our notes tomorrow (trust)

20+ yo, she/they i love minecraft, warrior cats and bandori

[senya-just-senya]

ahhhh and i guess i should mention it

(even though no one's here yet)

english isn't my first language, so my wording can be a little off

i read and watch a lot of stuff in english, but i lack practice with actually talking or writing

so yeah

if something is incomprehensible, feel free to ask what did i mean!

[leapfog1]

No Voice to Cry Suffering

[mamgoo]

[hiredtostareatyou]

So, we're starting to get the character introduction videos for the Yumemita cast, and there's one thing that caught my eye a bit.

In Arale's which is the first one we got, the last five seconds showed what we later learned is the start of her nightmare sequence of episode 1

Nightmare sequence which explores a bit of Arale's anxiety of never knowing exactly *how much* is too much to speak, of being seem and read as selfish and self-centered when that was never her original intention, and I wouldn't be surprised at all if the voices in her nightmare were comments on the Erea.mp4 video, and if not that actual things she had out-loud said to her after that debacle; which can be traumatizing to hear, specially if you genuinely didn't have malicious intents in your words and actions and weren't aware at all that you were being seen that way (which is what i imagine was the case with Arale).

Despite being relatively extroverted when comfortable, Arale seems to have a genuinely hard time understanding other people's reactions and feelings towards her, so I genuinely wouldn't be surprised if she *did* say everything that was in that video with little editing and framing needed, I just also genuinely think she wasn't being malicious nor mean-spirited in her intents, we know she is extremely passionate about her favorite anime, video games and artists, so I don't think it's out of character for her to be extremely particular in the order to present covers or on how certain parts *should* be sung and portrayed, it's completely normal to not enjoy, even hate, certain producers and talk/rant about it privately with people you perceive as your friends, it's also completely normal to want the channel you made with your friends, that happened to find success, to keep growing enough that you guys maybe could make even a living out of it.

The things in the video aren't particularly out of character for Arale, it's just that nobody ever actually *talked* to her from what we could see about how the particular way she went about it made them uncomfortable, and knowing that Arale has a hard time reading people and social cues, if they never told her they were uncomfortable I wouldn't be surprised if she never noticed it all until it exploded, and that can be and we have seen *was and is* traumatizing to her, to the point where she seems to be hyper compensating right now by projecting the "worst case" reading by default on others: of course Miyako is annoyed and disgusted by her going on and on about her love for her work and their shared interests, of course Ritsu doesn't want to talk to her and Arale being nesr her is making her uncomfortable, of course Yuno is freaked out by Arale being so invested in the lore of the songs she composed for this game series Arale loves. When in none of those cases those projections were true: we've seen how genuinely happy it made Miyako to hear that her work impacted Arale so much and to have someone to share her interests with, we've seen how downright desperate Ritsu is to reignite their relationship and how she's twisting herself in knots to try and keep Viola from going after Arale again, we've seen how Yuno is genuinely concerned for Arale's emotional well-being and how it didn't bother her at all Arale's enthusiasm on episode 1.

That all is to say that the ending of Arale's character trailer focused on the beginning of a scene that followed to set the groundwork for the central trauma/complex of her character. (and also a mini not so veiled explanation of my Arale audhd headcannon, the team behind this show can't *not* know what they were doing here)

So then we go to Nonoka's which is the only other one we have at the moment, and the last 5 seconds go to that video that got posted of her playing the guitar as a child which is responsible for having made her go viral from a extremely young age.

So i wonder if this follows the same logic as Arale's intro, where this will be reintroduced at some point later on in the show as a traumatic point in her story that fundamentally changed/reframed part of how she interacts with the word. This specially catches my eye considering the lyrics that Nonoka sings herself in her first character song "Animal Party in Session"

Which seems to reinforce this idea of only being allowed to exist in this dull, eternally cute, eternally naive state encapsulated in the child of the video, which although cute as a child, when you become defined by that, center your brand in that instant of fame, needing to retain that demeanor to be allowed to exist amicably it eventually becomes a cage as you grow up and learn more of the world and of yourself but never being quite allowed to express that in any way that isn't "cute" or "silly". Not to mention that we know from our own reality in our own world how traumatizing it can be for a child's mental health to reach that level of public virality.

