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The new Odyssey adaptation has inevitably gotten people talking about a Muppet version of it, and theyâre frequently suggesting Kermit as Odysseus, Miss Piggy as Penelope.
Iâm sorry but thatâs thinking way too small, hear me out:
We need to have Miss Piggy as Odysseus, and Kermit as Penelope.
Think about it⊠whoâs the more fickle, prideful, warlike one in that relationship? Who is absolutely ready to go ham, at a momentâs notice?
But who is the single human cast member in this tale? Who gets to put in an Oscar-worthy performance alongside the Muppets and what role are they to play?
Thereâs no single human, everyone is a Muppet except for one scene. Circe, played by Janice, turns Odysseusâs crew into humans who still behave animalistic and are all played by Academy Award winning actors.
Victor Frankenstein after achieving the impossible and building a fucking person from scraps of the dead: Oh god, ew, ew it's ugly! Yucky! Yucky! Gross! Ew! Ew! Yucky! Yucky! Gross! Ew!
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Discussions of trans women in sports often focus on elite/professional sports which honestly I find it hard to care about but the more common scenario of âweâre going to legally ban a high school girl from playing sports with her friends because sheâs transâ is just profoundly evil
i remember when utah's (republican) governor ended up vetoing a law banning transgender students from playing high school sports when he looked at the numbers, and there were only four trans students in the state playing sports at all. he released a clumsily worded but surprisingly compassionate statement about the decision.
I must admit, I am not an expert on transgenderism. I struggle to understand so much of it, and the science is conflicting. When in doubt, however, I always try to err on the side of kindness, mercy, and compassion. I also try to get proximate, and I am learning so much from our transgender community. They are great kids who face enormous struggles. Here are the numbers that have most impacted my decision: 75,000, 4, 1, 86 and 56.
75,000 high school kids participating in high school sports in Utah.
4 transgender kids playing high school sports in Utah.
1 transgender student playing girls sports.
86% of trans youth reporting suicidality.
56% of trans youth having attempted suicide.
Four kids and only one of them playing girls sports. Thatâs what all of this is about. Four kids who arenât dominating or winning trophies or taking scholarships. Four kids who are just trying to find some friends and feel like they are a part of something. Four kids trying to get through each day. Rarely has so much fear and anger been directed at so few. I donât understand what they are going through or why they feel the way they do. But I want them to live.
of course, it didn't amount to much. they overrode his veto. it's just so cartoonishly evil. an entire state's political body so desperate to terrorize this one little trans girl.
When someone gives the advice of âdonât be afraid to disappoint your parentsâ they donât just mean taking music theory in college or starting a YouTube channel.
It also means wearing things they might not approve of. Using accommodations that they might not think you need. Not falling for their guilt trips. Eating when youâre hungry, not when it suits them and their idea of your weight or health. Making your own friends instead of seeking the stamp of approval from them.
Of course, some parents are stricter than others, and some use abuse to keep you from expressing yourself. But do what you can, even if it seems small.
Otherwise, when your parents are no longer in the picture, youâll try to find it somewhere else to get validation. A strict boss, an abusive partner, a selfish friend.
Going against your parentâs wishes is developmentally healthy. Not doing so stunts your independence and self-regulation. You shouldnât be living to constantly please others, even the people who love you.
'Chinese' is a nationality. There are 56 officially recognised ethnic groups within China. Europe is a continent, comprised of around 50 countries each with their own demographic makeup. So, no.
Something like 20-25% of British people are, in fact, not white. And excluding those people as "yeah but they're not like British British" is the fucking mating call of our local hooting racists.
All of it? Or just a couple of cherry-picked dishes mainly eaten by lower class families that you think are weird? Many types of curries are made/eaten by British people every day and those aren't suddenly "not-British" bc you've decided people with South Asian heritage aren't British or capable of contributing to British culture. "Yeah but South Asian people are only in England bc of colonisation :/" Are Black people not American bc many of them are there bc of slavery? Is soul food not American??
