Story, 30s, he/they. M.A. in fanfiction (real) & Ph.D. in Dean Studies (not real). Unintentional founder of the fandom wine grump coalition. Assigned verified Heller by beloved mutual. Whatever the enby version of a girls' girl is. π³οΈβππ³οΈββ§οΈπ΅πΈ
He/she/they pronouns all work. I post mainly about WWDITS, SPN, Taylor Swift, queer issues, fandom history, and horror movies. I less often post about Riverdale, Grimm, Teen Wolf, 2005 bandom, CSI, Criminal Minds, OFMD, Good Omens, and various other fandoms. I love Dean Winchester a ridiculous amount. Nandor the Relentless is my one true love. Izzy Hands is my favorite. Around mid-August I morph into a fall bitch and Iβm not sorry.
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Yes, Iβm that person who wrote a horror thesis. I also wrote smutty Dracula 2000 slashfic for my master's thesis. To access info about either of those, my writing, my edits, or other things I post about frequently, use the tags on this post. Just click or tap on a tag to see all my posts for that tag.
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I'm thinking about responses to Dracula - both adaptations and critical responses - and how the main thing that they seem to get wrong (at least from my perspective) is their approach to the romantic relationships in the novel. You know the kind of thing: Arthur is boring, Jonathan is boring, Lucy lusts after all three suitors, Mina lusts after Dracula, the suitors must all be suppressing their jealous hatred of one another.
It feels to me like it all comes from the same place, and that place is the idea that romantic relationships, particularly at the start of a story, can't or shouldn't be straightforward.
Instead, Dracula begins, near enough, with two women who have both met and are set to marry men who they love and who love them in return, and where it seems like there is no intrinsic reason why they shouldn't live happily ever after.
And normally we don't expect that. Certainly these are not the narrative rules of a romance (which Dracula isn't, but bear with me). It's a little bit like if Elizabeth Bennet was actually really into Mr Collins and accepted him right away, if Jane Eyre was blissfully happy with St John Rivers, or if Margaret Hale fell for Henry Lennox. Jonathan and Arthur are the safe choices for Mina and Lucy, and we don't normally expect heroines to want the safe choices.
Mina and Lucy do. Arthur is strategically the best husband for Lucy - good family, pots of cash, no weird job, her mum likes him - but he is also the man that Lucy loves. Mina and Jonathan are utterly besotted with one another, and though Jonathan isn't as wealthy as, say, Jack Seward, his career is also on the up. He's a good choice.
I think this works brilliantly in Dracula, because the later threat is so much the greater for the fact that everyone starts out the novel so strong. The fact that they are so happy to begin with means they have more to lose.
So many responses to Dracula want this to be a novel in which love is complicated, but instead it's a novel in which love is both pretty straightforward and always good. And I think it's more interesting for it.
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it's such bs that the whole guilt-ridden stoic self-sacrificing martyr thing doesn't work outside of fiction. repressing all your emotions and neglecting your physical wellbeing should make you god's most tragically beautiful morally unassailable little soldier of righteousness but all it does is give you bad skin and gastrointestinal problems
like what do you MEAN the number 1 sexiest character trait of all time is just kind of offputting and bad for you in real life. next you'll tell me smoking has consequences other than looking like a mysterious badass
People clown on the phone of a drunk thing from BBC Sherlock so much but that's genuinely the level of "deductive reasoning" you get from the books as well. Book Sherlock did the same exact thing with a watch, and also once declared with perfect certainty that a man's wife didn't love him due to the state of his hat, because clearly that was the ONLY possible explanation.
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I know that Buffy the Vampire Slayer was written almost thirty years ago and that it isn't necessarily fair to judge it from a modern perspective. I'm willing to believe that the writers and cast were mostly trying their best to be respectful, even when they were writing about things that clearly fell outside their own lived experiences. I understand it was seen as groundbreaking and progressive at the time.
I know that there is an argument that we should respect the label any fictional character uses for herself, even if it doesn't seem the most appropriate label to us. I know that because of the way Buffy was written, with the writers not necessarily knowing in advance everything that would happen, some character arcs can end up feeling a little bit odd or inconsistent in light of later developments. I don't think that necessarily means we have to refuse to accept those later developments as canon. And I'm sure this has all been argued about back and forth for decades in such a way that I can't really hope to add anything new to the discussion.
I know that there's always a risk, when talking about a popular character that a lot of people closely identify with, that you might say things her fans are justifiably sick of hearing for the thousandth time. It certainly isn't my intention to upset or offend anyone.
But at the risk of being divisive, I have to admit it: I don't think Anya is really a capitalist.
Sherlock's soft heartfelt plea for Joan to stay. π To fix himself for her. He thinks if they aren't in forced proximity they will drift away from one another. And the fierce attempt to swallow his tears when she says no. πππ
(But the way she says no in a way that says you don't need to change. I need something different but it isn't because you're wrong.)
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you need to understand that i have two sets of headcanons. there's the set of realistic headcanons based on my genuine reading of the show, and then there's me playing pretend with my dolls.
queer love can save the world if you let it @darkshrimpemotions - Tumblr Blog | Tumlook