[sappy-sprout]

[hiredtostareatyou]

I seriously wonder what's the deal with Ritsu's new streamer group, because we've had one scene with them all together and Ritsu seemed to be downright completely dissociating through all of that, the body there, doing everything it needs to do to appear proper and polite, but mind far away to the point of delaying her reactions to her environment (the time she takes to *notice* and then react whenever she is called on the conversation, and she never actually responds at all).

It could and maybe is "simply" her still reeling and being severely emotionally affected from the old group's dissolution and, in her eyes, losing what seem from the episode 4 stills to be her childhood friendship, and quite possibly only true friendship, with Arale, and also there's Viola's Everything, but I kind of wonder if there's something more going on and how the other members fit into creating this environment.

Specially because we know this is not her normal with people she isn't close to, we've seen her talking with Yuno and while Ritsu is a bit awkward, seeming to have a hard time with interacting without being prompted first, she's still relatively open with her expressions and more importantly, she's is present and active during the interaction.

And I don't think i need to say anything when it comes to how she doesn't seem to be able nor even particularly want to restrain her emotions when Arale is in the mix.

Which makes it all the weirder and more profoundly concerning how robotic she acts around this new group, Viola is her Entire Thing™️, but even outside of her it bothers me a bit how the other two members either don't notice the state Ritsu is in, don't care at all, or are aware and active in reinforcing it, considering how they incentivize Ritsu to go along with Viola in the coffee scene, something Ritsu clearly, visibly isn't eager at all to do.

I do wonder if how easily malleable Ritsu is once you get an handle on the exact sort of image and role she feels a compulsory need to portray plays a role in how fixated Viola seems to be on Ritsu, and if the way Arale always manages to force the real Ritsu underneath all those bindings out is one of the reasons why Viola seems so invested in wanting to keep them apart.

And I also wonder what, if anything, *else* happened/there is between Ritsu and Viola aside from what we learned together with Ritsu by the ending of episode 3, because before that moment Ritsu had no idea of Viola's role in the callout video that ruined the group, so I wonder if Viola is just that good at grasping and navigating around other's emotions and social situations to know what to say and to do to force Ritsu into the positions she wants, or if there is something else keeping Ritsu in line.

[sandmandaddy69]

[studentofetherium]

the way people are responding to Yuno in Yumemita using chatgpt is fascinating because it's clearly being presented as a character flaw for her to overcome but some people are mad that it exists at all in the show? which is a lame point of view

[n1hilsan]

yuno outside for the first time and she already died

[lylacynth13]

thinking about yumemita again did anyone else immediately get the ick from viola when she touched arale’s hair? Cause I did. I think that was the first red flag that popped up for me (aside from Arale’s reaction to seeing her again) but idk maybe that’s just cause I personally don’t like having my hair touched unless it’s people I’m comfortable with

[hiredtostareatyou]

text got over the word limit for a comment so yapping abt this in a reblog lmao.

I definitely got massive icks there too, but what got me the most was not necessarily the hair-touching, but Viola doing *knowing* that no matter how uncomfortable that may have made Arale Arale was in no condition to do anything to express her discomfort or stop Viola.

Arale was visibly uncomfortable, anxious, downright scared throughout that entire scene from the instant Viola called out to her, and if that's clear to us the audience that knows her for one(1) episode imagine how obvious it must have been to Ritsu and Viola that have been in a group with her for lord knows how long.

Viola approaches Arale after calling out, maybe not knowing that she would have a trauma reaction to that degree, but definitely knowing Arale would be uncomfortable, knowing Ritsu would be forced by social convention to follow after her (specially because Viola called her attention to Arale out loudly in a public place, and we also see in episode 3 how Viola weaponises Ritsu's compulsion to fit herself into the mold of a "Prodigial, Ideal Student" to dismantle Ritsu's disagreements to her actions by framing herself as the victim of Ritsu's ""agressive"" reactions, so I wouldn't be surprised if the fear of not going along being seen as an act of agression or a fear of how Viola would react to beinh abandoned had a role in her following along).

