Still here
So as social media implodes…I’m still here, whatever that’s worth! I hope you’re well!
One thing I tend to see really disparate takes on is how much of Stede's presentation is masculine or feminine, and I keep thinking about it. The tricky thing is that of course standards of masculinity have changed between the early eighteenth century and now, and at the same time this production is very much not one that's going to be historically accurate in such a way that it confuses the audience!
So, 1717 masculinity first.
There's a stereotype that prior to Beau Brummell, there was no sense that men should be restrained in dress, but it's not true at all. Even in the 1710s and 1720s, English gentlemen were expected to have a certain soberness in their clothing - portraits show a preponderance of browns, as well as darker blues, greys, and occasionally reds; there's not that much trim, either, beyond buttons and occasionally a line of gold or silver braid. John Blathwayt is among the flashier, with a waistcoat and massive cuffs made out of a silvery damask - but attached to a brown silk (and really, grey-on-grey isn't that flamboyant). To a modern eye, the flowing wigs and stockinged calves relate to women's fashion, but both were symbols of masculinity in the period - women's hairstyles were more contained and natural, and their legs were covered with skirts.
The clothes Stede wears in the scenes set before he goes to sea generally reflect these norms. They're in darker tones, and cut fairly loose and not showing off his body. The orangey-brown anniversary outfit has the lightest colors and the closest fit, and it's still shades of brown and a pretty boxy shape. His cravat is often lacy, which really isn't very masculine for the period, but it's partially covered with a colored tie/secondary cravat - along with his lacy shirt cuffs, that's definitely something that can be read as a small expression of his style/queerness, which he's also half-concealing. In the betrothal scene, his cravat is actually a strangely rough fabric in a light grey, and I think it's tucked into his waistcoat so we can't actually see the ends.
I also want to note that the suit fabric really matches the upholstery in Stede's father's carriage. It's hard for me to not read this outfit as being chosen by Bonnet the elder to repress anything non-masculine about Stede, and also to show him as a possession, just like the carriage. On the other hand, the anniversary suit seems to be the brightest and most fitted, with a contrasting and I think floral-patterned waistcoat, and that was the scene where Stede tries to be more open than he's ever been with Mary about what he likes and wants.
There's a similar thing in the scene where Mary tells Stede to play with Alma and Louis. He starts off reading and ignoring Mary in a plain dark green coat, the ends of his cravat hidden behind his book and the top of it largely covered with a green tie. Then we jump cut to him playing with the kids and he has taken off the plain coat to reveal a patterned, light blue waistcoat (short and fitted), and he's tied the green tie around his head to uncover the white cravat, which is also revealed to have intricate lacy ends. Likewise, when he runs away to sea, he wears a fairly yellow waistcoat, embroidered with flowers - the only embroidery we see on him in the flashbacks apart from a little bit on his nightshirt right before he runs away.
So, how does this compare to what he wears as Captain Bonnet? (Part II)
“I love borders. August is the border between summer and autumn; it is the most beautiful month I know. Twilight is the border between day and night, and the shore is the border between sea and land. The border is longing; when both have fallen in love but still haven’t said anything. The border is to be on the way. It is the way that is the most important thing.”
— Tove Jansson, “Moominvalley in November” (via existential-celestial)
I took a long flight today, so I rewatched Our Flag Means Death, and caught something I completely missed the first time. I’m sure others did not miss it. I’m not writing this to enlighten anyone, it’s just that writing things out is how I solidify things in my head.
So here’s what I realized: Ed is the only character who looks at Stede without prejudice, even if you include the camera as a character. Ed sees past all the norms, expectations, stories and lies, the stuff the camera largely keeps our amused focus on, and Ed sees Stede as he truly is.
The first time though, I thought Ed saw Stede as something other than he is until he meets Stede the first time and sees that, whoops, no, this guy isn’t actually a competent pirate after all. But he’s interesting anyway.
Ed has heard these rumours about Stede and goes looking for him. Izzy puffs Stede up to make him seem both more ridiculous but also bolder and braver than he actually is, so I assumed what gets Ed’s attention is at least mostly the fiction about Stede.
Which of course makes sense. You can’t possibly understand someone before you meet them, based only on second hand accounts. You just can’t. And the story shows us that Stede is basically incompetent and only getting through by luck and the seat of his pants.
