Abusive Relationships and Victim-Blaming in the Legend of Korra

[Content note: flashing gifs, abusive relationships, child abuse, sexual abuse, domestic violence, violence against children, dating violence, misogynistic slurs, misogyny, racism]

Remember that time Grey’s Anatomy made physical and emotional abuse seem totally okay, as long as it was aimed towards disabled people?

Well, now comes part 2! (Huzzah). Yes, everyone, it’s time to sit down, gird our loins and talk about that time a show primarily aimed at kids turned physical abuse into a hilarious joke.

I am talking, of course, about the second season of the Legend of Korra, and the relationship between Bolin and Eska.

Now, there’s been a lot of really screwed-up stuff going on in the second season of Legend of Korra. A total lack of female characters, the disappearance of really cool characters like Katara and Lin Bei Fong, the return of the terrible love triangle ( NO ONE CARES), inconsistent characterization, nonsensical sexism, plots that make absolutely no sense etc. etc. etc.

But right up there in the Hall of Horror with the sexism and the bad writing is the way the show turned a physically and emotionally abusive relationship into a “funny” punch-line.

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You may remember Bolin as one of Korra (the protagonist’s) best friends. In the first episode of season 2, Bolin becomes enamoured with Eska, Korra’s cousin. Eska decides Bolin’s cute, and hey presto, they’re dating.

Eska, Bolin, Legend of Korra

Eska on the left, Bolin on the right.

Ah, young love. Sweet, adorable and…

Wait, what’s this?

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Eska, Bolin, Korra, Legend of Korra, icebending, episode 2

… did Eska just use a wall of ice to physically drag Bolin away from Korra?
Did she seriously just physically prevent her boyfriend from touching one of his best friends?

DID THE SHOW JUST PLAY THAT MOMENT FOR LAUGHS?

Uh, not okay, Korra. What Eska did is the equivalent of physically grabbing and restraining Bolin. That. is. assault. It’s  a pretty major red flag for abuse. 

I wish I could say this moment in episode 2 was an isolated incident. Unfortunately, over the next few episodes, Eska becomes more and more abusive towards Bolin – and the show continues to portray the abuse as a joke.

In fact, given how the show has portrayed the relationship as *hilarious*, you may not even have realized all the gross, abusive shit that’s been happening!

Here’s a (shortened) recap:

A. Eska uses threats of violence and emotional abuse to force Bolin to stay in a relationship with her.

1. When Mako tells Bolin to”tell [Eska] you’re not into her anymore”, Bolin appears terrified, and says “”Oh no, no, no, I don’t think she’d like that.”

2. Then when Bolin takes Mako’s advice and tries to break up with Eska, she threatens to freeze him in a block of ice and feed him to dolphin piranhas. In case you think this is hyperbolic, let’s remember that this woman trapped Bolin in a block of ice when he hugged his  friend.

3. The next time he tries to break up with her, she forces him to accept a marriage proposal and drags him away. The image makes it clear that Bolin is in pain as she pulls him.

Eska and Bolin, abuse, dating violence, domestic abuse, Legend of Korra

4. When Bolin finally manages to get on a boat and escape the southern water tribe, Eska chases after him with on a massive water wave of doom, and it’s pretty clear that she’s prepared to use violence to get him back.
Eska, Waterbending,Bolin, domestic abuse, abuse, Legend of Korra,

B. Eska consistently humiliates Bolin, and enjoys watching him in pain.

1. At the beginning of episode 3, we see Bolin forced to carry Desna and Eska in their cart. He’s very obviously unhappy about it. When Eska makes a joke, she orders Bolin to “laugh at my humerous quip!” and we see him look terrified and laugh.
I feel like I have to make this clear: forcing your boyfriend to pull you in a cart and then laugh at your jokes is pretty fucking gross. And, in most contexts (including this one) pretty abusive.

2. Later in the season, Eska tells Bolin: “Boyfriend! Bow to me before I exit!” Looking, again, terrified, Bolin throws himself on the ground. Eska grins: “You are so sweet when you grovel.”

Bolin, Eska, Legend of Korra, humiliation, abuse

GDSH(#@HGSUDB:OSGKK

HILARIOUS! THIS IS SUPPOSED TO BE A HILARIOUS MOMENT! AS OPPOSED TO A “HOLY SHIT THIS RELATIONSHIP IS SO FUCKING ABUSIVE” MOMENT!

… sorry. I needed that.

3. When Eska forces Bolin to accept her marriage proposal, she does not even wait for him to say yes before she puts the betrothal necklace on his neck and drags him away, telling him he can “express his joy with tears.” Crying, Bolin says “[The necklace] is really tight”

Bolin, Eska, abuse, legend of korra, Bolin and Eska

And we’re expected to laugh at all of these scenes. We’re expected to laugh at someone being forced into a betrothal. We’re expected to laugh as their partner physically drags them away and they cry in pain. This is Legend of Korra‘s idea of a joke.

[There are, of course, relationships where physical violence and humiliation are okay: consensual BDSM relationships. But what's happening between Bolin and Eska is pretty clearly nonconsensual]

To recap: Eska (non-consensually) humiliates Bolin and enjoys watching him in pain. She controls his actions and his emotions. He’s not even allowed to talk without asking for Eska’s permission first. And she uses fear and abuse in order to prevent him from leaving the relationship.

Yup! That’s abusive! Almost any of these moments, taken in isolation, would be a red flag for abuse. Together, they’re a  Massive Abuse Warning Siren that screams: “BEWARE: HERE THERE BE REALLY GROSS ABUSE HAPPENING.”

Now, I don’t actually oppose showing abusive relationships in TV shows. Hell, I don’t even oppose showing abusive relationships in children’s TV shows.  What I oppose is showing abusive relationships as lighthearted and funny.

Legend of Korra isn’t trying to make a point about how gross abusive relationships are. They’re trying to make a joke.

I know this because the Avatar Universe (of which Korra is a part) has a history of portraying abusive relationship with nuance and sensitivity. I know what it looks like when an Avatar show portrays abuse with nuance and sensitivity: it looks like Zuko’s relationship with Ozai, his father.
Ozai is a horrific parent. He forces his thirteen-year-old son to duel against him when Zuko speaks out of turn. After Zuko refuses to duel his own father, Ozai burns his son’s face, permanently scarring him, and then banishes him from the Fire Kingdom. Later, he tries to kill Zuko when his son turns against him.

Zuko, Ozai, abusive parent, Avatar: The Last Airbender, Fire Lord, Flashing Gif

Avatar: the Last Airbender never turned Ozai’s actions into comedy. And it never allowed us to forget that Ozai is a terrifying, violent and manipulative parent.

In Legend of Korra, on the other hand, the relationship between Bolin and Eska is a non-stop, unrelenting joke.

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There are, I suspect, two forces at work in the “hilarity” of the Bolin/Eska relationship: first, the  myth that men can’t be abused (which means that domestic violence against men isn’t “serious”), and second, the “bitches be crazy” corollary (which means that women acting violent against men isn’t “serious” either).

In other words, Eska’s abuse of Bolin is hilarious because she’s a woman abusing a man.

Let’s parse these problems separately.

First, it’s pretty clear that no character in the Korra universe thinks Bolin is being abused. In fact, they blame him for his treatment at Eska’s hands.

When Bolin tells Korra and Mako that Eska threatened to freeze him in a block of ice and feed him to dolphin piranhas, they both shrug it off, and act annoyed that he’s ruining their date. Neither Korra nor Mako – Bolin’s brother –  seems the least bit worried that Eska told Bolin she would kill him if he tried to break up with her, even though they’ve already witnessed her being violent towards Bolin (when Eska traps him a block of ice to prevent him from hugging Korra)

Hey, what’s to worry about, am I right?

Bolin starts to hide in order to avoid Eska. His friend Asami tells him he should “stand up for himself” – and later, when she witnesses Eska ordering Bolin to bow, she says: “Don’t LET her treat you that way.”

Mako, Korra and Asami’s reactions put the blame for Eska’s abusive behavior squarely on Bolin. Bolin should have known better than to date Eska. Bolin should “stand up for himself.” Bolin is LETTING Eska treat him this way. It’s his fault his girlfriend is violent and abusive!

Not to put too fine a point on it, but those guys are the worst friends.

They’re also doing a superb job of reinforcing the idea that abuse just can’t happen to men. In this worldview, no matter how violent or how manipulative a man’s partner is, a man just cannot be abused. Their relationships are always under their own control – they can put an end to them at any time and “stand up for themselves” whenever they want to.

No wonder none of Bolin’s friends take his problems seriously. They know that what’s happening to him isn’t serious at all – after all, he’s a man!

It gets worse. When Eska forces Bolin to accept a marriage proposal, he rejoins his friends, wearing a traditional betrothal necklace.

Korra: “I’m pretty sure the guy is supposed to give the girl the betrothal necklace.”

It’s FUNNY because Eska has forced Bolin to take on a FEMALE role. HAHAHAHA… so gross. . It’s the other side to the “Men can’t be abused” coin: if men are abused, they are like women. They become feminized by their abuse.

And we could get into the misogyny that idea implies, but frankly, we have enough on our plate.

In most of the world – maleness is defined in opposition to victimhood. Men aren’t victims. They’re the aggressors, the winners. They’re strong, in control. Our definition of manhood, therefore, leaves no room for people who are victims, who are used and abused and wounded. After all, if you can’t protect yourself, you’re not a “real” man.

In this twisted logic, Bolin – and other men and boys in similar situations – aren’t experiencing abuse. And if they are, it is either because they choose to stay, or because they aren’t “real” men.

It’s pretty clear that the “joke” of Bolin’s abuse relies on the assumption that  Bolin’s relationship with Eska is totally under his control. If he were only able to stand up for himself, the abuse would just magically go away. It’s also “hilarious” because Bolin’s inability to stand up to Eska shows how incompetent he is as a man (“the guy is supposed to give the GIRL a proposal necklace”)

Moreover, if you take a wide view of the season, you’ll see that Eska isn’t the only woman who physically abuses her partner. For example, when Korra and her boyfriend, Mako, have an argument, Korra earthbends his desk into a wall. Which is pretty fucking threatening, in my opinion.  And if your partner is throwing things while you’re arguing?  Massively abusive.

When Lin Bei Fong, Mako’s boss, walks in the room and notices the torn-up wall and the broken desk, she asks Mako what happened. Mako tells her he broke up with Korra, and Lin smiles: “You got off easy. You should have seen Air Temple Island when Tenzin broke up with me.”

Oh, yeah, hilarious.

In both cases, we have women physically destroying things at their boyfriends. And as someone who has experienced people breaking things at me, I can tell you right now, it’s terrifying. It’s an obvious threat. I’ve been in cars with someone who starts driving really erratically when they get angry at me, and oh god, it does not make you want to make them angry ever again, because I was terrified we were going to drive straight into a tree. Which is exactly the point. It’s behavior that’s supposed to teach you not to go “out of line” again – or you’ll be next.

(As a note, abusers who throw or hit objects in when arguing with you almost always escalate to violence eventually)

All of these moments – Eska’s violence towards Bolin, Korra’s violence towards Mako, and Lin Bei Fong’s violence towards Tenzin – are meant to be comedic. Korra and Lin Bei Fong are both characters we’re supposed to like – I highly doubt the show wants us to read them as abusive, even though that’s exactly what they are, at least in these moments with their partners. It’s supposed to be funny that Lin Bei Fong destroyed Tenzin’s home when he broke up with her.

So what is with this trend of comic portrayals of abusive women?

That’s the second half of the Bolin/Eska joke – the “bitches be crazy” corollary.

This season has had a plethora of the “women are so hysterical and crazy in relationships” trope. Korra’s behavior this season with Mako is a  prime example – he can’t do anything without making her blow up. And that’s an incredibly misogynistic trope to begin with. But it also has really unpleasant consequences when you line it up with abuse, because it makes it seem like Korra, Eska and Lin’s violent behaviors are just “crazy” things women “naturally” do.

Because women, am I right? They’re just “crazy.” And men have to put up with it, because women, am I right?

This narrative transforms abuse from an aberration into something “natural” and comedic.

I think, moreover, that there’s something more than your average “bitches be crazy” trope going on in The Legend of Korra. I think the show is having a  hard time coping with their female protagonist.

You would not thing a strong female protagonist would be a problem for the writers of Korra, given that the previoous series, Avatar,  is full of strong, interesting women:  Katara, the waterbending master, Toph, one of the greatest earthbenders to ever live, Azula, who… I mean, how do you even talk about the powerhouse that is Azula? And Mai, Tai-Lee and Suki, three non-benders who could stand toe-to-toe with any bender and come out on top.

But in Avatar, unlike in Korra,  there was always one male character who was theoretically more powerful than any given woman:  Aang, by virtue of being the Avatar. In Legend of Korra, however, the protagonist is female. Aang is dead and Korra is the new Avatar – the most powerful person in the entire show. Once she’s fully trained, nothing will be able to stand against her. There is no male character more powerful than Korra.

People have… problems with that kind of female power. A whole lot of writers just have no idea how to deal with it, especially in the context of western patriarchy and western-prescribed gender roles (most of the characters of Avatar are POC, and the areas they live in correspond to asian and first nations locations, but the writers of the show are mainly from north america). There aren’t a whole lot of creators with the kind of talent and chutzpah to deal with a world where women and men are on equal footing – and where a woman is the “savior” of the world.

Which is where you get weird stuff like the Korra abuse narrative. The writers are unable to separate the world of Korra from western ideas about gender and patriarchal structures. More specifically, they’re unable to conceive of a world where the strength of women doesn’t come at the expense of the strength of men. They’ve moved beyond the patriarchy by flipping it.

Thus, in Korra, gender equality doesn’t mean that relationships will become healthier and more equitable. No – a gain in power by women must mean a loss in power by men, since we’re still stuck in gender hierarchies. Thus, if women are the “strong” ones – if women are captains of industry (Asami), police chiefs (Lin Bei Fong), Avatars (Korra) and incredibly powerful waterbenders (Eska) – then the men must be the “weak” ones. Thus, we get all the heterosexual relationships where the women are abusive and the men are passive.

Which, I should note, tells you a whole lot about how the writers conceive traditional male-female relationships. And a whole lot about how the writers conceive “strength.” They seem unable to conceive of a woman with stereotypically male attributes – like Korra, who is very physically strong, who acts first and think later, who is competitive and impulsive – without also making her borderline abusive. I don’t know if it’s because the writer’s vision of masculinity is so entwined with strength-as-abuse, or if it’s because they can’t help but see a character like Korra as an aberration, and thus infuse her with “bad” qualities. Whatever it is, it’s disturbing.

It’s also a pretty disturbing message about female strength. Women are only strong and in control, the narrative goes, because men have ceded the place to them. If men *wanted* to be in charge again, they could.

The other explanation for the woman-as-abuser and man-as-passively-accepting-abuse trope in Korra  is the narrative of men being “whipped” by their girlfriends. In a sentence: men allow women to walk all over them because they love/admire/desire the women so much – or because they’re just too lazy/stupid to exercise their male control over the relationship. This brings us straight back to the victim-blaming: Bolin and Mako are abused because they “let” the women abuse them. Moreover, it makes it seem like abuse is the price you pay for a woman’s love. Being in a relationship and having access to women’s bodies is worth the emotional and physical abuse – a storyline that plays directly into the stereotype of men being voracious, mindless, sex-pursuing velociraptors.

(okay, so I made that part about the velociraptors up).

Oh yeah. There’s a whole shitload of toxic stuff wrapped up in the “joke” of Eska abusing Bolin.

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Let’s be clear, finally, and explain exactly why the victim-blaming, misogyny and toxic masculinity at the root of the “comedy” of abuse is so disturbing:

Because abuse is a thing that happens in the real world.

And abuse is a thing that happens – in spite of the myths –  to men. Often it happens to them exactly how it happened to Bolin. And often, people will react exactly the way Bolin’s friends reacted to him – with laughter, with victim-blaming, with a complete lack of support.

According to the latest study by the CDC, approximately one in seven men have experienced some form of domestic violence (compared to one in four women). 1.4% of men have been raped, while 6% have experienced some form of sexual coercion. One in nineteen men have been stalked. One in seven men have experienced severe physical violence by an intimate partner.

Abuse happens to men. Abuse happens to men a lot. And just as  it’s socially unacceptable for women to talk about their experiences with rape, sexual violence, harassment and domestic violence, it’s also socially unacceptable for men to admit to being the victims of rape, harassment and domestic violence. Because we see those stories as funny.

Yes, men are threatened, stalked, hurt and emotionally manipulated, just as Bolin was on the show. It’s not funny when it happens to them. And it’s not funny when it happened to Bolin.

The abuse-as-comedy trope is particularly harmful because Korra is aimed at children and young adults. And guess who is most at risk of abuse?

That’s right! Kids.

More than one in four male victims of rape experience their first rape when they are ten years or younger. Of the men who have experienced stalking, 1/3 have been stalked before the age of 25. 53% of male victims of domestic violence experience their first incident before the age of 21.
Of the men who have experienced rape, stalking or physical abuse by an intimate partner, 15% had their first experience when they were between the ages of 11 and 17. 38.6% of them had their first experience between the ages of 18 to 24.

So when you turn abuse into a joke in a kid’s show, you’re basically teaching the most vulnerable male demographic (children and young adults) that abuse is funny, not serious, and to be expected in  romantic relationships. Right as they’re entering their first dating years – and the years where they’re most likely to experience abuse.

Great job, guys. No, seriously.

Here’s another important fact: Bolin is a man of color (as are Mako, Tenzin, and every other male character on Korra). Which is great! But dismissing the abuse of men of color as “funny” carries particularly damaging connotations, since men of color are much more likely to experience rape, stalking and domestic violence than white men. Approximately 1/5 of white men reported experiencing sexual violence, rape or domestic violence. In comparison, one third of multiracial men, one fourth of latino men, forty percent of black men and 43.5% of american native and alaskan native men reported experiencing rape, physical violence and/or stalking in their lifetimes.

To put it bluntly:  men of color are more likely to experience rape, sexual violence and/or stalking. So turning a man of color’s abuse into a joke? Is really not okay.

(this is not to say that 20% of white men experiencing abuse is in *any* way okay – it’s just that men of color experience higher rates of abuse)

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Is this the lesson we want to teach the young audience of Korra? For that matter, is this the lesson we want to teach the older audience of Korra? That abuse is acceptable? That abuse is funny? That abuse is the victim’s fault? That men can’t be abused? That abuse is to be expected in a romantic relationship? That abuse is a fair trade for romance, love and sex? That men should fear female strength because it leads to emotional and domestic abuse?

What a toxic message.

And what a disappointing narrative from Korra, a show that follows in the footsteps of the wonderfully progressive Avatar: the Last Airbender, where abuse was treated seriously, and gender hierarchies were ignored in favor of good storytelling.

Sure, it’s just a show. But if the writers of Korra didn’t want to shoulder the responsibility of treating abuse with nuance and sensitivity, they shouldn’t have brought it up in the first place. Because it’s not “just” abuse, not when it’s happening to one in seven men.

Since I started writing this post, the show has gotten, if possible, worse on abuse. Bolin has turned from abuse-victim into rape-culture perpetrator, when he kissed his co-star, Ginger, against her will, and then told her “I think you liked it too.”Ginger eventually goes out with Bolin, because he’s rich and famous – and women don’t mind sexual assault as long as it comes from a rich and famous dude! This, again, is played for laughs, because if there’s anything funnier than abuse, it’s sexual violence.
Then Eska and Bolin reunite, and it’s clear that Bolin still harbors feelings for Eska. Which I don’t have a problem with in and of itself (often, abuse victims remain emotionally attached to their abusers). But since the show keeps pretending Eska hasn’t abused Bolin, I have no reason to believe they’ll treat the romantic subplot with any kind of nuance or sensitivity. The writers have turned what used to be a joke subplot into an actual romantic subplot. With both narratives, they’ve ignored Eska’s abusive behavior.

So since the show won’t say it, let me, once again, emphatically explain: What Eska did to Bolin is abuse. It is physical and emotional abuse. What Korra, Mako and Asami did to Bolin is victim-blaming.

And none of it is fucking funny.

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Commenting guidelines:

1. Do not try to explain that Eska’s behavior is not abusive. It is.
2. Do not victim-blame Bolin (or any other victim of domestic violence)
3. Please don’t start blaming abuse on misandry.
If you engage in any of these three activities, I may just delete your comment, because LOL, I am not playing the “but physically dragging people around isn’t ABUSE” game.

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Resources:

1. CDC National Intimate Partner and Sexual Violence Survey: Executive Summary
2. CDC National Intimate Partner and Sexual Violence Survey: Full Report
3. Domestic violence red flags: one, two, three, four, five (includes red flags specific to men experiencing domestic violence)
4. One in Six: A group that helps male survivors of child sexual abuse
5. Male Survivor: Group for male survivors of abuse

Hotlines:

1. Domestic Abuse Helpline for Men and Women: 1-888-7HELPLINE
2. Gay Men’s Domestic Violence Project: 1-800-832-1901
3. National Teen Dating Abuse Hotline: 1-866-331-9474
4. National Sexual Assault Hotline: 1-800-656-4673
5. National Domestic Violence Hotline: 1-800-799-7233


Apparently, I’m Making Peter Capaldi Sad: Doctor Who and Exclusion

[Content note: misogyny, racism, whitewashing, transmisogyny, heterosexism, bad faith, flashing GIFS)] 

Okay. Let’s talk about Doctor Who, shall we?