She then points out that they haven't seen each other in a while, something everyone there knows the reason for and definetly doesn't help Arale's anxiety, specifically calls Ritsu not by her name, but by the name she goes by in their new group, which quite clearly delineates how separated they are now; then tries to make Ritsu say something, clearly looks disappointed when the only thing she has to say is about her hair, but then proceeds to use that to invade Arale's personal space *while* she looks clearly on the verge of a panic attack, touch her in that state, and bring attention, again, to the fact that their old group is done for, says clearly that she knows about the new one Arale joined, while Arale looks horrified Viola essentially says she's watching her every move, touches Arale *again* in that state, and then she drops that her *and* Ritsu have made another group of their own without even entering in contact with her, while bringing up that they're making a public event, something we know brings Arale anxiety, her main issue with Mewtype *is* having to show herself, before bringing up *again* the hate she got after the leak that broke their band.

Everything in that scene from beginning to end was to make Arale as uncomfortable as humanly possible in a scenario where Ritsu as she is right now can do nothing but watch. Viola is insane i love her and i hate her i hope for and believe she can get worse.

[eggtempest]

love yumemita so far.

[katharsisboy101]

How Padparadscha's Disability shapes her Perception of the World

I’ve always found Padpa’s role in Houseki no Kuni’s story really interesting, appearing spontaneously once every dozens of chapters and leaving a huge impression on the reader.

Her character and story is one that is told extremely subtly throughout the chapters, and I’d say that only by examining her actions is it possible to understand her intentions, and thus, the thematic purpose of her character.

Padparadscha's Past

We know little about Padparadscha's past, but we do know that:

She was partnered up with Rutile, who is used to tending to her due to her condition.

2. She's as old as Yellow Diamond.

3. She's almost as strong as Bortz.

And that's all we really need to know!

Judging by Phos' admiration for Padparadscha and the gems' reaction to him in subsequent chapters, it's obvious that he's seen as a cool and wise guy—that is his reputation. He looks cool, acts cool, and is cool.

Padparadscha was incredibly valued for his battle prowess and intelligence—he's not only strong, but he's smooth, nonchalant, and knows how to read people. He's almost like a legend. I'd argue that he wasn't born like this, however, but rather, that it's because of his condition—his disability, that he started to realize why he needs what he calls "discretion" in his first conversation with Phos.

Padparadscha is Discreet

Discretion, like "Courage" is for Antarc and Winter Phos, is the perfect word to describe Padpa's way of living. He thinks before he acts, he understands how fragile people's feelings are and as such he proceeds with caution. This is even shown when he calls Phos out for being too reckless.

But how does someone end up like this? It's strange to see just how cautious Padparadscha is of altering things... of altering the status quo.

So let's go back to Kongo's society—a community that values usefulness over everything, and in which you need an unchanging role to thrive. Padparadscha was useful, yes... but her role was not "unchanging".

She had to constantly be examined and repaired by Rutile, and everytime she woke up, things were different... and yet the same. Gems were taken away, never to be seen again, and yet everyone still acted the same. Everyone stuck to their roles, and the only exception to that was Padparadscha.

It must have been sickening for her, because for every other gem, they live so long that every year starts to blend together—they aren't aware of what changes or not (unless it's as flashy and uncommon as Phos).

But then you have Padparadscha, who wakes up in a world that acts the same, looks the same, and yet shouldn't.

Because valuable companions are missing—cherished people have gone away, and everyone still acts as if nothing has happened.

Really, how must this all feel for her? She's as old as Yellow, which naturally brings a special kind of tiredness and apathy, and she's as strong as Bortz, and yet unable to do anything about all the tragedy surrounding her.

Thus, due to her condition, Padparadscha realizes that the story of a hero was nothing more than a sham, and the roles the gems attribute so much meaning to now seem like a way to cope with their meaningless existence.

Not only that, but changing your role from the hero she used to be to the gems to the burden that Padparadscha is to Rutile must be eye-opening... Even the bond she valued the most can be turned into nothing but a puzzle for Rutile due to how much she values her work—due to how dehumanizing the gem society is.

