watching mlp again because i never got around to finishing it and its so different having watched tng… discord really is pulling a Q trying to convince his friend that romance is dumb using chaos magic.
sisko: mr garak it appears the station needs your help once again
garak: [lana del rey voice] who, me? i?? [laughs] why, commander, i couldn’t possibly. i’m just a tailor. a humble tailor. a simple, vapid, gay tailor. i only know about trivial, homosexual things like scarves, textiles, classic literature, mimosas–
sisko: mr garak, how many times do i have to tell you? we don’t HAVE that stereotype in the future anymore!! now, you can either help us stop dr bashirs dragon age 57 mod from 3D printing snakes onto the promenade or i’m having you extradited to breen!!!
#st#ds9 #this is like those hrrrn colonel posts but for ds9
it really is the hour of frantic unintelligable autism-fueled essays on a series of fictional works that certainly doesn’t think as deeply about itself as i do. i’m in media studies class currently this is work
on another note, it’s impossible to nail down what exactly makes a show feel like star trek, which is why the nutrek vs latinum-age debate can be so asinine and frustrating: nobody can agree on how to Get Things Right, but we will gleefully point it out when somebody gets things wrong. we’re dealing with a nebulous, all-encompassing franchise here but there is SOMETHING in the heart of it that makes it distinct! but none of us can figure out what that SOMETHING is!!
to elaborate: lower decks gets a lot right, but it does do a few things i don’t want to see in this franchise. it also makes a few changes that could go either way
the first thing that stuck out to me is that the language used is a lot less sylized and melodrama-esque. the dialogue feels almost improvised (thanks in part to the voice cast. not a complaint! they do a good job) which is also unfortunately one of those things that can make a show Feel Less Like Star Trek, because most of the ‘golden age’ shows are written like soap operas. but it lends itself to humour, it feels more organic, and i can relate myself and people i know to the characters more easily.
there’s a moment where mariner refers to boimler as ‘this rascal’ and musses up his hair, which was where the show clicked for me. it was just something about the delivery. it felt like an interaction i’d have with an actual friend
something i do think could be more of a problem instead of being period-ambiguous it’s like… ok hearing a character saying ‘bay-bee’ with that particular cadence is funny but is it really worth being able to carbon-date the show based on the speech and mannerisms of the characters a few years down the line. can you imagine if jake sisko spoke like other teen characters in the 90s. do you want to be the space jam if star trek.
there are also a few… mean moments. like boimler crying after getting gummed around by that giant spider, or that moment in the trailer with mariner being like ‘it was… it was set to stun’. i don’t want this show to be a cruel pessimistic slog and i certainly don’t want the characters to be mean to each other or suffer pointlessly all the time, that would be the worst case scenario
so there’s upsides and downsides to everything. i thought it was genuinely funny, it didn’t just ride on novel circumstances, there were actual jokes in there! so thats good. very fast-paced, almost a little too fast. i hope later episodes give us a little more time to breathe in the more tense moments. i haven’t mentioned the animation but i actually really like it, it’s not as rick-and-morty adjacent as it looked initially, it’s very smooth, nice effects, expressive characters.
What I can tell you as a transgender woman is that occasionally I will read trans woman characters written by cisgender authors. And I can pretty much always tell when the author is cis, even if the character is portrayed respectfully, because they get some details wrong or something. But I certainly don’t think that they shouldn’t be allowed to take a stab at it, and I actually appreciate any representation that isn’t egregiously harmful. And I certainly don’t think that only transgender women should be allowed to write transgender women because then it falls on me, and that’s rather tokenizing, isn’t it?
Also it seems like demanding that only #OwnVoices authors should be allowed to write certain characters is an excellent way to enforce a situation where most books are about cishet white people.
And no: you probably won’t get all of the specific details of someone else’s lived experience correct, in much the same way that most authors don’t get all of the specific details about how, say, nuclear reactors or space work. But so long as your character passes as realistically human and not a one-dimensional caricature of what you think that other types of people are like, then I think that that’s reasonable.
Also, sensitivity readers are a thing, and enhance all of the above actions! Paying a reader from the demographic you have written to go over your writing and give constructive feedback is a wonderful thing to do. It benefits both parties involved not only in the financial and craft-honing senses, but also in the exchange of ideas and learning about someone whose perspective and lived experience are different from yours.
*has video game open* hm i dont feel like playing this right now actually *closes it* man i wish i was playing video game right now *opens it again* hm i dont feel like playing this right now actually *closes it
The story depicted a human astronaut, a representative of the Galactic Republic, visiting the planet Cybrinia inhabited by robots. He finds the robots divided into functionally identical orange and blue races, one of which has fewer rights and privileges than the other. The astronaut decides that due to the robots’ bigotry, the Galactic Republic should not admit the planet. In the final panel, he removes his helmet, revealing himself to be a black man.
Apparently the Comics Code Authority tried to prevent the author from making the main character black.
Boy did they! It took the writer (and the company) threatening the CCA with a lawsuit and telling the guy to fuck off (literally) to get this thing printed:
Comic Historian Digby Diehl recounted in Tales from the Crypt: The Official Archives:
This really made ‘em go bananas in the Code czar’s office. ‘Judge Murphy was off his nut. He was really out to get us’, recalls [EC editor] Feldstein. ‘I went in there with this story and Murphy says, “It can’t be a Black man”. But … but that’s the whole point of the story!’ Feldstein sputtered. When Murphy continued to insist that the Black man had to go, Feldstein put it on the line. ‘Listen’, he told Murphy, ‘you’ve been riding us and making it impossible to put out anything at all because you guys just want us out of business’. [Feldstein] reported the results of his audience with the czar to Gaines, who was furious [and] immediately picked up the phone and called Murphy. ‘This is ridiculous!’ he bellowed. ‘I’m going to call a press conference on this. You have no grounds, no basis, to do this. I’ll sue you’. Murphy made what he surely thought was a gracious concession. ‘All right. Just take off the beads of sweat’. At that, Gaines and Feldstein both went ballistic. ‘Fuck you!’ they shouted into the telephone in unison. Murphy hung up on them, but the story ran in its original form.
You know, it’s times like this that I am deeply comforted, knowing that history isn’t just everyone being nice and polite and better than the current generation. Sometimes it really is just people bellowing swear words over the phone to get shit done.
And by the same token, the past was not a flat, monochrome landscape of bigotry. This comic came out in 1953. That is a full year before the Brown v. Board of Education decision, meaning not only was segregation the law of the land, but the process of dismantling it hadn’t even begun. Integration wasn’t even a political topic yet, because there was no integration actually happening, and as far as everyone in 1953 had reason to believe, there wasn’t going to be any any time soon.
And yet, in 1953, two white Jewish guys from Brooklyn not only wanted to put out this comic, but were willing to swear at the Comics Code Authority and threaten to hold a press conference – which, by the way, was enough of a threat that the censors did back down; they didn’t laugh and say “Who would care about your press conference?”
And, not only that, but in the end they did put out the comic, this comic that at the time all but explicitly said the United States of the day would not be fit to join the Galactic Republic.