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Doctor Who 12th Doctor

Doctor Who 12th Doctor

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(artist/writer: ponyscribbles on tumblr)

A month ago, the BBC announced that Peter Capaldi will play the Doctor in Doctor Who after Matt Smith steps down. He’ll be the twelfth regeneration of the doctor. And the twelfth white man to play the role.

I think most fans were pleased. Peter Capaldi apparently has quite a following in Great Britain (as an American, of course, the only time I’ve seen him was in the Doctor Who episode “The Fires of Pompeii”). He seems like a great actor, and a lovely person.

A large group of fans, however, were quite disappointed. I was among them. We’d hoped – against all odds – that this would be the regeneration where the Doctor was finally played by a POC and/or a woman. This was our chance. We’d been discussing it for years, but now – maybe now – it could finally happen. The BBC even put up a poll asking whether the 12th Doctor would be a man or a woman, thus acknowledging the possibility of a female Doctor.

[note: I use "we" a lot in this post. I use "we" not because we all share the same oppressions and marginalizations, but because we've all been erased by, and ignored by, Doctor Who (and other media). But I don't mean to conflate my identity with those of other marginalized people: as a white cisgendered woman, I'm relatively privileged, even when it comes to media representation]

We knew there wasn’t much of a chance.

But we hoped.

So yeah, a lot of us were majorly disappointed when it was another white guy.

And then, in the midst of my frustration, I saw the above comic. And lo, I saw the error of my ways, and stopped complaining about Peter Capaldi’s casting.

Cat and bath

Ahem.

Sorry about that. No, this is not going to be a post about how I finally learned to stop complaining and love oppression. And my sarcasm is probably also making poor Peter Capaldi cry. Sorry, Mr. Capaldi. You actually do seem lovely.

This comic isn’t some giant exception to the rule. Everywhere on the internet, you’ll find this idea that we’re being mean or unfair to Peter Capaldi by criticizing his casting.

So let’s talk about it, okay? *Really* talk about it.

Kangaroo, Ball, Gif,

I’m going to establish a few things upfront: I think I will really enjoy Peter Capaldi as the Doctor. I’m betting he will be a great Doctor. He seems, from everything I’ve seen of him on the interwebs in the past two weeks, to be a great actor. I’m also glad an older actor is playing the Doctor – it will make a nice change from Matt Smith and David Tennant.

I also love Doctor Who. I think it’s a great, beautiful, ridiculous, wonderful show. I would not bother to argue about it as much as I do  if I did not love it. I would not keep watching it if I did not truly believe in its promise and its potential. I would not be a fan if I did not believe it had a place for people like me.

We’ve gotten those things clear? Good.

Here’s the rub, my friendly readers: I’m also disappointed as fuck in Capaldi’s casting. I know! It’s so shocking. But it is, in fact, possible for me to feel more than one emotion about an event. I am a human being, and I can grasp complexity. I can be excited and disappointed at the same time.

Confused cat

SHOCKING!

Yes, I wanted the Doctor not to be a white man.

One of the most wonderful things about the Doctor is his (1) capacity for change. He constantly regenerates into completely different bodies. He is never static, never singular, always chaotic. He is simultaneously one and many. Everything about him is changeable, and changing.

So can you blame fans who want the Doctor’s various incarnations to reflect of the diversity of the world around him? To change races, genders, gender identities, ages, shapes, ability levels, sexualities, etc? In fact, it doesn’t make any sense for the Doctor to *not* change things like race and gender. To convince yourself that the Doctor should *always* be a white man, you’re ignoring the central tenant of his identity: nothing about him is unchangeable.

Except that some things are.

We’ve now had twelve doctors – with a recently revealed thirteenth (John Hurt) (2)- and they’ve all been white cisgendered men. Everything about the Doctor can change, apparently, except his race, gender and gender identity.

I cannot stress how incredibly depressing it is for people who are already erased, ignored and marginalized by the media to see a show like Doctor Who – which has a built-in excuse for being as diverse and inclusive as possible in their casting – just keep  casting white men. It’s almost deliberately cruel. “We could include you, but we choose not to. Let them eat the kyriarchy!”

So yeah, I’m pissed that Peter Capaldi was cast as the twelfth Doctor.

I’m pissed because there is absolutely zero evidence that showrunner Steven Moffat even considered casting anyone but a white man. Because, as Moffat put it, he had a shortlist of one: Peter Capaldi.

To everyone who has said: “Well, Capaldi was probably just the best actor for the part.” Really? How would Moffat even know that if he never bothered to audition anyone else? I mean, this isn’t a case of a white male actor legitimately beating out a bunch of actors of color and/or female actors through a stringent audition process. This is a case of a white man just being chosen, without anyone else getting a shot.

(If nothing else, it shows a shocking lack of imagination from Stephen Moffat. “I could only think of one person! So I cast him!”)

I’m pissed because Moffat has had three chances to cast a Doctor – Matt Smith, John Hurt and Peter Capaldi – and *all* of them have been thin white men. All of them. I have given up any notion that he gives a shit about inclusion. He’s had more chances than any modern Doctor Who showrunner to make the show more diverse, and he’s refused all of those chances.

I’m pissed because Moffat denigrated the very idea of a female Doctor. When asked about Helen Mirren’s call for a female Doctor, Moffat joked that the Queen should be played by a man next time.

Ellen Degeneres That's Gross GIF

Ellen Degeneres You Are Disgusting GIF

Which… wow. This simultaneously brings in transmisogyny (because there’s nothing more hilarious than drag queens and men who dress up as women, am I right?), a false equivalence, and stunning amount of bad faith. Having a woman play a traditionally male role is not the same as having a man playing a traditionally female role. Women are underrepresented in the media, so giving a woman a traditionally male role is being inclusive. Men are *already* well-represented in the media, so giving a man a traditionally female role only exacerbates the lack of inclusion.

And also:  bad faith. Queen Elizabeth should be played by a woman because the Queen is an actual historical figure who is female. The Doctor is not an actual historical figure. Moreover, the Doctor is a person whose identity constantly changes. Are you actually saying that being male is a constant part of the Doctor’s identity? That he can be anything – except that he must always be a man?

I’m pissed because of the message Moffat sends – and the show sends – by constantly casting white men. I’m pissed, because it it implies that gender and race are so *essential* to a person’s identity that they are the one thing an ever-changing alien can never change. It implies that those two things are so fucking fundamental that changing them would ruin the character.

Which is not at all a racist or sexist notion, no. Gender and racial essentialism, everyone!

I’m pissed because this casting is part of a long trend of the showrunners being oppressive and awful.  Doctor Who hasn’t had a female writer in three seasons. It hasn’t had a female director in two. It hasn’t had a writer or director of color in at least three seasons (3). It’s female characters get the wonderful privilege of participating in misogynistic storylines, including the mystical pregnancy trope, the “mothers are the most powerful people in the world because uteruses” trope, the “stalking is super romantic” trope and the “silly women and their obsession with their looks” trope. I’d be upset over the storylines surrounding major POC characters, but the truth is… there really haven’t been a lot of major characters of color in the past three years. And the ones I remember all die (like Rita in “The God Complex”). Moffat himself explains that he doesn’t bother with bisexual representation on Doctor Who because bisexuals are having “FAR TOO MUCH FUN. You probably don’t even watch because you’re so busy.” Asexual representation? Don’t even think about it – Moffat thinks asexuality is boring. 

I’m pissed because I see no signs that this is going to change anytime soon.

I’m pissed because whenever we bring this up, we’re being mean.

We’re being mean. We’ve been systematically ignored and erased on the show. People like us are denied representation, made fun of and stereotyped. We’ve gone through thirteen Doctors with no sign that we’re ever going to get representation – even though the show’s own rules mean it makes *no sense* for the Doctor to keep being white and male. We don’t have  representation in the writer’s room or the director’s chair.

Peter Capaldi and Stephen Moffat are powerful people. They have nice big salaries. They’re media creators. One of them is the head of one of the most successful franchises in the world, the other is about to be one of the most famous actors on the planet.

But we’re making them feel bad.

Nicole Beharie, Sleepy Hollow, Abbie, Slavery, You're offended,

… somehow, I kind of doubt it.

Comics like the one above are a silencing mechanism. They’re meant to make us feel bad for voicing our reality. For talking about the very real misogyny, heterosexism,  transmisogyny and racism displayed by Doctor Who and its showrunners. They’re meant to make it seem like *we’re* the ones who haven’t been inclusive, even though we’re the ones who have been systematically marginalized by the show and the showrunners. But we’re not inclusive. Because inclusive means no one ever feels bad. Especially not the poor, powerful white men who keep getting roles and jobs and representation.

Steve Colbert Oppressed White Male Alert GIF

Comics like the one above rewrite the narrative of Doctor Who. They rewrite our very real grievances, transforming marginalized people into a bunch of complainers who are trying to make Peter Capaldi and the Doctor feel bad.

Why isn’t our sadness ever depicted? Why is it always about the feelings of the most powerful people in the Doctor Who world? Why isn’t it ever about our feelings of exclusion, our feelings of marginalization, our anger at being erased and ignored? Why – even in a comic that is supposed to be about *us* complaining – why is it about Peter Capaldi?
Why aren’t we ever the protagonists of these stories?

***

… you know, on one level, this cartoon perfectly encapsulates the problem. Powerful white men in the Doctor Who world give other white men influence – as writers, directors and actors – while systematically ignoring the criticisms of those who feel excluded from the show. White men keep all the power for themselves, while making the people they’ve marginalized feel bad for complaining about it.  White men take the issue of system oppression and make it all about them.

Stephen Moffat hands the screwdriver over to Peter Capaldi, and then, when people point out they’ve never had a chance at that screwdriver, he berates them for making the new Doctor feel bad.

Frankly, everyone, I appreciate your concern for the Doctor, but seriously: the Doctor is a fictional character, and I can’t make him feel bad. So I’m not terribly worried about it. I’m not even worried about making Peter Capaldi feel bad: he’s got the job now, and he’s probably surrounded by wonderful people cheering his casting. And good for him! I don’t *want* him to feel bad. I don’t want him to feel bad, because it’s not his fault. He’s just the manifestation of a larger phenomenon.

The truth is, I don’t even think the comic writer above – and all the fans and creators who are trying to shut down complaints – care that much about Peter Capaldi’s feelings.

I think they want us to stop hurting *their* feelings. I think they want fans with legitimate grievances with the show to shut up.

Shut up, and let us enjoy Capaldi’s casting. Shut up and let us enjoy the show. Shut up and don’t remind us that some of this stuff is problematic. Shut up – I don’t want to feel guilty for enjoying the party. Shut up – I don’t want to think about the racism and the sexism while I’m watching my favorite show.
Please stop hurting my feelings. I don’t want to know about your problems.
I just want to enjoy the party. Why can’t you let me enjoy the party?

And I’m sorry to those people. I’m sorry that we’re making it harder for you to enjoy the Doctor Who party. But we’ve been left out of the party entirely, and we’d really like to come in. I’m sorry that when we press our noses up against the windows of the Doctor Who party, you feel bad. I’m sorry that we’re taking away from the glamour and excitement of the occasion, all bedraggled and locked-out as we are. But no one seems to be coming towards the door to let us in. And we’d really like to come in.

It’s not just that we’ve been locked out. We’re supposed to shut up about it. We’re simultaneously supposed to accept our outsider position – the constant attacks on our right to be fans of the show, and our right to see people like us represented in the show – while never complaining about it. The show can lock us out, and we should never ever complain about it. Because we’re the problem. The walls and the lock and the people who hold the key aren’t the problem. We’re the problem.

We’re always the problem.

I love the show. I’d love to come into the party and enjoy it with you. But I can’t.

It’s adorable that you think people like me have the power to bar Peter Capaldi from the party. But while he’s inside enjoying the celebration, most of us are still waiting for our invite.

I don't see how that's a party

It’s great if you can unreservedly enjoy the entrance of Capaldi into the canon. Hey – it’s also great if you’re part of a marginalized group and you can *still* enjoy the entrance of Capaldi without reservation.

But stop telling those of us who see it as the shutting of another door, the turning of another lock, the erection of a new barrier that we don’t get to talk about it. Remember that you can be a fan of problematic things. That liking something problematic doesn’t make you a bad person – but pretending something *isn’t* problematic does. Don’t silence the people who want an oppressive show to change. Don’t silence us.

Anita Sarkeesian, Feminist Frequency, Problematic Media,

Don’t watch the show bar the doors on its marginalized fans, and then accuse those same fans of not being inclusive enough.

Don’t lock us out of the party and then get angry when we make noise about it.

And maybe – just maybe – consider letting us in to party with you.

***

(1) I’m using male gender pronouns to refer to the Doctor because he’s only ever presented as male, and his latest incarnation is male

(2) It is unclear where John Hurt figures in continuity, or even whether he’s the Doctor. All we know is that he’s one of the Doctor’s regenerations.

(3) I went through each director and writer for the past three seasons and checked their race and gender. Obviously, this is a subjective process, since I’m one person, and there aren’t a billion pictures of all the writers. But I’m 95% sure that there have been no directors or writers of color in the past three seasons.

***

Commenting Policy: I’m going to make this explicit: this is a space to discuss the feelings and needs of marginalized fans of Doctor Who. It’s not a space for privileged fans to come in and say “well, this is what *I* want” or “I’m white and male, and I’m okay with the Doctor always being a white man!” That is welcome in almost every discussion on the internet. Not here.
Furthermore, if you want to argue that the Doctor should stay a white man, you’d better have a better argument than “because I like him that way.”
Because when the argument is “The Doctor’s static race and gender contributes to oppression and actively hurts already-marginalized people”
and your counterargument is “But I like him being a man!”
You sound like a fucking douchecanoe.

Again: This is a space to discuss the feelings and needs of marginalized fans of Doctor Who. Talking about the ways Doctor Who is oppressive is fine! Talking about general issues of oppression is fine! Talking about liking the show despite its problems is also okay! But this is a space that centers the needs of marginalized fans. Not privileged ones.


Female Creators in Science Fiction and Fantasy Television: The Stats

OH HAI EVERYONE. I’m back! After writing my senior thesis and then *dying* for a few weeks. I SHOULD BE BACK MORE REGULARLY. I will tell you all about my journey with Tiptree, Russ and Butler soon. Maybe. Feminist Science Fiction, yay!

(can you tell I’m still exhausted from the end of the semester?)

Anyways. Back to your regularly scheduled yelling and rants and statistics!

***

[Content Note: GIFs, misogyny, racism]

Whenever I explain about why I prefer television to movies, I throw one random line in: “Television is more friendly to women.”

Don’t ask me where I first got that idea. It’s one of those unexamined assumptions floating around my brain. But I’m not the only one who thinks this way. It seems like a broadly accepted truth that television is some kind of haven for women. Movies are aimed towards men. Videogames are aimed towards men. But more women watch television. Waaaay more women watch television. Network prime time television has 65-70% female viewership. Some stations, like the CW, go up to 70-75%.

With those kinds of numbers, television as a medium must be female friendly, right? It must have lots of female creators and female characters and female-friendly stories, right?

See, this is why I should always examine my unexamined assumptions.

Because: Nope.

Sure, women watch more TV. But according to the Geena Davis Institute on Gender in Media, only 38.9% of characters in prime-time programs are women (compared to a 60%-65% female viewership). Only 22% of prime time shows feature girls and women in roughly half of all speaking parts. And 20% of shows cast men or boys in 75% or more of speaking roles.

TV! The Land of Women Mostly Men!

(also, I swear to claude, if anyone responds “but there are more men on TV because women WANT to see more men because all women are attracted to men and only want to see men men men men and they hate women” I will throw things. LOTS OF THINGS)

So that’s what’s happening on-screen. But what about off-screen? Who is creating these shows? Who produces them, directs them, writes them?

Every year when the Oscars come around, feminists (including me) complain about how few female writers and directors are recognized by the academy. Movie directing and writing is still very much a boys-club.Given the high female viewership, would it be different for TV? Do female creators thrive in television?

Azula Avatar Dominate

(probably not, tho)

Two months ago – right before the hell of writing my honors thesis hit – I decided to find out. Given my interest in SF/F – and the time necessary to gather the stats (the numbers for one TV show takes about 15 minutes, which sounds fine… until you realize there are hundreds of prime-time shows) – I decided to concentrate on female creators in SF/F television. Plus, in SF/F fandom, we often talk about the number – and visibility – of female creators in books, in comics and in movies. The television stats, I thought, would make an interesting addition to the discussion, especially given how many big, influential SF/F shows there are on TV today.

The following statistics are very ad-hoc. Very ad-hoc. Which isn’t to say that they aren’t interesting, or that they don’t speak to the general state of female creators in SF/F television. But they were done by one overwhelmed blogger with a weird  methodology. They are not supposed to be the be-all, end-all of a discussion.

Thus: I made a list of as many SF/F shows that appeared in North America in 2012 and 2013 and that I could think of/find on the internet. I was pretty loose about the definition of SF/F, which is why you’ll see shows like Elementary and Drop Dead Diva (she is a GHOST) on the list. I only looked at one season of each show: for those shows that had more than one season, I chose whichever season was most current. So for Supernatural, I looked at Season 8 (the 2012-2013 season) as opposed to Season 7 (the 2011-2012 season), while for Eureka, I looked at the 2012 season (because that was the show’s last season).

The twenty six shows I covered are: Lost Girl, Eureka, Beauty and the Beast, Being Human (US), Alcatraz, Arrow, Touch, Fringe, The Neighbors, Last Resort, Revolution, Vampire Diaries, True Blood, Once Upon A Time, Person of Interest, Drop Dead Diva, The Walking Dead, Alphas, Warehouse 13, Supernatural, Game of Thrones, Elementary, Grimm, Falling Skies, Teen Wolf and Doctor Who.

I only took stats on episodes that had already aired, which would have been a great idea if I hadn’t let two months go by between gathering the stats and writing up this post. This is why, for example, I looked at Game of Thrones season 2, instead of Game of Thrones season 3 – season 3 hadn’t started when I gathered the stats. Like I said: this stats gathering is wonky. WONKY. I thought about redoing the stats for shows that aired more episodes, but it took me twelve hours of work to gather stats the first time and I’m lazy. So, fair warning.

(Fun experiment: if you were really dedicated, you could use these stats to figure out the exact date when All The Shit Hit The Fan and I had to abandon my blog for three months)

Once I had the 26 shows, I calculated the gender breakdown for

1. The Executive Producers (colloquially known as the showrunners)
2. The episode directors
3. The episode writers
4. How many episodes were written by men v. women. As I quickly realized, sometimes a show can have a fair number of female writers… while most of the episodes are still written by men.

The results were… interesting. And by interesting, I mean “depressing.”

In 77% percent of SF/F shows, less than half the writers were female. 77%. Twenty out of twenty six.

Twenty three percent of shows – 6 shows –  had 50% or more female writers. Out of those 6 shows, only three had a majority of female writers (three shows were exactly gender-balanced). So basically, 77% of shows are majority-male written, 11.5% are majority-female written, and 11.5% are perfectly gender-balanced.

On average, 68.2% of writers for SF/F shows were men, while 31.5% of them were women.

I want to go deeper in those numbers, because there might be an instinct to go “well, there are some shows where men dominate, and some shows where women dominate, and it all evens out.” Which: no.There are 77% of shows where men dominate, and 11.5% of shows where women dominate, so it’s clearly NOT evening out. But even in those shows where women “dominate,” they don’t dominate in the same ways men do. Numbers, please!

Joan Watson, Elementary

The highest percentage of female writers on a show is 57%. The highest percentage of male writers is 100% (in fact, there are two shows – Doctor Who and Teen Wolf – where all the writers are male). The lowest percentage of male writers is 43%. The lowest percentage of female writers is 0%. In other words, while there are shows with no female writers, there are no shows that do not have male writers. There is always male representation, and the lowest male representation is 43%… for two out of twenty six shows.

In 31% of SF/F shows, less than one fourth of the writers were female. Most shows – 46% – employ between 25% and 49% percent female writers. 11.5% employ exactly the same number of men and women, and 11.5% employ a higher number of  women (between 51-57%).

Do women thrive as SF/F television writers? I don’t know about you, but I would not call that “thriving.”

If you think the numbers for female writers are depressing, you might want to take a second before we move on to the statistics for female directors. Trust me, we haven’t even gotten to the best worst part.

Out of twenty six shows, absolutely NONE had 50% or more female directors. Zero. Zip. Nada.

David Tennant Doctor Who What?

Ten of the twenty six shows – Thirty eight percent –  had ZERO female directors. A whooping 96% of the shows  had 75% or more male directors.

Let me rephrase that: in twenty five out of twenty six SF/F shows, less than one fourth of the directors were female. Only one show had more than 25% female directors.

On average, 89.9% of directors for SF/F shows were men, while 10.9% of them were women. Men aren’t just a majority of directors. They’re an overwhelming majority. Women barely have any presence at all.

So that’s the cursory overview state of women in the marvelously female-friendly land of television.

Unexamined assumptions, huh? Really worth examining.

