WEEK ONE: FAVOURITE PAIRING
THE DEVIL JUDGE THIRD ANNIVERSARY
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PUT YOUR BEARD IN MY MOUTH

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ellievsbear
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@rosettatinkerbell
WEEK ONE: FAVOURITE PAIRING
THE DEVIL JUDGE THIRD ANNIVERSARY
the number of jobs that disabled people could do with no problems if it weren’t for the way they would need to do it being deemed unprofessional is sooooo. 😐
like the things that keep disabled people out of a lot of jobs frequently have nothing to do with the actual requirements of the job
mm including all that "can you lift 20lb" in jobs where nobody has to lift 20lb
Or just the absolutely ridiculous standing cashier stations that are for some idiotic reason the standard across the United States. It actually looks more professional when someone at a cashier station is seated. They look like the professional expert at a computer who could order things for you (like at a bookstore or such) or knows all the policies and inventory (like at a supermarket), whereas when they have to stand at the cashier station they seem like a gum smacking teenager no matter who they are and how professionallly they behave. It's insane that most places force the cashiers to stand all day.
Na Ra K ♡
Thank you Nicola Coughlan and her perfect breasts for saving the world
wardrobe appreciation
CHOI YU NA (SEMANTIC ERROR, 2022)
"cinema is dying how can we save it" if you have eddie and the symbiote fuck NASTY in venom 3 you will make 10 billion dollars
supernatural actor men getting married and. I can't believe but we. well we. we got a. we got a gif for it
It just kills me when writers create franchises where like 95% of the speaking roles are male, then get morally offended that all of the popular ships are gay. It’s like, what did they expect?
#friendly reminder that I once put my statistics degree to good use and did some calculations about ship ratios#and yes considering the gender ratios of characters#the prevalence of gay ships is completely predictable (via sarahtonin42)
I feel this is something that does often get overlooked in slash shipping, especially in articles that try to ‘explain’ the phenomena. No matter the show, movie or book, people are going to ship. When everyone is a dude and the well written relationships are all dudes, of course we’re gonna go for romance among the dudes because we have no other options.
Totally.
A lot of analyses propose that the overwhelming predominance of male/male ships over female/female and female/male ships in fandom reflects an unhealthy fetishisation of male homosexuality and a deep-seated self-hatred on the part of women in fandom. While it’s true that many fandoms certainly have issues gender-wise, that sort of analysis willfully overlooks a rather more obvious culprit.
Suppose, for the sake of argument, that we have a hypothetical media franchise with twelve recurring speaking roles, nine of which are male and three of which are female.
(Note that this is actually a bit better than average representaton-wise - female representation in popular media franchises is typicaly well below the 25% contemplated here.)
Assuming that any character can be shipped with any other without regard for age, gender, social position or prior relationship - and for simplicity excluding cloning, time travel and other “selfcest”-enabling scenarios - this yields the following (non-polyamorous) possibilities:
Possible F/F ships: 3 Possible F/M ships: 27 Possible M/M ships: 36
TOTAL POSSIBLE SHIPS: 66
Thus, assuming - again, for the sake of simplicity - that every possible ship is about equally likely to appeal to any given fan, we’d reasonably expect about (36/66) = 55% of all shipping-related media to feature M/M pairings. No particular prejudice in favour of male characters and/or against female characters is necessary for us to get there.
The point is this: before we can conclude that representation in shipping is being skewed by fan prejudice, we have to ask how skewed it would be even in the absence of any particular prejudice on the part of the fans. Or, to put it another way, we have to ask ourselves: are we criticising women in fandom - and let’s be honest here, this type of criticism is almost exclusively directed at women - for creating a representation problem, or are we merely criticising them for failing to correct an existing one?
YES YES YES HOLY SHIT YES FUCKING THANK YOU!
Also food for thought: the obvious correction to a lack of non-male representation in a story is to add more non-males. Female Original Characters are often decried as self-insertion or Mary Sues, particular if romance or sex is a primary focus.
I really appreciate when tumblr commentary is of the quality I might see at an academic conference. No joke.
