lgbtq: media representation

Everyone, PLEASE go support the new Power Rangers movie.

I know basically nothing about the franchise, I was never a fan as a kid, I get it if you’re like ‘idk what even’ about the movie.

 I haven’t even seen the movie yet. 

But out of the 5 main characters, 4 are non-white, and of those, 1 is an openly queer Latina, and 1 is black and autistic.

Words can’t express how huge this is.

Not only is this the first openly queer superhero in a blockbuster movie, she is also Latina. 

It’s also, the first autistic superhero in a blockbuster movie. 

It’s one of the first times I have ever seen a canonically autistic protagonist in a major piece of media, ever, in a narrative that isn’t just about them Suffering About Being Autistic™.

It’s the second black autistic character I’ve ever seen in any form of media, ever, either, and that is incredibly significant. It’s looking like it will be fairly positive representation, which is so important, given the issues that black autistic people face. (More likely to be underdiagnosed or misdiagnosed, more likely to be the victims of police violence and persecution, etc.)

If it doesn’t do well, the diversity of the film will get blamed by Hollywood, rather than any of the individual creative merits of the film itself.

But if this movie succeeds, it could be genuinely groundbreaking, in terms of what is considered viable in terms of casting and representation in major blockbuster movies. 

If you want more POC heroes, more queer heroes, more disabled heroes, in your media?

Please, please, go see this movie.

Don’t speak over gay men when they’re talking about what constitutes as good representation of themselves in media.

Don’t speak over gay men of color when they’re talking about what constitutes as good representation of themselves in media.

If you’re not a man who loves men, you don’t get to decide what is good representation of a mlm.

I don’t care about how amazing amazing you think a show is, I don’t care about how much you think it’s good representation, if you’re not a man who likes men, you don’t get to speak over or reject the qualms and objections other mlm have about representation.


Captain Georgiou kicks ass and I can’t wait to see where things go between her and First Officer Burnham. They are aboard the starship Shenzhou.

And you know what else? Captain Georgiou has an accent. Like. An Asian character in a major and respected role, with an accent and taken seriously.

We’ll see how the series goes.

(P.S. This is also the first ST series that will feature an openly and canonically gay character.)








Looking at bi women in media and trying to distinguish Good Sexy Bi Rep from Bad Sexy Bi Rep is hard sometimes but there are some distinctions that heavily tie in to the way we’re perceived in real life.

1) The Fantasy: Probably the most obvious, the Fantasy bi woman is a character that only exists to facilitate a male character’s sexual awakening. She’s there to titillate him with lines about how she “experimented” in college, orchestrate a threesome, or otherwise. Her bisexuality is never given any meaningful insight and is only ever perceived from the male character’s perspective, and once her sexuality – or character in general – is no longer useful to his narrative, she’s killed or otherwise vanishes from the story.

2) The Hedonist: This is the bi woman known for partying and sleeping around. There is an important factor that distinguishes her from a fun, fleshed-out character who may be relatable to real-life bi women who also like sex and partying: her attraction to multiple genders is not portrayed as genuine or meaningful, just an avenue of satiating lust. This character will go to any length to receive sexual satisfaction and attention, even if it means “resorting” to the same gender. Her sexuality is just a manifestation of her selfishness, and her partners are a means to an end for her, rather than a being she is actually attracted to. Watching her interactions you wouldn’t be able to distinguish her likes and dislikes in a partner, because they’re deemed unimportant by the narrative: she’ll take anything she can get. Note: this is NOT the same as a well-developed character who is dealing with hypersexuality as a symptom of trauma or illness.

3) The Turncoat: She’s probably mean, cunning, and full of secrets, in a story where she is directly positioned against characters who are portrayed as righteous (eg. a morally grey character in a story about gangsters or pirates or spies or so on is going to have a little more leeway). Like the Hedonist, her likes and dislikes don’t matter and her attraction isn’t genuine – her partners are a means to an end, be it information, blackmail, a distraction, etc. Her identity is likely faked – her name has been changed, her hair dyed, her wallet full of stolen credit cards, and whatever she’s doing, she’s only doing it for personal gain, be it money or power. She switches sides as it suits her agenda, and doesn’t care who she hurts along the way.