Here’s the complete breakdown for writers, directors and executive producers for all twenty six shows. I put them in order of highest-to-lowest percentage of female writers (which yields results both obvious – Game of Thrones is #21 – and surprising: Elementary is #22).

1. Lost Girl (Season 3) 

Episodes: 7
Executive Producers: 3 (2 men, 1 woman) 33% women, 67% men 
Director: 6 (5 men, 1 woman) 16% women, 84% men 
Writers: 7 (3 men, 4 women) 57% women, 43% men
-episodes written only by women: 4 (57%)
-episodes written only by men: 3 (43%)

2. Eureka (season 5) 

Episodes: 13
Executive producers: 2 (1 woman, 2 men) 33% women, 67% men 
Directors: 8 (3 women, 5 men) 37.5% women, 62.5% men 
Writers: 14 (8 women, 6 men) 57% women, 43% men 
- Episodes written only by men: 3 (23%) 
- Episodes written only by women: 4 (30%) 
- Episodes written by both: 6 (46%) 

3. Beauty and the Beast (Season 1) 

Episodes: 14
Executive producers: 11 (3 men, 8 women) 27% women, 73% men
Director: 12 (11 men, 1 woman) 8% women, 92% men 
Writer: 11 (6 women, 5 man) 54% women, 46% men 
- written only by men: 4 (28.5%) 
- written only by women: 6 (43%)
- written by both: 4 (28.5%) 

4.  Being Human (season 3) 

Episodes: 7
Executive producers: 2 (1 man, 1 woman) 50% men, 50% women
Directors: 4 (3 men, 1 woman) 75% men, 25% women 
Writers: 8 (4 men, 4 women) 50% men, 50% women 
- Episodes written only by men: 3 (43%) 
- Episodes written only by women: 3 (43%) 
- Episodes written by both: 1 (14%) 

5.  Alcatraz (season 1) 

Episodes: 13
Executive Producers: 5 (4 men, 1 woman) 20% women, 80% men 
Directors: 8 – all men (100% men) 
Writers: 10 (5 men, 5 women) (50% women, 50% men) 
- Episodes written only by men: 4 (31%)
- Episodes written only by women: 4 (31%) 
- Episodes written by both: 5 (38%) 

6.  Arrow (Season 1) 

Episodes: 16
Executive Producers: 4 (all men) 100% 
Directors: 13 (12 men, 1 woman) 8% women, 92% men 
Writer: 10 (5 men, 5 women) 50% men, 50% women 
- Episodes written only by men: 7 (44%) 
- Episodes written only by women: 3 (19%) 
- Episodes written by both: 6 (37%)  

7. Touch (season 2) 

Episodes: 5
Executive producers: 7 (3 women, 4 men) 43% women, 57% men 
Directors: 4 (all men) 100% men 
Writers: 5 (2 women, 3 men) 40% women, 60% men
- episodes written only by men: 3 (60%) 
- episodes written only by women: 2 (40%) 
- episode written by both: 0

8. Fringe (Season 5) 

Episodes : 13
Executive producers: 1 man (100% male)
Directors: 12, all men (100% male) 
Writers: 5 (3 men, 2 women) 40% women, 60% men 
- 9 episodes written by only men (69%) 
- 4 episodes written by only women (31%) 
- 0 written by both

9. The Neighbors (season 1) 

Episode: 18
Executive producers: 4 (all men) 100% men 
Directors: 7 (all men) 100% men 
Writers: 10 (4 women, 6 men) 40% women, 60% men 
- Episodes written only by men: 9 (50%) 
- Episodes written only by women: 4 (22%) 
- Episodes written by both: 5 (27%) 

10. Last Resort (season 3) 

Episode: 13
Executive Producers: 4, all men 100% men 
Directors: 10 (8 men, 2 women) (20% women, 80% men) 
Writers: 11 (3 women, 8 men) (37.5% women, 62.5% men )
- Episodes written only by men: 9 (70%) 
- Episodes written only by women: 4 (30%) 
- Episodes written by both: 0 (0%) 

11.  Revolution (season 1) 

Episodes: 10
Executive Producers: 3 (all men) 100% men 
Directors: 8 (all men) 100% men 
Writers: 8 (3 women, 5 men) 37.5% women, 62.5% men 
- Episodes written only by men: 6  (60%) 
- Episodes written only by women: 2 (20%) 
- Episodes written by both: 2 (20%) 

12. Vampire Diaries (season four) 

Episodes: 15
Executive Producers: 4 (2 men, 2 women ) - 50% men, 50% women 
Directors: 12 (11 men, 1 woman) - 91% men, 9% women 
Writers: 11 (4 women, 7 men) - 36% women, 64% men 
- 6 episodes written only by men (40%) 
- 5 episodes written only by women (34%) 
- 4 episodes written by both (26%) 

13. True Blood (Season 5) 

Episodes: 12
Executive producer: 2 (both men) 100% men 
Directors: 9 (8 men, 1 woman) 11% women, 89% women 
Writers: 6 (2 women, 4 men) 33% women, 67% men 
- Episodes written only by men: 8 (67%) 
- Episodes written only by women: 4 (37%) 
- Both: 0 (0%) 

 14. Once Upon a Time (Season 2) 

Episodes: 15
Executive Producers: 2 (both men) 100% men 
Directors: 10 (9 men, 1 woman) 90% men, 10% women 
Writers: 10 (3 women, 7 men) 70% men, 30% women 
-10 episodes written by only men (67%)
- 4 episode written by only women (27%) 
- 1 episode written by both (6%) 

15. Person of Interest (season 2)

Episodes: 16
Executive Producers: 5, all men (100% male
Directors: 11 (10 men, 1 woman) 9% women, 91% men 
Writers: 13 (4 women, 9 men) 30% women, 70% men 
- 9 episodes written only by men (60%)
- 3 episodes written only by women (15%)
- 3 episodes written by both (15%)  

16. Drop Dead Diva (Season 4) 

Episodes: 13
Executive Producers: 5 (all men) 100% men 
Directors: 9 (8 men, 1 woman) 11% women, 89% men 
Writers: 11 (3 women, 8 men) 27% women, 73% men 
- Episodes written only by men: 9 (69%) 
- Episodes written only by women: 1 (8%) 
- Episodes written by both: 3 (27%) 

17. The Walking Dead (Season 3) 

Episodes: 12
Executive producers: 2 (both men) 100%
Directors: 9 (2 women, 7 men) 22% women, 78% men 
Writers: 8 (2 women, 6 men) 25% women, 75% men 
- Episodes written only by men: 8 (67%) 
- Episodes written only by women: 4 (33%) 
- Episodes written by both: 0 (0%) 

18. Alphas (season 2) 

Episodes: 13
Executive Producers: 6 (all men) 100% men 
Directors: 8 (6 men, 2 women) 25% women, 75% men 
Writers: 11 (8 men, 3 women) 27% women, 73% men 
- Episodes written only by men: 9 (69%) 
- Episodes written only by women: 1 (8%) 
- Episodes written by both: 3 (27%)

19. Warehouse 13 (season 4) 

Episodes: 10
Executive Producers; 3 (all men) 100% men 
Directors: 6 (all men) 100% men 
Writers: 9 (2 women, 7 men) (22% women, 78% men) 
- Episodes written only by men: 6 (60%) 
- Episodes written only by women: 4 (40%) 
- Episodes written by both: 0

20. Supernatural (season 8) 

Episodes: 16
Executive Producers: 1 (male)
Directors: 14 (14 men)  100% men 
Writers: 9 (7 men, 2 women) - 22% women, 78% men 
- 12 episodes written only by men (81%) 
- 1 episode written only by women (6%) 
- 3 episodes written by both (13%) 

21. Game of Thrones (season 2) 

Episodes: 10
Executive producers: 2 (both men) 100% men 
Directors: 5 (all men) 100% men
Writers: 5 (4 men, 1 woman) 20% women, 80% men 
- episodes written by only men: 8 (80%) 
- episodes written by only women: 2 (20%) 
- episodes written by both: 0

22. Elementary (Season 1) 

Episodes: 17
Executive producers: 4 (3 male, 1 female) – 25% women, 75% men  
Directors: 14 (11 male, 3 female) - 20% women, 80% men 
Writers: 12 (2 women, 10 men) – 16% women, 84% men 
- 13 episodes written only by men: 76% 
- 2 episodes written only by women: 12% 
- 2 episodes written by both: 12% 

23. Grimm (season 2) 

Episodes: 12
Executive Producers: 5 (all men) 100% 
Directors: 12 (2  women, 10 men) 17% women, 83% men 
Writers: 10 (1 woman, 9 men) 10% women, 90% men 
- Episodes written only by men: 9  (90%) 
- Episodes written only by women: 1 (10%) 
- Episodes written by both: 0

24. Falling Skies (season 2) 

Episodes: 10
Executive Producer: 1 (male) 100% men 
Directors: 7 (6 men, 1 woman) 14% women, 86% men 
Writers :7 (6 men, 1 woman) 14% women, 86% men 
- episodes written only by men: 8 (80%) 
- episodes written only by women: 2 (20%) 

25. Teen Wolf (Season 2) 

Episodes: 12
Executive Producers: 6 (5 men, 1 woman) 16% women, 84% men 
Directors: 2 (all men) 100% men 
Writers: 6 (all men) 100% men 

26. Doctor Who (series 7) 

Episodes: 6
Executive Producers: 1 (man) 100% men 
Directors: 4 (all men) 100% men 
Writers: 3 (all men) 100% men 

(note: the executive producer stats are BY FAR the most fuzzy. With some shows, it’s really hard to tell WHO the showrunner is. So take those stats with a MASSIVE grain of salt, and correct me if I’m wrong)

****

A few weeks after I took these statistics, articles began to pop up about Steven Moffat, Doctor Who’s showrunner. Apparently, people figured out that he hadn’t had a  female writer on the show during his entire tenure as showrunner.

I will not lie! My initial reaction was: “Damn, they got the drop on me. This is why you publish blog posts EARLY, girl.”

Anyways – people were understandably mad at Stephen Moffat.  Doctor Who is a very popular Sci-Fi show – more importantly, it’s a show that is very popular with women. Steven Moffat has had thirty two episodes to work with. You’re telling me he can’t find one female writer he wants on the show? Over thirty two episodes? Not a single one?

Yeah, it’s pretty terrible.

Martha Jones GIF Oh Do You Think

It’s also worth noting that Steven Moffat has had zero female directors and zero female writers on the other show he runs, Sherlock. And he hasn’t had a female director on Doctor Who in two series (twenty four episodes). So it’s a pretty obvious pattern.

But here’s the thing. Steven Moffat is not a glaring exception from the norm. Steven Moffat is the norm. A slightly more extreme version, yes. But only slightly.

And listen, I do not like Steven Moffat. At all. My boyfriend and I recently watched all of Doctor Who, and it’s pretty striking how quickly our attitude went from “yay, another Doctor Who episode to watch!” to “… I guess we should watch the next episode of Doctor Who, huh? Blurrrgh” when Moffat took over as showrunner.

(Aside from anything else, he’s not a good writer. Example: WHY THE FUCK DID THE TARDIS BLOW UP? Are we ever going to find out? WHY DID THE SILENCE NEED RIVER SONG IN THE FIRST PLACE, if the spacesuit was CONTROLLING THE PERSON INSIDE IT?) Plus Steven Moffat is terrible to female characters. Like, painfully terrible. I have so many rants stored up about his treatment of Amy Pond, River Song and Clara Oswin.

… sorry, that rant was supposed to be shorter. Point being: I do not like Steven Moffat. I do not want to defend Steven Moffat.  But he is not alone in his show’s lack of female creators. So if we’re going to call him out for his lack of female writers, we  should also call out all the other shows with few – or zero – female writers and directors.

And that’s basically all of them.

Put it this way: I’m worried we’re turning Steven Moffat into the bogeyman. He’s terrible to female characters! He’s terrible to female creators! He says the most despicable shit in interviews (as a bisexual woman, I particularly enjoyed his comment that he doesn’t put bisexuals on his shows because “[bisexuals] are too busy having fun” to care about representation. Thanks. No, seriously). So we (correctly) get outraged and yell at him a lot, and call him out etc.

But meanwhile, we don’t even notice that, say, Elementary’s writers are 80% male, and its directors are 84% male. Elementary  is a great show for female representation. It’s a great show for POC representation. It includes all kinds of feminist  concepts like boundaries, consent, good treatment of abuse victims, gaslighting etc. But behind the scenes? It’s only a tiny bit better than Doctor Who.

How about Once Upon A Time, a show where the hero, the villain and a whole lot of the main supporting characters are all female? Where there are a lot of kick-ass, interesting, complex women?  Where women are portrayed in a variety of ways (not just the Strong Female Character TM?) Ninety percent of their directors are men. Seventy percent of their writers are men.
(and it’s a show that tends to fail pretty hard on female characters of color).

So why does it matter? If a show is doing well in terms of female representation, why should we care if their writing staff and directorial pool is filled with men?

That argument – the “good representation in one area negates bad representation in another” argument – is, I submit to you, poppycock.

Elementary GIF sherlock poppycock

Having more women writing, producing and directing TV shows is good in and of itself. Not just because it might bring about better female representation – as we’ve seen, men are capable of writing good female characters, and of avoiding sexist narratives. Better female representation might be a side effect of more female writers, producers and directors, but it’s not the only reason to push for it.

Both Elementary and Once Upon A Time do a better job with female characters than Doctor Who. A way better job. Hell, I would go so far as to say that even Game of Thrones does a better job with female characters (when it’s not busy adding more sexism to the source material). But it’s not just how you write the female characters in your show. It’s not just how you incorporate feminist concepts into your script. It’s also who you think is good enough to CREATE that show. To  create those worlds. To tell those stories.

For most SF/F shows, the people they think are good enough to create those shows and tell those stories are – men. Sure, there are a few women thrown in there. But mostly, it’s men.

And not having good representation of female creators isn’t just an implicit commentary on who you think is good enough to create a show. It also has economic consequences.

Having more female creators on TV shows is important because it means women are getting paid. I don’t know how to spell it out more clearly: these are jobs. These are jobs for which people are getting paid. And women are not getting paid to do these jobs, because women are not getting these jobs. It’s part of the reason I thought the sexism on American Idol in the last two seasons was particularly terrible – by denying women a chance to compete in the higher ranks of Idol, you’re denying them a higher paycheck. And that matters. On a basic,  fundamental level, this is about money and jobs. Money and jobs that women cannot get, even on shows that are supposed to be catering to women (like the Vampire Diaries or True Blood). We need to support women economically just as much as we need to support women creatively.

And yes, representation offscreen is also important because it’s about supporting women creatively. As the stats show, women are not allowed to write, create, or direct their own stories. Even in shows that are ostensibly about women (Once Upon A Time, True Blood etc.) and that are ostensibly aimed towards a female audience, men are the ones creating, crafting and writing women’s stories. We don’t get control over our own narratives. Which is problematic because women are a marginalized group. The right to self-definition is one we rarely have – we are the other, not the self. The Self – men – get to define us. And part of breaking down oppression and marginalization is gaining the ability to define ourselves – to write ourselves, to tell our own stories.

(This is not an argument that no man should ever write about women. It’s an institutional problem, not an individual one, which we can change by getting *more* women into the industry.  Nor is it an argument that women are obligated to write about women – it’s important women be able to write about men, particularly since many people still think women are restricted to writing about their own experiences)

Moreover, most showrunners – the people who create those new shows, new mythologies, new characters, new stories – start off as TV directors or TV writers. If we want more showrunners to be women, we need to give them access to writing and directing jobs.

In other words, when we think about women in the television industry, we need to remember that both women’s representation onscreen and women’s representation offscreen matters. We shouldn’t write off bad representation behind the scenes just because a show has good female characters onscreen; a show can do well in one respect and fail in the other. And both sorts of representation (or lack of representation) have consequences.

For example, consider a girl who loves Doctor Who. She loves Amy Pond (one of the Doctor’s recent companions) so much that she decides to become a writer, just like Amy. And since she enjoys SF/F TV so much, she decides to become a television writer. Maybe she’ll even get a job on Doctor Who!

The problem is, given the current state of SF/F television (and Doctor Who) – she would probably have a really hard time getting work.

There are consequences to not promoting female creators offscreen.

***

These statistics, unfortunately, are fundamentally flawed. They only look at one axis of marginalization (sexism), and they do so with no real intersectionality. It is undoubtably the case that women of color have an even harder time getting jobs writing or directing SF/F TV shows. It’s almost certainly true that there are very few POC (men or women) writing or directing network television. That I didn’t look at these statistics means that my conclusions are inherently flawed – I can tell you that women are less likely to be hired, but I can’t tell you if certain kinds of women (white women, straight women, abled women) have an easier time, or if women are more likely to be hired than POC. Partially, these flaws come from the fact that it’s much easier to tell how many women v. men write a show – you can just count names (ah, the convenience of gendered names). I also tried to figure out number of POC writing for certain shows, and felt really gross, as a white woman, trying to guess who was a POC and who wasn’t from pictures (when I couldn’t find any self-identification).

But I do think the information I didn’t gather – information on race etc. –  is crucial to understanding who exactly is allowed to create SF/F television.

For example, in taking a second look at Elementary, I realized that even if Elementary doesn’t do a great job with female writers and directors, it does do a pretty good job in terms of Directors of Color. They had at least two WOC and three MOC directing episodes (out of twenty four episodes). Which isn’t perfect, but it’s a lot better than most shows. While that doesn’t negate Elementary’s lack of women, it does provide an extra dimension to consider (and gives me hope that they’re *trying*)

Here are some broad, if incomplete, statistics to add to my numbers. According to the Writers Guild of America West, 87.3% of television screenwriters are white (while only 63.7% of the US population is non-hispanic white/european American). And 55 shows in the 2011-2012 television year hired no writers of  color. Those shows include Game of Thrones and Once Upon A Time.

I mean, again: even shows that are good about representation onscreen can be terrible about representation behind the scenes (not that either Game of Thrones or Once Upon A Time is good about POC representation onscreen). And it’s important to document and publicize those aspects of representation.

****

On a final note, these statistics are important because they belie the idea that creators and narratives respond to the audience – as opposed to the patriarchy. One of the most common (misogynistic) arguments you’ll hear when you talk about lack of female creators in literature or in movies or in comic books is that the audience for those mediums is mostly male. Therefore, the creators are mostly male, because they’re best suited to respond to male desires. So it’s not misogyny! It’s just Reflecting the Audience.

This is a bullshit, victim-blaming argument to begin with, but it’s pretty much completely disproven if you look at the television statistics. Women watch way more television than men. Women watch way more network television than men. And yet women are still in the minority – often in the overwhelming minority – when it comes to creating television. It’s an important reminder that institutions don’t primarily respond to the makeup of their audience. They respond to the patriarchy. Comic books are often sexist not because they are aimed towards men, but because they are part of the patriarchy. The movie industry is often sexist not because its products are aimed towards men, but because it is responding to the patriarchy. The solution is not just for more women to watch shows/read comics etc. The solution is to dismantle institutional sexism.  

Is it easy? Nope.

Do I know how to do it (except by complaining online a lot and trying to raise awareness)? Nope

Is it worth doing? Absolutely.

Because this is just ridiculous.

Donna Noble Doctor Who Yelling GIF

Donna Noble I Can Try Doctor Who GIF

#Personal Hero

(I miss Donna)

(also, as I mentioned, these statistics are super ad-hoc, so if you find errors, or if you want to add information, that would be very welcome! More info/getting a broader picture is always welcome)

(on the other hand, explaining why I am super-wrong and a bad statistics gatherer when I explain UPFRONT the problems with my methodology and *why* I didn’t have the capacity to do better is… not welcome. PRE-EMPTIVE WARNING)


Right-Before-The-Deadline-Hugo-Nominations

[okay, apparently wordpress published this post... and then unpublished it. I don't even know. If you're getting an update twice, let me know?] 

Oh, hi everyone! Enjoying the beginning of March? (SNOW, URGH, PLEASE STOP)

Hey, what day are we? The tenth?

Why does that sound ominous?

OH CLAUDE, THE HUGO NOMINATIONS ARE DUE MARCH 10TH! TODAY! TODAY! TODAY!

Now would be a good time to panic!

MAYDAY! MAYDAY! MAYDAY!

I meant to put my recommendations up, oh… weeks before? But I’ve been having blog troubles (and real life troubles, which tend to lead to blog troubles), so you’re getting these much later than I would like. But hey, if you’re seeing this post, it means I managed to get my nominations written up before the deadline!

At this point, that’s a pretty major victory for me.

(we’re just going to forget the fact that it’s FOURTEEN HOURS before the deadline, okay? MAJOR VICTORY OVER DEPRESSION = forgetting how close the call was)

So! First things first! If you have no idea what these bloody awards are, let me explain!
The Hugo are arguably the most prestigious speculative fiction awards in the world. Sure, it says “Science Fiction Awards” on the tin, but let’s face it, these awards are as much for Fantasy as they are for SF, or authors like Neil Gaiman, NK Jemisin and Catherynne Valente would never be nominated.

(I do think it’s harder for fantasy material to win the Hugos, but that’s another post).

Here’s the crucial bit: the Hugos are a fan award, which means that Random Fans can, in theory, influence the process.

… Hey! Are you a fan? Do you care about awards? Do you complain about nominations for days after they’ve been announced? Consider voting (and nominating for the Hugos)! More voters = better.