"British accents are soooo cringe"
All of them? or just the ones used by people who've been forcibly made "lower class" by centuries of oppression? these are the people who say "boht-ole 'o whot-arh" or "innit." The white ruling class you're supposedly mocking doesn't say that. It's poorer white ppl & POC.
but you know who else mocks/stigmatises cultural food they don't like and any accents (including British ones) they think sound funny/incorrect?
the white British ruling class. you are doing white British ruling class behaviour when you do this shit. stop it.
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i think tumblrinas are missing out on a really amazing poor little meow meow in frederick frankenstein from young frankenstein (1974). he's biologically wired to reanimate dead tissue and there's nothing he can do about it, he stabbed himself in the thigh by accident, he kneed an old man in the crotch in front of a class of college students for the hell of it, he screams for his mommy every time something slightly difficult happens to him, he has probably the most beautiful eyelashes in all of history, he's canonically had penis augmentation surgery, he decided the best way to show off his creature was to choreograph a rendition of puttin' on the ritz, he's always .2 seconds away from his mind completely breaking past the point of no return etc etc.... and all this while gene wilder is visibly failing to hold back his laughter as he's delivering his lines. can everyone get on this so we can freak out together
In the last few years there have been several popular TV shows/movies/books focused on a love story between two men but where the main audience and most of the fandom seems to be straight women. I've noticed a few common themes in the original media and in the fan-created works based on the original media that feel like they distinguish queer media made for/by queer people with predominantly queer fandoms from media focused on an MLM relationship that has a predominantly straight female audience.
Queer Stories for Straight Women and their fandoms are often told and built upon through an inescapably heteronormative, pro-systemic framework, whereas Queer Stories for Queer Audiences often deconstruct, rebut, or directly contradict the underlying heteronormative, pro-systemic framework.
The TLDR difference is: In Queer Stories for Straight Women, Queerness is the plot, because queerness is seen as abnormal.
In Queer Stories for Queer Audiences, there is a plot featuring queer characters, because queerness is not treated as a problem that needs to be resolved.
Queer Stories for Straight Women are told to help insiders empathize with outsiders; Queer Stories for Queer Audiences are told to help outsiders feel like they can still belong.
(Disclaimer: I like all of these pieces of media and am glad to see queer stories have a wider audience, be less isolated as a genre, and get broader acclaim, audiences, discourse, funding, greenlighting, etc. Straight women getting into queer stories has helped more queer stories get told, and has helped normalize and destigmatize the queer experience... but has also led to queer stories being told through a heteronormative lens. Queer stories are being told in less queer ways to get through to a straight audience, but I believe that does help a straight audience better empathize with and offer allyship for the queer experience. Making the queers seem less queer does help normalize us to straight people... but that doesn't mean it's not making the queers less queer, fundamentally for the benefit of straight cis people.)
Some examples: Heated Rivalry (TV) and Red, White, and Royal Blue (Film) are Queer Stories for Straight Women; Our Flag Means Death (TV), What We Do in the Shadows (TV), Killing Eve (TV), and Hannibal (TV) are Queer Stories for Queer Audiences. This is not an exhaustive list. Leaving all the original books/movies out of it to just focus on these versions of canon for consistent discourse.
1. In Queer Stories for Straight Women: The main story is an MLM romance focused on two male main characters.
In Queer Stories for Queer Audiences: There is a main story involving a queer couple, but there is significant screen time and development devoted to 'supporting' or 'background' characters and ships. The 'main' couple is not the only couple.
2. In Queer Stories for Straight Women: The plot ends with the main MLM couple being in an exclusive, committed relationship. Exclusivity/monogamy is treated as the endgoal or only 'happy' ending for the main characters.
In Queer Stories for Queer Audiences: 'Happy' endings for canon ships are not necessarily monogamous or committed; 'happy' endings may include canonically open or polyamorous or casual relationships.
