haaaaaa i am so fuckity fucked guys. like dangerously fucked.
im a black bi genderfluid girl, disabled, unemployed, homeless and a s*x worker. im being threatened with murder and r*pe from my younger brother. he has a history of abusing me and has even been arrested for abuse and strangulation in the past. he has a history of mental health issues like myself and hes very aggressive towards women and lgbt ppl. he is spreading damaging rumors about me and saying hurtful things towards me and my currently pregnant mom. moving back to that apartment isnt a choice anymore.
due to the nature of this post i cant provide any payment info so pls dm me/send an ask off anon. i need to get away from him please help me.
please dont tell me to contact authorities, i cant afford to take that chance.
hi im still in need 🖤
i need money for food and to keep my room…so far i have $40 towards my room
And in other news, today’s (an)other fanfic topic of choice is:
The number of times people write Jason punching Dick in the face because he’s pissed off about something AND THIS IS NEVER ADDRESSED AGAIN.
Look, as I’ve said a million times before, I’m sympathetic to Jason. He has trauma. He’s been through some shit.
But having been through some shit and being angry because of it is NOT an acceptable reason to punch your brother in the face and never think this is anything that even needs to be APOLOGIZED for. This is an abusive dynamic. You all think you’re Team Jason and you’re just showing how he’s hurt and wounded and damaged and traumatized and angry and RIGHT to be…..
But actually all you’re doing is taking a kid you vocally sympathize with for being an abuse survivor, and make him abusive towards his own family.
Punching your brother and thinking nothing of it, and it never being addressed again because its just taken for granted that its Jason and thus its allowed and nobody is ever going to call him to account for it is LITERALLY AN ABUSIVE DYNAMIC.
And I would like people to please think about how many times they’ve seen Jason punch Dick in a fic and get away with it, and not think twice about that….only to turn around and take extra special note of Dick’s apparently far more memorable instances of losing HIS temper in a fic and…yelling at someone.
Please tell me you’re starting to see the issue, when one brother is infamously vilified for his temper because he yells at people a lot because of HIS issues….with said issues hardly ever being acknowledged because the actual FOCUS is just on his TEMPER and the effects it has on OTHER people….
While the other brother repeatedly is written punching this very brother in the face in countless fics, with THIS hardly ever being acknowledged because the actual FOCUS is just on his ISSUES and the effects it has on HIM.
I’m no horror buff but I think I have a bit of a grasp of the rules of classic horror films, for which the Fear Street trilogy clearly pays a lot of homage and respect and references–even while challenging those narrative rules.
I’ve been thinking a lot about how I’m surprised by the centrality of the homosexual characters and the different levels at which the trilogy as a whole approaches the characters. The homosexual narrative/experience is prominent in Part 1 given the surprise of a homosexual protagonist, but it’s absolutely central to Part 3’s conflict and how we understand the wrongful demonization/witchification of a queer woman. The classic horror movies usually have these unspoken rules of punishment: deviant behavior usually results in those characters being killed by the monster. Notably indulging in drugs or sex. And these deaths aren’t sympathetic; the audience is prompted to feel anywhere from indifference at the death of canon fodder to thrill or even satisfaction. We root for the usually inevitable survivor, very often a “final girl” thanks to the likes of Halloween or Alien, but everyone else… kinda expendable and/or “deserved” it.
So in a classic tale, queer characters would have been deemed deviants and either would have succumbed as victims or been the monsters themselves. (Carrie a bit in this vein where her forced social isolation has made her an outcast. Thelma has really been on my mind because it’s a horror movie where I can never decide if Thelma is ultimately “monstrous” as a result of the indoctrination that cultivated homophobia in herself and that resulted in her taking out the perpetrators. I think about the last scene and I don’t know what I’m supposed to take away from it: fear of Thelma’s self-awareness? What?)
But classic horror was made in a different social and cultural mindset. I think it’s (more?) accepted by the majority today that homophobia is wrong so there’s no surprise that we can have a protagonist like Deena or feel sympathy for Sarah, and yet Fear Street does grapple with those classic unwritten rules. Simply by making the heroine gay–and to make her romance a central motivating factor of her determination and survival–flies in the face of painting her as a deserving victim. We get the sense early that Deena is likely the Final Girl. (We get multiple survivors, but you’re never quite sure who will die at the outset of a horror movie but you get the sense of the candidate who will make it through. Sometimes the “subversion” is that everyone dies.) Fear Street gives us two gay ladies who survive–and not only survive but come out more accepting and accepted.
