alghulnyssa:

ao3femslashtop100-tournament:

AO3 Femslash Top 100: Round 2

Kara Danvers/Lena Luthor (Supergirl) vs Root/Sameen Shaw (Person of Interest)

Kara/Lena (Supergirl)

Root/Shaw (Person of Interest)

reblogging with my favorite propaganda from the tags

#ROOT AND SHAW ARE EVERYTHINGGGGG!!!!! AND THEY FUCKED. NASTY. ON SCREEN.

#amy acker didn’t break her tailbone making out with shaw to lose a tumblr poll—

#HOWEVER. i am here to spread the shoot propaganda -> they’re unhinged they’re sexy they’re murder wives and they’re ACTUALLY CANON.

#if its not clear. amy acker broke her tailbone for gay sex. vote shoot.

#once again!!! sameen shaw killed herself over 7000 times bc she couldn’t kill root even knowing that it wasn’t real!!!!#and root went on a multistate violent rampage when shaw got taken#nobody else could ever

#root did not torture shaw with an iron for them to lose to a cw superhero show

#much love for katie mcgrath but she didn’t BREAK HER TAILBONE FILIMING HER CHARACTERS SEX SCENE#prev exactly shoot have tased and shoot each other before get on this

#SHOOT LITERALLY FUCKED NASTY AND TAZED EACH OTHER LIKE A TON. VOTE FOR THEM

#vote for root and shaw they had nasty kinky sex in a cia safehouse with zipties!!!#they were ready to do a double suicide in order to not lose each other!!#their first on screen sex was soundtracked by nina simone!!!!

#vote root and shaw or i’m killing the hostages#shaw died over 7000 times bc she couldn’t kill root#it’s gayer than the gay sex scene they got (affectionate)

#ROOT AND SHAW SWEEP CMON#miss amy acker did not accidentally injure herself with the sheer Enthusiasm in acting shoot’s FuckNasty just to lose here

#guys. shaw broke out of brain reprogramming over and over bc she couldn’t kill root#they fucked nasty in the reprogramming hallucination you guys

(via 5ivebyfive)

autistic-anime-girls-bracket:

Autistic Anime Girls Group 3 Round 2 Match 9

Who is the best autistic girl?

Nico Robin (One Piece)

Penny (Pokémon Scarlet and Violet)

SUBMISSION PROPAGANDA:

Robin -

“the first time you see her, she kills a man and then sails away on a giant turtle.”

Penny -

“Penny has extreme social anxiety, to the point that she doesn’t even want to show her face to people who are willing to risk their futures for her. She goes everywhere with a very fluffy Eevee backpack. She refers to her team of eeveelutions (yes, she uses exclusively eeveelutions) as Veevees. She says her dad is annoyingly affectionate because he calls her Penpen. After having confessed to a fairly major crime and getting off almost without consequences and just asked to assist the Pokémon league her response is, "I had a lot of anime I was going to binge”. Plus, your dinosaur lizard/robot lizard loves her despite her just wanting them to leave her alone. That’s not an autistic trait, but your lizard has good taste and the scenes are adorable so I thought I’d mention it anyway.“

Please vote for the Futaba of Pokemon. If "Futaba Sakura, but Pokemon” doesn’t scream autism to you then I don’t know what would. She’s such a neurodivergent disaster (affectionate) and one of my favorite pokemon characters. Vote Penny.

ao3femslashtop100-tournament:

AO3 Femslash Top 100: Round 2

Thirteenth Doctor/Yasmin Khan (Doctor Who) vs Kimberly Hart/Trini (Power Rangers)

Thirteen/Yasmin (Doctor Who)

Kimberly/Trini (Power Rangers)

hypogryffin:

a collection of text posts again, but this time yusukes the main character. of life [part 1, 2}

renthony:

renthony:

renthony:

Your personal triggers and squicks do not get to determine what kind of art other people make.

People make shit. It’s what we do. We make shit to explore, to inspire, to explain, to understand, but also to cope, to process, to educate, to warn, to go, “hey, wouldn’t that be fucked up? Wild, right?”

Yes, sure, there are things that should be handled with care if they are used at all. But plenty more things are subjective. Some things are just not going to be to your tastes. So go find something that is to your tastes and stop worrying so much about what other people are doing and trying to dictate universal moral precepts about art based on your personal triggers and squicks.

I find possession stories super fucking triggering if I encounter them without warning, especially if they function as a sexual abuse metaphor. I’m not over here campaigning for every horror artist to stop writing possession stories because they make me feel shaky and dissociated. I just check Does The Dog Die before watching certain genres, and I have my husband or roommate preview anything I think might upset me so they can give me more detail. And if I genuinely don’t think I can’t handle it, I don’t watch it. It’s that simple.

#this excludes writing pedo or incest.

