is more emotionally raw than usual—the same way you would not respond to someone’s discussion of the loss of a family member with all the ways that loss was negatively affecting your life, you should not respond to someone’s coming out with it’s negative effects on you. IT’S NOT ABOUT YOU. maybe, at some point, when Person A is in a less raw place, you can have that conversation, but that is their call, because, again, not about you

2. being queer is not a tragedy. 

one of the things my mother said to me over and over after i came out to her: “i’m just worried about your safety.” and you know what, that was, in its way, incredibly sweet of her; she, as my mother, loved me enough that the idea of me being hurt for who i was kept her up nights. that warms my heart! but it also made me feel small and scared and wrong every time she said that, and it took me a long time to figure out why.

Read More

If you hate Fleur Delacour, Cho Chang, or Pansy Parkinson, you should probably unfollow me, because you have objectively poor opinions.

BUT HOW COULD ANYONE HATE THESE CHARACTERS 

I mean just, let’s look at these women, right, the lives we’ve seen and the lives that they could be leading in the aftermath of the books: 

Fleur Delacour, whose whole narrative is wrapped up in her physical beauty until the point where she stands up and says HEY, NO IT’S NOT. Fleur Delacour, the Beauxbaxton’s champion, Fleur Delacour who stands with the Order, Fleur Delacour who loves and fights with fierce devotion. Fleur Delacour, who marries Bill Weasley anyway—and I don’t mean anyway in the sense of “even though Bill Weasley was scratched across the face,” I mean anyway in the sense of “even though Bill Weasley comes from a tight-knit, bordering-on-controlling family who spend months treating her as an interloper trying to steal their prodigal son, as though she is somehow a larger threat than the curses he breaks as part of his day job simply because she was born beautiful.” Fleur Delacour, who plants roots and settles in a country that is not her own. Fleur Delacour, who must wrestle throughout her pregnancy with the knowledge that she is more than simply human, that her husband, too, has more than just the kind of magic most wizards possess; Fleur Delacour, for whom the only name appropriate to give her daughter means victory. And certainly there’s the war connection there, we all know that, the obvious meaning writ in that choice, but nothing is ever so black and white—because it’s all the victory, isn’t it, worldwide but personal too, that this brave, brilliant, bold woman who has been saddled always with the pervasive idea that she is nothing more than what she looks like has won, has won, is free to be fully and wholly herself. And oh, her daughter will learn to be a person first, Fleur will make sure of it, and that is a victory too; one she can pick up and rock in the night, one she can watch grow, one she can teach to roll down the grassy knoll behind Shell Cottage, dress long since ruined, hair streaming out behind her and laughter bright on her tongue. How is this someone to hate? 

Then there’s Cho Chang, whose first love ends in murder when she’s barely old enough to fully understand either concept, who must carry the weight of that for the rest of her life, who must wake up in the night at twenty, at forty-five, at seventy with that sick memory of unexpected loss roiling in her gut. Cho Chang, whose relationship with Harry is always discussed as thought it is about Harry, when in fact it’s about a sixteen year old girl on the careening, rough edge of figuring herself out, made all the more difficult because she is grappling with the immediacy of her own mortality and the mortality of her peers. Cho Chang, who could have shut down in the face of what is, unquestionably, the kind of trauma that would immobilize most people, let alone most teenagers, but who instead resolves to live on and then, of course, to fight. Cho Chang who is shown to be loyal to her friends, fiercely brave despite what she’s been forced to endure, but who I am constantly seeing discussed in the frame of decisions she made as a teenage girl in the grip of severe emotional distress caused by trauma that most people—of any age—never experience. Cho Chang, who exists in the HP stories largely to fulfill assorted romantic narratives for various male leads, and manages to rise above this to reveal herself as steadfast and determined and so, so strong. How is this someone to hate? 

And oh, Pansy Parkinson, probably the most interesting of them all. Pansy Parkinson, who, like many children, is shown to be cruel to those by whom she feels threatened; Pansy Parkinson who is shown to feel genuine loyalty, compassion, concern and affection for those she loves. Pansy Parkinson, who is so obviously meant to be seen as a bitch that the clearest description of her physical features involves a comparison to an actual dog. Pansy Parkinson, who—all of seventeen and faced with the possibility of her own death, the death of all her classmates, at the hands of the men and women outside, many of whom (despite the masks they wear) she knows she’s known for her entire life—caves to the fear Voldemort is counting on and makes a statement that gets herself and her housemates banned from the fight. Pansy Parkinson, who must live with that statement for the rest of her life, from those who heard it and those who heard about it. Pansy Parkinson, who must catch hell from all quarters—from those on the “Side of Light,” certainly, but also from those who point to her as the reason behind the continuing vilification of Slytherin house. Pansy Parkinson, who must be spit at in the street and jeered at from the sidewalks, whose name will forever be tied to a thing she said in desperation as a scared teenager; Pansy Parkinson whose job prospects will be colored by this mistake, who history will remember for this mistake, whose children will not be safe at her own alma mater because of this mistake. Pansy Parkinson, who, if her constant refusal to kowtow in the face of hatred in the books is anything to go by, holds her head up always despite this. How is this someone to hate? 