For all three of these archetypes, these behaviours are portrayed as an obvious flaw. Sometimes the characters are “redeemed” – either through their falling in love with a man, being killed off, or both. 

It’s not hard to see how all of them are a result of, and a direct contributor towards, biphobic misogyny:

  • All are without genuine attraction to men and women, especially women, sometimes with the exception of the male love interest that “saves” her; their attraction is only performed to the point of them gaining something, the titillation of the audience, or the arc of a male character.
  • They are almost always purely selfish. They are manipulators and infiltrators, indecisive and immature, always postured outside the norm of the heroes and as their fatal flaws – often ones they never overcome, leading to their downfall.
  • If we are meant to understand them, it’s through a weakly-woven “daddy issues” backstory; never an insightful abuse narrative, but a dime-a-dozen stereotype that boils her actions down to “fuck you, dad!” and childish rebellion. It’s not a matter of gaining audience sympathy so much as pity.

These sentiments will sound familiar to most bi women, but not just because of whatever we just watched on tv, but in the way that real people treat us, refuse to trust us, and degrade us.

It’s really not hard to see how these characters warp people’s perceptions of bi women, and are themselves are products of people’s warped visions of us to begin with. The idea that our attraction to women is lesser or even false, that we’re trying to “infiltrate” LGBT communities, that we’ll always “end up with” a man, exist only for men, or are always too young and immature to understand who we are.

Identifying these tropes and our unconscious tendencies to use them as shorthand for real people is crucial to unraveling the mistreatment of bi women and our own internalized biphobia – not only in media representation, but in our everyday lives.

@str8 ppl who think same-gender romances in media usually feel “forced” & the characters would prefer to be friends -

has it occurred to you that. maybe. possibly. ur projecting ur own personal lack of attraction to ppl of ur gender?

and that, perhaps, ur experience of not feeling attracted to ppl of ur same gender is… not universal?

and maybe……. experiences u don’t have are still Real and u don’t need to personally identify w every single romance available? maybe “almost all of them” is enough?

re: the whole “lefou is gay!” shit:

the original cogsworth was voiced by david ogden stiers, a man who happens to be really fucking gay

the live-action cogsworth is being voiced by sir ian mckellen, a man who also happens to be really fucking gay

if ANYONE in this whole fucking movie is gay, SURELY the one who’s been played by TWO VERY NON-HETEROSEXUAL DUDES should be gay

I’ve been searching, but I just can’t seem to find any good casual representations of physically disabled and chronically ill people. What I mean by that is: non-tragic characters who are still defined by their illness, like we are defined by it: We’re coping, we’re dealing with doctors and friends who often don’t understand, we’re getting treatment, but will never stop being ill, etc. But even though we go through all that we can genuinely enjoy our lives and they are still worth living, and you never see that in a movie that’s not a drama.

All we seem to get is that one token side character in a wheelchair, who is able to perform on par with abled people and never seems to have bad days or a bad attitude, and never jokes about their struggles in the casual way that so many of us do… We may get a joke or episode about someone unfairly underestimating this character and being proved wrong, but that’s about it.

I’m looking for characters that are like “whoops there we go again” when a flare happens or a symptom starts acting up; characters who deal with chronic pain and brush off injuries because they’re dealing with much worse on a daily basis; characters who get a backlash from excessive activity (or their illness is just acting up) and need to lie down for a day, so they’re making jokes in the background and chipping in in conversations.

Where is my story about reasonably adjusted chronically ill people? Where is the lighthearted comedy about someone trying to get their doctor to listen to them? Where is the Jaws theme after a character says “well I haven’t had to deal with [X symptom] for a while so I think we’re good for [activity]”? Where is the episode where someone forgot their pain meds and tries to get up from their bed and move through their apartment in the least terrible way? Where is the search for the missing wheelchair that /some asshat/ “moved out of the way”, but presented like a murder mystery? Let me laugh about someone telling more and more ridiculous stories to prying strangers about how they lost their leg. Like, there is so much potential here????