This doesn’t even account for the disparity in the amount of screen time/dialogue male characters to get in comparison to female characters, and how much time other characters spend talking about male characters even when they aren’t onscreen. This all leads to male characters ending up more fully developed, and more nuanced than female characters. The more an audience feels like they know a character, the more likely an audience is to care about a character. More network television writers are men. Male writers tend to understand men better than women, statistically speaking. Female characters are more likely to be written by men who don’t understand women vary well.
But it’s easier to blame the collateral damage than solve the root problem.
Yay, mathy arguments. :)
This is certainly one large factor in the amount of M/M slash out there, and the first reason that occurred to me when I first got into fandom (I don’t think it’s the sole reason, but I think it’s a bigger one than some people in the Why So Much Slash debate give our credit for). And nice point about adding female OCs.
In some of my shipping-related stats, I found that shows with more major female characters lead to more femslash (also more het). (e.g. femslash in female-heavy media; femslash deep dive) I’ve never actually tried to do an analysis to pin down how much of fandom’s M/M preference is explained by the predominance of male characters in the source media, but I’m periodically tempted to try to do so.
All great points. Another thing I notice is that many shows are built around the idea that the team or the partner is the most important thing in the universe. Watch any buddy cop show, and half of the episodes have a character on a date that is inevitably interrupted because The Job comes first… except “The Job” actually means “My Partner”.
When it’s a male-female buddy show, all of the failed relationships are usually, canonically, because the leads belong together. (Look at early Bones: she dates that guy who is his old friend and clearly a stand-in for him. They break up because *coughcoughhandwave*. That stuff happens constantly.) Male-male buddy shows write the central relationship the exact same way except that they expect us to read it as platonic.
Long before it becomes canon, the potential ship of Mulder/Scully or Booth/Bones or whatever lead male/female couple consumes the fandom. It’s not about the genders involved. Rizzoli/Isles was like this too.
If canon tells us that no other relationship has ever measured up to this one, why should we keep them apart? Don’t like slash of your shows, prissy writers? Then stop writing all of your leads locked in epic One True Love romance novel relationships with their same-sex coworkers. Give them warm, funny, interesting love interests, not cardboard cutouts…
And then we will ship an OT3.
I’m going to bring up (invent?) the concept of subjectification.
As in, people gravitate to the characters given the most depth, complexity, and satisfying interactions for their shipping needs, because those characters are most human, and we want the realest characters to play with.
In a lot of media, the most depth gets handed to male characters.
And, oftentimes, even when the screentime and depth and interactions are granted equally well to female characters, there can be a level of, for lack of a better word, dis-authenticity to those female characters: they are pared down, washed out, or otherwise made slightly less themselves than they could be, in the interest of making them decorative, or likeable, or “good,” or keeping them from upstaging or emasculating their male companions, or just that the writer whose job it is to write them doesn’t know how to write women the way they write men.
And you get the characterization equivalent of that comparison chart where so many animated female characters have the same facial features because the animators and designers are so worried about not letting them be ugly.
When you have a group that’s allowed to be themselves, warts and all, and another group that has to be decorative at all costs, the impression given on some level is that the decorative quality is making up for a shortcoming. That they wouldn’t be enough in their own right.
And sometimes that cost is authenticity. The interesting, striking, awe-inspiring, bold and glorious unapologetic selfhood that draws the viewer most particularly to those characters who are unapologetic in their particular existence, standing clear of the generic and bland and unchallenging “safe” appearances.
It is authenticity, not beauty, which powers subjectification. The love for a character, not because they are perfect, but because they are them.
They can be pretty, sure. They can be sweet. But being pretty and sweet is not a replacement, and too many female characters have been written by writers who think it is, while the interest—in appearance, in personality, in interactions, in plot development—goes to the men.
And when that happens, well. Surprise, surprise, that’s where the shipping goes.
Yeah I don’t really ship but I do write a fair amount of fanfic, and in most franchises working with the female characters is a chore.
You have to do so much of the work yourself, because the canon left them unfinished, with huge gaps or unexplored contradictions that you have to somehow resolve. Every female character you decide to integrate into your fanwork in some major role constitutes an undertaking in her own right as you patch together an understanding of her sufficient to model a consistent set of reactions and priorities &c.