It's a question about what society does with you when you stop fulfilling its expectations, when you stop fulfilling your role, an allegory that's intimately linked with disabilities, similar to the way Gregor in Metamorphosis by Kafka is rejected by his family after becoming unable to work by becoming a literal bug.

Why else do you think Padparadscha looks uncomfortable here? It's like she's heard this a million times, and now she's learned to be discreet and nod, or rather, not even say anything, because she understands how fragile and yet resistant the gem society is.

Padparadscha states it rationally and objectively: her luck is to blame. Rutile responds subjectively and through existentialism: her inability to fix Padparadscha means something in regards to her ability as a doctor. It's a battle of outlooks, of cynicism vs meaning, and Padparadscha gives up because she has come to understand that detracting meaning will only break Rutile, just like it broke her.

Despite knowing that the gems lack empathy, that they lack perspective, and they lack proper relationships with each other... she can't do anything about it, because the truth would make it even worse. It's better for them to continue to believe the lie than for Padparadscha to reveal it—that their society only makes them more self-absorbed, and that the roles they find meaning in only contribute to their torture.

It's similar to the way Moon Phos interacts with gem society, don't you think? Detracting meaning, being rational...

Except Phos isn't discreet, and that's why everything breaks.

Padparadscha is Useless

Padparadscha understands the hierarchy so well that she even teases Phos about it:

Despite Phos not obeying the figure they're supposed to, and cataloguing him as a bad child, she can only laugh, because whatever they do is futile in face of the society they're trapped in.

Padparadscha is lonely—probably even resentful for the life she's gotten and the burden that comes with her disability, both physically and mentally.

She seems relaxed and nonchalant probably because the only way to cope with her circumstances is to pretend that nothing really matters, and live only valuing the little things, like the weather and sleep, which is what she talks about over everything else in her minute of screentime.

Anything else would not only futile, but perhaps even damaging—the only thing Padparadscha can do... is do nothing. Ask meaningless questions, and talk about meaningless things.

Why would she make Rutile aware of the truth, that what she's doing is useless, that there's no point, when Padparadscha knows best how it feels to have your role suddenly taken away like that?

Padparadscha sees the truth of gem society, and she's become cynical because of it—she's the gem who understands everything and will do nothing, not only because she physically can't, but also, because it's easier that way... It's easier for Rutile, easier for the gems, to play pretend, rather than face the truth and have their emotions distorted like Padparadscha has.

If you want an example of why she's justified in thinking that way... just look at Phos, who stared at the abyss and paid the ultimate price for it.

Padparadscha’s character is defined by her inaction, by her state as a passive agent, one that wishes to enact change but can't and will choose not to—not even her body will respond to her wishes.

She can't do anything to change society, and she can't do anything to change herself... that is, until her savior, Phosphophyllite, comes.

Padparadscha and Phos

I find it funny how nonchalant Padparadscha is with everything on the moon, and how she points Phos to the right direction by being the voice of reason once more. She understands more than anyone how rapidly things can change for the worse, so she begs Phos to think before she acts.

It's also this very same quality that points out that things may have already changed on the enemy side.

But why is Padparadscha going along with Phos so much? Knowing what we know about her now, it should be obvious.

Padparadscha sees Phos as all that she isn't—a reckless, but hopeful, force of change. And she can't help but but go along with her, as it's precisely that same force that allowed her to have a functional body again. Not Rutile's meaningless meaning, but Phos' reckless advance. It's precisely this why she's the only gem to fight for Phos until the very end, despite his instability.

She's happy to see him succeed, and tries her best to mentor him despite feeling incapable for the role, as stated by the character introductions.

Phos, despite doing everthing she doesn't want to do and viewing her as nothing more than an immature child, is her savior, and strangely, it motivates Padparadscha to finally let go and imitate her courage.

Padparadscha's Rage

Every gem changes in the moon, and Padparadscha is no exception.

What's funny though, is that unlike everyone else, who changes because of the influence of the lunarians, Padparadscha changes simply because her condition, her disability, was fixed, and that unleashes the monster that was always there, shown in full display.

Because the apathy she had accepted as a necessity in face of her disability isn't needed anymore—now she can live for herself, she's no longer an object or a reason for someone to exist. She's a person.