Because of that, I originally thought there was a missing scene where Ed connects the dots and clocks what Stede actually is. I thought he must have seen this reality, adjusted his perspective, and then decided that he likes Stede anyway.
But I realized today that there is no missing scene. Because Ed isn’t even all that interested in the lies that Stede is trying to construct. The lies are not what Ed sees when he looks at Stede. So there’s no need for him to adjust his perspective. He gets Stede right the first time.
It’s as if Ed’s scale for judging Stede is radically different from how the narrative he’s in judges Stede.
As the audience, the narrative encourages us to see Stede an incompetent man pretending that he’s something he isn’t, with hilarious, cartoonish results. Stede is so charming and likeable, so silly and ridiculous, his showy audacity pulls focus. But Ed is never distracted by that the way I am. Ed always sees Stede as he is: a creative, intelligent, dramatically original thinker. And that’s what draws Ed to Stede. I don’t think Izzy understands that at all. Actually, I think Izzy and the camera are in agreement in not understanding it! But Ed is clear as a bell about Stede from the start. Ed admires Stede’s choices even while we’re laughing at them.
We know that Stede only bested Izzy by bluffing and lucking out. It’s framed as a fortunate and kind of ridiculous accident, but Ed immediately sees it for what it actually is: a real win driven by original, creative thinking and a massive amount of courage. Stede puts on a fuckery without knowing what a fuckery even is, on the spot and under pressure, with no resources at all, and it worked. He bests Izzy. Twice.
The Revenge is an outrageous, impractical ship, and everyone thinks that Stede’s design choices are sign of his incompetence, including the narrative. But Ed never thinks that way. He sees Stede’s choices as risky, creative decisions driven by an unwillingness to conform in the face of overwhelming pressure. If Stede is anything, he is uncompromisingly himself, even when it’s not prudent.
Ed doesn’t go looking for Stede because he’s an interesting and new fellow pirate and potential ally or foe: Ed goes looking for him because he immediately recognized that Stede is a creative, original and unique human being regardless of his competence. Ed sees Stede’s soul.
I was diagnosed very late in life (I was 44), so I stumbled upon some strategies for coping with ADHD without knowing that’s what I was doing. A late diagnosis is both immensely frustrating and kind of like winning a weird award at the same time. I live with regret about my lost “potential” and a lifetime of firebombing of my own goals, and wondering what I might have managed to accomplish by now if I’d known I was different, but I also get to have a not-insignificant amount of pride about what I’ve managed to accomplish in spite of having a fucked up brain.
To address the usual assumptions: no, my ADHD wasn’t missed because I have “girl ADHD” or a milder, less disruptive version. I have severe, hyperactive-impulsive ADHD. Then as now, girls aren’t given the same benefit of the doubt that boys so often are. Also, since ADHD is almost always inherited, my behaviour and struggles were never considered weird or concerning to my mother or to my grandmother, to whom my behaviour was completely familiar, so they weren’t going to flag any of it as anything other than normal.
The first thing a diagnosis gives us is permission to take care of ourselves the way we need to. There were lots of things I would like to have done to help myself complete tasks, but they look to others like going overboard or overthinking things, and people always tell me that I’m going too far, so I didn’t allow my coping mechanisms be what they needed to be. The diagnosis lets me ignore those criticisms and hesitations. All ADHD hacks and coping strategies seem like “too much” to other people, so I have accepted that that criticism is meaningless and ableist, and I let myself ignore it. That alone is probably one of the best reasons to get a formal diagnosis, and the best coping strategy I have.
If something I try fails, I begin with the assumption that the issue is a missing step in the process, not that I just didn’t try hard enough. Self-blame is useless and an obstacle. If a process requires me to try harder, it’s a broken process. The goal is to create systems that guide me towards success and feel easy and seamless, and blaming myself doesn’t help me get there. I feel badly about hurting other people or letting them down, but I have stopped blaming myself. The problem was never that I didn’t care or wasn’t trying hard enough. It’s just the wrong systems and missing steps. Instead of feeling guilty, I apologize and explain to the person I’ve harmed how I’m working to avoid repeating my mistake. They can accept that or not.