Because homophobia is a huge antagonistic factor in the Fear Street trilogy. Part 1 has it present moreso as Sam’s internal struggle to embrace and openly express with her feelings. There’s a lot less social pressure or condemnation. Part 3, though, does not work unless you recognize the harm of homophobia being written into the cultural fabric of society. It is homophobia that vilifies Sarah in the eyes of the town Union, her homosexuality the cementing piece of otherness that makes her uncontrollable, wild, independent–everything that primes her to be labeled a witch. It’s so easy to think of Sarah as a witch because she doesn’t conform, isn’t silent, isn’t married, isn’t under the care of a man, seems to be too good at husbandry, kisses a woman. You have to understand how easily she was made into a scapegoat to understand the twist–and to feel sympathetic to this injustice. You should feel angry and frustrated and sad on Sarah’s behalf, that she was wronged, that she has only been trying to do right throughout her life and afterlife.
Fear Street is taking those characters who would typically be “monstrous” in a classic horror tale and making them rather heroic.
This also is at work with the Shadysiders, particularly Kate and Simon. The in-universe narrative is that who cares about the death of Shadysiders? They’re poor(er), low(er) class and thus relatively worth less (or outright worthless). And yet what we find out is that their marginalization and poverty and lack of opportunities isn’t accidental or self-inflicted: it is deliberately orchestrated and they are literally sacrificed for the benefit of their wealthier neighbors. These aren’t faceless, meaningless victims of random tragedy, but targeted, the souls turned murderous literally named and chosen for that fate. Even in death they are marginalized, as with Kate and Simon who are highlighted in the media as druggies, a story that “justifies” their “heinous acts”–and yet Fear Street makes sure we know this is a smear. Fear Street makes Kate and Simon sympathetic to emphasize their humanity, their dreams, going against the grain of the classic horror movie tropes. Of course these two would be slated to die in a classic horror movie (Alice as well) because of the easily slapped on archetypes and labels, but Fear Street makes it feel like their fates were unjust and wrong whereas in a typical horror film, we’d be led to be indifferent or feel satisfaction/warning from their deaths rather than sorrow.
Who is the actual enemy? A man in power. A cop. The person who in a classic horror film should be the one to swoop in at the end to lend some nominal hand in stopping the terror or at least clean it up and help reassert semblance of normality, the wail of police sirens a reassurance. But in this case, the man of law enforcement is literally causing all the hell and murder.
Well then.
It’s funny because when I watched Part 1 I thought: Was R.L. Stine this socioeconomically conscious and critical? Stine might not have been, I don’t know I gravitated more towards Coville, but these films definitely are and I was surprised to see the social messages that emerged. Horror is usually rooted in the real world fears of the contemporary time and it’s fascinating to me to see the underlying fears propelling the Fear Street narrative.
The gays aren’t the enemy, the canon fodder, the monsters in this instance–we are now allowed to be not those things. But I think about how I would have given Sarah Fier a pass raising up hell in Union because I saw get town as so monstrous on its behavior already that I wouldn’t have thought of Sarah getting revenge as monstrous and how our narratives of “monsters” are very complicated because having been positioned as monsters for so long in a narrative, sometimes we appropriate that position for ourselves in order to take power and how that has been a thread of some trend for long enough now that I was surprised when Fear Street didn’t take that route but made Fier a genuine victim of circumstances and prejudices who, by the accepted rules, kept her dignity and compassion and love, who died a martyr rather than a sinner…
Her death was a genuine tragedy redeemed by a genuine triumph of Deena and Sam’s victory and redemption and fulfilled romance.
And somehow that’s surprising. No demonization of any of them, even given the literal possession of Sam. We know it’s against Sam’s will and she doesn’t murder anyone.
They’re just… heroes. Heroines. Who defied victimization. In two different eras.
We got to be that. We got to be central to the narrative. We got to win.
TFW a sizable number of people look at Dick Grayson and say eh I just don’t like him because he’s just like…vain, he always has to be the best at everything.
And meanwhile, your entire view of Dick Grayson stems from him being an internationally beloved and happy child acrobat prodigy who the second his parents die, is unable to be that child star anymore and spends the next several months and even years adjusting to living in a place where everyone seems to hate him for a myriad of reasons.
And so thinks to himself…. “if I am not perfect, why would anybody ever love me? Obviously I have to be perfect all the time. Just like when I was a kid, and I was the only kid who could do the kinds of things everybody praised me for. Back when I was happy and people loved me.”