Here’s the thing about Harry Potter: it is a war story. Certainly it is couched in magic, in humor, in a good vs. evil framing device meant to be understandable to the children to whom the series is marketed, but it is a war story all the same. It is one thing to dislike these characters—though I would disagree with that opinion, it is one’s prerogative as an audience member, the assessment of a character and subsequent development of emotional attachment or lack thereof.  But to hate them, blindly and sharply enough to avoid giving them your consideration—to hate these women, these girls, brilliant and loyal and flawed and terrified, wrapped up far too young in a war they never wanted to fight—is, I think, to deny oneself the opportunity to explore some truly exceptional people.  

(Source: seneca---crane, via lathyrism)

yeah i don’t even know what this is. [warning for discussion of privilege, triggering]

Okay, so this is a…2500 word essay about privilege, via allegory, kind of? Because sometimes I get…ideas….yeah okay. Cutting to spare your dashes, and also so that those who are not in a place to read do not have to!

Read More

on writing and fandom!

Okay, so! I got several requests for writing advice and questions about my own fandom experience on formspring today; since those topics blend together for me, I figured it would be easier to just do a post about all of it. THINGS I SHOULD PUT OUT THERE UP FRONT: I am by no means any kind of writing expert at all, and honestly when I get a  ”What’s your advice for writers?” question I kind of stare at it and make small shocked noises that anyone would want my opinion, because, just, what. So please be advised that I do not intend to come off as one of those assholes who is feeling ~so superior~ and just wants to ~impart their wisdom~, because really, seriously, I have no wisdom. I’m just a girl on the internet who likes to make words into sentences; I make no claims of knowing what I’m talking about. What I have to say here is really an aggregate of things I’ve learned from smarter, more qualified people over the years, both in fandom and as a creative writing major. Okay? Okay. 

So! I was 14 or 15 when I discovered fanfic for the first time, when I stumbled across statelines’ rise like lions (you sons of cain). It’s a short but beautifully composed Sirius/Remus fic, more poetry than prose, with an undercurrent of warmth and tragedy and such realism, too; I never forgot it. You should totally read it! It’s only like 600 words long, and believe me, it’s well worth your while.

Read More

ms-akaya:

gyzym:

So, there is a post on my dash containing some Mystique hate; it is not the first post I’ve seen like it, and I’m sure it won’t be the last. I’m not reblogging it and adding this as a commentary because (to my own continual surprise) I’ve gained some recognition in the XMFC fandom, and…

I feel like I need to say some things about this topic as well. I agree with IntoWhiteness, not only because she makes a few valid points, but because for some reason people in X-Men fandom either have no idea abot Charles, or are simply ignoring the matter. So, to make a few things straight.

1. Charles is one of the most powerful mutants ever. He can literally fuck with your brain, but more often than not he chooses not to. Not because he’s a goody-two-shoes, but because he is aware of his power and it’s his way of having at least that much control over it. It’s because his power sometimes terrifies even him. You think it’s easy to maintain control over something like this? Really?

2. He is not a spoiled rich boy, who is naive and doesn’t know about life. Charles childhood wasn’t happy. He was abused by his stepfather, his mother didn’t care about him and his relationship with his step-brother is far from being great.

I dare to say he never had an actual childhood, imagine that you hear thoughts of others from the very young age, it doesn’t matter if they’re nice or not, they’re not your thoughts. Imagine that you cannot stop them, that they are violating your mind on daily basis.

Oh, yes. Naive little Charles MY ASS. :| Please learn the facts, before you start portraying him as a ball-less damsel in distress that doesn’t know how to make his own goddamn tea, alright.

3. People with a background like Charles have different methods of coping, the fact that he is so desperately believing that people and mutants can co-exist is because, it’s the only thing that holds him together. A ray of hope that there is a better future and one of the reasons he bonded so well with Erik, was because they both had less than pleasant experiences with people and because above other things.

4. It’s also one of the reasons why I don’t like XMFC’s Raven, it’s because she is so concerned with her appearance that she is blind when it comes to the most important person in her life, that being Charles.