One of the additional complications of ADHD is that it impacts all the executive functions, and the ability to recognize that you’re struggling with a task and why requires several of those. So one of the things I’ve accepted is that it’s okay that I don’t know why I’m struggling with something. I have spent my life making up reasons for my fuck ups that feel true, but that doesn’t mean they are. I’ve embraced the fact that not understanding why something is hard or why something failed only means I don’t understand how my deficits are at play in this situation yet, and I shouldn’t make assumptions about what will and won’t work. Now I try to design solutions based on a few core elements where I know I have deficits and see how it goes.
Having a deficit that impacts executive function means a person with ADHD will likely not recognize or be able to see their own symptoms. I never once even considered that I might have ADHD before the age of 40, and even then I only identified with the executive function issues, not “attention deficit”. I do not have an attention deficit, and I have never felt distracted. I am always laser-focused on something, it’s just that that what that is can change every 30 seconds (or not change for 30 hours) without me noticing. I can only recognize “distraction” (getting pushed off task by following an impulse) when medicated. If I could see that task-shift happening, I could choose to stop it and stay on task, but without medication, I can’t. ADHD is a form of inner blindness, a struggle with self-awareness and limited tool set for self-control. So another way to cope is to accept that you don’t know what you don’t know, and parts of you are on an auto-pilot. But you can connect with yourself to recognize, understand, and control all of these things. It just looks weird when you do it. And that’s okay.
Externalizing Habit Formation
I go with the assumption that I can’t form habits. It’s possible I can, but I find it more useful to assume I can’t. If I can’t form habits, then I need to find other ways to get habitual things accomplished regularly without needing to remember to do them, and without needing to think about it. I have externalized every habit I can, and I keep adding more. Externalizing basic stuff means I waste no energy trying to remember to do them, so I save my brain for bigger things.
I’ve found that the first task in any strategy is planning ahead, as much as that’s an agonizing concept to wrap my head around. 9 times out of 10, if something doesn’t work, it’s because there’s another, more basic plan missing that I need first. Like can’t plan meals without having a list of meals I like handy. I can’t do the recall and the planning at the same time. But that’s okay: I can just keep lists of meals once I know I need that.
I build my habits in a spreadsheet, beginning with the things I wish I were doing and when, and guessing how much time they take. This is how I learned that I need 90 minutes to have the morning I want to have, and for years I gave myself 20 minutes to do it. And I wondered why that wasn’t working!
My future self is like a floppy puppy, and I need to give that floppy puppy some structure to keep her going in the direction she wants to be going in. I need the floppy puppy to be a) rested, b) clean, c) clothed, d) fed on a schedule so that she can tackle the unplanned tasks of the day at her best, so I lay the groundwork so that the basics will be covered without her having to think about or remember to do any of it. For normal people this is just being an adult, but I am not normal people, so my process is different.
Figuring out what habits I should have sounds easy, but it’s harder than I thought. I have spent many hours designing and testing ideal routines (morning, evening, weekly, etc.), and it quickly realized that not only was I expecting to just magically do all these things without planning or a prompt before now, I wasn’t even completely sure what I wanted or needed to do at any given time, so no wonder I wasn’t reliably doing any of it. Determining how to offload “habits” and design prompts for them instead is an ongoing task.
To outsource habit-formation, I designed programmed audio and light prompts in daily and weekly routines via smart speakers that I keep in every room of my home. I find audio more powerful than visual screen prompts, and designing them as routines means they are regular and continuous and don’t require intervention from me. In sum, I program rooms to remind me what I should be doing, and to adjust the lighting accordingly. So lights will go off in rooms I shouldn’t be in, and go on in rooms i should be.
Anything I want to do habitually (like wash my face, brush my teeth, take a shower, eat breakfast, prep my lunch, plan dinner, wash my sheets, etc.) I plan and program a timed, daily or weekly prompt for. There are really no limits on this. I started by building a morning routine of prompts to keep me on task in the mornings, and then an evening routine (lay out clothes for tomorrow, get tomorrow’s dinner out of the freezer, etc.) I keep building more of them as time goes on. Not only does it keep me from having to remember what I need to do, it adds texture to time and helps me recognize that time is passing.