I think her breaking point is this scene right here... Rutile isn't refusing to attack Padpa because she cares about her... she refuses to attack the pieces of the puzzle that managed to make her move again—she only cares about that, the object, not the person. This is the epitome of everything wrong with Kongo's society, and Padparadscha loses it in response.

The aggression and indifference she exhibits in her return to earth is a response to the silent but growing resentment she had of Kongo’s society—a society that always neglected the individual in favor of the majority, a society that was unchanging, cruel and impersonalized. In a way, she's just returning the favor, along with repaying her debt to Phos. It's finally the excuse she needed to lose her discretion, her composure.

Padparadscha seems to be more aware of the flaws of Kongo’s society than any of the other gems, and for hundreds of years she was unable to do anything about it. It's no wonder that when she is given her agency back, she goes in a rampage—she can finally act now: she's tired of the charade she's been part of since the beggining of her existence, and, rid of her condition, she unleashes all her potential as a monster into the world that tied her to the ground.

Padparadscha is a Burden

However, despite her rage, Padparadscha did still care about Rutile, deep down. Perhaps, the only meaning Padparadscha allows herself to find at this point is the one she serves for Rutile. That's why she feels bad that she was repaired, instead of feeling grateful.

It's even pointed out in the volume introduction of her final appearance, as that is the redemption Padpa chooses for herself as her last stand—to repay her debts to the two people that meant something for her, Phos and Rutile.

Her appearance on Earth is nothing short of suicidal, showcasing just how deep the gem's self-loathing due to her condition must have been. Imagine waking up, and seeing that once more everything has gone to shit. Phos failed, the gems moved on, and Padpa stayed the same, as always.

This was probably the last straw, which is why she doesn't see herself as a person anymore... she's a gift, for Rutile, a subordinate, for Phos, and nothing, for herself. In a way, she's choosing to fulfill the role she's always had—that of a burden.

With some implicit contempt, she throws a piece of herself at Rutile while distracting her from Phos, accepting her reality.

Padparadscha ultimately chooses to die for the two—she returned what was lost, she reverted the progress back to the status quo... because it's the only way in which she, paradoxically, has found meaning in her life. Meaning in the meaningless burden she was born to carry.

Padparadscha's Samsara

Thus, when she returns as a lunarian, she stays depressed—helping with Rutile's clinic, barely talking, barely existing. She's described as lifeless by implication. She chose the status quo, and that's that.

However, because she still has to live, Padparadscha chooses to value the little things: sleep, a book, and eating sweets.

What others might call laziness, she sees as the only way for living—now rid of her condition, she still chooses not to do anything meaningful, because she understands that whatever she might find meaning is, is as feeble and superficial as everyone's relationships around her.

As shown by the "Party of the End" interview, just as always, the only thing she has to grasp on left is her discretion, her composure—rationality. That's why she's reading a book about a scientific view of the universe.

The last thing we learn about her through this interview is that apparently, she's also a therapist in Rutile's clinic.

And what does a therapist do if not hear people talk about their secrets? About the prohibited truth that will destroy its surroundings, that has to be contained? Padparadscha is repeating her affliction again and again, trapped in the samsara...

While Rutile prospered, Padpa is "content" sticking to her role, lifeless, but by her side. She saw everything, and yet did nothing once more. Despite her brief moment of freedom, now she's nothing more than accessory, as she always was, and, as society and her body dictated, as she should have always been.

Padparadscha gave up, by judging that her life wasn't worth living.

That truly is... discretion.