Pssst whisper whisper counterargument to is Dick vain and whiny y/n: what if instead his characterization is actually insecurities and thus perfectionism hmmm?
Anyway, apparently I woke up and chose violence today?
Idk, I feel like you guys can always tell that even before I can.
So, about how Dick never really gets a chance to mourn people period because his grieving process is almost invariably interrupted by a direct, personal trauma (his parents’ death being hijacked by the trauma of a month in juvie as a kid, Jason’s death being hijacked by the trauma of his confrontation with Bruce in NTT and being kicked out, the death of so many Titans in Titans Hunt hijacked by the trauma of Mirage, the deaths of his neighbors and circus family hijacked by the trauma of Tarantula, etc, etc) and with Dick being more primed towards viewing his personal traumas as being less important than terrible things happening to people he cares for, he not only is distracted from working through his grief in a complete and healing way by a personal trauma, he never really tackles recovering from/coping with THOSE personal, direct traumas because he views them as more a distraction than anything else, something he doesn’t feel JUSTIFIED in focusing on as fully as he needs to, because he thinks that’s selfish when there’s so much bad shit happening to people all around him that he can be helping with them instead……
I just realized I really, really, REALLY dislike the tendency Bruce has both in canon and fics to talk about how oh he’ll never compare to John and Mary Grayson, he’ll never be as good a parent to Dick as they were….
Because I feel like whether writers intend it or not, that almost always seems to tie into storylines and events where its almost like Bruce uses that as an excuse to not even TRY to do better as a parent than his self-determined eternal benchmark, two people that he literally never even knew.
Like, the thing is we have constant points throughout canon pointing to both Dick and Bruce perceiving each other as father and son whether they were officially, legally designated as such by that point or not.
And the almost CONVICTION with which Bruce kinda….’assures’ himself that he’s not the real thing no matter how much he wants to be, that he is in essence an unasked for stand-in……that sets a very, very low bar.
Because the stand-in doesn’t HAVE to be the ideal parent, does he? When you’ve already ranked YOURSELF as coming in last place, and are kinda viewing it as a competition in the first place, even if just because you’re innately competitive and tend to frame everything in context of where you’re positioned relative to someone else…..
Well, there’s a lot of pressure off your shoulders then, to not come in first place because you’ve already determined that the gold medal has already been awarded and is no longer even in play.
Idk, I just think that if you look at things from Dick’s POV, with the acknowledgment that he at least has viewed Bruce as a father figure for a very long time…..
I feel like the ‘I know I can never compare to John and Mary Grayson, your first parents’ could start to sound and feel a LOT different to someone who very much did love his first parents, but loves his second father too and has had THIS parent as part of his life for far longer than he had his first parents at this point….and hopefully will for a long time yet. And so it starts to become a sort of almost backhanded thing where what Bruce THINKS he’s saying by it isn’t coming across that way to Dick at ALL, because Bruce thinks he’s saying it as like a sign of respect and not trying to take a place that isn’t his and Dick’s hearing it from a position of already having seen Bruce in that particular place for years as it is, and its like…..it isn’t necessarily going to come across as a sign of respect at that point, but almost more like an excuse.
“Whether my first parents could have done something or handled this better than you or not isn’t even RELEVANT,” I imagine Dick wanting to yell at Bruce sometimes. “That statement does nothing for me, means nothing to me, because the simple reality is it doesn’t matter because they’re not here, they won’t ever BE handling this or doing something differently than you because they’re not here but YOU ARE, so stop pointing to people who have already exited stage right for eternity as having anything whatsoever to do with a conversation or argument about what YOU did or did not do.”
anyway shout out to transhet men and transhet people in general. you’re amazing and you didn’t “betray” anyone or “abandon” anyone or “become the enemy” - you deserve love, respect, and happiness
Trans men have been demonized completely by the very community that’s sposed to protect an love them.
This is another thing that makes “men are trash” sentiments in queer/feminist communities feel wrong. Like, don’t get me wrong, I have no problem with venting about hardships relating to men or just bein funny. But it creates a lot of other problems. It creates dysphoria for trans men and beyond that, generally alienates men from communities that should be accepting them. And this isn’t helped by the fact that biphobia is increasing because of it. The amount of people who openly shit on their own attraction to men, particularly bi women, is troubling to me. This community should be about accepting your identity, not trying to reform it to fit in.
Yesterday (July 18th) settlers and IOF soldiers raided Al Aqsa mosque. They beat women, attacked worshippers and shot live bullets inside the mosque to make way for Israeli Jewish visitors