3. In Queer Stories for Straight Women: The nuclear families (mom, dad, siblings, grandparents, biological relatives) of the MLM main character(s) are central to the main plot and conflicts.
In Queer Stories for Queer Audiences: The nuclear families of the canon queer ships are not central to the plot and conflicts, may only be mentioned in reference to pre-canon events, may only be depicted in canon in flashbacks, may only be depicted in reference to an unrelated plot or conflict (ex. a character's internal struggle or backstory rather than the main plot), or may not be depicted in canon at all.
4. In Queer Stories for Straight Women: Much of the fan-created work focuses on outcomes centered around a monogamous relationship and the creation of a nuclear family. (Ex. bulk of the post-canon fan work prioritizes marriage, children, nuclear family ties, domesticity, and other traditionally 'straight' family models and outcomes.)
In Queer Stories for Queer Audiences: Much of the fan-created work focuses on alternative family models. (Ex. more multi-character and polyamorous ships, a higher proportion of fics tagged with multiple ships, a higher proportion of works tagged as "found family", an emphasis on unrelated characters creating some kind of family unit, a lower proportion of fanworks about the characters having or raising children.)
5. In Queer Stories for Straight Women: The main MLM couple's issues and conflicts within their relationship primarily stem from poor communication.
In Queer Stories for Queer Audiences: The canon ships' issues and conflicts within their relationship are usually external or situational.
6. In Queer Stories for Straight Women: The main MLM couple do not ever intentionally cause each other harm. They may inadvertently cause each other harm, but it is usually due to poor communication. They are not verbally or physically abusive to each other. They are not in any way physically violent towards each other.
In Queer Stories for Queer Audiences: The canon ships may intentionally make choices to hurt each other, or may be intentionally verbally cruel for the sake of causing the other harm, or may do each other intentional physical harm. It is not uncommon for the main canon ship to literally stab each other and for them ending the canon in a relationship together to be seen as the 'happy' ending.
7. In Queer Stories for Straight Women: Physical violence is only done by 'the bad guys' and a character acting physically violently signals to the audience that he is 'the bad guy.' Physical violence is only enacted by men. Even if a main character is on the receiving end of physical violence, he does not retaliate with physical violence.
In Queer Stories for Queer Audiences: Physical violence is not treated as automatically immoral. Both 'the good guys' and 'the bad guys' may be physically violent. Physical violence is not exclusively a male activity; men, women, children, and others may enact physical violence.
8. In Queer Stories for Straight Women: The main MLM couple behaves lawfully. The 'good guys' behave lawfully, or are not shown in the canon to behave unlawfully. Unlawful behavior is often used to foreshadow that a character is 'a bad guy' or will later create conflict for the main MLM couple.
In Queer Stories for Queer Audiences: The main characters frequently behave unlawfully. Unlawful behavior is not automatically immoral.
9. In Queer Stories for Straight Women: Because the plot is centered around one main romance involving two men, the media may fail the Bechdel test.
(Heated Rivalry (TV) fails the Bechdel test. Red, White, and Royal Blue (Film) also fails the Bechdel test, unless you count a few lines of scene opener dialogue between two women cut off by a man entering a room, or a line of dialogue by one female character to a second female character who does not have time to answer.)
In Queer Stories for Queer Audiences: Due to the emphasis on supporting and background characters, multiple canon ships, and an emphasis on external conflict and multiple plotlines instead of one main romance plot involving two men, all of the examples listed pass the Bechdel test.
(Our Flag Means Death (TV), What We Do in the Shadows (TV), Killing Eve (TV), and Hannibal (TV) all pass the Bechdel test. Caveat that all of these had more screentime to work with than Heated Rivalry and Red, White, and Royal Blue... but all of them passed the Bechdel test within their first season.)
10. In Queer Stories for Straight Women: The romance between the two MLM characters is the central plot/conflict/premise.