Details! Important details! You need to be a member of WorldCon to nominate and vote . And the way you become a member is by paying $60.

No joke, $60 is a pretty hefty sum for the privilege of voting. At least it is for me, your friendly neighborhood feminist batwoman student blogger. There are, however, some benefits that offset the cost. As a Hugo Voter, you get the voting packet, which contains almost all the novels, short stories, novellas, movies, shows, fanzines etc. nominated for the Hugo awards. It would cost you a shitload more than $60 to get all those books/movies/novellas etc. on your own.

Another fun fact! If you buy a membership for a WorldCon, you get to nominate for the next year’s Hugos. I was a member of last year’s WorldCon (ChiCon), so I get to nominate this year, even though I haven’t bought a membership for 2013 yet.

Reminder to any fellow ChiCon members: if you paid to nominate/vote last year, or if you paid to go to ChiCon, YOU CAN NOMINATE THIS YEAR. You can’t vote without a new membership, but you can nominate. So nominate! In the next fourteen hours! Because you only have until 11:59 EST.

For everyone else – it’s too late to sign up to nominate, but if you are interested in voting this year, there’s more information on how to sign up here.

Okay! Now, without further ado, the fun part: MY super-last-minute nominations for the Hugos.

(note: not all categories are filled out, because I am just one woman, and I have not read/watched everything in the SF/F field. I’ve tried to restrict my recommendations to fields that I actually know something about).

Novel: 

1. The Killing Moon by NK Jemisin

At first, I thought I only had one nominee in the novel category because I just hadn’t read enough 2012 books. But looking back over my reading log… nope. I actually have read quite a few 2012 books. I just haven’t been impressed by very many of them (oh, BURN) (sorry, China Mielville and Elizabeth Bear. Better luck next time!)

There was one (okay, two) notable exception.

NK Jemisin’s The Killing Moon, and the sequel, The Shadowed Sun.

The Killing Moon NK Jemisin

Honestly, if NK Jemisin’s The Killing Moon doesn’t make it onto the ballot, I will side-eye fandom forever. For my money (if I had any money), it’s not only the best book Jemisin’s ever written, it’s the best novel published in SF/F last year. Jemisin’s worldbuilding and magical systems have never been better. And the plot. GAAAAH, THE PLOT.

A digression here: I think there’s a big difference between a book that should win the Hugo, and a book that CAN win the Hugo. Two years ago, I thought that Feed (Mira Grant) and The Hundred Thousand Kingdoms (NK Jemisin) SHOULD have won the Hugo over Blackout/All Clear. But I didn’t think The Hundred Thousand Kingdoms COULD win the Hugo (too much sex! Plus, politics).
Moreover, a someone fairly engaged in social justice, I’m always interested in seeing books nominated that deconstruct, or challenge the more conservative aspects of the SF/F genre. At the same time, I recognize that those books aren’t likely to win, precisely BECAUSE they challenge conservative (and popular) aspects of the genre.

The point of the digression? I think The Killing Moon is one of those rare books that both SHOULD and COULD win the Hugo Award for best novel.

Whenever I think about The Killing Moon, I keep coming back to one word: tight. The plot is tight. The worldbuilding is tight. The characters are tight. The prose is tight. Everything is crafted with such skill that I think the more challenging aspects of the book can just – slide by, unnoticed. Jemisin’s first book, The Hundred Thousand Kingdoms was a much more obvious confrontation and reconstruction of the epic fantasy genre, which is why I think it was so controversial. Don’t get me wrong – Jemisin’s Dreamblood books are just as engaged in challenging the epic fantasy genre. But it’s – quieter. The progressive politics of The Killing Moon can probably slide by more conservative voters in a way the politics of The Hundred Thousand Kingdoms could not.

It’s sneakily political.

The second book in the duology, The Shadowed Sun was also published in 2012 (and I also loved it), but NK Jemisin specifically asked that fans nominate The Killing Moon (so her books aren’t in competition with one another), and I’m following her wishes.

I would also be very interested in seeing Catherynne Valente’s The Girl Who Fell Beneath Fairyland and Led the Revels There and/or Frances Hardinge’s A Face Like Glass on the nomination ballot. I have not read either book, although I enjoy both authors and I’ve heard good things from people I trust about these particular works.

I’d like to see one of them on the ballot because they’re young adult fantasy novels written by women. While young adult novels occasionally make it onto the ballot (and win), it’s my impression that those Chosen Few tend to be by men (e.g. Neil Gaiman’s The Graveyard Book). Again, this is just a theory, but I think there’s a tendency to assume that young adult novels written by men can still be Serious Literature, while young adult novels written by women cannot, even if those women have written Serious Literature in the past.

Thus, I would not be surprised if China Mielville’s foray into YA, Railsea, made it onto the ballot, but I think Valente or Hardinge’s novel would be far more interesting choices.

Best Fan Writer:

Wait, that’s not the category after Best Novel!

…Except for me. Because Best Fan Writer is the category I care about the most.  I love cultural criticism. YOU MAY HAVE NOTICED… since I started an entire blog for just that purpose.

Best Fan Writer is also a category that I’ve found drearily boring in past years – the same writers are usually nominated year after year after year. And, to the surprise of no one, the nominations tends to be dominated by white men (it’s been six years since the final ballot included more than one woman).

Point being: there are tons of brilliant, diverse, interesting writers talking about SF/F. More of them should be recognized.

1. Foz Meadows.

I want to be Foz Meadows when my blog grows up. Her work on racism, sexism, and other forms of oppression in SF/F is unparalleled. She’s articulate, passionate, and thorough: her arguments are brilliant, her research is impecable.

Oh, and she’s extraordinarily entertaining.

Examples: PSA: Your Default Narrative Settings Are Not Apolitical, Politics, YA and Narrative, Racism, Revealing Eden and STGRB, Rape Culture in Gaming

2. Mark Oshiro of MarkReads and MarkWatches

When someone suggested Mark Oshiro for this category, I went “Oh duh, why didn’t I think of him?”

How do you even describe Mark? He’s been reading – and watching – lots of the most important shows and books in SF/F for his two sites, MarkReads and MarkWatches. His reviews are simultaneously insightful and hilarious. He’s perpetually unprepared for plot twists, and perpetually prepared to fall madly in love with new books.

You have not lived until you’ve read – or watched – a Mark Oshiro review.

I can’t tell you how much I love him. He just brings such JOY to his work (while also calling out problematic shit!)

It’s a rare writer who can critique a genre while simultaneously reminding you of why you’re in love with it.

Examples: Mark Reads Revealing Eden (if you want to see Mark dying over terrible writing and racism), Mark Watches Doctor Who: The Angels Take Manhattan, Mark Watches The Legend of Korra: The Revelation, Mark Reads Wild Magic Chapter 3

3. Ana Mardoll of Ana Mardoll’s Ramblings

Ana Mardoll’s website is filled with smart, thorough deconstructions of important genre books – Twilight, the Narnia Books, Buffy, The Hunger Games etc. Her coverage of disability in SF/F is particularly interesting. Like Mark Oshiro, she’s incredibly thorough with her analysis – her deconstructions often go chapter by chapter, and each post can go well over 2000 words.

I suspect she’s overlooked by the SF/F community because she doesn’t fit our model of a fan writer – she’s a feminist/social justice blogger who writes about genre fiction a lot. And that’s part of the reason I’d like to see her and Mark Oshiro on the ballot – their very presence would expand what we see as “fan writing.”
Plus, I am personally a fan of bloggers like Ana Mardoll, who talk about genre fiction in one post, feminism in the next, and the wives of Henry VIII in the third. Because fuck, that’s the kind of blogger I want to be – so I do love seeing it done well.

Examples: “L” is for Madonna-Whore Complex (deconstructing an article about Twilight that is, if possible, EVEN MORE problematic than Twilight), Twilight: Carried in the Arms of Assholes (fascinating exploration of the appropriation of disability in the Twilight series), Buffy: Freebird (talks the character of Joyce and emotional abuse, and WHOA, I DID NOT SEE IT BEFORE, BUT NOW I DO), The Hunger Games: A Question of Agency

4. Catherynne Valente

I am a huge fan of Catherynne Valente as a fiction writer – but I am, if possible, an even bigger fan of her as a non-fiction writer. No joke, I’ve re-read her Guest of Honor speech for MythCon… five times?

Valente is particularly important as a commentator on fandom and fan writing itself. Yes, very meta of me! Christopher Priest ranted about the Clarke Awards; Catherynne Valente looked at the fan reaction to his post, and turned it into an entire discussion of sexism in fandom. Her post on the Readercon debacle reminded us that Genevieve Valentine’s experience was actually workplace harassment. And when people attacked Valente for refusing to repudiate Requires Hate, Valente wrote a post that simultaneously explored her own problematic behavior (cultural appropriation), and discussed a wider fandom problem. 

Valente does not write often, but when she does, she is on fire.

Other examples: Girl Grit: Feminism, Westerns, Sherlock and Erasure

5. NK Jemisin:

I almost didn’t put NK Jemisin on my final ballot, because I didn’t want more than two professional authors in the fanwriter category. And then I was all “What are you even doing, Suzanne?” because Jemisin’s voice is so critical to the way I think about the field. She, like Valente, has some of the best commentary on fandom on the interwebs. Her posts on sexism, racism and oppression in fan spaces are brilliant and provocative (example discussing racism in fandom)

She also wrote smart posts about video games, on why magic doesn’t need to make sense, and on the use of  sexual violence in her own books.

Yes, it’s frustrating that Jemisin can simultaneously be both a brilliant fiction writer, and a brilliant fan writer. But she is, so I must recognize her.

Honorable Mentions: I read so many people who deserve a nomination, and sadly, not all of them can end up on my final ballot.

Tansy Rayner Roberts, for her discussions of Domesticity in Doctor Who, her series on Women in Comic Books, her Xena posts, and her article on Historically Authentic Sexism in Fantasy.

Liz Bourke, for her series Sleeps With Monsters on Tor.com (The Smurfette Principle is a good example of the series)

Abigail Nussbaum, for being the essayist and reviewer I wish I were, and for her spectacular, worldview-changing article Women and Horses, which asks: “Why are we, on the one hand, outraged by the deaths of horses on the set of Luck, and on the other, casually accepting of the potential mistreatment of human women on the set of Game of Thrones?” (particularly when those women are underage).

Best Related Work: 

Chicks Dig Comics edited by Lynne M. Thomas and Sigrid Ellis. Has lots of very fun, very smart articles, and is responsible for introducing me to Kelly Sue Deconnick, Amanda Connor, Greg Rucka and Marjorie Liu.

Best Graphic Story:

1. Saga, Volume 1 by Brian K. Vaughn and Fiona Staples

Saga is… strangely unepic, for a story named “Saga” that opens with a tale of star-crossed lovers from warring civilizations. Rather than aiming for obvious epic themes, Vaughn makes the comic an intimate, almost domestic, story about an odd couple escaping from the forces that want them dead… all while trying to take care of their newborn (urgh, diapers!)
The plot is weird and brutal. The worldbuilding is ridiculous, and I mean that as a compliment. Staples and Vaughn’s worldbuilding strategy seems to consist of throwing random stuff at the wall, and seeing what sticks – but they’re talented enough that it works out beautifully. And the characters are both atypical and compelling.

2. Nimona by Noelle Stevenson

A ridiculously fun, well-drawn webcomic I stumbled on a few weeks ago. It chronicles how the adventures of Lord Balister Blackheart, the biggest name in Supervillainy, go terribly wrong when he takes on a sidekick: Nimona, a shapechanging teenager.

It’s hilarious and it has lots of fun meta-commentary about superheroes, epic fantasy and villains. I’m in internet love.

Also, Sir Ambrosius Goldenlion (Lord Ballister Blackheart’s greatest enemy) has The Best Hair. Nomination for that alone, quite frankly.

Best Dramatic Presentation, Long Form: 

I’m not going to talk about my reasons for these, because they’re not strikingly different from what I’ve seen on other lists.

1. The Hunger Games
2. The Avengers
3. The Dark Knight Rises
4. Brave
5. The Legend of Korra, Season One.

Okay, about the last: I had some SERIOUS problems with the first season of The Legend of Korra (LOK). In fact, I just finished it last night, and spent a good hour ranting at my boyfriend. But I still think the series had incredible animation, some brilliant plots (alongside less-than-brilliant-ones) and wonderful characters (Tenzin! Chief Bei Fong! Korra! Asami!)
Is it perfect?
No.
But I would like to see it on the ballot. 

Best Dramatic Presentation, Short Form: 

I have zero nominations here, because I am so not caught up on current SF/F television. I will say that I would be very happy to see episodes that AREN’T from Doctor Who on this list. Have you considered The Legend of Korra, My Little Pony, Community or Fringe for nominations? You should!

Best Professional Artist: 

Listen, I’m not an expert on art, and usually, I wouldn’t care about this category. But because I am a professional misandrist and I hate all men* – and also because very few women are ever nominated in this category – I wanted to find women artists who deserved a nomination.

And yes, this is rather necessary. From my cursory research, I don’t think a single woman has been nominated for this category in the last DECADE.

*(May Not Be A Factual Statement)

1. Julie Dillon (AKA: Why The Hell Hasn’t She Been Nominated)

I regularly use her art as wallpaper for my computer. Can you blame me?

Julie Dillon breaking through

Breaking Through

The Dala Horse (Julie Dillon)

The Dala Horse (Julie Dillon)

2. Fiona Staples

Stapes is responsible for both the interior illustrations, and the covers for Saga. I don’t usually notice the art in comic books, but Staples’ work is so richly, gloriously bizarre that I can’t NOT notice.

Saga Issue one cover fiona staples

Saga, issue one

Saga Chapter 3 Fiona Staples

Saga chapter 3

Saga Fiona Staples

The Stalk (Saga)

3. Kathleen Jennings 

I’m a huge fan of Jennings’ lovely, whimsical book covers – I particularly love how she uses wraparound effects. Her illustrations for Eclipse Online are also wonderful.

Kat Jennings

The Memcordist by Lavie Tidhar, illustrated by Kat Jennings

Stranger Things Happen by Kelly Link

Cover and Dustjacket for Stranger Things Happen by Kelly Link

4. Amy Reeder 

I’ve been a fan of Amy Reeder’s for a very long time – even though I wasn’t aware of it. My wordpress icon? The Batwoman picture?

Amy Reeder Batwoman

Batwoman by Amy Reeder

Yep! Drawn by Amy Reeder.

Although the Batwoman franchise tends to be known for JH Williams’ artwork, some of the most iconic covers come from Reeder’s pen (I am using one of them as my wallpaper right now). And her artwork on the creator-owned Halloween Eve is stunning. I wish I’d known I was a fan of hers before!

Amy Reeder Halloween Eve

Halloween Eve

Batwoman Amy Reeder

Batwoman, Issue 9 by Amy Reeder

5. Ana Juan

Hat Tip to The Book Smugglers for this recommendation – I was trying to find a fifth nominee, to no avail, when their post on Hugo nominations came out. I’ve loved the artwork in Catherynne Valente’s Fairyland books, but I never looked up the artist. Juan’s work is beautiful, whimsical, and a bit off-kilter.

Fairyland Ana Juan

Ana Juan

The Girl Who Fell Beneath Fairyland And Led The Revels There by Catherynne Valente

Best Fan Artist 

1. Kathleen Jennings, for all her daleks on her blog – and specifically, for drawing Daleks into all of our favorite books and movies.

2. Noelle Stevenson for Nimona (not a professional work – she’s not, as far as I can tell, getting paid). Because her work is fun and beautiful and witty, and reminds me of nothing so much as Kate Beaton

Nimona by Noelle Stevenson

Best Semi-Prozine: 

The Mary Sue: A guide to geek girl culture. I love The Mary Sue, and they serve my primary source of SF/F news. The writers are funny and incisive, the coverage is wide-ranging, the politics are feminist and progressive.

Best Fanzine: The Book Smugglers: I am counting The Book Smugglers as a fanzine rather than as fan writers, because there are TWO writers on The Book Smugglers. And they deserve a nomination for all the work they do. My god, they publish a post a day, and although Ana and Thea don’t cover speculative fiction exclusively, they do write a whole lot about the genre. Their book reviews are wonderful and incisive, and their genre commentary is always on-point.

Ana and Thea also host an annual blog event called Smugglivus, when they invite authors and bloggers to talk about the year past. It is responsible for introducing me to waaaaaaay too many good books.

Best Fancast: 

Galactic Suburbia (and not just because they put me on their award honors list!)

Galactic Suburbia is a feminist podcast, and thus I am contractually obligated to love them. Fortunately, they make it easy on me, by being perpetually wonderful, and funny, and outraged. Plus, they keep me up to date with all of the Australian Speculative Fiction news (important, since I am a provincial USian).

Last year, I said I was nominating them “because they are awesome. And they make me read ALL the good books.”

And they are still awesome, and making me read all the good books. I really hope they make the ballot again this year.

****

PHEW.

And with that, my friends, my Hugo Nominations are in!

*****

A couple brief announcements, for those of you who haven’t fallen asleep yet!

1. For the purposes of me not getting super-confused ALL THE TIME, I’m now going by the name I use in non-internet life (Suzanne). I get SUPER-CONFUSED whenever anyone uses the name “CD” to refer to me. And although this is a pseudonymous blog, I don’t think using my real name will cause anyone to figure out my ultra-secret identity.
So yes, from now on, I am Suzanne (and my preferred pronoun is “she”).

Of course, you are also welcome to refer to the blog name, full stop (Culturally Disoriented), or to call me The Feminist Batwoman (even though I am NOT the Feminist Batwoman. LET’S BE CLEAR).

2. I have a tumblr! Which has absolutely zero original content. I just reblog a lot of kittens and GIFS. But if you’re interested, I’m over at Feminist Batwoman (although, again, I AM NOT THE FEMINIST BATWOMAN).

3. Content has been slow here! For lots of reasons. Mostly, but not solely medical. I switched antidepressants over winter break, and unfortunately, the new medications caused some pretty brutal side effects. So I am now OFF those antidepressants, which means I am off antidepressants completely, and the transition has been… rough. I also ended up at the ER twice for totally unrelated reasons, because my body hates me right now.
Anyway, content is likely to REMAIN slow for a bit. But I am still here, so bear with me! There’s a GIANT POST OF DOOM coming up. It has lots and lots of statistics! About women in SF/F television! IT IS GIANT! The research is DONE. So it is ALMOST READY.


Galactic Suburbia put out their Annual Award… and I’m on the Honors List

I had a medical procedure yesterday – nothing serious, but rather painful. And I’ve spent the last 24 hours “enjoying” the cramps and stabbing feelings, and making copious use of naps/painkillers.

I woke up from my nap an hour ago, rather dazed, and checked my inbox.

… And apparently this blog is on the honours for the Galactic Suburbia Award.

Kristen Bell sloth GIF

The first response from me, upon opening Alex’s email, was: “WHAT JUST HAPPENED IN MY INBOX?”

Then I fell back onto the bed, convinced that the painkillers were giving me hallucinations.

Followed by me listening to the latest Galactic Suburbia podcast in full, and realizing that no – this was definitely not a hallucination.

And then I fell on the bed again.

Stitch fake death GIF lilo and stitch

GUYS. WOMEN. PEOPLE OF ALL GENDERS.

DO YOU KNOW
HOW MUCH
I LOVE
GALACTIC SUBURBIA?
(as evidenced by my explosion of SQUEE when they were nominated for the Hugos last year)

I’m being calm about this. So: Galactic Suburbia is a feminist speculative fiction podcast. A Hugo-nominated feminist speculative fiction podcast, to be precise!

They have a yearly award for activism and communication that advances the feminist conversation in the field of speculative fiction in 2012.  

… and I am on the honors list.

Barney's Head Explodes GIF

Barney’s Head Explodes HIMYM

Clearly I have not yet gotten to the “acceptance” phase of the process.

I remember hearing Galactic Suburbia calling for nominations for the award in their last episode. And my reaction was something along the lines of: ” I hope that in a couple years, I’m producing commentary good/interesting enough to be considered for the shortlist.”

Manny Modern Family GIF

THIS BLOG IS NOT EVEN ONE YEAR OLD. I’m a college student rambling on the internet when I should be sleeping/doing homework.

…I’m speechless.

Here is the full Award, with the Winner and the Honours list:

Winner: Elizabeth Lhuede for the Australian Women Writers Challenge. Lhuede created the Australian Women’s Writers Challenge to respond to the inequity in women’s work being read, reviewed and treated seriously in Australia. In the lead up to 2012, Australia’s National Year of Reading, Lhuede decided to do something to help redress this imbalance and raise awareness of Australian Women’s Writing. Lhuede created the AWW to encourage people to examine their reading habits, and commit to reading and reviewing more books by Australian women throughout 2012.

Honours List: 

Kirstyn McDermott, for the creation of the female stick figure in an episode of her podcast, the Writer and the Critic (episode 19). McDermott pointed out that the standard stick figure is not inherently male nor female, and so created a female stick figure – which looks exactly like the male stick figure, but with a female stick figure after it – bringing attention to the idea of the male as default.

Julia Rios for her podcasts and discussions about moving beyond the 101 – feminism 101, sexuality 101 etc.