If you look at the tags on my original post, this post was originally about hospital horror, and how it’s allowed to exist even if an individual has medical trauma and doesn’t like the genre. But since someone wanted to go and put some shit on my post that I disagree with:

No, actually, it doesn’t exclude those things. Dark themes in fiction are allowed to exist whether you like them or not.

Vladimir Nabokov’s Lolita was not a real little girl who really got brutalized. She was a fictional character. No real child was harmed. People are not reading Lolita and going out thinking, “oh, this told me to abuse children, and clearly it’s morally okay now.” The existence of Lolita is not responsible for the existence of CSA.

Wes Craven’s New Nightmare was pretty meta, but Freddy Krueger was still never real and never hurt any real kids, either. He’s a story. None of those kids ever died, none of them ever got abused, and Fred Krueger never got burned to death, because they’re all fake and never existed. Murder and CSA in the real world aren’t Freddy Krueger’s fault.

Jaime and Cersei Lannister are not real people. They are fake. They are words on paper, and actors on a screen. Lena Headey and Nikolaj Coster-Waldau are not siblings, and did not ever have real sex in the show. It was fake, simulated, not real sex. No siblings actually fucked. Nobody is watching/reading Game of Thrones and thinking, “oh, I can totally go fuck my sibling with no repercussions now!” The existence of Game of Thrones is not responsible for real-world incest.

Guillermo del Toro’s film Crimson Peak didn’t kick off an epidemic of everyone deciding it’s okay to fuck their sister and kill their wife. William Faulkner’s “A Rose For Emily” isn’t making people kill men and sleep with their corpses, and Emily never really killed Homer because neither of them actually exist in the first place.

John Wick isn’t making people run out and become hitmen. The very cute doggy that infamously dies in the first movie was not actually a real dog death–the dogs in John Wick were treated very well, according to a ScreenRant article I found!

Ghostface was played by a combination of stuntmen and a very talented voice actor, and all his murder victims were actors who were filming a pretend story. It was all choreographed and nobody really died. The benind-the-scenes stuff for the Scream series is actually really cool if you’re into that sort of thing like I am.

Arcane didn’t put grenade launchers in people’s hands and turn them into vigilante fighters juiced up on Super Drugs–and you know what, neither did any of the things the Batman franchise has churned out. The Joker and Scarecrow and Poison Ivy and Harley Quinn aren’t out there terrorizing New York City, because they’re fantasy supervillains who aren’t real and can’t hurt you.

The endless waves of bandits in Skyrim are pixels on a screen, and I’m not killing real men when I cut them down. No real people got hurt when my Sims 4 house caught fire. Playing Super Smash Brothers hasn’t gotten me into underground fighting rings, and neither did watching Fight Club.

It’s all fiction.

None of it is real.

The characters are fake and do not exist.

Curate your own media experience and get your head out of your ass.

[ID: a comment left by tumblr user msexcelfractal, which reads “Cool post OP, now do Birth of a Nation. End ID.]

Content warning: antiblackness, antisemitism, sinophobia, general discussion of bigotry and oppression

You really want to try and go there as if that’s some kind of gotcha on the subject of dark fiction? Fine. Let’s go there. I’ve got sources and free time.

Birth of a Nation is a horrific hate crime of a film. It is flagrantly racist and was connected to a surge in KKK membership. Nobody should watch that film for enjoyment. It’s horrific. Nobody should be forced to watch it, either. You don’t have to watch the film, and I don’t recommend you do, unless you’re actively involved in studying it for whatever reason. It’s a bad, hateful movie.

I have not watched it in its entirety and I don’t really ever intend to. There are Black scholars who have already broken it down and discussed it at length, and I don’t feel I’m going to get anything out of the film that they haven’t already covered. If I need to study Birth of a Nation in more depth for whatever reason, I’m going to defer to Black scholarship on the subject.

But if you tried to ban the film altogether? If you tried to erase it from existence? I would ask what the fuck is wrong with you. Banning Birth of a Nation does absolutely nothing to combat the racism that created it. It wouldn’t stop racists from making racist art. It wouldn’t erase the damage done by the film. It wouldn’t go back in time and make it retroactively never made.

You know what banning it would do, though? It would strip film scholars of the ability to discuss it. It would prohibit people from talking about exactly why it was bad. It would inhibit honest conversations about what the film was and who it affected.

You know what you do with horrific bigoted art like Birth of a Nation? You have content warnings, like the one I put at the beginning of this reply. You don’t spring it on people who don’t want to discuss it. You don’t put it on for people to watch without warning. You don’t tell everyone you know to go and watch it and give it money.

You do things like what Warner Brothers did with their Tom and Jerry disclaimer:

“These animated shorts are products of their time. Some of them may depict some of the ethnic and racial prejudices that were commonplace in American society. These depictions were wrong then and are wrong today. While the following does not represent the Warner Bros. view of today’s society, these animated shorts are being presented as they were originally created, because to do otherwise would be the same as claiming these prejudices never existed.” 