In Queer Stories for Queer Audiences: There is a central plot, conflict, or premise to the story, and the story also happens to feature queer canon ships.
11. In Queer Stories for Straight Women: "Sex" is penetrative sex between two consenting adults. While other sex acts may be depicted, penetrative sex between the two main characters is treated as a "first" and/or a relationship milestone and is emphasized with dialogue, music, and cinematography that treat it with greater focus and priority than other sex acts. Other sex acts are depicted as build-up or precursors to eventual penetrative sex, rather than as climactic moments. Penetrative sex between two consenting adults is treated as "real" sex.
In Queer Stories for Queer Audiences: "Sex" may not be depicted explicitly at all, even between canon ships; "sex" may include sex between more than two partners, or may be filmed in a way that makes it appear as though there are more than two partners participating; sex acts other than penetrative sex may receive the same level of focus and priority through dialogue, music, and cinematography; "sex" may not be treated as a relationship milestone; casual "sex" may be depicted or implied; sex acts other than penetrative sex between two consenting adults are still narratively and cinematographically treated as "real" sex.
12. In Queer Stories for Straight Women: The main MLM ship verbally, reciprocally, and explicitly express their love to each other. Saying "I love you" and returning it is a significant plot point and/or relationship milestone. May contribute to the miscommunication conflict.
In Queer Stories for Queer Audiences: Queer canon ships might never verbally or reciprocally or explicitly say that they love each other. Not saying or returning "I love you" to each other does not make them not-ship or not-canon. Canonically married queer ships may never say "I love you" to each other onscreen.
13. In Queer Stories for Straight Women: At least one character in the main MLM ship (if not both) has to resolve internal conflict about identifying as queer, experiencing queer attraction, or entering a queer relationship. Background or supporting characters may have enough of their own issue with queerness for them to have a side plot about it. Queerness is treated as its own plot point. Queerness is shown as a conflict, plot, or dilemma for more than half of the canonically queer characters depicted.
In Queer Stories for Queer Audiences: Characters in queer canon ships may never mention being queer, go through any kind of internal dilemma about being queer onscreen, be shown onscreen struggling to identify as queer, or express a specific label or term for their brand of queerness. Queerness may not be treated as a plot point at all, or may be a plot point for fewer than half of the canonically queer characters depicted.
14. In Queer Stories for Straight Women: "Coming out" as queer, especially to a member of the main MLM couple's nuclear family, is its own plot point. "Coming out" is treated as a universal and necessary step in all queer experiences; as a "when" rather than an "if."
In Queer Stories for Queer Audiences: "Coming out" as queer may not be a plot point at all, or may only be a plot point or referenced experience for a fraction of the canonically queer characters.
15. In Queer Stories for Straight Women: Abs. Just. All the abs, on everyone, even characters who have no narrative justification for having abs. Main MLM ship cast and filmed for the straight female gaze. Background male characters filmed and shot for the straight female gaze. Narrative reasons to have background men be athletic, shirtless, and conventionally masculine. Tons of conventionally attractive and conventionally masculine men everywhere all the time. There isn't a twink or bear or butch in sight.
Female characters are also conventionally attractive and conventionally feminine-presenting, including background characters.
Minimal depiction of characters who are elderly, disabled, nonbinary, or not conventionally attractive.
Basically: Aesthetics fall along heteronormative beauty standards, even for queer characters.
In Queer Stories for Queer Audiences: Wider array of body types and expressions of masculinity/femininity/gender, including 'queerer' archetypes of masculinity that are less conventionally masculine or less conventionally attractive, and 'queerer' gender presentations across the board. Wider character age range. Characters may be shown with visible disabilities. Female characters may not be conventionally attractive or conventionally feminine. Characters may not be conventionally masculine or conventionally feminine. Trans and nonbinary characters may exist, even if they are not the main characters.