Sometimes just these reminder isn’t enough. I have learned that sometimes, to keep myself on schedule, I need to disrupt my hyperfocus. Figuring out how to do that is a task in itself. I use smart plugs on all my lamps so that I can set them to switch off on a schedule. I have created a playlist to start playing when I should be switching tasks (and getting ready for bed). Finally, I created a routine to cut power to my TV at a certain time. I can switch it back on, but it’s enough work that it shakes me out of a pointless next-episode loop if I’m in one. One of the most useful things I’ve done to help me get out of bed in the mornings is set the whole thing to start 5 minutes earlier than then giving myself the option to ignore it for 5 minutes. For some reason that works. Possibly it just stages the transition? Not sure.
I’ve recently learned that getting myself to make my bed the moment I get out of it is a good way to avoid getting back into it. Also, it makes my room look nice. Which leads me to…
Filling Necessary Tasks with Tiny Joys
In retrospect I can see that one of my first coping mechanisms is using enthusiasm to motivate myself. I can create enthusiasm about almost anything, and once I’m enthusiastic, I’m more likely to follow through on a task. I find deadlines and stress too stressful a motivator, so I opted with joy and delight instead.
I try to add elements of delight to things I need to do. A shower filled with products that don’t make me smile isn’t a shower I’ll avoid exactly, but it’s not one I’ll be pleased to jump into. So I put time and energy into finding out what shampoo and soap that I love. I let myself have scent obsessions. For a while I wanted everything to smell like desserts, but at the moment I’m into citrus. Is this silly? Yes. But I indulge it because it’s part of making necessary tasks easier to do.
I need to get myself to bed on time, so making my bedroom delightful is another indulgence to allow myself without guilt. That means paying attention to the aesthetics, and also to textures. I need to have clean sheets, and I need to have sheets I love that feel amazing. Currently really into silky bamboo sheets. And I will reject a laundry detergent, even if it’s a full bottle, if the smell of it doesn’t make me happy. Wasteful? Yes. But I will indulge myself in these ways because it’s part of the joy-forward plan.
I have struggled with breakfast for years, but have now solved it, partly just by making time for it, and partly by properly planning for it, but also by making it as delightful as a can. I’ve been making myself a honey latte using this very bougie honey + bee pollen honey I found at the market, and do I ever look forward to that latte! It’s a weird flex to see your fuck ups and respond by rewarding yourself, but I’ve found that joy and delight yields better results than any form of deprivation or punishment, and it’s results I’m after.
Externalizing Working Memory and Recall
My life is littered with evidence that I have a limited working memory, but the concept of working memory is relatively opaque to us. What’s the difference between short-term memory and working memory? How does recall fit in? Don’t ask me! All I know is that I need to externalize more than I think I do, so when things go pear-shaped, I try externalizing more information to see if it helps.
One of the ways I’ve externalized information relates to food. I have a long history of planning meals, buying all kinds of lovely ingredients, and then letting them rot in my fridge. I’ve deduced that part of the problem is that when I’m tired and thinking about other things, I don’t have the capacity to mentally go back into that plan and pull out the idea for this meal. That’s too much mental work for me at that point in the day. (Could I conjure up an entire novel’s worth of plot? Yes! But remembering what I had planned to eat for dinner? Nope.) Even opening the fridge might not trigger my recall. So now I have a whiteboard on my fridge where I write what meals I planned for the day so that I don’t have to remember. It’s always easier for me to pick from a list than the recall anything. So I give myself lists when I need them.
My most Helpful Purchases (so far)
Electric kettle: one that switches itself off. That way, if you forget you put the kettle on, no harm done.
Smart speakers: I use Alexa devices, but apple and google devices work basically the same way. You can build routines and have them triggered by command, or time, or proximity, etc. I haven’t needed to use IFTTT to accomplish anything yet, but I’m ready to. I use my phone all the time, but I also abandon it randomly, so I find apps less useful for controlling my behaviour than audio and light signals in my home. Most of my habits happen in my home anyway.
Magnetic Whiteboards: for my fridge. I have two little ones.
Robovac: Somehow I’m just more likely to let Kyle my robovac run loose than I am to vaccum myself.
Solid shampoo and conditioner: it’s less plastic and better for the environment, but mainly I use solid shampoo and conditioner because I can have a year’s worth of it in my bathroom without looking like a hoarder. I have a tendency to hoard things I fear forgetting to have with me. Solid shampoo is small and lasts a long time if you let it air out properly. I stack a year’s worth of them in a vase in my bathroom. It looks pretty and it smells nice, but it’s actually there because I fear forgetting to buy shampoo and running out. This way I literally can’t run out, and when I get to the point where I only have 6 months’ worth, the vase doesn’t look at pretty, so I re-stock months before I have to.