Genevieve Valentine for starting the discussion about sexual harassment at SF/F conventions. Specifically, for blogging about how the Readercon Board ignored its zero-tolerance harassment policy when she reported being sexually harassed by a Big Name Fan. As Alisa Krasnostein on Galactic Suburbia put it, the conversation led to enormous fallout, but as a result, policies for conventions have changed, and people have started looking at what we want SF/F fandom to be like, in terms of safety

The phenomenon of (and the arguments AGAINST) the Fake Geek Girl - specifically, for the spectacular responses to (mostly) men complaining about Fake Geek Girls. There were too many posts and responses to choose just one for the shortlist, but the discussion around whether women can be “real geeks” has been fascinating conversations on the internet.

Jim Hines (returning nominee!) for his modeling of how SF/F covers portray women in unrealistic ways. Hines brings attention to the issue by trying to replicate the poses himself – and recently used his posing to raise lots and lots of money for the Aicardi syndrome foundation. Humor and fundraising and feminist social issues, all at once!

Anita Sarkeesian for her TEDx talk, where she discusses her experience of the internet harassment she experienced as a result of her kickstarter project Tropes v. Women in Video Games.

The Hawkeye Initiative - a tumblr that brings attention to the way women are portrayed in comic book art. In the Hawkeye Initiative, people redraw comic art that depicts women in horrible ways… with Hawkeye – thus transposing the pose from the female body to the male body, and showing how ridiculous the poses are in the first place.

Seanan McGuire for her blog post Thing I Will Not Do to my Characters, in which she discusses why she will never write her female characters being raped. This was a response to a fan saying that if McGuire doesn’t depict her female characters getting raped, it wouldn’t be realisitc.

Liz Bourke for her Sleeps With Monsters column on Tor.com.

The Girl Who Wrote a Letter to Hasbro about how if she picked a female character in Guess Who, it was really easy for her opponent to win because there were many more male characters than female characters on the board. Led to some really important conversations about gender issues in board games for children.

Geena Davis for her activism and analysis in the field of children’s television, and more specifically for a speech on gender equality in children’s television.

An honorary mention for the Australian Prime Minister, Julia Gillard, for her speech against misogyny in parliament this year. 

Oh, and, er… me.

The more I listened to Alex, Tansy and Alisa talking about the Award list on the podcast, the more my brain exploded. I’m on an honours list with Seanan McGuire and Jim C. Hines and Genevieve Valentine and Anita Sarkeesian and Liz Bourke and Julia Rios and Elizabeth Lhuede and Kirstyn McDermott.

Mulan tea pouring GIF

Martha Jones GIF

Like I said earlier, this blog has been running for less than a year. And I can’t… quite express how amazing it is that Galactic Suburbia think my work belongs on a list with these people, who have done so much inspiring, brilliant work on issues of  gender in the world of speculative fiction and fandom.

I feel extraordinarily honored to be on this list, with these people (and the Hawkeye Initiative/the Fake Geek Girl Discussion!). Thank you so much to Galactic Suburbia for including me. And thank you to Celia Powell, who I believe nominated me).

Steven Colbert GIF
Now if you’ll excuse me, I think I need to indulge in some celebratory SQUEEEING.
… and get more painkillers.

****

(Galactic Suburbia’s full episode is here)

(I will update the blog with the exact descriptions of the winner and honors list just as soon as they are out).

(Also, if you’re not listening to Galactic Suburbia, and you’re interested in gender issues and/or SF/F… you should consider listening. They’re delightful and inspiring and they make my walk to campus much more enjoyable)


Boys don’t read Girl Books and other lies my Society Told Me

“It’s a cliché but mostly true that while teenage girls will read books about boys, teenage boys will rarely read books with predominately female characters.” (Robert Lipsyte, “Boys and Reading: Is there Any Hope?“)

Toph GIF Avatar: The Last Airbender

Oh, Fuck, not this bullshit again.

(I hear you, Toph)

****
I like giving my younger brother (R) books. Correction: I really like giving my younger brother books. And he loves reading, so we’re quite compatible. Well played, universe!

Anyway. The last time I took R on a book-buying expedition, it took us three hours to narrow down the choices. By the end, we were down to two options: Jo Walton’s Tooth and Claw, which I described as “Jane Austen if all of Jane Austen’s characters were dragons! Tea time meets DRAGONS” and Malinda Lo’s Huntress, which I described as “Adventure! Fairies! Hunting! Lesbian romance! More adventure! HORSES!”

(My eloquence: admire it)

At some point in R’s difficult decision, I swooped in with big-sister wisdom: “You know, I’m worried you won’t enjoy Tooth and Claw as much. Don’t get me wrong – I love it. But it’s not really an adventure story. It’s basically a family story, and about people’s relationships and marriages. Except with dragons.”

My younger brother gave me a Look: “No, but that’s what I like.”

Me: “Whazit?”

Brother: “Those are my favorite kinds of books! I like reading about families, and about how people relate to each other.”

This would be the moment I massively facepalmed.

Zuko GIF angst Avatar the last airbender

AAAARGH

I’m a feminist. I think about idiotic gender roles a lot. I try to avoid perpetuating sexism as much as I can. I especially try to avoid perpetuating stupid gender roles around my brother. And I have always believed that there is no such thing as a “girl” book and a “boy” book.

Yet I assumed my brother would like an adventure book more than he would a family-drama book.

Because he’s a thirteen-year-old-boy.

Massive.

Facepalm.

Aang GIF Avatar headdesk

Me, to brother: “… just ignore me, I’m an idiot.”

Conclusion of the story: I ended up buying R. both books, because I am the best sister on the planet

(Yes! yes I am aware of how awesome I am! But more accolades are always welcome!).

He loved Huntress, like I thought he would. But he loved Tooth and Claw even more. He sent me an email from his vacation where he told me it was now “one of his favorite books.” And when I saw him again, he asked me if I could lend him my Jane Austen novels.

Because Tooth and Claw had inspired him to read Jane Austen.

BOOM, BABY.

Emperor's New Groove Boom Baby

(I really love Jane Austen, okay?)

***

This post is not about how gender stereotypes are incredibly difficult to unlearn – although it could be, since that is a true and important topic. Gender stereotypes are incredibly difficult to unlearn! Even for feminists! Tell your friends.

It is, as all my favorite posts are, about my brother. My brother read a lot. And as it happens, a fair number of the books he reads either a) are written by women b) have female protagonists, or c) center on “girl” issues like “family” and “relationships.”

This fact makes him the Miracle Boy Foretold By the Prophecy. Because boys can’t read girl books. Didn’t you get the memo?

[Note: In this post, I will use the term "girl" books to designate books that are USUALLY ASSOCIATED with women, either because they were written by women, have female protagonists, or tackle subjects that are coded as feminine (gossip! pink!). I don't mean to imply that there are actual "girl" books and "boy" books. Books are for everyone! I promise! They don't have cooties!]

***

“It is a truth universally acknowledged that a young boy who desires to read must be in want of a “boy” book. However little known the feelings or views of such a boy may be on his first entering  a bookstore, this truth is so well fixed in the minds of the surrounding adults that he is carefully kept away from any book with the slightest whiff of the feminine about it.”

Okay, that’s not the first line of Pride and Prejudice, BUT IT COULD BE.

One of the most frustrating myths floating around the world of reading is the “boys aren’t reading because there are too many girly books, and boys can’t read girly books because EVERYONE KNOWS boys can’t read girly books.”

Cat and bath

How Boys Feel About “Girl” Books.

And sadly, this narrative just keeps popping up out of the fertile internet ground every thirty seconds. Like zombies! Or DAISIES. or ZOMBIE DAISIES.

Robert Lipsyte’s self-congratulatory and entirely unimaginative article for The New York Times deplores the explosion of YA aimed towards girls because “while teenage girls will read books about boys, teenage boys will rarely read books with predominately female characters.” Meanwhile, YA author A. E. Rought called female protagonists a “trope” they hoped the publishing industry would get over. Then Sarah Mesle wrote an article for the LA Review of Books where she expresses concern at the proper lack of “male roles” for boys.

Hell, just yesterday, I was treated to an article that deplored the lack of male protagonists, because the author was sick of girls who only cared about gossip and instead wanted a boy protagonist who just wanted to put gas in his car.

Apaa Flying Bison Avatar GIF

Think about your life, anonymous author. Think about your choices.

Urgh.

SO MANY ZOMBIE DAISIES.

Okay, first off, I want to make sure our facts are straight. Because it is provably not true that there are no YA books “for boys.” In fact, there are still more male protagonists than female ones in YA. There are just about as many male authors as there are female ones. THESE ARE THE FACTS, PEOPLE (here is one study, among many). And it is depressing as hell that people look at women achieving parity in one field – ONE FIELD – and interpret it as men being blotted out.

Toph Earthbending Avatar The Last Airbender GIF

ON POINT

Let’s get to the important part.
Now that you’ve read all this “evidence” about how boys can’t read “girl” books and it’s a HUGE CATASTROPHE, OH NOES, let me remind you that my brother regularly reads lots of “girl” books.
BUT BOYS CAN’T READ BOOKS ABOUT GIRLS!  HOW COULD THIS POSSIBLY HAPPEN?
The answer, my friends, is the Great Feminist Experiment:
Azula GIF Avatar the Last Airbender

THE GREAT FEMINIST EXPERIMENT. Scared yet?

Ahem. So. The Great Feminist Experiment.
I have known about this whole “boys can’t read “girl” books” since I was… oh, eight or so? It’s been around for at least that long. I vividly remember reading an interview of Eoin Colfer where he claimed he specifically chose a male protagonist for the Artemis Fowl series because it would attract more male readers – and female readers would just pick up the book anyway. I also remember JK Rowling explaining that she used her initials (instead of her first name, Joanne) to avoid scaring off male readers.
I knew what was up.
And when I acquired a baby brother, I decided he would be an ideal Test Subject for a Great Feminist Experiment.

By the time I was ten, I had a plan. I would make it a point to give him books with female protagonists. On his birthday, on Christmas, at random occasions – I would give him books with girls. I would give him books about girls. I would give him books by women. I would give him books about “girly” topics like family and gossip and clothes.

Not to mention books with kickass women being kickass!

Katara GIF waterbending Avatar: THe Last Airbender Waterbending

Example Chosen at Total Random (I <3 you Katara!)

I wouldn’t force him to read them. And I wouldn’t deprive him of books with male protagonists either. I would simply make sure he had lots of access to “girl” books.

It was a deviously simple plan.

And it worked.

Tiny Fey Amy Poehler SNL GIF Bitches Get Stuff Done

Of the books my brother reads, I’d say somewhere near 50-60% have female protagonists. The first chapter book my brother ever read was Roald Dahl’s Mathilda.  His stuffed hedgehog is named “Wizard Howl” after Dianne Wynne Jones’ novel Howl’s Moving Castle. He loves Lyra from The Golden Compass. He reads Tamora Pierce and Libba Bray and Meg Cabot and Diane Duane. He will talk for hours about Robin Mckinley and the Blue Sword novels. His stuffed hedgehog is named “Wizard Howl.” Right now, his favorite authors include NK Jemisin, Jo Walton, Octavia Butler and Mira Grant.

Don’t get me wrong, the brother reads a lot of “boy” books too (one of his other favorite authors is China Mielville, and his favorite novel is Chris Crutcher’s Whale Talk). But R. has never complained about a book with a female protagonist. To him, they’re just as normal as books with male protagonists. And it would never occur to him not to pick up a book because the author was female.

And now he’s even recommending books by female authors TO ME. It was my brother who first discovered Mira Grant, and who pestered me until I read her (and I never looked back).

THE GREAT FEMINIST EXPERIMENT WORKED!

Azula Avatar the last Airbender GIF madness

MUAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA

YES I AM THE EVIL FEMINIST ALL YOUR FRIENDS WARNED YOU ABOUT.

I can’t stress how easy this “experiment” was. I mean, it was easy because I started early, before all the societal sexism could sink in. But it’s not like my brother’s Y chromosome was allergic to “girl” cooties. So whenever I read a Robert Lipsyte, say, spouting the old ” teenage girls will read books about boys, teenage boys will rarely read books with predominately female characters” line, I roll my eyes pretty hard.

You know what? I’ve got a teenage boy in my life, and he reads “girl” stuff just fine. My outlandish theory is that if boys aren’t belittled for reading books about girls, if they’re not taught that girls are lesser, if they’re not teased about cooties, if we don’t teach them to fear the feminine… they’d probably like more “girl” stuff.

Boys don’t read “girl” books because they’re taught, in a thousand small, subtle, insidious ways, that they’re not supposed to.

What if boys weren’t ashamed to read books that were coded “girly” because they didn’t think it was shameful to be a girl? (thanks, Iggy Pop!)

What if we taught them something else?

Iggy Pop

Think about it.

***

Quick story to wrap things up!

So, obviously I’m a feminist. And I read lots of feminist fiction. And since my brother steals all my books, he ends up reading quite a bit of feminist fiction himself.
On the other hand, I’ve never told my brother he *should* be a feminist, or that he needs to combat sexism or anything. Because I don’t want to tell him what to think.

Anyway!

One night at dinner a few years ago, my stepbrother started teasing my stepmother about the muscles in her arms. My father said: “Stepbrother! It’s rude to discuss women’s arm muscles.”

And I, the random feminist, replied: “I don’t think there’s anything wrong with discussing women’s arm muscles, since there’s nothing wrong with women having arm muscles. But teasing people about their appearance isn’t okay.”

My brother: “Yeah, Dad. Because you know what me and Suzanne are into? FEMINIST SCIENCE FICTION. So if you say sexist stuff, we’re going to get super-mad!”

After I finished dying of laughter, I knew that giving my brother “girl” books to read had been worth it. MY EVIL FEMINIST PLANS HAD ALL COME TO FRUITION.

Avatar GIF Avatar the Last Airbender

THE FEMINIST BORG HAD ASSIMILATED HIM.

[No, but in all seriousness, I was super-proud of him. I mean, once I stopped laughing]

Azula Avatar: The Last Airbender

Scary Feminist Out!

Notes:

1. I should note that as I got older and more aware, I also made a conscious effort to steer my brother toward books with protagonists of color and queer protagonists. Which worked out quite well!

2. I want to be clear that just because this “experiment” (such as is) worked for me, it doesn’t mean it would work for everyone. There was a whole lot of privilege and luck that went into it! Like the fact that I started when the brother was super-young. And that he turned out to love reading. And that both he and I had lots of time and opportunities to read, and were both encouraged to do so. This is not supposed to be a how-to for how to get boys to read more. Nor is it meant to be a critique of people who can’t get the boys in their life to read more. If that doesn’t comes across, let me know, and I will fix it!

3. My brother has been fully aware of the “experiment” since he was seven or eight. I promise, I’m not manipulating him behind his back. We’ve had conversations about it, where I ask whether he’s okay if I keep giving him books by women/with female protagonists and he’s like “So… you’re asking if I’m okay with you giving me books? Is this some kind of evil trick?”

4. Hey, notice all the Avatar: The Last Airbender GIFs? The Feminist Philosopher introduced me to the show, and I just finished watching it. IT IS AWESOME, and full of awesome male and female characters AND YOU SHOULD ALL GO WATCH IT. NO, SERIOUSLY, DROP EVERYTHING YOU’RE DOING AND GO WATCH THE SHOW.

Katar waterbending Avatar The Last Airbender GIF

Stop Everything and GO WATCH.

Thank you, Feminist Philosopher. I will forever blame you when I tear up at GIFs of Zuko and Uncle Iroh hugging.

Further reading: 

The Book Smugglers: The Airing of the Grievances 
The Problem is Not the Books
Gender Balance in YA awards

Dear Snow White and the Huntsman: Kissing. You’re Doing it Wrong.

And I’m back online, everyone! Sorry for the two week hiatus – as mentioned in my last post, I am the goddamn Feminist Batwoman was having some health issues, so I took a break from the internet to save the world while wearing an awesome cape while I got better at kicking bad guys.

And now that I’ve finally defeated the forces of darkness gotten better, I will be posting more in an effort to keep up my cover identity as the billionaire college student and feminist blogger “Culturally Disoriented”

Ahem. Back on the internet! YAY!

everyone else: *crickets*

***

Gird your loins, everyone. We’re going to talk about kissing. Making out. Embracing. Frenching. Smooching. Swapping spit. Tonsil Tango (my favorite euphemism).

Sadly, we’re not going to talk about fun, consensual, awesome kissing. I’m all for fun, consensual, awesome kissing. But there was no fun, consensual, awesome kissing in Snow White and the Huntsman.

Callie and Arizona Grey's Anatomy Kiss

A brief demonstration of “tonsil tango”

[Warning for MASSIVE SPOILERS]

No, there was only creepy kissing.

Let’s back up, shall we?

I recently saw Snow White and the Huntsman with my brother. And I’m not going to lie: I enjoyed it. Yes I did.

Well, okay. Let’s be a bit more precise about what “enjoyed” means in this context, shall we?

… I was not bored. I was moderately entertained. There were pretty colors. [I have no shame].

Charlize Theron Raveena Snow White and the Huntsman Dress

Oh, and the Evil Queen’s clothes were FABULOUS. I want.

Were there lots of deeply problematic moments that made me want to throw my popcorn at the screen?

Yep.

Was I particularly upset about those problems? As in “stay-up-until-three-in-the-morning-writing-a-blog-post” upset?

Not really. My brother and I had a good discussion afterwards where we unpacked the misogynistic elements of the movie, we both agreed that it wasn’t that great (but that the colors were pretty and Charlize Theron was awesome), I moved on. Frankly, so many movies are not-great and sexist that I don’t have time to get seriously “stay-up-until-three-in-the-morning-writing-a-blog-post” upset about all of them. Or I wouldn’t sleep.

crazy writer rant

Rant! Rant! Rant Rant Rant Rant RANT! RAAAAAANT!

A week after I saw the movie, however, I was reading Batwoman: Elegy (which HOLY SHIT IS INCREDIBLE) when I sat bolt-upright in my bed and exclaimed: “Whoa! There was technically a lesbian kiss in Snow White and the Huntsman!”

Which is when I realized that the technically-lesbian kiss was also the only consensual kiss in the movie. And that while this consensual kiss led to Snow White’s demise, the non-consensual kiss imposed on Snow by the Huntsman… ends up saving her life.

Headdesk Stephen Colbert

Are you *bleeping* kidding me?

And that, dear reader, is when I got angry enough to write a blog post.

Because Kissing: Snow White and the Huntsman is Doing. It. Wrong.

I’ll start by recapping all the kisses experienced by the protagonist, Snow White. I think you’ll see the creepiness emerging pretty quickly.

[SPOILERS]

(it should be noted that Snow White’s name is never actually uttered in the movie, so for all I know, she’s called Porky McPorcupine. But Porky McPorcupine takes too long to type, so…]

1. Kiss #1: Snow White goes wandering the woods with her childhood friend, William. They’ve just reunited after a long separation. Snow White decides to kiss William because… he’s her childhood friend and he’s rather attractive? The movie never really makes it clear. But she decides to kiss him. Hurrah! Good for you, Snow White, for expressing desire and going after the things you want (in a safe/consensual manner)

No. Not good for you, Snow White. Don’t you know that a lady NEVER initiates a kiss? And that to do so is grounds for horrible punishment?

Because unfortunately for Snow White, William is actually NOT William, but Raveena (the Queen) in a very clever disguise. Which is why I consider this a lesbian kiss: it is, in fact,  between two women (although only one of the women is aware of that fact). After Fake William and Snow White kiss, William continues the flirtation by offering Snow White an apple. Snow White, who has clearly never read a fairy tale in her life, takes a bite of the apple… and starts dying. Fake William taunts her, transforms back into Raveena, and tries to cut out her heart.

And that, Snow White, is why a lady NEVER initiates a kiss. [Who do you think you are, a man?]

Snow White and the Huntsman Kristen Stewart Kiss Apple Death

This is what kissing leads to, ladies.

2. Kiss #2: Fortunately for Snow White, the two ruggedly attractive gentlemen in her escort – the Huntsman and the Real William – burst out of the forest and chase off the Very Well Dressed Raveena. Unfortunately, Snow White is still dying, and has  lost almost all consciousness.

Prince William Sam Claflin Kiss

Behold! I am ruggedly handsome!

Which, for some reason, prompts the Real William to kiss her.

I can’t even -

3. Kiss #3: Snow White is dead. She’s been placed on a bier in a church (because she’s pure) and dressed up in a white gown (because she’s pure). The Huntsman comes in, and explains to Snow White that he loves her because she reminds him so much of his dead wife.

Because that’s not creepy at all.

Then the Huntsman kisses the (dead) Snow White on the lips and leaves.

NOT CREEPY AT ALL.

Huntsman Chris Helmsworth Snow White and the Huntsman

Behold! I too am Ruggedly Handsome!

A few minutes later, Snow White wakes up – presumably resurrected by the Huntsman’s kiss – and proceeds to defeat the Evil Queen.

As of which point, there is no more kissing (thank Maud)

On the other hand, there’s also no moment when Snow White turns to the Huntsman and says “So, the kissing thing. I’m not necessarily opposed, but… that was creepy. Also: your dead wife? Really?”

I’m sure you’ve caught on to the basic problem, right? Yes?

Let’s recap:

There is exactly one consensual kiss in this movie, and that’s the one where Snow White kisses Fake William. She kisses him. She expresses desire. She is an active participant. The kiss is obviously consensual: both women are awake, alive and participating.