You damn sure don’t erase it from history and pretend that ignoring it will solve bigotry. Censorship is not the answer, because censorship is always enforced harder on marginalized artists. You ban racism in film, you ban films by Black artists who are exploring the topic from their own perspective.

When the Hays Code banned "offense to other nations,” you know what happened? It didn’t stop racism in film, that’s for damn sure. It instead gave bigoted censors a perfectly legal and easy way to shut down art by marginalized people, which they did gladly.

The rise of the Nazi Party in Germany resulted in the Reichsfilmkammer demanding the removal of all Jewish workers from Hollywood’s European locations. American films began receiving heavy censorship and bans in Germany, and so American studios complied with the Reichsfilmkammer’s demands in order to avoid legal trouble in Germany.

Despite the Nazi party’s outright hostility toward Hollywood, the MPPDA office discouraged any negative depiction of Germany or the Nazi party. Germany had been such a huge market for American cinema that the Reichsfilmkammer’s censorship codes for German films began impacting American-made cinema. Jewish representation in cinema all but disappeared overnight. Joseph Breen, the head of the censor board, was an open antisemite, going on open tirades against Jewish people. His censorship policies were flagrantly bigoted and only served to reinforce that bigotry on a systemic level.

In 1933, Herman J. Mankiewicz and Sam Jaffe tried and failed to make an anti-Hitler film titled “The Mad Dog of Europe.” The Hays Code was used to deny the film’s production. On July 17, 1933, Will Hays himself ordered the filmmakers to cease and desist, all in the name of “not offending Germany.”

Said Joseph Breen, “It is to be remembered that there is strong pro-German and anti-Semitic feeling in this country, and, while those who are likely to approve of an anti-Hitler picture may think well of such an enterprise, they should keep in mind that millions of Americans might think otherwise.”

Variety said about the subject, “American attitude on the matter is that American companies cannot afford to lose the German market no matter what the inconvenience of personnel shifts.”

Anna May Wong, a Chinese-American actress, lost out on a leading role in the film “The Good Earth,” due to the Code’s explicit ban on interracial relationships. The leading man had already been cast with a white man wearing yellowface, meaning that Wong was unable to be cast as the leading lady and love interest, even though the characters were supposed to both be Chinese. The role instead went to a German-American actress wearing yellowface, who went on to win an Oscar for the role.

Censorship doesn’t help anyone. Censorship does not protect anyone. Censorship does not prevent bigotry, and in fact only serves to reinforce it.

Anyone who read this far and learned something: being an independent media censorship researcher doesn’t exactly pay the bills, so check out my Ko-Fi or Patreon if you learned something and feel generous.

My main sources for this post are:

• Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934, by Thomas Doherty
• The Dame in the Kimono: Hollywood, Censorship, and the Production Code, by Leonard J. Leff and Jerold L. Simmons
• The Encyclopedia of Censorship, by Jonathon Green & Nicholas J. Karolides
• Morality and Entertainment: The Origins of the Motion Picture Production Code - Stephen Vaughn
• Sin in Soft Focus: Pre-Code Hollywood, by Mark A. Vieira
• Forbidden Hollywood: The Pre-Code Era (1930-1934), When Sin Ruled the Movies, by Mark A. Vieira
• Hollywood’s Censor: Joseph I. Breen & the Production Code Administration, by Thomas Doherty

And since you made me talk about Birth of a fucking Nation, here are some additional resources for people who are actually interested in Black media history:

• Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation, by Nicholas Sammond
• Archival Rediscovery and the Production of History: Solving the Mystery of Something Good - Negro Kiss (1898), by Allyson Nadia Field
• Humor and Ethnic Stereotypes in Vaudeville and Burlesque, by Lawrence E. Mintz
• The Original Blues: The Emergence of the blues in African American Vaudeville, by Lynn Abbott and Doug Seroff
• Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era, by Brenda Dixon Gottschild
• Darkest America: Black Minstrelsy from Slavery to Hip-Hop, by Yuval Taylor and Jake Austen
• Love & Theft: Blackface Minstrelsy and the American Working Class, by Eric Lott
• The Prettiest Girl on Stage is a Man: Race and Gender Benders in American Vaudeville, by Prof. Kathleen B. Casey
• Dancing Down the Barricades: Sammy Davis, Jr. And the Long Civil Rights Era, by Matthew Frye Jacobson
• Blackface, Whiteface, Insult and Imitation in American Popular Culture, by John Strausbaugh
• A Change in the Weather: Modernist Imagination, African American Imaginary, by Geoffrey Jacques
• Hollywood Black: The Stars, The Films, The Filmmakers by Donald Bogle
• The Blackface Minstrel Show in Mass Media: 20th Century Performances on Radio, Records, Film, and Television, by Tim Brooks
• Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era, by Pearl Bowser, Jane Gaines, and Charles Musser
• America on Film: Representing Race, Class, Gender and Sexuality at the Movies, by Harry M. Benshoff and Sean Griffin
• White: Essays on Race and culture, by Richard Dyer
• Black American Cinema, edited by Manthia Diawara
• Colorization: One Hundred Years of Black Films in a White World, by Wil Haygood
• Framing Blackness: The African American Image in Film, by Ed Guerrero
• Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films, by Donald Bogle
• White Screens, Black Images: Hollywood From the Dark Side, by James Snead
• Reel Inequality: Hollywood Actors and Racism, by Nancy Wang Yuen
• The Hollywood Jim Crow: the Racial Politics of the Movie Industry, by Maryann Erigha