Multiple laundry baskets: You need as many laundry baskets as you sort into. If you do lights and darks, you need two. If you do lights, darks, and hot water wash, you need three. One laundry basket with three classes of item inside means more thinking required to do laundry, and that’s an obstacle. So multiple laundry baskets.
Weekly pill dispenser: I currently take 6 pills in the morning. That seems like a lot, but it’s really very mundane: 2 prescriptions (one is two pills to reach the right dose), an antihistamine, vitamin D, and black kohosh. That is too many pills for me to manage individually first thing in the morning. It was too many pills when it was 3 pills. That’s too much faffing around, I won’t do it consistently, or I won’t do it properly more often than not. So I dispense my 6 daily pills into a weekly dispenser. I dispense each day’s worth all at once into a beautiful earthenware egg cup, pop them all into my mouth in one go the moment I wake up, and then drink water from a matching beautiful earthenware cup. This means a) I don’t need to remember to take them all, and I don’t even notice how many of them I’m taking, 6 is the same as 1, b) I can easily add or subtract pills without altering my routine, c) there is beauty involved in the tools and that pleases me, d) I can confirm whether or not I took my pills that day because the dispenser has 7 slots in it.
Wireless phone charger: Why plug your phone in when you could create a home for your phone where a) you know where it is, and b) it charges?
Key dish: I keep my keys in a special dish (next to my wireless phone charger) to avoid the time and stress playing “the key game”, where you try to remember where you put your bloody keys. I spent weeks deciding exactly what dish I needed it to be. I ended up getting a on-the-verge-of-hideous second hand candy dish made by a now-defunct factory where my family would visit in the summer, and the weird bowl on display in that borrowed cottage. So it reminds me of happy childhood memories. I love that ugly dish. The fact that it’s meaningful seems trite, but that the meaningfulness helps me to remember to put my keys in it. Looking at it gives me happy memories, which helps me to remember to use it, and to remember where my keys are.
Valet stand: this is a piece of furniture. It has a shelf, rail, and a whatsit that looks like a hanger, a thing you could hang a jacket on. They make valet chairs as well and I want one. I use a valet stand to put my next day’s clothes on. It’s a place to put them, but also a reminder that I need to suit it up before I got to bed. It looks so refined, and it’s better than hanging things off my dresser, I figure.
More to come!
Like so many others, OFMD has inspired me to start a new creative endeavor. I just posted my first podfic on AO3. I love reading aloud and have wanted to do audiobooks since I was a kid. I tried to do Anne of Green Gables once in middle school but I thought I could record it all in one sitting and hurt my throat - lol! I’ve taken two weeks with this one, enjoying every minute! It is a podfic of Ivyblossom’s excellent Fond Regards.
Through a series of letters to Ed and others, Fond Regards explores Stede’s internal emotional journey over the course of episode 10, from his arrival at his estate to his return to Ed. From my first reading, this fic grabbed me and wouldn’t let me go. Ivyblossom captures Stede’s tone and personality in all its complexity – his essential kindness, his self-loathing, his privilege and occasional ridiculousness, and above all, his love for Ed – before and after he recognizes that what he’s feeling is love. This is my first ever podfic and I can’t imagine a better story to try to bring to life. Thanks to ivyblossom for writing this fic in the first place and for being so supportive when I asked if I could record it. Much love to uzsgyijany for listening to every chapter at least once and offering editing advice, putting up with my descent into gay pirate madness, and being my port through every storm.

Fantastic work by @oak1985! And a complete thrill for me, woohoo!
Babygirl I’m popping joints that paleontologists don’t even know about
No, fuck. Chiropractors
Yo mama so old her chiropractor is a paleontologist
Chiropractors divined their skills via a séance where they contacted a dead guy who was really into bones, he communicates by shaking a table and making the room cold
Tim Kreider wrote a follow-up essay reacting to the fact that the mortifying ordeal line became a meme, and it’s mostly him being sort of condescendingly annoyed at us because he thinks focusing on this one excerpt was missing the point but he dropped another banger in the process:
They think that what another person will learn about them is what they see in themselves — the squirming, icky, insecure mess inside. They don’t know yet that the ways in which they’re secretly screwed up and repulsive are boringly ordinary.