And as a result of this kiss – the one Snow White actually wants and consents to – Snow White dies.

The kiss is also proven meaningless when we realize that Fake William is actually Raveena, who only kissed Snow White in order to trick her into eating the apple.

Snow White neither consents nor participates in the two other kisses because she’s dead or dying.William actually kisses her as she’s dying, which is particularly horrifying.

Pro tip #1: If you’ve got an unrequited crush on someone, the moment of their death is not an appropriate time to tell them. And it’s especially not an appropriate time to kiss them. What if they don’t like you? What if they hate you? Then the last moment of their life is spent being kissed by someone they despise. What if they want to spend their dying moments thinking about their family? You’ve just coopted their death for your own purposes. And what if they DO return your affections? Then they die going “aww, shit, if I’d known earlier”…
Great job, Casanova. No, really.

Pro tip #2: If the person you are kissing is unconscious, asleep, dead or dying, you are doing it wrong.

This can all be summed up as: if the person you are kissing is incapable of saying “No” [or of using sign language to say "No," or of pushing you away, or of clonking you on the head with a baseball bat] to your advances, then you are doing it wrong.

In the movie world, however, kissing an unconscious woman who is completely and utterly unable to consent is romantic.

Neither William nor the Huntsman have any idea of whether Snow White has romantic (or sexual) feelings towards them. But remember, everyone. Snow White’s desires do not matter. Neither man gives them a moment’s thought. Only their desire – and their pain – is important.

Because William and the Huntsman love Snow White. So it’s fine for them to use her body in order to express their grief and thwarted love. It’s even romantic.

And hey! One of these non-consensual kisses saves Snow White from death. So it’s totally okay! Am I right?

Yeah, no. Not romantic. Creepy. And extraordinarily problematic

Pro-tip #3: If there is no way for someone to convey that they are interested in kissing you, do not kiss them. No matter how much you long/love/lust for them. If you kiss them anyways, you are doing it wrong.

[There is an exception to this: if you are in a long term romantic relationship with someone and they die. If your partner dies, and you two have talked about consent/negotiated your boundaries, and you thus have a fairly good idea of whether they would mind being kissed post-death... you're fine. However, this is not true of either William or the Huntsman. They have absolutely no idea how Snow White feels about them, or whether she would consent to being kissed. They are also not in a romantic relationship with her]

Pro-Tip #4: In the Real World, kissing someone who is unconscious (or otherwise unable to consent) is sexual assault. And in fact, many people in the Real World are raped or assaulted while they are asleep/unconscious. Now, I know that the Ruggedly Handsome William and the Huntsman are not rapists (of course not! They’re ruggedly handsome!). But if the way you’re kissing someone closely resembles rape/sexual assault, you’re doing it wrong.

***

Now, let’s be fair. There are certain moments of sexual assault in Snow White and the Huntsman that are NOT portrayed in a positive light.

Near the beginning of the movie, we find out that Queen Raveena’s brother Finn often visits Snow White in her cell and watches her while she sleeps. When he comes to take Snow White to Raveena, he sits next to her prone body and caresses her chest. We’re obviously meant to read him as a sexual predator. We’re also obviously meant to fear that he will assault or rape Snow White.

This scene is, in almost every way, a mirror to William and the Huntsman kissing Snow White.

Man’s desire for woman? Check. Lack of female consent? Check. Woman unconscious or otherwise unable to make an active choice? Check.

But unlike the Huntsman and William, Finn is neither young nor conventionally attractive. He is also evil (as evidenced by the fact that he is neither young nor conventionally attractive)

Snow White and the Huntsman Finn

Behold! I am NOT ruggedly handsome (and thus am clearly EVIL)

Obviously, since Finn is not a ruggedly handsome/good-hearted young man, his advances towards Snow White [who is unable to consent because she's in prison and he's her JAILER] are assault.

Headdesk Kitty

There is not enough *Headdesk* in the world

Pro-tip #5: If you assume that being conventionally attractive/young/not evil means that everyone automatically WANTS to kiss you, and so therefore they have obviously consented, and so therefore it is okay for you to kiss them when they are unconscious/dead, you are doing it wrong.

Even if you are Ruggedly Handsome, everyone does not automatically want you to kiss them. I know. This is a shock.

Pro-tip #6: Just because you are conventionally attractive and/or Young and/or Not Evil, does not mean you are unable to sexually assault someone. No. Really. I know this comes as a shock to you, but rapists/assaulters are not all Ugly/Old/Evil. In other words: even if you are conventionally attractive and/or young and/or a “Good Person,” kissing someone who cannot consent is not okay. And you are doing it wrong.

Let us recapsulate all of the Very Important Lessons the movie puts forward about kissing:

1. Female consent and female desire are deadly and disgusting. When Snow White shows real desire and real agency, it bites her in the ass.

2. As a corollary, two women kissing is deadly and disgusting, and can only happen because one woman is trying to kill the other. Female desire, everyone. Have I mentioned how Deadly and Disgusting it is?

3. Only Evil and Not-Conventionally-Attractive Men can sexually assault someone.

4. It is impossible for Good and Ruggedly Handsome Men to sexually assault someone.

5. A Ruggedly Handsome Man’s Desire for a Woman, coupled with that same woman’s Lack of Consent is very romantic, and will bring around salvation/resurrection.

So ladies, remember. Don’t show desire. Don’t kiss people you’re interested in. Real love only comes when a (handsome) man expresses his desire for you (while also disregarding your agency).
If a not-handsome man kisses you while also disregarding your agency, on the other hand, that is ASSAULT, and it’s not okay.

This is not a mixed message AT ALL.

Pro-tip #I Can’t Even Count Anymore: Assault is not romantic. Assault is not attractive.

You know what’s romantic?

Respect.

You know what’s attractive?

Consent.

I’m going to say it again, because frankly, it bears repeating:

Loving someone does not give you permission to disregard their feelings, or their right to make a choice. If your beloved is, for some reason, unable to make a choice (because they’re asleep/unconscious/dead) well, that’s unfortunate. But  you still don’t get to violate their consent. That the movie portrays male love as a blanket excuse for violating a woman’s right of consent is extraordinarily problematic.

***

Here’s what’s really ironic:

The movie proves the Evil Queen Raveena right.

Raveena, after all, becomes “evil” because she believes that men use women to serve their own desires while disregarding any desire the women may have.

Which is exactly what happens when the Huntsman and William use Snow White’s unconscious body to satisfy their own desires  (thwarted love! grief! pain!), and then never bother to apologize when she wakes up, or to ask her how she feels about either of them. And which is exactly what the movie does to Snow White, when it refuses to allow her a reaction to William and the Huntsman’s actions.

In other words: men’s desires are still The Most Important Thing, women’s desires are Still Unimportant and Queen Raveena is Still Right.

Yes, Raveena’s whole “let’s-impoverish-the-people” thing is bad. And I’m not okay with Raveena murdering people.

But Raveena isn’t defeated because she’s wrong. She’s defeated because a more desirable woman appears. Snow White even tells her that she’s lost because she isn’t “the fairest” anymore.

Pro-tip #One Billion: If the movie is trying to prove that men don’t use women/disregard women’s desires, then it is doing it wrong.

***

Why does this bother me so much? I mean, besides the fact that I’m an angry feminist, and I must complain about all misogyny.

It bothers me because this movie’s portrayal of romance isn’t the exception. It’s the norm. Taken to an extreme, sure. But it’s still the norm.

If it wasn’t the norm, more reviewers would have remarked on it. More people would have pointed it out. But no mainstream reviewers did. Because that’s just the way things are.

It bothers me because, at a time when sex-education is terrible, people learn about desire, relationships and sex  from movies (and assorted cultural narratives). And when, over and over again, cultural narratives show that assault is romantic, that female consent is irrelevant and female desire is dangerous… it has an effect.

It bothers me because every time I come out of a movie theater with my younger brother, we have to have a little chat where we deconstruct the Terrible Messages. Because even though I know my brother is smart, and respectful, and he cares about consent and about people’s boundaries…

It has an effect.

Hell, it had an effect on me.

In my admittedly VERY limited experience with relationships/sex/desire etc., the hardest question for me to ask is: What do I want?

And right here, right now, as a feminist who thinks female desire and consent are very important… I feel like a terrible person for even typing that question.

Because what does it matter what I want?

On the other hand, I’ve never had a problem considering what guys want. And I never had a problem putting men’s desires above my own.

Those pro-tips about consent and desire? I need to learn them too.

In fact, let’s have a review, shall we? Because I clearly need the review as much as anyone else.

1. If your partner is Awake, Conscious, Able to Consenting AND (obviously) Consenting

Brian and Justin Kiss Queer as Folk

Congratulations! You are Doing It Right!

2. If your partner is Unconscious, Unresponsive, Or Otherwise Unable To Consent:

William Snow White Kiss Snow White and the Huntsman

Sorry, my friend, but you are Doing It Wrong.

And you should stop Doing It Wrong.

This has been a lesson about how to Kiss Properly from Your Friendly Neighborhood Feminist Batwoman Blogger. Pass it along.

***

Frankly, the movie would have been a lot better if, when Raveena and Snow White kissed (in a consensual manner), the two of them realized they were secretly attracted to each other.

Snow White and the Huntsman Charlize Theron Kristen Stewart Kiss

Then they would hash out their differences over a marriage contract; we’d get a kingdom ruled by two badass queens in a lesbian relationship, and William and the Huntsman could go… take a hike.

Or, you know, engage in some Consensual Tonsil Tango of their own.

It would have been a much more interesting and nuanced movie.

Charlize Theron Kristen Stewart Snow White and the Huntsman kiss Raveena

All Hail the Queens

And less rapey.

I would appreciate less rapey.

Maybe in 50 years, someone will remake the movie and use this scenario.* Now that’s a movie I’d pay to see!

*[I'm not holding my breath]


The Friendship that Dares Not Speak its Name: Female Friendship in Science Fiction and Fantasy.

Xena Warrior Princess Lucy Lawless Angry

“Is anyone here going to be my friend? Anyone? I have a shiny sword!”

[Content note: This is another one of my giant tl;dr posts of doom. Be forewarned before you venture into the abyss]

I’ve decided that I don’t want to be a Sci-Fi/Fantasy hero. Sure, the armor/spacesuits/dresses would be cool. And I’d like to fight a glorious battle. Or meet an alien. Or turn into a dragon. Or turn into a dragon while I meet an alien and wear a cool spacesuit dress.

But.

I’ve been noticing something weird about SF/F heroes. Specifically the female ones.

They don’t have a lot of friendships with other women.

Hell, there are some SF/F movies/books/etc. where the women barely speak to each other at all.

Is it just me, or does it sometimes feel like all those heroines have been cursed by a horrific spell? A spell that prevents them from making friends with other women without dying instantaneously?

Or do they just all have allergies to other women?

Because something’s going on. And I’d like to know what.

Sci-Fi/Fantasy has quite a few iconic male friendships – you’d be hard-pressed to find a book, tv series or movie that didn’t have a prominent friendship between two men.

Frodo and Sam. Spock and Kirk. Han Solo and Luke Skywalker. Ender Wiggin and Bean. Hugo and Charlie on Lost. Saul Tigh and Bill Adama in Battlestar Galactica. Magneto and Professor Xavier.

But iconic female friendships?

I can’t think of many.

And lest you ask, I’ve been thinking about this a lot. When I first got the idea for this post, I went through my reading lists for the past three years. I scoured the web. I look through my bookshelves. I looked through my brother’s bookshelves. I lurked around Amazon.com for three hours.

After a good week of research, I concluded that not only were there very few Sci-Fi/Fantasy narratives where female friendships featured prominently, there were very few Sci-Fi/Fantasy narratives where female friendships featured at all.

Black Widow Scarlett Johansson

” Look, it’s not that I don’t want to be friends with women, it’s just that for some reason, I’m never allowed to talk to them onscreen.”

Part of the problem, I suspect, is that women are still underrepresented as characters in Sci-Fi/Fantasy. We’re still stuck in the “lone woman” or “exceptional woman” phase of gender equality. Consider all the movies/books/comic books etc. where there is exactly one major female character. Black Widow in The Avengers.* Trinity in The Matrix. Wonder Woman in the early years of The Justice League. Petra in Ender’s Game. Molly Million in Neuromancer. Eowyn in The Lord of the Rings. 

[*Emphasis on major. I liked Maria Hill and Pepper Potts as much as anyone else, but they weren't on the same level of importance to the narrative as Thor, or Black Widow, or even Nick Fury]

Hell, Mulan in Mulan, while we’re at it. Even feminist narratives often have “lone women,” because so many of them tell stories of the first woman to join the army/become a knight/become a scientist/fly to the moon/play professional foozball. And, don’t get me wrong, stories about how women overcome the odds to join male-dominated professions are important.

But what about the stories after that one? What about the one where there are finally two female superheroes? What about the one where the science lab has a 50-50% gender distribution? What about the one where the army has an entire squadron of female knights?

Where are the stories about women mentoring other women? Where are the stories of women who have been best friends since childhood? Where are the stories where two wacky women are thrown together on an intergalactic adventure? Where’s my female Sherlock Holmes and Watson duo?

Where are my stories of epic sromances (rather than bromances) where the (female) hero would cut through entire armies to save their (female) friend?

[By the way, I fully purloined the term "sromance" from a blog post written by the fabulous Karen Healey]

Mulan Sword reflection

“Touch my BFF, and I will cut you.”

Those stories are a lot rarer.

We’re not that interested, it seems to me, in telling stories where there are many women, not just one. We’re not that interested in portraying worlds where women are the norm rather than the exception. We’re still stuck on the “lone women” phase of gender equality.

We’re not that interested in portraying relationships between women. We’re still stuck on how women relate to men.

***

Even when there are multiple women in an SF/F narrative [HALLELUJAH], they rarely ever meet. Or speak. Or have any kind of relationship. Maria Hill and Black Widow in The Avengers? Never say one word to each other. Eowyn and Arwen in The Lord of the Rings? They’re in love with the same man, they’re fighting the same enemy… they never speak. In the Game of Thrones series, there are several important female characters, but they’re rarely in a room together. And if they are, they’re not friends. They’re enemies.

You would think women in Sci-Fi/Fantasy narratives would have something to say to one another. Even if it’s along the lines of:

“So, what’s it like to be the only woman in a group of superheroes?”
“Oh, you know. It’s not bad. Reminds me of that time I was stuck in an airport in France…”

Or:

“Hey, you know where I can get some tampons in the middle of this god-forsaken wilderness?”

Or just a plain, normal, non-gendered conversation like:

“Wow, we’re about to get eaten by a dragon.”
“That’s a problem.”
“We should run.”
“I agree. RUN!”

But no, apparently not. Apparently women just can’t talk to each other in SF/F.

It’s very bizarre. Because – and I hope SF/F authors and scriptwriters know this – there are a lot of women in the world.

It is practically impossible for a woman to go through her life without having a conversation with another woman. It is practically impossible for a woman to go through a single day without talking to another woman. Women are everywhere. Heck, I’ve even  heard they make up 50% of the earth’s population.

Given these parameters, it makes absolutely no sense that the majority of female SF/F characters almost never talk to women. The only way they could pull it off is if they were actively avoiding talking to other women.

This is why I suspect that female heroes of SF/F are all under some terrible curse that prevents them from speaking to other women. It’s the only logical explanation.

[[It's either that, or most authors are doing a terrible job of representing women's reality... and since authors have never historically struggle with representing female experiences, I think we can safely rule this explanation out. Right?]]

So. There’s a curse.

And if there is, I must be honest with you: I don’t think I want to be an SF/F hero anymore.

Because I wouldn’t want to live a life without female friends.

It would be horrible. Are you kidding me?

For one thing, how the hell am I supposed to go into battle and save the world without my female friends by my side?

Don’t get me wrong. I have friends who are guys. I would not want to give up those friendships either; some of my best friends are men. But women are friends with men in SF/F narratives, so that’s not really an issue.

[I feel like all my guy friends who read this are going to go: "You don't love me? " and run away. So, pre-emptively: "NOOOO, guy friends! I do love you! Don't leave me!"]

But frankly, most of my closest, most important friendships have been with other women.

The friends who know my deep, dark secrets? Mostly women. The friends who know that I spent a year of my life breaking into my house through a window instead of telling my parents I’d lost the keys? Mostly women. The friends who have survived my propensity for seven hour walks? Mostly women. The friends who put up with my social anxiety, my inability to answer emails and phone calls? Mostly women. The friends who tortured me with high-school drama? Mostly women. The friends who listen to me rant about stuff they’re completely uninterested in? Mostly women.

The friend I have epic conversations with when we pull simultaneous all-nighters? A woman. The friend who talked me through my academic insecurities? A woman. The friend who rearranged my work schedule when she realized I was exhausted – even though it meant she was picking up extra hours? A woman. The friend I went camping for (I hate camping)? A woman. The friend I went running for (I hate running)? A woman. The friend I stopped writing a paper for so that I could help her find her cat? A woman. The friend who turned me into a compulsive biker? A woman.

If I were an SF/F heroine, I would want these women on my team. I’m just saying.

That’s, I think, why the lack of female friendships in SF/F is so striking to me. When I look at the friends I would walk through fire for, the friends I would fight armies for, the friends who I cannot imagine life without – most of those friends are women. And when I look around me at women I know, I see that yes, in fact, these women too, have friends who are female.

Women are friends with women. Imagine that.

Female friendships aren’t an urban legend. They aren’t a statistical anomaly. They’re not all hiding in the forests like werewolves. Unless the nine places I’ve lived in my life have been exceptions to the norm, female friends are a fairly common phenomenon.

Elizabeth Swann Pirates of the Caribbean Keira Knightley

“Where the frack are all the other women in this blasted movie? Did they get eaten by the Kraken?

So just for the sake of realism, there should be a few more female friendships in SF/F.

Not to mention the fact that female friendships are interesting.
They’re fun. Exciting. Dramatic. Low-key. Tense. Anguished. Tortured. Competitive. Sweet. Bizarre. Twisted. Cool. Captivating. Multifaceted.

If you’re not writing about female friendships because you think they’re boring? You’re not too clever. And if you’re not reading books with female friendships because you think they’re boring? You’re missing out.

Isn’t it sad that we can imagine faster -than-light-travel, fire-breathing dragons and cyborgs, but we can’t imagine two women talking to each other?

Is there really a curse? A curse that says: two women can’t be friends in SF/F? Two women can’t speak in SF/F? Women can only relate to men, and to no one else?

Well, if there is, I’m sick of it. I want to see as many awesome female friendships in SF/F as there are awesome male friendships.

I’m breaking out the curse-breaking equipment, people. I’m compiling a list. A list of SF/F narratives that do have awesome female friendships.

Because it’s time to end the darn curse.

Here, in no particular order, are nine SF/F narratives with prominent female friendships. Seven books; one TV show; one Comic Book series.

I know these are not the only SF/F narratives with prominent female friendships. I have not read everything. I have not seen everything. Heck, I haven’t even ever seen Star Trek (I’m working on it!). So this list is not meant to be comprehensive. I’m sure I’m missing things – and I’d love to hear suggestions!

Curse-breakers, unite!

[And now I feel like I'm either in Pirates of the Caribbean or a Tomb Raider movie. For the record: if this curse-breaking turns into an epic quest where we all become living skeletons and have to pour the blood of Orlando Bloom on a giant pile of gold to end the terrible curse... my apologies]

****

1. Trickster’s Choice and Trickster’s Queen by Tamora Pierce

Trickster's Queen cover Tamora Pierce

This was a tough one, because Tamora Pierce always does a fantastic job with female friendships. Keladry and Lalasa. Keladry, Yuki and Shinko. Alanna, Thayet and Buri. Alanna and Daine. Sandry, Tris and Daja. Beka Cooper and Clara Goodwin.

Pierce’s female friendships are all the more impressive because most of Tamora Pierce’s protagonists are women entering male-dominated professions. Two of her series (Song of the Lioness and The Protector of the Small) follow the journeys of the first women to train for Knighthood. Yet even though Alanna and Kel are surrounded by men (and make friends with men) they managed to be friends with women too. Female friendships are the norm in Pierce’s writing, not the exception.

The Trickster duology, however, probably has more friendships between women than any of Pierce’s other series.

After being kidnapped and sold into slavery in the Copper Isles, Aly discovers that the Raka natives are finally ready to throw their luarin overlords. And they need a spymaster. Aly, through bad luck, trickery and manipulation, gets herself that job.

The Raka rebellion aims to put a Queen, not a King, on the throne of the Isles. It’s quite a gender-equal revolution: women and men both act as warrior, spies, mages and leaders. Not surprisingly, Aly cultivates quite a few important friendships and alliances with other women, from her cautious loyalty to Duchess Winnamine (the stepmother to the potential heiress), her easy camaraderie with Chenaol (Aly’s first friend in the Copper Isles and the rebellion’s weaponmaster), her wary “please-don’t-hit-me” friendships with Ochubo (head of the Raka mage network) and Junai (her bodyguard) and her long-distance friendship with Daine.