(Separate discourse on how ableism/racism/fatphobia/ageism etc inform heteronormative beauty standards will not be addressed here. Grain of salt that the "Queer Media for Straight Women" examples are primarily romance stories, and rom-com beauty standards deserve their own unpacking. The whole 'queer story' vs 'story with queer characters' difference can account for a lot of the romcom vs. everything else aesthetic differences.)
CONCLUSION:
I think the key difference in how Queer Stories for Queer Audiences vs. Queer Stories for Straight Women are told is whether they're created for an audience who believe the system works or at least are starting with a lot of fundamental understandings about its framework being the norm, or for audiences who already think the system is bullshit. Queer Stories for Straight Women and many of their fan-created works emphasize a heteronormative status quo with heteronormative systemic status quo structures, values, and morals, even though the story is about queer characters. Queerness is the plot, because queerness is seen as abnormal. Conversely, Queer Stories for Queer Audiences feature a plot involving queer characters, because queerness is not seen as a problem to be resolved. Queer Stories for Queer Audiences usually start without the same baseline understanding of the world and systemic structure, or will actively put one character on each side of it so the audience can deconstruct the system through the characters' journey. There are reasons a lot of Queer Stories for Queer Audiences start by placing their main characters on opposite sides of an established system or framework. Starting with characters on opposing sides of the law (Killing Eve; Hannibal) is a good way to do that; so is starting out by making them all outlaws banded together against the law and order that would always have treated them as outsiders (Our Flag Means Death); so is starting out by making them vampires/not subject to the rules and systems of the human world anyway (What We Do in the Shadows), and give them someone who is subject to those constraints (Guillermo) to help them navigate human systems as outsiders.
Queer Stories for Straight Women are told to help insiders empathize with outsiders; Queer Stories for Queer Audiences are told to help outsiders feel like they can still belong.
Both of these goals matter.
Also, I loved all of these shows/movies/fandoms. <3
Please add your own in the comments/reblogs if you've got more for the list!
wow millennials are glued to their i-phones and laptops so much they cant even be bothered robbing in person anymore!!! maybe these trust fund babies should stop phishing credit cards while sitting on their butts and go out there and put some elbow grease into their thievery!
I know exactly what happened. Because it happened to me.
I trained for years to be a con artist. I told my friends and family that I wanted to be a magician, but that was just a cover for why I was constantly practicing sleight of hand.Â
In junior high and high school, I would shop lift a bunch of candy on my way to school, sell it to kids at the morning break, and use that money to run a crooked poker game at lunch.
Finally, when I was 19 or 20, I felt I was ready, and I picked my first pocket. I was on the bus, bumped a guy as I passed down the aisle, got his wallet, super clean.
In the wallet was several hundred dollars. A huge first score, I had been hoping for a couple twenties. I sat there looking at the, like, 400 bucks, thinking.
That was my rent at the time. We were both on the bus. It was likely his rent too. Lord knows the only reason to carry that much cash on the bus is youâre on your way to pay a bill. We were both on the bus, you know? Thatâs not someone I was comfortable stealing from.
I tapped him on the shoulder and told him âhey i think you dropped thisâ and gave it back to him with all the money still in it. It was the first and last time I ever picked a pocket.
Picking a rich personâs pocket is a loosing game. They probably have credit cards and not cash, those credit cards probably have the best anti-theft measures their bank can provide, and you probably canât get close enough to those people to pick their pockets unless youâre already rich yourself.
The people whoâs pockets you can reliably pick are the people around you. The people who are also on the bus, who are in this same shitty situation with you.
As wealth inequality becomes more drastic picking pockets has very clearly become âstealing from other poor peopleâ and itâs not satisfying. I want to steal from Google and Apple and Fox and Facebook and General Mills and Hershey and Tesla. Not the person next to me.
Tumblr should take away the ability to like posts for a few weeks so peeps understand this website cannot survive with just liking. I see so many gorgeous gifs and edits and they get like....13 reblogs and 700 likes. That's not right, fam
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