Charles, who is the only person trying to explain her how the world works, the only one who tries to protect her in all this shit. It’s like she doesn’t hear his words at all.

Mutant and proud? Tell me you’re joking. In the older X-Men films and comics, yes. I can agree with that, in the XMFC? Not so much, notice how she needs a man to tell her it’s alright for her to be herself. I’m sorry, but that is not strength that is desperation to be accepted, nothing more.

/ end rant 

Okay, so! Before I respond, I have to get some general statements about me and how I internet out of the way. It is really important to me to be kind and respectful in my interactions with folks, and I make a really serious effort not to, er, draw critical attention to people, just concepts. As such, generally speaking I would just let this lie—you are, of course, entirely entitled to your opinion, and if this hadn’t been a reblog of my post I definitely would have left it alone. However, given that this is now attached to the essay, I’m going to go ahead and respond to the things that don’t necessarily sit right with me. This is not, I repeat, not meant to be an attack on you in any way, it’s just me going through and offering up my views in response to what you said—I have nothing but respect for you and your thoughts, for all that we disagree. [On that note, to my followers who are reading this, you guys are always awesome and I know I don’t need to say this, but for the record: the last thing I want to do, ever, is rain down negativity on someone’s head, so let’s be awesome and respectful and cool, yeah? If I find out OP is, you know, getting angry messages or hate of any variety, I’m going to be bummed out in a really large way. Okay? Okay.]

So, let’s go through in order!

1) When did I say it was easy for Charles to maintain control over his powers? I don’t think it is—I imagine it must be incredibly difficult, even moreso when he was a child, meeting Raven for the first time. It must have been nearly impossible for him control his powers at that age, hence why I said “unthinkingly scanned her innermost thoughts,”; I can’t imagine it was the kind of thing he did consciously, because the fact that he can control it at all is nothing short of miraculous, and I legitimately don’t think it was in any way malicious. 

That being said, this is an essay about Raven, which, as such, discusses things as Raven would have experienced them. Had I been writing an essay about Charles Xavier, I might have gone into how difficult it must have been to be barraged constantly with other people’s thoughts, and the effects hearing what people were thinking about him might have had on his self esteem, and the thick, churning guilt he must have felt every time he picked up on something he wasn’t supposed to. But this is an essay about Raven, so instead I talked about it from that angle—how invasive it must have felt for her. Because it’s an essay about her.

2) Where did I say Charles was a naive spoiled boy who doesn’t know about life? I would never say that, because I don’t think it’s true. I called him privileged, which wasn’t intended to mean naive or spoiled—it was intended to mean “availed of certain advantages that color the way he sees the world.“ Even ignoring the mutation aspect of things, Charles is a white, monied, attractive, Oxford-educated male in the 1960s—thus, he sees and interacts with the world as a white, monied, attractive, Oxford-educated male in the 1960s. He is not forced to confront the sexism, racism, or classism of the time in the way someone else might be because of this fact. Of course this doesn’t lessen the weight or effect of his abusive childhood, which is tragic on all counts, and no less tragic for this. But, in the same token, his abusive childhood doesn’t lessen the weight of his privilege. The idea that someone’s privilege is cancelled out by oppression or hardship they have experienced is a fallacy; it’s like saying “I was in a terrible car accident when I was a child, so my house can’t be on fire!” While the car accident doesn’t make a fire less valid, or vice versa—and while the experience of the car accident may have some effect on how the speaker deals with the fire—the fire doesn’t cease to exist simply because the speaker has already suffered the car accident. 

On top of that, we have the fact that Charles is telepathic, and has recourses available to him that a non-telepathic person wouldn’t. Again, this does not lessen the things that he’s been through! But, again, it does color the way he sees and interacts with the world. That does not in any way make him “ball-less” or “a damsel in distress,” and I’m perplexed as to where I suggested it did. And, again, I didn’t feel it necessary to cover any of this in the initial essay, because it was a Raven character study, and so what was relevant to the discussion were those things Raven had seen, felt, and interacted with.  

3) Of course people with traumatic backgrounds have different ways of coping with reality; I know that very well, on a very personal level. In fact, people with all backgrounds have different ways of coping with reality—that’s, you know, a basic human condition. That said, Charles’ hope for peaceful co-existence between humans and mutants was not something I ever expressed an issue with, because I don’t have an issue with it. I did refer to “Charles Xavier’s bullshit,” in regards to Moira McTaggert, which was in reference to the scene where Charles tries to feed her a line he uses regularly about her auburn hair mutation gene and she shuts him down. I did mention that Raven calls Charles out on his shit, which she does, in fact, do—even if we just look at that scene in his apartment, where he tries to placate her by saying “You’re my oldest friend,” and she points out “I’m you’re only friend,” we see that she’s willing to stand up and make her argument. She’s not always tactful about it, but she’s willing to do it. I don’t have any issue with Charles’ hope for the future—I don’t even necessarily have an issue with the way he goes about acting on it, because while it’s flawed, he’s a person like any other person, and people are flawed. My issue is with the idea that it’s a black-and-white, clear-cut thing, that Charles is right and that’s that, when in fact it’s all much more complicated and messy than that. And, again, this was an essay about Raven, discussing Raven’s point of view, so this didn’t seem particularly necessary to go into. 