I don’t know why, but I love that. I’ve repeated it to myself a few times in the past when I’ve worked myself up into a lather. You are not uniquely horrible, you are just regular horrible in the way that we’re all a little horrible. The mortifying ordeal of being known is mortifying precisely because you have to accept that someone can know your most awful flaws and irritating behaviors and not be shocked, appalled or impressed. You and everyone else, babe.
Hey Ivy, when we said “get a therapist”, how did you manage to hear “get a tumblr”?
Anonymous asked:
you okay? haven't seen you around these parts lately?
Hello, anon, how kind of you to notice my absence and ask, that’s so sweet of you!
I have been visiting family, and then I was at an in-person professional conference, one that I was in charge for planning, which was a little high-stakes-y and a bit stressful (it went GREAT, all well there), so I was stuck in real world stuff for a while. All good.
But then there’s this fannish stuff that has me a bit…well.
I’m treading a little more carefully with my fannish life because of some twitter drama that had nothing to do with me. It wasn’t about me in any way whatsoever, and I’m overreacting, but it flashed the possibility of a creator (or creator-adjacent) discussion about how shitty it is that we sillies write fanfiction that they don’t like or approve of, and my heart honestly can’t take it. I pretend I’m thick-skinned about this stuff, and I wish I were, but I’m really not. Even a hint that things are going in that direction makes me feel sick. So I throw words at it in the hopes that that will protect me. Which probably does the opposite.
Writing fanfiction feels great to me. I love doing it, I love interacting with other fans and getting into deep conversations about characters and voice and emotions and big, moral decision-making and all that stuff, it feels very honest and genuine to me. It feels like we use these stories as tools to communicate about something much bigger, that we’re digging into parts of ourselves that are really foundational and otherwise unrevealed. Like, the shared language of stories gives us these amazing tools to talk about things and experience things that it’s hard to get at otherwise. It feels like you’re suddenly able to communicate with a group of people you didn’t know existed before, in a language you didn’t know you understood, and those people see you and get you in a way you’ve never experienced before. It’s a cool thing. I always come away from it a different person, and I’d say a better one.
So when people I admire laugh at us in that particular way, you know the one, it really hits me hard.
This is a really vulnerable place to me. I don’t know if I’ve ever fully appreciated how much that’s true. Fandom is a pseudonymous trust fall in the oddest way. And hitting the ground is probably the inevitable result, but I keep climbing back up again anyway.
I never considered whether, as a fan, I want some kind of pat on the head from creators. That makes no sense, but maybe I do. What a weird way to go about getting acknowledgement, eh? The things we do to ourselves.
The first time I wrote fanfiction it was a form of criticism. I definitely didn’t want a thumbs up from JK Rowling. I couldn’t have cared less what she thought of what we were doing. She was always an anti-role model for me rather than someone whose good opinion I wanted. I had no desire for creator approval there.
I wrote Sherlock fics because of the unspoken parts, the parts that lay beneath the words. The first time I wrote a Sherlock fic it was because I was impressed with Sherlock’s voice and I thought it would be impossible to use it as a narrator, which of course prompted me to try. I also thought this unemotional character would be so much more appealing to me personally if he had a secret and powerful emotional life, which I could project into unemotional behaviour and could always believe was there even if it never appeared on screen. I wouldn’t have said this at the time, but in retrospect I think I did want Steven Moffat in particular to know that I, nameless me, wrote a story out of admiration for the construction of those characters, and that I did a pretty okay job of using that toolset for an amateur. I must have wanted that somehow, even though that’s not a reasonable or possible thing to get. Something like, pat pat “You did okay, little fan, well done, keep working at it, you’re getting there!” That’s pretty silly, isn’t it, but I think I probably would have loved a generalized nod like that. Some part of me wanted to be seen, I guess? By people who’s work I admired? I guess that’s not so weird.
