Your posts are few and far between now but I remember that ages ago you had a very blunt post about SQ (despite any sense, chemistry or potential) being truly unintentional, queerbating getting even worse after CC and Colegate actually holding a lot of truth: that they (writers, producers, etc) don't like us or want us, that they are barely tolerating us through gritted teeth. Throughout s3/4 that seemed absolutely true but do you perhaps think after these last two cons things changed? TY. :)
Oh, hello randomness. Lol. Yes. That was waaaa-haaay back, uhm… two years ago, that old, us grossly overestimating BrothersDim and their ability to spin the story and do something original and surprising because… *sarcastic mock-gasp* ..“Lost!” (yes, up yours enriched/dynamic/more participatory platforms/realities Lost theorists) discussion? In which case, in the immortal words of Xander Lavelle Harris: ”You know how some people hate to say I told you so? Not me. I told you so.”
Now, there are several major factors at play in this fandom. The audience itself being rightfully political (the queer part needing/demanding sense of identification/representation, because they found something profound in this story, a piece of themselves if you will) or aggressively defensive (the mainstream one being vastly heteronormative and/or homophobic as well as Twilight/50Shades-shaped in their view of a ‘romance’) while the show creators choose to stick to their unwaveringly nohomo/straightwashing storytelling–and pandering the latter, whilst ‘riding the waves’ created by the former (tolerating it mostly because they are becoming increasingly desperate for numbers and because they are finally, finally aware of the size and force that is SWEN–IMHO anyway) because, ratings. And hence the unbalanced writing of plummeting quality that makes one feel both offended and vindicated by the sheer amount and extent of unconcealed retconning (of plotholes, but also those horrid writing choices such as insipid romances, where bottom line’s always the same: if you have to try that hard to make certain storylines/characters digestible–it probably had no business being on the menu in the first place, no?) that brought forth yet another fandom polarization: between the still ‘positive’ individuals (because there is a very fine line between subtext and blatant queerbaiting) who now bizarrely often also lash out at those who dare to criticize and burst their little happy bubble (woven of head-canons and fanwanking and hope) as if the blame doesn’t lie on anyone else–but show itself and its writing?
And simply put, that writing
is just a pile of contradictory rubbish, these days. Blah-wah “true
love is when you truly love somebody, and soulmate is the idea that there’s
only one person for you”, right? And, then “on
our show, we’ve learned that happy endings aren’t always what they expect–if
you love somebody but it doesn’t work out, you should love again” (source), so apparently those terms get blurred and mixed (as even actors use them lightly, but then again–even they don’t fucking know what’s what there?) and who gives a rat’s ass anyway, because we have evidently wasted so much time picking
this drivel apart while they obviously either don’t care or just pay no
attention to what the soddin’ hell they’re writing. So no wonder that the
audience “lost the plot” (quite literally so, not only in the idiomatic
sense) and went bonkers, seeing that there’s a wave of ‘accountability’
demands–whilst the authors keep sinking more and more into that
quasi ‘ship neutrality’ (”we don’t write ships”, yeah sure) while at the same time they actively count on shippers/shipping/ship-wars
as the only means of creating some buzz around the drivel they’re writing?
then worst of all, they’re remaining ‘neutral’ (“we love all ships”, while being persistently heterosanitizing at it–and not only keeping mum
about rampant homophobia in their fandom
but also making us all ‘equal’, both the homophobic and the
bullied ones–because for them #nohate is just general ‘no hate’ and not
what it should be?)
again leaving the precarious walk through that minefield–to actors. Putting them in this incredibly awkward position where they’re balancing between their own PR (it’s
their career and their fans after all) and the show’s PR, which is thanks to
their employers–a hot fucking potato. So it naturally results in contradictory
things, such as Emma’s sacrifice being “for the whole town” (JMo walking on eggshells when you take it out of wider context, when nay-sayers cut and twisted her words?) while Regina
helping her not cross that line of no return was “an act of love” (Lana being ‘wild and free’ and ‘unleashed’ which now brought her hate from the C$ camp) and people desperate for acknowledgement–constantly weighing/assessing/judging who’s of these actresses a better ‘ally’ and who ‘supports’ what, more or less. While they simply do whatever they can to promote the crap they’ve been given while they’re actually only treating people, their fans–like normal people for a change (lately, and as opposed to being muzzled, sullen, curt and/or coldly dismissive, such as Kitsis himself) returning love with love, you know? But hey, damned if they do, and
damned if they don’t, eh?
(Also, is it a “shift in PR” and if things changed? How ‘bout food for thought: is it a coincidence that the farther they are from any US-based cons–the more open and welcoming to SQ and SWENs they seem to be? Yes. Let’s sleep on that one, until SDCC and its viciously attention-seeking moderator who already started hate-mongering–with Horowitz’ apparent blessing.)
All the while yes, good writing itself should have been the best promo they could’ve ever wished for. But alas. So now it’s become vibrantly, screamingly clear that we had given them too much credit (based on grossly overestimated value of Lost and their flair for ‘intelligent’ writing?) so they took themselves WAY too seriously again (the show could’ve been fun in that campy kind of way, but it failed at that too–so now it’s hanging in between childishly naive and plainly trite) for which again now, when there’s a wave of accountability for that as well–what do they do?
Take SQ away from it, and what do you have left? A really banal, childishly naive and plainly non-imaginative storytelling. While SQ itself is exactly what it is canon-wise–NOT what we want/fanwank/need it to be. So, four years of following OUaT later, I feel as if… I have embarked upon an epic quest, travelling beyond the White Mountains, through the Valley of the Fallen Kings, to the north of the Great Sea of Meredor, and then left at the… soddin’ supermarket. So I will forever mourn the fact that so many of the good folks are now far past giving a fuck about the show that had so much potential–and has failed remarkably at living up to it.