- it's super-detached from long fandom traditions of this, like zero acknowledgement of this as a pre-existing thing that has done important stuff in fandom's historical trajectory - it's co-existing with EXTREME forms of feminisation, trans spectrum stories, ABO and wlw-swap - as readers&writers, we're almost all bi, queer, on some trans journey: do we, in this non-economic space, really need to worry about cis swap Erasing canon gay? It'd be a different story if there were TONS of these, but it's a handful, not a Prevailing Norm. - because of all the stuff that Is Okay, it ends up feeling quite focused on discomfort with Women in some strange way. Like look at ALL the ways ABO, with its social turns etc, its 'vestigial cocks' in some iterations, approaches this asymptote?
Like this is as close to a queer4queer audience as you're going to find, so everything is kind of contextualised differently than say, Network Television Made WWX a Girl in a Reboot for Broader Audiences/Cash. Also I'd like to trouble a notion that there's some WEALTH of great cis het stories wherein the women have a male character's range of dynamic action/agency and this level of troubled, focused-on, storied relationship with a male lead romantic partner. There are certainly some, but it's far from an abundant category, and imo since the decline of the Screwball Comedy we've gotten very few examples. Contemporary het screenwriting isn't any better for women, really, than 70s screenwriting, in most respects.
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carisma_sensei
no subject
Date: 2021-04-01 02:48 pm (UTC)- it's super-detached from long fandom traditions of this, like zero acknowledgement of this as a pre-existing thing that has done important stuff in fandom's historical trajectory
- it's co-existing with EXTREME forms of feminisation, trans spectrum stories, ABO and wlw-swap
- as readers&writers, we're almost all bi, queer, on some trans journey: do we, in this non-economic space, really need to worry about cis swap Erasing canon gay? It'd be a different story if there were TONS of these, but it's a handful, not a Prevailing Norm.
- because of all the stuff that Is Okay, it ends up feeling quite focused on discomfort with Women in some strange way. Like look at ALL the ways ABO, with its social turns etc, its 'vestigial cocks' in some iterations, approaches this asymptote?
Like this is as close to a queer4queer audience as you're going to find, so everything is kind of contextualised differently than say, Network Television Made WWX a Girl in a Reboot for Broader Audiences/Cash. Also I'd like to trouble a notion that there's some WEALTH of great cis het stories wherein the women have a male character's range of dynamic action/agency and this level of troubled, focused-on, storied relationship with a male lead romantic partner. There are certainly some, but it's far from an abundant category, and imo since the decline of the Screwball Comedy we've gotten very few examples. Contemporary het screenwriting isn't any better for women, really, than 70s screenwriting, in most respects.