This time, with Our Flag Means Death, I just love the story, I love the characters, I love the writing and the voices, everything, I didn’t want to change or add anything at all, I just wanted to write something that’s a sort of love letter and a heartfelt squee, because I think this thing is beautiful, and I felt like we were getting a general YAY WE LOVE YOU TOO WE LOVE WHAT YOU CREATE IT’S ALL ABOUT LOVE AND ADMIRATION WE SPEAK THE SAME LANGUAGE I SEE YOU vibe back, and that felt scarily nice. I guess I fear getting what I want, because it’s all so vulnerable, and what if I believe it and I feel buoyed by it and I go more vulnerable in my fannish way, and then it turns out to be all a big joke and a lie? Then I feel stupid and really hurt.
I shouldn’t let people I don’t know, and who don’t even know I exist, hurt me. And yet somehow, I keep standing up for this bizarre trust fall. Perhaps I am just a sucker for punishment. Pedestals are bad for everyone. I need to stop putting people on them. I should stop finding ways to hit the ground myself at the feet of them!
You asked how I’m doing, and I guess I could have just said, “Oh, fine,” but no, I bought you a pint and sat you down and told you the whole damn story, didn’t I. Thanks for listening. Do you need another pint? I certainly owe you one at this point.
This is not going to be a useful exploration that adds any value to fandom. This is just my personal fannish agony, documented in the hopes that I can leave it behind somehow.
I’m struggling to cope with the fact of a showrunner who actually seems to be pro-fan. I love it, it’s amazing, I’m so grateful, it makes me happy, but then it also scares me. Can any showrunner start out pro-fan, and stay pro-fan?
Which, as I say it, sounds ridiculous. Surely people who create media like their fans. But we know the truth of it: creators have hated fans like us forever. We are used to being hated. We are used to be belittled and mocked. There’s a part of my psyche that is just pure shielding at this point because I’m so used to it that I’ve gotten pretty good at blocking stuff out.
You know what stuff: I think I still have a copy of a cease & desist letter from a creator’s laywers addressed to a fan for deigning to make fanfiction available on the internet: that’s the kind of reaction I’m familiar with and used to. (It wasn’t addressed to me, it was to someone I knew, but weren’t we all making fanfiction available? Wasn’t it sort of directed at all of us?) And all the laughing interviews, the jokes, the dismissal, being framed as stupid, vapid teen girls (why must everyone hate teen girls? I ask you) actors reading fanfiction in front of an audience for gross, humiliating laughs (my heart goes out to the fan writer that happened to: I cannot imagine, I just cannot), the discomfort with our existence, the dismay that we have voices and react to things, the outrage. We get embarrassed by it. We police each other to try and prevent it (I am guilty of this, and I’m sorry).
We have often been fans in spite of creators who behave this way towards us. The communities we build around a shared language and the stories we tell becomes more important to us than the original content. Fanwork is often criticism: a repair job, a rescue, a different, better narrative choice, or character choice. Does this kind of negative creator reaction to fandom make negatively-inspired fanwork more likely? I don’t know.
It’s tough when you admire creators so much and they turn around and sneer at you and laugh at you. It feels very personal and humiliating. Don’t meet your heroes, etc. etc. right? I feel very weird about all this, because these creators that I admire so much, they don’t know me, they’re not aware of me at all. For good or for ill, it’s not about me, really. We become a mass, a collective noun. But still, it is, on some level, also about me. It is personal.
I don’t know what to do with any of this. the humiliation of getting scolded by a showrunner you admire, or even the delight of their joy in fandom when it comes, honestly. Parasocial relationships are a trip. I am very embarrassed about them. When I see any of my heroes in real life I am immediately so embarrassed by my own anonymous excitement that I can only pretend that I don’t know who they are. My own one-sided admiration overwhelms me. And embarrasses me. That’s a me thing.
Fundamentally I’m struggling now because I’ve believed in creators before and been let down by them. I’ve believed that they understood us and wouldn’t lash out and hurt us in these specific ways. And I’ve been very wrong.
And you know, I don’t even mean the queerbaiting, honestly. I mean being framed by people we deeply admire as silly, gross, dumb idiots who got it all horribly, self-indulgently wrong, you dumbasses. That really hurts in a way that sticks.
I have my own way of dealing with the queerbaiting thing, but maybe that’s also just my shielding. Maybe I’ve created a way to process it to make it okay because of how common it’s been through my whole life, and how much I want to be able to love certain swaths of media, I don’t know.