[jinaprivat]

Close ups of the Lapis and dia portraits

I think it's the first time I am satisfied with how I drew Lapis

[casperastarius]

Самоцветы но... как человеки в колледж аушке?? (･ω･*)

⋇⋆✦⋆⋇　

The lustrous but... human college au?? (･ω･*)

[oleanderrrz]

remember my headcanons so I lied Derek is nonbinaring out now

[genderkoolaid]

hey boy don't kill yourself. green's dictionary of slang is available online and allows you to explore 500 years of english vulgarity. you can search by part of speech, source, time period, etymology, and usage. there's a whole category for gay slang. they even have specific citations listed so you can see the exact context for yourself. boy did you know that in 1927 "to kneel at the altar" was slang for "to sodomize"

[genderkoolaid]

some other hits:

Princess: an effeminate and relatively youthful male homosexual or lesbian (1931-4)

Daffodil: effeminate young man (1925)

To throw a fuck into: to have sex with (1919)

Top sergeant: a masculine lesbian (1939) [‘she takes command of the girls’ privates’]

Lily: penis (1919)

Wolf: sexually aggressive man (1847); a homosexual top (1918)

Soul kiss: a deep kiss, involving putting one’s tongue into one’s partner’s mouth (1907)

Tom: a lesbian (1909); [in 'old tom'] prostitute catering to lesbians (1966)

Church mouse: a male homosexual who frequents crowded churches in order to fondle any potential sex partners. (1941)

Discover one's gender: to accept or acknowledge one’s homosexuality (1941) / Lose one's gender: To return to living as a heterosexual

Minty: a masculine lesbian (1941)

Also a lot of early 20th century vulgarity is recorded in Letter from My Father, which is a collection of letters published by a man who's dad was, in short, a major slut and human disaster who wrote about his sex life for his son. It's insane. You can find copies of it online & it's a wild fucking read (literally!) and I think a really interesting look at the life of a person who goes against our stereotypes of what people in the past were "supposed" to be like.

Anyways feel free to add y'all's favs to this post. & if you use this for gay historical fanfic please share with the class

[genderkoolaid]

#OH THIS IS EXTREMELY EXTREMELY HELPFUL#writing#resources#saving for later#maybe i should move my 1920s story from '25 to '27 because..... bro..........

note for writers: these are dated to the first time they were recorded, not necessarily to their first use. I imagine for many of these, they came about naturally through spoken language before they were written down anywhere. This is especially true of more underground slang because it's probably being recorded (in ways we still have) the least. So if you wanna use a term but it's a little off date-wise, give yourself some wiggle room.

also gonna take this moment to highlight two more i found recently:

Best boy: a sweetheart, a boyfriend, a husband. (1893) [w the obvious equivalent term 'best girl']

Honeydripper or honeydrips: a sexual partner (1917)

Like. Honeydripper?????? That's so horny I can't stop thinking about it. We need to bring THAT back

[the-transgenda-agenda]

updates to miscellaneous page - added link to green's dictionary of slang

[disease-danger-darkness-silence]

[tronmike82]

I don’t mean to be rude; but I don’t think I’ve ever seen this, does anyone have any examples?

[darkshrimpemotions]

Supernatural

Doctor Who (Steven Moffat specifically)

Sherlock (Steven Moffat specifically)

Actually Steven Moffat is basically just this sentiment given human form.

A version of this happened with The Magicians, tbh. Though instead of expectation: men, reality: women it was expectation: smug nihilists, reality: mentally ill queer folks.

Arguably Game of Thrones.

If we broaden it outside of television…I think Star Wars falls into this, at least the sequel trilogy. Maybe the MCU as well. And I can’t help but think of every band that’s ever complained that their fanbase is mostly women. 5 Seconds of Summer comes immediately to mind.

In general, most white male creators seem to have this massively entitled mindset where they want–and think they deserve–the time, attention, and enthusiasm that creative fandom (i.e. the side of fandom more dominated by women) is known for.

They want our eyes for ratings, our word-of-mouth for free publicity, our metas for social media buzz, and our spending power for merch and cons. But they don’t want us. And they don’t really want the responsibility of telling a story to a thoughtful, engaged audience, regardless of that audience’s demographic makeup. They just want to be praised for whatever schlock they cough up.

And like any other spoiled brat, they will break their toys before they share them.

[pessimisticfanboi]

It goes all the way to the top for kids shows. Toy sales will crash a show. Makes sense, but if those toys are gendered for boys instead of the female viewers, they won’t usually switch up the marketing and move them to the girl aisle. They cancel the show outright.

Mind you it is perfectly possible to make the switch in marketing, but execs would rather throw it all out than have something that doesn’t perform well with male viewers. For example the Rey merch was not expected to be popular, for some reason, there had to be public outcry to get merch of one of the main 3 protagonists. A PROTAGONIST. The fact that she wasn’t a huge part of the 1st launch says a lot already.