Aly’s most important friendship, however, is with Dovesary Balitang, a clever and wise thirteen-year-old half-Raka noblewoman. The rebels believe Dove’s older sister, Sarai, is the prophesied twice-royal Queen. Aly’s relationship with Dove is arguably the most important relationship in the book, full stop – the two women’s admiration, wariness and respect for one another is fascinating to watch. And their evolving friendship becomes integral to the rebellion’s success.

It’s a genuine sromance. And it always makes me tear up.

“I don’t need a maid,” Dove said. “I need a friend.” [...]
“I will be your friend till the end of time,” Aly told the younger girl.

2. Beauty Queens by Libba Bray

Beauty Queens Libba Bray Cover

Friends don’t let friends wear Maybelline

Picture this: a plane full of teen beauty queens crash-lands on a desert island. They must survive. They must practice their pageant walks for the Miss Teen Dream pageant. They must keep exfoliating. And they must foil the plans of an evil organization of evil people hidden in a giant evil volcano at the center of the island. [ Yes, this is speculative fiction. It's a dystopia. Don't argue with me]

And there are explosions.

I know you just ran away from the computer screaming “WHY HAVEN’T I READ THIS YET?” I know. I feel your pain.

This novel is a high-wire act. It would have been so easy for Bray to spend the story making fun of the teen pageant queens and their silliness. But no. Beauty Queens is a satire, yes, but not of the teen girls themselves. It’s a satire of everything in our society that constrains them, that dis-empowers them, that puts them in competition with one another, that forces them to conform to silly gender norms.

Instead of being a “let’s make fun of the silly girls who parade around in swimsuits and sashes,” book, Beauty Queens is about how all these women – the dumb ones, the blonde ones, the silly ones, the mean ones, the women-hating ones, the ones with trays stuck in their head, the ones who love lipstick and the ones who love swordfighting – are actually awesome. It’s a book that’s incredibly supportive of girls and their friendships and their culture. It’s a book that’s also incredibly good at portraying a diversity of female experiences – we have, among others, a transwoman, several women of color, a lesbian character, a deaf girl, a die-hard beauty Queen and a girl who hates beauty pageant (among others). And it’s a book that manages to be critical of oppressive gender norms all while being fantastically optimistic about the potential for making those gender norms explode (and the potential to live fulfilling lives in spite of them).

As the book goes on, the teen beauty queens stop being wary acquaintances playing their prescribed pageant roles and learn to respect and like one another as real people. These developing friendships allow the teen beauty queens to unravel the secrets of the island – and the secrets of their own identity. They discover who they are outside their beauty queens personas. And then they blow things up.

Empowerment and blowing things up.

You want to read this. Trust me.

Mary Lou: “Maybe girls need an island to find themselves. Maybe they need a place where no one’s watching them so they can be who they really are.”

3. Power and Majesty by Tansy Rayner Roberts

Tansy Rayner Roberts Power and Majesty

In Power and Majesty, the first book of the Creature Court trilogy, Velody, a dressmaker, discovers that she is the potential new King of the Creature Court, a group of magicians who defend the city of Aufleur during the night. The Courtiers are almost all men; the King has always been a man. Should she become King, Velody would be the first woman to ascend to the throne.

Power and Majesty is one of the rare books where a woman enters a male-dominated profession yet still manages to maintain her old female friendships. She beats the curse! Whoo!

Velody lives with her two best friends: Rhian, a former rich girl whose family disowned her for going into business, and Delphine, a florist recovering from an old trauma. Rhian and Delphine are as important in Velody’s journey as the beautifully dangerous men of the Creature Court.

Rayner Roberts’ portrayal of Velody, Rhian and Delphine’s love and loyalty for one another is beautiful, smart and insightful.When Velody enters the Creature Court, her first priority is protecting her friends. She battles other Courtiers to keep them from hurting Rhian and Delphine.  When Rhian and Delphine discover that Velody’s the (potential) new King, their first priority is protecting her. They enter into the dark world of the night to support their friend (as best friends do).  They enter into the world of the Creature Court, I should add, almost completely defenseless, since Rhian and Delphine, unlike Velody, have no magic. But they want to protect their friend, and they find ways to do it. Because that’s what you do for your best friends. You go into the night and you fight the bad guys and you find ways to protect them. No matter what.

And it proves that yes, stories about women entering male-dominated fields are not incompatible with stories about powerful female relationships. It’s sad that more writers haven’t realized this.

I haven’t read the next two books in The Creature Court trilogy because they are only available in North America via kindle, and my kindle is down for the count (if anyone knows where I lost my power cord, please tell me!) But reviews assure me that the Rhian/Velody/Delphine relationship remains a huge part of the series. I can’t wait.

“From that day forwards, Delphine pretended she had intended to take the ribboning apprenticeship all along, and neither Velody nor Rhian every challenged her on it.
That was what friends did.

4. Air by Geoff Ryman

Air Geoff Ryman cover

I’ve talked about Air before, in my “Eight Great Books of Science Fiction for Women” post. Possibly because I love it madly.

Chung Mae lives in Kizuldah, a small village in the fictional country of Karzistan. One day, the authorities conduct a world-test of a new technology called Air. Air is like the internet – in your head. The villagers, who don’t own computers or television, are thrown into a panic by this test. One person dies.

Chung Mae, who is nothing if not resourceful, realizes that the village needs to adapt quickly if the villagers are going to survive the full implementation of Air. She launches a large-scale campaign of preparation. And the people she recruits for her campaign?
Other women.

The women are the engines of change in Kizuldah; it is through their relationships, their ambition and their pragmatism that the town survives. Chung Mae and her friend Wing Kwan, for example, use the television to set up a fashion business selling traditional clothes to fashion houses in the USA. Chung Mae and her friends – and rivals – fight and bicker. They create alliances and friendships; they hide their activities from men; they roam out in the world; they help one another protect their families. It’s one of the most realistic portrayals of female friendship I’ve ever read. These relationships are familiar to me. The women are  real people, and their friendships ring true – intense, fulfilling, and sometimes destructive.

“Kwan looked sober. “We’ve been through a lot together.”
“Oh! You could say that ten times and it would still not be enough.”
“But we came through.”
“We came through.”
Kwan hugged her. “You can stay, you know.”
Mae touched her arm. “I really do not know what I would have done if my friend Wing Kwan had not been so kind. There would have been nowhere else for me to go.”

5.The Freedom Maze by Delia Sherman

delia Sherman freedom maze cover

I don’t think it’s a coincidence that three of the nine things I’m recommending are young adult novels (The Trickster series, Beauty Queens and The Freedom Maze) Young Adult SF/F tends to do a lot better in the female friendships department. Perhaps because YA has a wide female readership and authorship, and female friendships have become an established YA trope.

The Freedom Maze is a very recent read of mine, and I can’t recommend it enough. Sophie, a teenager living in 1960s Louisiana is spending a long, boring summer at Oak Cottage while her mother takes accounting classes in the city. One day, Sophie wanders into the garden maze. When she comes back out, she’s been transported to 1860 – the adventure-story-loving Sophie assumes this is the start of a grand time-travel trip.

But things go wrong very quickly: the Martineau family mistakes Sophie for a slave because of her tanned skin, and put her straight to work.

Sophie begins to form friendships with her fellow slaves – specifically with Africa, a smart, strong hoodoo practitioner who helps protect other slaves from their white owners, and with Antigua, Africa’s headstrong daughter. As she becomes closer to these two women, Sophie moves deeper into the reality of slavery. Like Kindred (another time-travel slave-narrative), The Freedom Maze pulls no punches in its depiction of slavery. Sophie’s experiences as a slave are horrific, a far cry from the “Gone with the Wind”-esque picture of happy darkies she’s been taught.Her allegiance to her old ideas of racial politics, her family (the Martineaus) – and even the time period of her birth – begin to fade away. Instead, Sophie relies on Africa and Antigua’s help to survive – and in return, helps devise a plot to save Antigua from being sold downriver to New Orleans.

The novel is very much concerned with the similarities (and disparities) of women’s experiences across races and time periods. It’s also a brilliant portrayal of the way black women’s friendships and relationships helped slaves survive, and even gain agency, under horrific conditions.

“Come with me then,” Antigua turned to her, eyes glinting in the lamplight. “Come take the boat with me, we be free together.”

6. The Female Man by Joanna Russ

The Female Man Joanna Russ

The Female Man is one of the most important SF/F works of the 20th century. It a difficult, confrontational, knotty novel that will chew up your brain and spit it back out. And it’s almost entirely centered around women’s relationships with other women.

The story follows four women on four parallel worlds. Joanna lives in a world much like ours. Jeannine lives in a world where the Great Depression never ended and Adolf Hitler died in 1936. Janet comes from Whileaway, an all-woman planet where the men died in a plague eight hundred years ago. Jael’s world, meanwhile, is a dystopia where men and women are engaged in a literal “battle of the sexes.”

Near the beginning of the novel, Janet mysteriously shows up in Jeannine’s world, then manages to drag Jeannine to Joanna’s world (our world). Eventually all three women end up on Jael’s world. The four women become friends and allies (with varying degrees of success) as they try to understand their predicament. The novel is, essentially, an incisive and moving examination of how women relate to other women. Who are these women to one another? What are their experiences of womanhood? Can they understand one another across these vast cultural differences?

Complex interpersonal relationships between four women who are essentially the same woman (they share the same genes)? Parallel worlds? Feminist utopias?
Count me in.

7. Yoko Tsuno by Roger Leloup

Yoko Tsuno On the Edge of Life Cover Roger Leloup

I almost didn’t include Yoko Tsuno -  though it includes some of the most interesting and intense female friendships I’ve encountered in Science Fiction – because it’s a french comic book series.

And I didn’t think there were any English translations.

BUT THERE ARE.

Two of Yoko’s alien adventures have been translated as “The Adventures of Yoko, Vic and Paul.” Six of her other books have English translations – The Frontier of Life, The Time Spiral, The Prey and the Ghost, Daughter of the Wind, The Dragon of Hong Kong and The Morning of the World. Most of these are out of print, but you may be able to get them at libraries or amazon (I saw some cheap copies). I don’t know if the translations are any good, so this isn’t a ringing endorsement… but I’ll try to find out.

Anyways. Back to the point. The series, which served simultaneously as my introduction to science fiction and as my introduction to comic books, follows Yoko Tsuno, an electrical engineer  who has a propensity for getting herself involved in epic adventures. It’s an action series, and a science fiction series. But it’s also a series which, at it’s core, is about friendship. Yes, Yoko has her constant traveling companions, Vic and Paul. But Vic and Paul are a background noise; they’re not central to the series. Yoko’s most important friendships are with women: of the 23 books I’ve read, 18 feature a prominent friendship between Yoko and another woman.Indeed, most of Yoko’s adventures come about because she’s trying to help a friend.

And instead she ends up in the middle of a volcanic eruption.

Yoko is deeply, fiercely, uncritically loyal to the women she becomes friends with. It does not matter if you’re a criminal, an heiress, a time-traveler, an alien, an assassin or a rogue scientist: if Yoko likes you, she’ll be friends with you. And once she is, she will walk through fire for you. Or travel to a galaxy a hundred light-years away for you. Or fight the devil for you (this is an actual plot; I am not even kidding). Or time-travel for you.

Honestly, Yoko is a bit like James Bond. Every movie, Bond has a different girl he sleeps with; every book, Yoko has a different woman she become friends with. Unlike Bond, however, Yoko stays close to these friends, who remain important characters throughout the series. Her navigation of her complex relationships with a diverse group of women is a highlight of comic books.

James Bond. Except with less sleeping around. And more awesome.

Yoko Tsuno Khany Roger Leloup

Yoko and her friend Khany, the leader of Vinea

Eva: “Careful! Do you always drive this fast?”
Yoko: “Yes – when I think I’m about to find a friend.”

8. The Orphan’s Tales by Catherynne Valente

Catherynne Valente The Orphan's Tales In the Night Garden Cover

Someday, I will stop raving about Catherynne Valente’s Orphan’s Tales, and everyone will breathe a sigh of relief. But today is not this day.

Yes, on top of being a feminist retelling of A Thousand and One Nights, The Orphan’s Tales features women who talk to other women. Lots of women who talk to other women, in point of fact. There are many tales, and there are many female friendships. There are also many male friendships and many male-female friendships, all of which are rendered exquisitely by Valente’s  storytelling.

Listing the many female friendships in this series would take far, far too long. So I’ll just focus on the crew of the Maidenhead.
The Maidenhead is an all-female ship: the Captain, the navigators, the deckhands – all of them are women. All of them are also monsters – satyrs, three-breasted women, fox-women etc. They go around the world, rescuing other monstrous women and welcoming them into their ranks. They mentor one another – one of the most important friendships is the one between Tomomo, the Maidenhead’s first Captain, and Saint Sigrid, the Maidenhead’s second Captain. And they become renown the world over… before disappearing mysteriously in the deep blue sea.

Sigrid, an old woman who worships Saint Sigrid (and who used to be a bear), befriends Snow, a white-haired orphan. The two of them go on an epic quest to discover the location of the Maidenhead; they eventually get themselves swallowed by the same giant whale who swallowed the Maidenhead a few hundred years ago.

This is an epic, “fight-armies-for-you,” “get-swallowed-by-a-whale-for-you,” group of awesome, loyal, sromantic female friends. The kind I always look for in my fiction.  And it is glorious.

“Of course we’ll take you,” The Saint said. “Tommy bade us never turn away a recruit. We are a family of monsters, and the birth of new beasts is a cause for joy.”

9. Xena: Warrior Princess

Xena and Gabrielle

Don’t mess with success

I couldn’t make this list without putting Xena: Warrior Princess on it. Xena and Gabrielle are perhaps the only truly iconic female friendship in SF/F culture.* They’re our Kirk and Spock, our Frodo and Sam, our Holmes and Watson.

{when I say “iconic,” what I mean is: everyone knows about them}

And yes, I know. They’re sleeping together. We all know they’re sleeping together. It’s a truth universally acknowledged in Xena fandom that Xena and Gabrielle are a couple.

But despite all the queer subtext, the two women never have a relationship on-screen. As far as the show is concerned, they’re just very close friends. Very, very close friends. So  I think it’s safe to call them friends for the purpose of this list.

Besides, they started as friends.

Xena: Warrior Princess follows the travels of Xena and her companion, Gabrielle, as Xena tries to make up for her dark past as a warlord by saving the helpless. There are a lot of explosions. And swordfighting.

The two women are constant companions. Gabrielle is initially a naive farmgirl who joined Xena to have adventures (and avoid an arranged marriage), while Xena is… a formerly evil warlord. Many of the individual stories involve Xena saving Gabrielle (or Gabrielle saving Xena). And the major emotional arcs in the series center around Xena and Garbrielle’s friendship.

They’ve died for each other. They’ve fought armies for each other. They’ve saved – and killed – each other’s children. They’ve gone to heaven and hell together. They were crucified together. They raised a daughter (Hope) together. The show calls them “soul mates.” They’re reincarnated together.

They’ve got the most epic friendship of all times, is what I’m saying. As far as I’m concerned, Kirk and Spock, Frodo and Sam and Holmes and Watson can all go take a hike. It’s Xena and Gabrielle all the way for me.

Xena: “Gabrielle, the love that we have, it’s stronger than Heaven or Hell. It transcends good or evil. It’s an end in itself! Our souls are destined to be together.”

[Ares, upon discovering that Xena is pregnant]
Ares: “I didn’t know you were looking for a father.”
Xena: “I’m not.”
Ares: “Well then, someone clearly has the job.”
Xena: “Yeah, Gabrielle. “

Xena and Gabrielle Friends

Xena: “So… you’ll be my friend?”
Gabrielle: “Sure! I love a woman with a shiny sword.”
Xena: “HAHA, we’ve beaten the curse!”
Gabrielle: “The curse?”
Xena: “The curse that says no two women in SF/F can speak to each other without dying.”
Gabrielle: “Yeah, I’m pretty sure that’s a myth.”
Xena: “Uh, Gabrielle, we live in ancient Greece. One of our best friends is a Centaur. The other ones are Amazons and Gods. It’s quite mythic around here.”
Gabrielle: “Okay, so it’s not a myth. It’s an urban legend.”
Xena: “You’re an urban legend.”
Gabrielle: “Oh, ha-ha. You’re lucky I like your sword, or I’d go find a smarter friend.”

Edited To Add:

I’m keeping a running list of all the books/TV shows/whatever with prominent female friendships that I remembered AFTER writing the list. [I'm only adding things to the list that I've seen or read, just because it's the only way I can vouch for their...veracity. Doesn't mean I don't agree with other suggestions!]

1. Cold Magic and Cold Fire by Kate Elliot. How could I forget about this series? (which I love) Cat and Bee 4ever!

2. Sailor Moon. For obvious reasons.

Related Posts:

Why I Don’t Read Comic Books: A Call for Recommendations 

May Reading Roundup: Who Saw the Fantasy?

I Never Wanted to Be A Boy (A Tribute To Authors)

How the Power Rangers turned me into a Feminist


May Reading Roundup: Who saw the Fantasy?

This morning my brother and my stepsister woke up at five (am) to – and I quote – “work on their abs.” Because they’re going to a waterpark today, and they need to look good in their swimsuits.

Hedgehog Headdesk

**Headdesk**

I will refrain from comment. At least they didn’t wake me up. [Thank Maud for small mercies]

***

Anyways! Meanwhile, back at the ranch: Now that WisCon is over – and now that I’ve gotten a couple social-justice related rants out of the way – it’s time to move back to what really matters in life: giant lists of books.

Because why did I start blogging if not to inflict my bizarre reading taste on the public? [Let us ignore the fact that "the public" right now is my brother and a few devoted friends]

In spite of the fact that this month included: the return of the “four times a week” migraines (joy), a transnational move, a Feminist Science Fiction Convention and at least four gazillion doctor’s appointments (if one more person asks me for my family medical history, I’m going to throw myself off a cliff), I did manage to do some decent reading. HURRAH!

Twelve books! Woo! Five better than last month! (yes, yes in fact I am ridiculously competitive, why do you ask?)

Reviews follow the list:

1. A Local Habitation by Seanan McGuire
2. The Killing Moon by N.K. Jemisin
3. Discount Armageddon by Seanan McGuire
4. The Orphan’s Tales: In the Night Garden by Catherynne Valente
5. The Demon’s Lexicon by Sarah Rees Brennan
6. Shine, Coconut Moon by Neesha Meminger
7. The Orphans Tales: In the Cities of Coins and Spices by Catherynne Valente
8. The Cloud Roads by Martha Wells
9. Chicks Dig Time Lords ed. by Lynne M. Thomas and Tara O’Shea
10. Redwood and Wildfire by Andrea Hairston
11. The WisCon Chronicles Volume 6: Futures of Feminism and Fandom ed. by Alexis Lothian
12. Impolitic! by Andrea Hairston and Debbie Notkin

[Fair warning: the longer the summer goes on, the longer these lists are likely to get. I think my record last year was 22 books in a month]

This is a very WisCon inspired list – seven of the books (The Orphan’s Tales, Shine Coconut Moon, Chicks Dig Time Lords, Redwood and Wildfire, The WisCon Chronicles and Impolitic!) were read in anticipation of the convention.

I’ve talked about Redwood and Wildfire, The WisCon Chronicles and Impolitic! at other points during my WisCon recaps, so I won’t go over those again here. Because yes, I do take pity on my devoted readers. I will say that all three books are fantastic and well worth reading, particularly if you’re interested in WisCon, or the Tiptree Award.

WisCon also inspired a rare event at the House of Disorientation: two re-reads. Yes, in fact, I have already read both The Orphan’s Tales: The Night Garden and The Orphan’s Tales: In the Cities of Coins and Spices. But I presented a paper about the series at WisCon, so I needed to re-read them for research [I have over thirty pages of notes. Have mercy upon me]. If you’ve never read Catherynne Valente’s Orphan’s Tales, you really should. They’re some of the most beautiful and thought-provoking books I’ve read in the past few years. Plus, Valente is an incredible prose writer, and her style has never been better.It’s quite difficult to explain what the series is about, so I’m going to cop to the very-basic and somewhat-inaccurate description: it’s a feminist retelling of One Thousand and One Nights.

The Orphan’s Tales are also tailor-made to my interests – they explore gender, bodies, monstrosity, mythology, storytelling, and above all, the concept of belonging. And part of the reason I love them so much is that the books aren’t a critique of fairy tales – they’re a reconstruction of tales along feminist lines. The books show us how stories could be different – they’re rebuilding an entire tradition from the ground up – which I think is arguably harder than just deconstructing a genre.

And the last scene of the last book makes me cry every time. It’s – you know the last two scenes of Lost? When Jack walks into the church and sees all the castaways again, and he remembers? And if you’re me, you completely lose it? Yeah. It’s like that. *sniff*

Okay, let’s move onto a happier note, shall we? [Sorry - the final scene of Lost always gets to me]

Seanan McGuire! Seanan McGuire is always a happier note.

When I discovered Mira Grant’s work, I wanted to read all her books.  ALL her books. Unfortunately, there was only one them out at the time. Whoops. [There are now three books. Yay!] So I was thrilled to discover that Mira Grant was a pseudonym for author Seanan McGuire, who had published LOTS of books.

After reading the first book of McGuire’s popular October Daye urban fantasy series, Rosemary and Rue, however, I was… underwhelmed. It was good, sure. But it didn’t quite work for me.

And then I read the second book, A Local Habitation.