(via flecks-of-stardust)

wellwrittenevilbitch:

Who is the better written evil bitch?

Which one?

The lady bone demon

Goro Akechi

See Results

Propaganda

Keep reading

shofarsogood:

ceekari:

somecunttookmyurl:

god some of you are just so weird about having content on this site

“justify”?! babes it’s a bullshit internet scrapbook not a fucking phd thesis

You know the thing where you find something funny and you hold out your phone to your friend so they can see it too?

Reblogging is just you holding out your phone to show us the neat thing you found

Some people: I won’t reblog something unless it’s deeply meaningful and I can contribute.

Me: time to reblog fifteen pictures of frogs, three pieces of fanart, twelve shitposts, and six political posts about somewhat niche issues!

(via zorklo)

articuno13:

actualaster:

justonepurpose:

stubbornness-and-spite:

This user supports AO3

This user is anti-censorship

This user believes in “don’t like, don’t read”

This user believes in “ship and let ship”

This user believes that fiction tastes and preferences do not dictate moral character

“But what about-!”

Yep.

“But this is problematic!”

Sure. Still support it.

“But it’s gross!”

Okay. Don’t read it then.

“This normalizes-”

Listen.

I need you all to understand that there are real problems happening in the world and worrying about what weird porn someone has posted on Ao3 is a pitiful, chronically online take during a literal war, a global pandemic, hundreds of anti-trans bills being introduced across the US, and the rise of fascism all over the world.

ESPECIALLY because AO3 in general has a culture that’s pretty solid around tagging, so on the whole you can usually filter out the content that you don’t want to see or find upsetting.

And also some of us write certain things because we had them happen to us and it helps us process. But it doesn’t force you to read it.

animentality:

russetfur1128:

People seem to have forgotten that “proship” was the Fandom norm for the longest time.

Only, it wasn’t called proship. It was called ship and let ship. Or minding your own buisness.

If someone had a ship you didn’t like or thought was gross, you would avoid them. If they drew art or wrote stories you didn’t agree with or like, you would ignore them.

There were tags like smut, whump, and angst to tell people about things they might not want to read. And then dead dove: do not eat for taboo subjects and especially gritty fic.

Then people started to ignore that. Younger fans started to bully people because they disagreed with shipping certain characters. Whether it be because it “wasn’t canon”, they thought it was gross, or they just didn’t like it.

These people began calling themselves “anti-ship”

Pro-ship became a label to show that someone was against anti-ship.

Eventually, the anti-ship movement began to die down. So do you know what they did? They started accusing people. Of being pedophiles, groomers, rape supporters, and more. All because they wrote or drew things that these people didn’t like.

They began claiming that THEY were the Fandom norm, and that these “proshippers” were the bad people. They started claiming that proship stood for “problematic shipping”

Due to this, the term “pro-ship” is often misconstrued as to what it means. Many people don’t even KNOW what it means.

It means “anti-censorship”.

It means that we support someone’s right to produce art, no matter how gross, no matter how taboo, no matter how “problematic”

Because it’s not hurting anyone.

If it’s something you don’t want to see? Block the person. Block the tag. Say in your bio that you don’t like it. That’s what they’re FOR!

This was discussed in earlier days of fandom.

“I wonder why people would read a story in a genre they don’t care for, then take the time to let the writer know that sure enough, they didn’t care for it. That would be like me going to a restaurant, ordering a slice of cherry pie, then asking that the chef be brought out so I can say "I don’t like cherry pie, and I didn’t like yours either.” To continue this analogy into its usual fannish outcome, the chef would say “Well gee, lady, why did you order it?” And I’d say, “Are you questioning my right to order cherry pie?”

-Unknown 2002

Except now, it would be like the person who didn’t like the cherry pie and ordered it anyways then demanded that no restaurant serve cherry pie because it was poison. Not only is it a ridiculous request, it’s blatantly untrue.