Where are we?

anonymous asked:

I honestly believe that movies are a big, big part of the hero worship of cops. They're portrayed in movies to be always in gunfights and being attacked by criminals. They're shown to always be under threat of violence, but also ready to do the right thing under any circumstances. They're shown as the greatest good guys ever without any problems, but that's nowhere close to reality. Where 90% will never fire their weapon or be attacked. Where more die of heart attack than physical attack.

If you pay close attention to a lot of those movies and TV shows, it’s absolutely wild how so many of them have blatant, outright instances of police brutality that just get straight up excused because it’s played off as a joke or because of some “the means justify the ends” bullshit. Every piece of media that features the police or the military in a positive way, whether it’s a TV show, or a movie, or a video game, is complete propaganda, and it’s just astonishing how that point escapes SO many people.

okay so I was going through some old stuff and I found this book from a series called “Amy Hodgepodge” that I bought around 2009 or 2010

and I vaguely remembered something special about it so I opened it up and

(it’s a bit hard to read, so here’s the part that I mainly want to focus on: “I laughed, knowing she was only kidding. Lola has a great sense of humor. She’s the one who came up with my nickname: Amy Hodgepodge. My real name is Amy Hodges. But when Lola found out that I’m African American, White, Japanese, and Korean, she said my name should be Amy Hodgepodge. Lola and her twin brother, Cole, are mixed-race, too. So are some of my other friends. But Lola says nobody is as mixed as me!”)

This girl is African American, white, Japanese, AND Korean.

I remembered how weird being both Vietnamese and white was for me when I was little. I didn’t know any other part Asian, part white kids (and I specify Asian because I did know one or two kids that were part black, but I didn’t talk with them that much), and I had never read about anyone like me in any of the books I had ever read… until these.

Curious to learn more about the series, I decided to Google it. This is the home page of

“Some kids were mean and teased me about looking different, which really made me sad.”

These kids books just briefly tackled racism without actually saying the word “racism” or “racist”.

Interested, I began to go through the website and went to the characters page:

The text is pretty small, so if for some reason if you can’t zoom in or anything like that, here’s what I want to emphasize:

  • Lola and Cole (twins) are part African American, part Irish-American.
  • Maya is pretty much white, but she’s Italian-American and Irish-American.
  • Pia’s mother is white and her father is Chinese-American.
  • Jesse is half Puerto Rican and half African American.
  • Rusty is Hispanic, Native American, and white.

The authors of these books didn’t put a single white child in the group (with the exception of Maya).

But apparently, racial diversity is too hard for people who are 100% white.

Can we like, fucking give Moffat a sliver of credit for changing his priorities and he and his team recognizing the show’s diversity problem and presumably having to fight the traditionally pretty conservative BBC for this? I get the anxiety she might die, I do, especially after the bloodbath of last year. It’s in no way unjustified, though I might point out that Moffat is basically infamous for not permanently killing characters to the point where it is a common criticism

But what it looks like, from here, is an excuse for damning Moffat for failures yet revealed and therefore denying how bloody amazing and important an ~intellectual working class black lesbian companion~ is. Like, this site has been dreaming of that for ages, I can easily prove that. But they never expected ~Steven Moffat~ to do it, and it breaks their narrative that he’s the worst and so they can’t give him credit for doing something ~amazing~. 

So I get the anxiety. But what I don’t get is acting like the fact that its even a possibility it could end badly some how erases or negates how gigantic a step this is for the BBC’s flagship genre show. In line, frankly, with the first two openly lesbian characters on the show (Vastra and Jenny), a companion more or less explicitly interested in women (Clara), the first instance of a gender-changing regeneration (Missy) as well as race-changing (Mels to River). Like, consider where Moffat is leaving the show, and tell me that he’s contributed nothing positive in comparison to St Russell.

Somewhere Inbetween #10 (12/11/16)- Its the new math… or rather the old math in a new skin.

BTW if you want to see Queer pocs on film go see “Moonlight” and “The Handmaiden” (the handmaidens is foreign film and that why I did put it in the comic since is not a mainstream hollywood film.)