The dudes just get handed to you. Even the ones whose canon is a mess have properly developed character cores.
That you don’t have to unearth and piece together like some sort of volunteer archeologist coming up with theories way more complex than the available artifacts truly support.
Guys read this this is an amazing breakdown of it
To @whetstonefires’s point, military sci-fi is on the extreme end of that problem for the most part, with casts that skew extremely heavily toward male, with female characters usually being ancillary to the story, if they even exist.
And like, it’s not that it’s not worthwhile to do! It is; it’s meaningful and can be deeply rewarding. It’s valuable to draw attention to the disparities and encourage people to self-reflect a little.
But refusing to acknowledge that a lot of external norms are conspiring to make Engaging With Female Characters more work, in service of an insistence that any struggle people face with this is always out of a lack of moral purity or other personal flaw, is deeply counterproductive.
Increasing the amount of guilt and shame people experience when they try to center female cast is not gonna increase the rate at which these works are produced! Let alone how genuine and nuanced and interesting they are.
Acknowledge that it’s a thing done uphill a lot of the time, and let people who do it anyway take pride in that. I think over the long haul that does a lot more good.
You can tell Mew’s dramatic ass was raised by lesbians because instead of just getting angry like a normal person, he spent his whole birthday party plotting and then waited to drop the bomb until Top was half naked and horny. What a king
One thing that's likely not visible to all younger queers is that little kids shows have gotten radically queerer in the last 10 years.
I'm not just talking about Owl House, Kippo etc, much as I love them.
I mean like stuff for kindergardners.
Characters in Strawberry Shortcake and Superhero Girls and more have gay parents just unremarkably in the background. That was unthinkable 15 years ago.
But the thing that shocks me utterly is the casual inclusion of nonbinary characters.
Dee and Friends in Oz, Polly Pocket, Craig of the Creek...it seems like half the shows my daughter watches have nonbinary characters just seamlessly included. Not even a Very Special Episode. Just...here's the scarecrow in charge of scarecrow village who uses they/them pronouns that everyone just uses without comment.
I was almost 30 before I found the word nonbinary. For my kid to just grow up with this is astonishing.
Conservatives are so mad because it's INCREDIBLY hard to just put this kind of inclusion back away. Once something is normal, and clearly not causing anything bad to happen, it's hard to convince people to be scared of it.
Still cannot believe Bad Buddy made what is probably the best confession scene in media, with some of the most heartwrenching dialogue in cinema and they did that while one of the characters was wearing a "Baseball Mom" tshirt
funniest character dynamic in the world to me is when you have one guy knows hes gay but doesnt realise hes in love with his best friend and another guy who knows hes in love with his best friend but does not know hes gay
Vegas: i can’t mansplain manipulate manwhore out of this one
Vegas: so manslaughter it is
listen. i know it's not 2014 anymore and i know it's just a throwaway line and that the russo brothers didnt intend for marvel action blockbuster captain america the winter soldier to become the tragic gay love story that never was but man. having steve say "it's kind of hard to find someone with shared life experience" in a conversation about romantic relationships right before the bucky reveal is so cruel. it's not just about steve and bucky obviously having the shared experience of being "out of time," it's the fact that they've both been stripped of their humanity in opposite directions. steve is a legend, he is an american hero and a national icon before he is a human being the same way that bucky is a weapon and a killing machine before he is a human being. steve knows that anyone who falls in love with him in the 21st century fell in love with captain america first, and that's just not him. but then the one person who knew him first and knew him best and loved him (not captain america, that little guy from brooklyn) so much he died for it is alive, impossibly. and it's a miracle because he's back and it's horrific because he's back under the worst possible circumstances. but to steve, the winter soldier is worth tearing the world apart for because he's always been bucky first. they find each other and suddenly they're human again. and maybe, despite it all, being "out of time" becomes a blessing, because in this century they'd finally be allowed to love each other the way they've always wanted to. like real people do.
like. no. the captain america trilogy isn't about two queer men traumatized and alienated by war and modern life rediscovering and reclaiming their humanity through their love for each other. but. i mean. it couldve been
since the y-destiny episodes disappear after two hours I thought I’d share my downloaded 1080p versions with y’all:
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ep 1 is free on youtube