By now, dear audience, you’re probably a little Otomen-ed out and are wondering when I’m going to stop talking about this series. Fear not; this is the last one (unless something ridiculous happens in the last volume, which I highly doubt)! You made it! Give yourself a pat on the back.
Having tackled the issues of Aya Kanno’s dichotomy concerning gender roles and the confused tone of the series, it’s about time to look at one of the more obvious points of contention: LGBTQ+ representation. It saddens me to say this, too, because starting out I really thought this series was going to be progressive in that sense. However, much like most media here in the States, a lot of the queer plot points are left to subtext and essentially ignored in favor of giving everyone heterosexual relationships. The most offensive example of this blatant refusal to address this issue shows up in discussions of Asuka’s dad, Hiromi. Continue reading →
If you have been spending any time on Tumblr recently, you have probably seen this page of a Wonder Woman comic that not only implies that the Amazons accept trans women, but that Wonder Woman herself is a trans woman. It’s beautiful and makes you happy to be alive just reading it, but, sadly, it’s not real (here is the real picture). As of right now, DC Comics only has one trans character, Alysia Yeoh, Barbara Gordon’s roommate in Batgirl. DC has never really been great when it comes to minority representation. For a while they did have more female-led comics than Marvel, but it was debatable whether those comics actually portrayed their female characters with respect. DC did, however, beat out Marvel when it came to trans representation, and though Alysia is not a trans superhero it is nice to finally see a well done and respectful portrayal of a trans character in a comic book. The inclusion of one character is not enough to really be authentic representation, though, and with transgender rights finally gaining more visibility, fans are now turning critical eyes on to Wonder Woman and the often transphobic portrayal of the Amazons.
There are not many places to eat near where I work. There is a Subway, a Wendy’s, a Chinese restaurant, and a McDonald’s, and with the exception of the Chinese restaurant (which I can really only eat at when I have a few more dollars in my wallet), I usually eat at the McDonald’s. It’s an ideal lunchtime work place. The food is cheap, there is a wi-fi connection, and I get to leave the office for an hour, but every time I set foot into McDonald’s I’m confronted with the one thing feminists hate about McDonald’s—the Happy Meal toy display.
Recently I have been especially pissed off about the ridiculously gendered Spider-Man toys.
We talk about a lot of different kinds of relationships on this site but we’ve never really spent much time talking about polyamory. We have recced fanfics and there have been OT3s on ourValentineslists, but we have never focused our attention on polyamory or polyamorous relationships. So that’s what I’m going to talk about today.
Polyamory is something that people, at least in the Western world, seem hesitant to discuss or even mention. There are a couple different reasons for this.
I was watching Scott Pilgrim vs. The World for what has to be the billionth time recently and found myself reflecting a little more on the relationship between Roxy and Ramona. Not long ago I introduced this movie to some of my friends, one of whom is bisexual, and despite not being a geek, she seemed to be really enjoying it until the fight with Roxy came up. In the scene, Scott Pilgrim is shocked to find out that the girl he’s interested in, Ramona, “had a sexy phase”—meaning she dated a woman. Ramona explains that she was just going through a bi-curious phase and didn’t even think her relationship with Roxy would count. This, of course, enraged my friend for a variety of reasons.
Having characters who are “just going through a phase” isn’t good queer representation. It makes being queer seem like something someone can just opt into and then get over. This becomes even more problematic with how almost every character who is “just going through a phase” tends to be a woman. One reason for this is that female sexuality is seen as much more fluid than male sexuality. It’s an attitude that is offensive to both queer men and woman because it is built on the belief that women can’t really live without heterosexual sex (even if they do dabble in homosexual sex). For men, it’s assumed that the only way a man could stand homosexual sex was if he was a hundred percent gay—if he was attracted to women why would he ever sleep with a guy? It’s absurd, biphobic, and sexist.
In the 3B season finale of Teen Wolf last month, we were treated to one more unpleasant turn of events in a season full of unpleasant events: Danny broke up with Ethan. The moment left me with so many questions—was this just because Charlie Carver already has a new show lined up? Would they have stayed together if C. Carv didn’t get a new job, or was this just where the characters were headed anyway? Was it prejudiced for Danny to not want to date a werewolf? Why do I cry so much about fictional characters? But then I started to think about a more pivotal question: why did they start dating in the first place? It led me to a theory I call Magical Obligatory Queer Dating. Let’s take a closer look.
As you may or may not know, Neil Patrick Harris is opening a production of Hedwig and the Angry Inch, performing in the titular role, and he looks fabulous. If you’re not familiar with the material,Hedwig and the Angry Inchis a 1998 musical written by and starring John Cameron Mitchell. Hedwig tells the story of an East German singer who goes to great lengths to marry an American soldier and leaves for the United States to pursue her dreams and a better life. Those great lengths include a botched sex-change operation, leaving Hedwig with the titular “angry inch”. Eventually, she makes it to the United States, but in a perfect storm of insult and injury, her husband leaves her on the day she learns that the Berlin Wall has fallen. The real meat of the story is in how she uses love and rock n’ roll to recover from that and pursues her own identity. The Obie Award-winning musical originally ran for 857 performances, and has since seen performances in no fewer than eleven countries.