A Local Habitation Cover Seanan McGuire

(great covers, by the way)

HOLY FREAKING MAUD I MUST READ ALL THE BOOKS NOW! NOW! WHERE ARE THEY? WHEREEEE???? I NEED THEM NOW! NOW! NOW! NOW! I MUST HAVE THEM OR I WILL -

Hem. I, uh, really liked the second book. As in: forgoing food and sleep in order to finish reading it. As in: reading it on the plane (which is a terrible idea, since I get motion sickness). As in – okay, I need to stop with the fangirl SQUEE. Calm down, C.D. Remember that people read this thing. It’s public. Get a grip.

Okay.

So, er, plot summary. Yes. I can write cogent thoughts.

The October Daye series centers on October “Toby” Daye, the only changeling (half-human, half-faery) to have earned Knighthood. She’s also a faery detective operating out of San Francisco. In A Local Habitation, Toby’s liege lord, Sylvester, sends her to the County of Tames Lightning (Fremont,CA), to check on his niece, the CEO of a computer games company.

And after Toby arrives, the county is suddenly cut off from other Fae domains, and employees begin to die, one by one.

I love these sort of tense, psychological, edge-of-your-seat narratives, and McGuire writes them like none other. Her characters are fantastic – Toby alone is a masterclass of a character, one of the best urban fantasy heroines I’ve ever encountered.  Add to that McGuire’s portrayal of Faery politics, her exploration of the Faery world, and the computer-science-magic that emerges near the end (a dryad uploaded into a computer, for example), and A Local Habitation is sheer, frackin’ brilliance.

Oh, and it’s terrifying.

Love. It.

Also, as your resident Literature student nerd, I should point out that all the titles of the October Daye series are taken from Shakespeare’s Plays.

Rosemary and Rue – Hamlet
An Artificial Habitation – A Midsummer Night’s Dream

Literature nerd alert, everyone!

I also read Discount Armageddon, the first book of Seanan McGuire’s new urban fantasy series (Incryptid).

Discount Armageddon cover Seanan McGuire
The protagonist, Verity Price, comes from a long line of cryptozoologists  – people who study and protect creatures whose existence has not yet been proven (also known as monsters). But Verity only wants to do one thing in life: dance. So she moves to New York to pursue a ballroom dancing career.

But don’t let the sequins and the high heels fool you. Anyone who can high kick over their head is someone you don’t want to mess with. Verity straps guns and daggers under her dance costume, and she knows enough about the lifecycle of unicorns to scare off a ghoul.

So when a professional monster-hunter shows up in the city and monsters begin to disappear, Verity is ready.

And the result is awesome. Discount Armageddon is the most entertaining of McGuire’s work so far – it’s sheer, ridiculous fun.

One of McGuire’s best traits as a writer – both as Seanan McGuire, and as Mira Grant – is her humor, which laces throughout all her work. In Armageddon, McGuire’s humor isn’t a sidenote, it’s front and center. I could not stop laughing.

“When in doubt, play dead. Well, unless you might be dealing with a ghoul, or a basilisk, or something else that likes its meat a little ripe. Actually, when in doubt, just start shooting.” (44)

“I really don’t think you should put your hand inside the manticore, dear. You don’t know where it’s been” (1)

“Mother nature is a freaky lady who probably created pot so she could spend all her time smoking it.”

Verdict? Fantastic. Like Buffy the Vampire slayer on steroids – if Buffy were protecting the vampires. Can’t wait for the next book.

One of my most anticipated reads of the month was The Killing Moon, the first book of N.K. Jemisin’s new series (Dreamblood).

N.K. Jemisin The Killing Moon Cover

Orbit does the best covers. Seriously.

I  became an instant fan of NK Jemisin after reading The Hundred Thousand Kingdoms last year, and I’m convinced that the Inheritance series is one of the most best and most original epic fantasy trilogies to come out in the past ten years. So naturally, when I saw The Killing Moon was available a few days earlier than expected in my local bookstore, I bought it.*

(and by “bought it,” I mean “I started caressing it and murmuring “my precious” over and over, until security asked what was wrong”)

Needless to say, I had very high expectations.

Blown. Out. The. Park.

Seriously, I need to start reading some bad books, or people are going to be convinced that I love everything. I really don’t.

But equally seriously: The Killing Moon is incredible. It’s quite different from the Inheritance trilogy, which is good – I do eventually get bored with authors who are too one-note.

[Spoiler: Ninja Priests. Ninja Priests in the city-state of Gujareeh, on a world with two moons]

In Gujareeh, peace is the highest law. The city worships Hananja, the goddess of dreams. The magic-system is based on dreams, which citizens tithe to the priests of the Hetawa. The priests, in turn, use these dreams to heal, to guide, to soothe and sometimes, to kill.  Gatherers – the aforementioned Ninja Priests – bring death to those who are on the verge of dying – but also to those judged corrupt. You don’t die in your sleep in Gujareeh. You are Gathered.

But when Ehiru, a powerful, faithful Gatherer, is sent to Gather Sunnandi, a diplomat from Kisua, he discovers a corruption that taints everything from in Gujareeh.

The world N.K. Jemisin has created is so different, so rich, so well-thought-out, so vibrant and internally consistent, that it feels genuine. Alive. Real. There’s almost no suspension of disbelief necessary, Jemisin’s work is so thorough. And her world is one that isn’t, unlike 90% of epic fantasy secondary worlds, based on a pseudo-european-medieval setting. And hey, I love european-medieval epic fantasy, but damn if it’s not refreshing to see something else for a change. And damn if it’s not refreshing to see something so fantastically well-constructed. We’re so used to medieval settings, we stop noticing how flimsy a lot of the world-building is. Jemisin’s is so superior that it highlights the fault lines in other works. With this book, I have little hesitation in saying that Jemisin is the most original world-builder we have working currently. She’s also one of the most original writers of magic we have working currently – an entire system built on dreams and dream theory? Really? Whoa.

The characters and their trials are equally well-depicted. Although I don’t have space to discuss these in great detail, I would like to briefly highlight what for me was the heart of the book: the relationship between Ehiru and his gatherer-apprentice Nijiri. Although the two are deeply loyal to one another, there are dark elements to the relationship. Ehiru starts to lose control of his magic about halfway through the book, and asks Nijiri to Gather him – to kill him – before Ehiru himself becomes corrupt. Meanwhile, Nijiri is in love with Ehiru. Ehiru is aware of this, and relies on Nijiri’s love, despite not being able to reciprocate it (Gatherers are celibate). That Ehiru uses Nijiri’s love for him to (try) to convince Nijiri to kill him is a fascinating, and repelling, dynamic. This is one of the book’s great strengths – the characters (and the city’s) ambiguous, complex morality.

I’ll leave the final word to my brother, who read the book right after I did.

“God, I love N.K. Jemisin so much!”

(Indeed).

This seems to be my month for fantasy – now that I’m looking over the list, it’s evident that I read almost no science fiction. The Cloud Roads is sort of science fiction, if you squint and look at it sideways. But everything else is fantasy (or just literary). With the possible exception of Chicks Dig Time Lords, which is about science fiction (although it’s nonfictional).

Chicks Dig Time Lords Cover

Chicks Dig Time Lords: A Celebration of Doctor Who by the Women Who Love It is a collection of interviews, essays and cartoons written by female fans of Doctor Who. The contributors examine their relationship with fandom, and their love of the series.

Now, I’ve never watched Doctor Who (I know, I know. It’s on the to-do list). And I still found this book immensely entertaining and insightful. As a fan, I love watching other fans indulge in SQUEE. As a female fan, I’m always interested in seeing how women engage with fandoms that are typically viewed as “male.” And as a science fiction fan, I always like looking at analysis of science fiction shows! So I was quite pleased. SQUEE, science fiction and gender analysis all wrapped up in one shiny package: it’s like my birthday came early.

The book is extremely well-edited – it varies in both tone and content, so it never feels repetitive or one-note. There are essays that are pure fannish SQUEE. There are essays that address the specific trials and tribulations of female fans. There are essays dissecting particularly Doctor Who companions. There are near-academic essays. There are fun stories. There are sad stories. There are interviews with Who Actresses and writers. There’s a discussion of costuming at Doctor Who conventions. There’s even a comic (from the creators of Torchwood Babiez)

Chicks Dig Time Lords won a Hugo Award last year – and now that I’ve read it, all I can say is: Well deserved.

Before I close, a quick shoutout to the books I’m not reviewing in depth, but that I still loved: Sarah Rees Brennan’s The Demon’s Lexicon (great, snarky, dark YA; fantastic narrator; cannot wait to read the next book) and Martha Wells’ The Cloud Roads (old-fashioned fantasy in the best possible way; wonderful prose; interesting social dynamics)

And that’s it for May! I’m already well into June reading, and I’ve tentatively titled this “The Month of All The Incest” – because seriously, three books, all with incest. What’s going on?
But the books are good, so there’s that!

Finally, my self-policing statistics (for gender and race):

12 books

14 authors (or editors)

14 women (I swear, this was not intentional).

10 white editors/authors
4 People of Color editors/Authors
(better than last month)

Related Posts:

I Never Wanted to be a Boy: A tribute to Authors

Please Don’t Tame the Shrew: WisCon 36 Wrap-Up

April Reads are Trapped in Heiddeger’s Hermeunetic Circle

March Monthly Reading Roundup is Winning the Alliteration Award

 


I Never Wanted to be a Boy (A Tribute to Authors)

[This post is a companion piece of sorts to my "How Power Rangers Made Me a Feminist" post, although you don't need to have read that post to read this one. In the Power Rangers post, I discussed how sexism in TV shows had a negative effect on me growing up, while in this post, I discuss how the awesome books I read when I was a kid had a good effect on me as I grew up. You see, I don't hate everything! Just the terrible stuff]

***

I never wanted to be a boy.

And it turns out, that’s somewhat of an unusual experience.

***

Back during my finals season (*shudder*), a series of interrelated blog posts penned by female speculative fiction authors went up. First it was Stina Leicht. Then Kate Elliot. Then Kirstyn McDermott. and N.K. Jemisin. There are probably more I missed.  I was, of course, dying of finals, so I couldn’t do anything more than gather links. But there was something so powerful, and so disturbing, about these women’s stories, that I kept on going back to them.

Let’s see if you can spot the common thread, shall we?

Stina Leicht: “[Girls] are barraged with the knowledge that the world is a dangerous place for them specifically at an early age. I have memories of such information filtering down to me at age eight through ten. So much so, that I went through a phase of denial. I took on male behaviors, thinking that would make me safe. (I was a tomboy.) I also went through a phase of not wanting to be female (…) because I was beginning to understand what was ahead and that the world did not like females.”

Kirstyn McDermott: “I was a tomboy for most of my childhood. Thankfully, I have a wonderful mother who I can’t ever remember saying that I couldn’t/shouldn’t do something or like something or be something just because I was a girl [...] I do remember being told such things by lots of other people, though — including some male relatives. Although I didn’t think I ever consciously took that on board when I was a kid . . .  I reckon it did manage to seep in. And I reckon I reacted to it just the way Stina Leicht did, by rebelling against everything girlish[...] Because being a girl isn’t safe.”

Kate Elliot (guest-posting at The Fantasy Book Cafe): “What I saw was that the things I yearned for–adventure, travel, sword fights, the excitement engaged in by characters in the fiction I loved to read–and the things I had–ambition to strive for lofty goals, an inner drive, a questing mind that wanted to discover–were things that society and literature and film told me were reserved for boys. When I was in 7th grade and twelve years old,  my Language Arts teacher [...]  gave us a questionnaire of “fill in the blank” questions meant, I suppose, to make us think about our selves and our lives [...] The last question was the most open-ended one: “I wish . . . ”
I wrote: I wish I was a boy.
What it meant to me was that it wasn’t worth being a girl.
Being a girl was second-class, even in some ways shameful. Boys got the good things, they were clearly seen to be better, it was obviously better to be a boy, and furthermore, the dreams I had and the desires and hopes were boy dreams, not girl dreams.”

N.K. Jemisin (guest posting at The Fantasy Book Cafe): “I did what I could to reject the GIRL box whenever I could. To that end I’d started reading science fiction — but never fantasy, because fantasy was girly [...] Fantasy was full of women in scraps of stupid-looking armor, being rescued or having relationships or healing people or something. Science fiction was full of men going places and doing things [...] Then I clearly remember thinking, but I’m a girl. And that was it. It wasn’t an especially shocking realization, but it was a profound one. In that moment I began to understand: the problem wasn’t that some books were infested with girl cooties; the real problem was my irrational fear of girliness. And myself.”

Did you spot it?

It’s fairly obvious, but I’ll paraphrase it for practicality’s sake. When they were young, these women all went through a period where they wanted to be a boy and/or they hated being a girl.

[Cue Sigmund Freud jumping out and yelling "PENIS ENVY" at the top of his lungs. Calm down, Freud]

I don’t know about other people, but I find these stories very hard to read. To me, they show how, from a very young age, we teach girls to hate themselves, to think of themselves as second class, as worthless, as unsafe. Even smart, strong, successful women like Kate Elliot, N.K. Jemisin, Stina Leicht and Kirstyn McDermott – women who I might (stupidly) expect to have been unaffected by the negative effects of sexism (again, very stupid assumption) – had to go through a long, sometimes painful, phase where they reconciled themselves to their status as women.

And no one should have to reconcile themselves to their gender.

[Quick side-note: Obviously this particular "I want to be a boy" phenomenon is quite different from transgendered people, whose gender identity does not match their birth sex. But transgendered people shouldn't have to reconcile themselves to their birth sex either; they should be able to safely live as the gender they identify with.//End side note//]

But this phenomenon is not restricted to the four women listed above. If I take a moment to think about it, I can list at least two or three close female friends who have admitted to going through “boy” phases. I can certainly think of more who have deliberately rejected anything “girly.” And then, when I talked to my mother about these stories, she said she’d felt exactly the same way when she was a kid. She’d gone through a phase where she decided she didn’t like being a girl, so she dressed like a boy, talked like a boy and adopted “boy” mannerisms [I saw the pictures. There is proof]. Which shocked the hell out of me, because I’ve always thought my mother was extraordinarily comfortable in the way she expressed her gender identity.

When I think about it, it’s staggeringly common, this desire to be a boy. And on an intellectual level, I completely understand it. Being a girl in our society means not being safe. Being a girl means being judged according to norms which, for all the changes in the past fifty years, are still very traditional. Being a girl means your body is public property. Being a girl means that your rights are a political ping-pong ball; a”hot-button issue.” Being a girl means people feel free to tell you to shut up, sit down and make them a sandwich.

Wanting to be a boy – or at least, not wanting to be a girl – makes total sense.

So why didn’t I ever want to be one?

Because I never did. I’ve thought about this a lot in the past couple weeks, and I cannot, for the life of me, think of any period in my life where I wanted to be a boy. I can’t even think of a period when I really rejected “femininity” (whatever that means) [ Sure, I went through a phase where I decapitated my barbie dolls and buried them in the backyard... but I was always a morbid child]. I have a lot of moments where I wish I were as free as a boy, or where I wish I could walk at night and be safe like a boy, or where I wish that women were paid the same amount as men. But I never wanted to be a boy.

Which is strange. When I was a kid, I read tons of science fiction and epic fantasy – traditionally “male” genres. For years, my greatest ambition was to be – I kid you not – a warrior. I spent hours practicing side kicks against an tree in our backyard. I still have a big heavy stick in my room I used to practice “staff fighting.” Somewhere in my house ( I will not reveal where) is a diary where I recorded my “training” sessions (Hey, don’t judge me, okay? At least I wasn’t plotting the nuclear apocalypse). I wasn’t quite a tomboy, but I was pretty close.

So given how much of my identity was “male” oriented, why didn’t I ever want to be a boy?

On some level, I think I knew, even from a young age, that girls could do anything they wanted to, and the problem wasn’t with girls, it was with people and institutions who didn’t get that. So yes, I could read science fiction as a girl, and yes, I could beat a tree to a pulp as a girl, and there wasn’t anything wrong with me.

But I don’t think this belief came because I was smarter or wiser or better educated than girls who did go through a “I want to be a boy” phase.

I think it was because of books.

Kate Elliot: “After that, at the tender age of 15, I decided I had had enough of there not being anyone like me even in my own stories. I decided to write about girls, about women–about men, too–but women in equal space and equal importance to the story. This was not a small decision. It went against what I saw when I read; it went against received wisdom, especially in adventure stories [...] I realized that in my own small way I might help overturn this diminishment of female lives not only by portraying women in diverse ways that allowed women a full range of personalities, occupations, roles, and stories, but also by respecting the centrality and importance of the women’s work so often considered (often by women) trivial, demeaning, and lesser.”

Tamora Pierce: “Why do I write so many strong female characters? When I was a kid, 7-8 books out of all books written for kids through teens had boy heroes. Those that had girl heroes showed them at “feminine” pursuits, or if they were a little feisty, a male hero had to bail them out by book’s end (…) When I encountered fantasy, I had the same problem: virtually no girl heroes. The ones I found, adult women all, settled down, hated other women, or died. I didn’t understand why there were no girls (or those that existed were severely compromised) in the adventure books, so I began to write what I wanted to read: adventure books with girl heroes.”

Kate Elliot and Tamora Pierce didn’t see female characters, so they started writing them. You know who else did that? Joanna Russ, James Tiptree Jr., Patricia Wrede, Louise Fitzhugh, N.K. Jemisin, Gail Carson Levine, Robin McKinley, Seanan McGuire, Nancy Farmer – the list goes on. And on. There are droves of female authors who grew up reading books with almost no female protagonists, and who turned around and said: “Screw that. I’m writing about chicks.”

And guess who grew up reading those books?

I did.

I read Tamora Pierce. I read Robin McKinley. I read Madeleine L’Engle. I read Harriet the Spy and Ella Enchanted and Dealing with Dragons. I read The Babysitter’s Club (yes, The Babysitter’s Club, you gotta problem with that?). I read Nancy Farmer. I devoured Sailor Moon and Yoko Tsuno. I read Hope was Here and Born Confused.

In these books girls were the heroes – all kinds of heroes. They were knights and policewomen, spies and politicians, ordinary students and fashion experts, electricians and caterers, waitresses and magic girls, aliens and historians – oh my!

So if I didn’t see my girlhood as limiting me, it was because in the world of my reading, there were no limits to what a girl could be, or to how she could save the day.

You know why I wanted to be a warrior when I was a kid? Because I was reading Tamora Pierce. You know why I didn’t see being a warrior as a “male” pursuit? Because Tamora Pierce’s warriors were female. Even in the Alanna series, when Alanna was the only female knight, there were other women warriors [Thayet and Buri, to name a few]. So when I was pounding that tree into a pulp, I was doing it in the grand tradition of Keladry of Mindelan, Buriram Tourakom, Alanna the Lioness and Daja Kisubo (although I’m sure none of them would be silly enough to practice kicking on a tree).

Eventually, my warrior ways (god, this is embarrassing. I’m so glad this blog is under a pseudonym) – prompted me to take Tae-Kwon-Do lessons. Which was lovely, except for the fact that the instructors would always try to goad male students by saying:

“Are you going to get a girl beat you?”

[Spoiler warning: Yes]

Or: “You hit like a girl!”

[No shit, Sherlock. I am a girl]

But you know what? Even though that bothered the hell out of me (and it went straight into my growing realization that “Wow, people are kind of sexist”) – I knew better. I knew no one could joust like Keladry of Mindelan or swordfight better than Alanna the Lioness. I knew no one was stealthier than Harriet the Spy or braver than Usagi (AKA: Sailor Moon) or more loyal than Dimple Lala. I knew no one was cleverer than Ella and no one was smarter than Yoko Tsuno.

I knew that there was nothing shameful with being “like a girl.”

And someday, everyone else was going to figure it out.

So to all those authors who grew up wishing to be boys. Who grew up knowing that being a girl was unsafe, that being a girl made you “lesser than.” To all of you who then turned around and said: “Screw this, I’m writing about chicks.” Who said “girl can be the heroes.” Who were brave enough, and strong enough, and determined enough, to fight the good fight. Who told the people who thought there was no market for girl heroes “You’re wrong” and who got those books published anyways.

To all those authors, in short, who made it possible for me to have a shelf upon shelf of fantastic books with smart, strong, independent women as heroes.

Thank you.

I have never wanted to be a boy. I have always been happy to be a girl. And it’s because you showed me that being a girl was great.

Thank you.

And to all those people who say “but it’s just a book/a video game/ a comic book. It’s not real. Everyone knows it’s not real. So it doesn’t affect you. Now stop complaining about the lack of female/queer/people of color/ disabled/etc. characters and go make me a sandwich.”

I say: “You’re wrong. And go make yourself that sandwich. Git.”

The End

[Giant disclaimer: the state of fiction is nowhere near equitable enough, either when it comes to female characters, or to other marginalized character s(queer, people of color, trans, disabled etc.). In fact, even though I read a lot of books with female protagonists as a child, I still read more books with male protagonists (and that was with me actively trying to FIND books with female protagonists). We're not there yet. But the fight is worth it.]

Related Posts:

How Power Rangers turned me into a Feminist

Eight Great Books of Science Fiction for Women (an Alternative List)

WisCon 36 Wrapup: Please Don’t Tame the Shrew

The Return of the Secret Feminist Cabal


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