4) The most important person in Raven’s life is not Charles. The most important person in Raven’s life is Raven. Her relationship with Charles is certainly the most significant one we see portrayed, but that does not mean she should make decisions as to her own personal existence based on him.

Charles does try to explain to her how the world works, but, as mentioned above, even if you discard the mutation factor, the way the world works for a wealthy, male Oxford professor in the 1960s is different than the way it works for a financially dependent female waitress in the same era. That’s just basic historical fact. And, more importantly, why does Raven need someone to tell her how the world works? Why isn’t that a decision she can make for herself, based on her own experiences? Why are Charles’ interactions with the world more valid than her own? You could, I suppose, argue that she’s the younger of them, but it’s not a significant enough age difference to have a bearing on Raven’s ability to make her own decisions, and it might not even be true—we know, both from the comics and from hints in the film, that Raven’s mutation causes her to age differently, more slowly, than other people, so it’s hard to know how significant that gap is, and in what direction it flows.

You mention above that, as someone who has suffered trauma, Charles’ hope may be the only thing that holds him together, with the implication that this excuses his less-than-sensitive behaviors in furthering his goals. Why is this courtesy not extended to Raven, who was homeless and alone when Charles found her, a child stealing food in order to survive? Does that not constitute a traumatic childhood experience? Can we not look at her desire for affection and acceptance regardless of her appearance and recognize that it is, in least in part, a consequence of having been abandoned and left to fend for herself as a child because of what she looked like and who she was?   

You ask that I notice that Raven “needs a man to tell her it’s alright to be herself.” I did notice it—in fact, it’s one of the main points in my essay, the fact that I wish we’d been given a story that didn’t include that old, tired narrative, that I wish we’d been served a storyline in which Raven’s self-acceptance wasn’t hinged on male characters, that I hoped fandom could look past that to see the person underneath. You say that this is desperation to be accepted, and I ask what the point of the X-Men franchise is, if not acceptance and the struggle to attain it? Why is acceptance something Raven isn’t allowed to want? 

You say that because of this desire for acceptance, Raven isn’t strong. But that’s not what I mean when I say strong female character—I don’t mean ‘female character who never needs anything from anybody,’ or ‘female character who never seeks emotional validation’ or ‘female character who is never vulnerable.’ How unfair, the idea that women must be cold, unfeeling, entirely self-actualized to be strong; how harmful to women, how dangerous. When I say strong female character, I mean a woman portrayed with her own voice, personality, ideas, hopes, and dreams. I mean a woman with negative and positive traits, with flaws and merits, with failures and victories. I mean a woman who is portrayed as a person, and whatever your feelings about Raven, she is most certainly that. 

on tops and bottoms!

In response to a bunch of stuff I’ve seen on my dash in various fandoms; a discussion of tops and bottoms in cismale/cismale slash fanfiction! Yeah, that’s right, porn can be meta too. Get it, porn. Get ittttt. (Incidentally, I specify cismale/cismale because parts of this discussion venture into the down-and-dirty mechanics of cismale/cismale sex. For parts of this particular post, I’m talking about how shit goes down between two dudes with male sex organs, and not all dudes have male sex organs, the same way not all ladies have female sex organs. The parts that don’t discuss actual sex organs can, of course, be applied to male/male slash in general, but again, NOT ALL DUDES HAVE MALE SEX ORGANS, and I would not want to imply that said organs are necessary for inherent dude-ness. They’re not! Thus, specification. Okay? Okay.) 

So, first of all, let’s start with some working definitions, hmm? In the most basic sense, the top is the person who puts their dick inside of the bottom in a given sexual encounter. And, let’s be clear here: “top” and “bottom” both have an assortment of other connotations (and hell, denotations, depending on who you’re talking to) in fandom, and also in real life sexual situations! I’m not trying to delegitimize any of those connotations/denotations. However, for the purpose of this discussion, when *I* say “the top” or “the bottom” I mean “the person whose dick is doing the penetrating in a given sexual encounter” and “the person who is being penetrated by said dick in said sexual encounter.”

Read More