And what happened when female fans got too invested in the Sequel Trilogy? The entire writers room didn’t necessarily lash out, but they sure forgot how to behave.

Young Justice

Paul Dini: Superhero cartoon execs don’t want largely female audiences

#WhereIsRey (initial)

#WhereIsRey (ongoing)

'Star Wars: The Last Jedi' owes its box-office success to women

The older, male generation of 'Star Wars' fans may be losing interest in the franchise, but female fans are stepping up.

Star Wars: The Rise of Skywalker was designed to be the opposite of The Last Jedi

[drunkenhills]

You’re all sitting on the hot take of the decade tbh

[vbartilucci]

And yet when they fond out that boys were watching MLP:FIM in droves, they had NO PROBLEM with it.

[jediorgana-deactivated20260403]

#SONS OF ANARCHY!!!!!!!!!!!!!#LITERALLY SONS OF ANARCHY IS THE BIGGEST EXAMPLE OF THIS LIKE EVER#kurt sutter wrote that show for MEN and ended up with an overwhelmingly female audience#because he’s actually a good writer and knows how to develop characters well and wrote excellent female characters#but once he realized that his audience was almost entirely women he literally took it out on tara and gemma in the show#but like tara specifically#he resented her character for being a huge draw for female viewers so he tore her development to shreds and killed her#in the most brutal gut wrenching way possible#kurt sutter you will pay for your crimes#i actually wrote a manifesto about this on one of my old blogs i should try to find it sldkjsldfjsdljf#long post (via@m-oonknight)

OMG YES. I LOVED Sons of Anarchy, especially the women and then I got to season 6 and it was like - everything was just tossed in the trash? And like, why did Sutter hate that Tara drew tons of attention? That should have been a good thing! He should have been like “Hey folks, this girl’s getting us more viewers, let’s put her in more scenes!” It just doesn’t make sense to me. MEN don’t make sense to me.

[geraltcirilla]

The 100 too. I’ll never forget how Jason Rothenberg would attacked female fans on Twitter and mock them in interviews, and then post links to male fan discussions on Reddit to praise and thank them. In his goodbye letter to the show he SPECIFICALLY thanked Reddit and it was so disgusting.

[annaknitsspock]

Star Trek from TNG on was also a boy’s club, even though the TOS fans were mostly women. Women, in fact, who literally created modern fandom with their zines. But after TNG it was all, “Women don’t understand Star Trek, only smart men hur dur.”

[help-help-i-need-an-adult]

I think it would be harder for us to find examples of when this DIDNT happen than when it did. It happens all the time.

[nova-arcania]

Doesn’t stop it from boggling the mind

(though it could probably start to make some sense if you follow the money past audience bases to maybe a couple of investors or like a rich patron … 🤔)

[ridleymocki]

Stooooop I just wrote a masters thesis on this shit. Media creation and distribution is a means by which dominant power structures consolidate their hegemony. Dominantly situated creators get upset when the audience they attract isn’t the audience they wanted, because they view the whole creation and sharing of the fiction as an exercise to sustain kyriarchal conditions that benefit themselves. When the audience is Other, they see it as a failure of those efforts and lash out.

Simply, they’re trying to assert a particular worldview via fiction, and upon getting confronted with something else, begin foot stamping. It’s not just men wanting male attention and gatekeeping. It’s that the fiction in the first place was an attempt to curate dominance and whoopsie! they miscalculated.

(anyway if anyone wants to read 35k words of philosophy about this, hmu)

[ridleymocki]

Hey folks, for anyone that was interested in the thesis (firstly thank you so much for reaching out I really appreciate the interest) the following is an open access link to download it. Please let me know if it doesn’t work for some reason. Comments are now restricted so can’t put it there, but I hope you see this if you were interested!

I’d also love to hear your thoughts, as I literally wrote it for communities like ours to read, so, thanks.

Fictions are a cornerstone of human cultures: they are created, shared, discussed, modified, and valued. Yet, philosophical accounts which p