But I don’t need a story to do certain things in order to love it, or for it to be queer enough for me, or whatever. My struggle is with how creators talk about fans rationally reading stories as queer. David Jenkins called it gaslighting, and I think he’s 100% correct. To dismiss and deny that the reading is there and reasonable at all is hurtful in a way that I find hard to describe. Gaslighting is the right word for it, because it’s an abuse tactic. And that’s how it feels.
And now I’m going to get into this: I want to talk about Sherlock. (Oh god, really? Yes. Yes, I’m going to talk about it, hopefully just this once, and then let it go.)
When I first saw Sherlock S1 when it aired, I thought it was wonderfully slashy in a self-aware way, and given that it’s kind of a prequel, “how Sherlock Holmes becomes Sherlock Holmes,” and how they were already framing the relationship, I figured that the story would give in to the romance on some level, though I figured it probably wouldn’t be in an on-the-nose way. I imagined it would be romantically ambiguous to the end, and to be honest, after 4 series, I will still argue that that’s exactly what it ended up being.
I remain perfectly confident in the argument that Sherlock is very much a story about two men who fall desperately in love with each other, but have so much personal baggage that they can’t do anything with the truth of that love other than wrestle with it, know that it’s true and real, and have to find a way to live with the sheer impossibility of it.
Conceptually, I like that story, even if it’s queerbaity. I think it’s immensely tragic and beautiful, monstrous and beautiful, and while it would suck for every story to be like that, I loved a story that would play with love in that way. I loved writing fanfiction that explored and pushed through that tension. The fact of the romantic impossibility was a sort of invitation to write ways that it could happen. Is that strange? Maybe that’s just a coping mechanism I’ve developed. Anyway. I was okay with the story. It’s sort of queering the backstory of these two men in Arthur Conan Doyle’s stories, giving them this fraught romantic history.
There’s a whole mess in there about fandom conspiracies and whatnot. I really never understood any of that and I was truly shocked by what happened in fandom when series 4 aired. I’m embarrassed that I didn’t see it coming when the signs were there, and that I didn’t understand it that fannish shipping had tipped over into something else that I still can’t completely wrap my head around, so I won’t pretend to have a useful opinion about any of that.
What hurt me the most wasn’t the way the narrative about the relationship resolved. It was the way the creators talked about it the queer reading of the story, and about us, after series 4 aired. As if we were gross and silly and wrong. And ridiculous. And offensive. And they were angry with us.
I realize creators see fandom from a very different vantage point than I do, and I’m sure there’s more going on than I can possibly be aware of, real life stuff, scary stuff fans may have been up to, but the dramatic reaction from the Sherlock creators dismissing all the very legible and originally self-aware romantic elements of their own story shocked the hell out of me, and made me feel…well, stupid and ashamed, honestly. Because I didn’t see any of that coming on any level. I thought they understood us.
I didn’t, and still don’t, see anything wrong with wanting an implied queer romance to go from subtext to text. I didn’t see anything wrong with arguing that it could, or even that it should. What would actually happen in the story was a whole other matter, but the fannish conversations about the potential of the narrative were fair and legit, as far as I’m concerned. I never expected to be told that I was imagining it the whole time. I trusted that Steven Moffat in particular wouldn’t do that. And I’m embarrassed that I believed that he wouldn’t. I’m hugely disappointed that he did.
And I’m embarrassed that I’m embarrassed, because of the parasociality of it all! Steven Moffat doesn’t know me. It’s not about me. But, at the same time, it is. I’m part of that collective noun. And I wasn’t wrong about that story.
And now I think David Jenkins would not do that to us, and I truly believe he wouldn’t, because he’s already confirmed it in the text and in conversations about the text. We’re free. I think he actually understands. He seems to understand it better than I do. I like the way he frames it. He’s given me a way to think about all this that’s actually very useful, and healing. And because this story isn’t gaslighting us, there shouldn’t be a whole dialogue about fans getting it wrong and stupid, sex-obsessed girls. Right?
Right?
I need a hug.
so I’m a lifelong atheist and I’ve never actually read the bible but this guy sure seems like he has ADHD
you’re telling me he hyperfocused so hard he created the whole world in 6 days, then got kinda tired of it and didn’t really do anything until the project started going wrong at which point he tried in frustration to flood the whole thing so he could start over
“with the Lord a day is like a thousand years, and a thousand years are like a day” bestie it is time to get tested
I unironically love the theological hot takes on this site.