[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.
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.
Ah, young love. Sweet, adorable and…
Wait, what’s this?
… 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.
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.
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.”
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”
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.
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.
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.
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)
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.
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.
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
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
Content Note: Spoilers for Batwoman, discussions of homophobia, heterosexism, Bury Your Gays
I just moved into a new place (Stressful! Fun! Exciting! Terrifying!), and I’m trying to be more organized. Instead of putting ALL the books on my desk, most of them are going on a bookshelf. Radical, I know!
I’ve decided that only my most important reference books should live on my desk.
Oh, and I also put two comic books on my desk, to accompany the big serious boys of literary criticism, gender studies and racial deconstruction.
They were expensive – twenty dollars apiece. I bought them as gifts to myself.
… That’s a lie. I bought them as protection, not as gifts. I bought them the day after Amanda Todd, a victim of cyberbullying and slut-shaming, committed suicide. I’d just spent an hour on the internet, reading the horrible things people said about her both before and after her death, and I was devastated. Just – devastated. That Amanda Todd had to grow up in this world, where people treat women so despicably. That so many people would say such vile things to, and about, a child. That Todd was just one of many girls who experience this level of cruelty and bullying.
I needed something – someone – to remind that there is hope, and power, and possibility .
So I bought Batwoman.
Last week, Batwoman co-writers J.H. Williams III and W. Haden Blackman announced that, due to DC’s editorial interferences, they would be leaving the comic after issue 26. J.H. Williams III and W. Haden Blackman are largely responsible for Batwoman’s success over the last two years (with Greg Rucka, who wrote the initial Elegy storyline, and whose departure I still mourn). J. H. Williams III’s art defines Batwoman – he’s been with the comic since the beginning, and his work is so superb and distinct that I still find myself flipping through my trade books to look at the art. His artistic vision of Kate Kane made her an instant superhero.
Williams and Blackman cite several instances where DC overruled long-outlined plot events at the eleventh hour. But the one that is receiving the most attention – and that angered Williams and Blackman the most – was DC’s edict that Kate Kane (Batwoman) could never marry her fiancee Maggie Sawyer.
Batwoman is a lesbian superhero. She’s the only one in the DC or Marvel universe, as far as I know, to have her own book. She was kicked out of the military under Don’t Ask, Don’t Tell, she’s had several girlfriends (including my favorite, Renee Montoya), and she’s now engaged to marry a woman.
DC and Williams/Blackman all say that the marriage prohibition was due to creative reasons, not to Kate Kane’s sexual orientation. And I believe them – I think Dan Didio and the higher-ups at DC honestly didn’t want one of their superheroes to be married. They have a bizarre anti-marriage policy for their protagonists.
But creative decisions cannot be separated from their cultural context. And preventing a queer couple from getting married has a very different context from preventing a straight couple from getting married. As Susana Polo from The Mary Sue explains, gay characters have “a history of being disproportionately depicted in either no relationships, failed relationships, prematurely ended relationships, or terrible relationships.” Moreover, queer people in comics, movies and literature are rarely allowed to have happy endings – think Ennis/Jack from Brokeback Mountain, Willow/Tara from Buffy and Jack/Ianto from Torchwood.
Hell, DC made the original Green Lantern, Alan Scott, gay – and then promptly killed off Alan’s boyfriend WHILE ALAN WAS PROPOSING.
The “Bury Your Gays” trope isn’t an old narrative we’ve all outgrown. It’s well and alive. And harmful.
Yes, it sucks when straight couples can’t get married in the DC Universe. And yes, in my opinion, it’s shitty storytelling. But straight people can look out into a world where their relationships are validated, are legitimized and are common. They can go to literally any medium and find straight couples living happy lives and getting married. They will not find a whole pile of narratives where straight people die because of their sexuality.
Queer people, on the other hand, don’t have that luxury. They don’t get to shrug off the Batwoman marriage ban and say “okay, well, we’ve got so many other examples of happy queer couples in real life and in fiction, we’ll be fine.”
And it’s a fucked-up, oppressive and harmful trope. It makes queer people believe they have no chance at happiness – that their sexuality dooms them to failed relationships and death. It reinforces the idea that queerness is fundamentally tragic: it’s not something you want for your children, or your friends, or yourself.
There are many places in the USA where you can be fired for your sexual orientation (29 states, in fact). There are few places where you can get married to a same-sex partner. Yes, the Defense of Marriage Act was overturned this summer. But the end of DOMA didn’t magically solve the marriage problem. Charlie Morgan, an officer in the National Guard, died of breast cancer before she could see DOMA overturned. Her wife and daughter will not receive the federal benefits to which military spouses and children are entitled. Charlie Morgan spent the last few years of her life fighting to make sure her wife and child were recognized as her family. She had to fight - while dying of breast cancer – for that basic right. And she lost.
She’s not alone.
Queer children – and children who “seem” queer – are bullied, sometimes to death (MASSIVE trigger warning for that link – the stories of bullying are horrific). Some states have tried to pass anti-bullying laws, only to see them vetoed by conservative governors. Because apparently, children killing themselves due to bullying isn’t problem. Sometimes, teachers are barred by law from helping gay kids or talking about gay issues. Kids at my brother’s school still throw around the word “gay” as an insult. His gay friends are afraid to come out in Madison, one of the more progressive cities in the USA. In Russia, same-sex couples are facing a law that could take their children away from them. Their children could get taken away because of their sexuality.
So that’s the context in which Dan Didio and the DC executives decided that Kate Kane couldn’t marry her girlfriend.
That’s… not a neutral context. And that’s not a neutral choice. Even if it was well-intentioned. You can’t avoid playing into anti-queer tropes when you bar the queer protagonist of the only queer-headlined book in DC from getting married.
You just can’t avoid playing straight into those tropes. Your intentions do not matter. The tropes you are playing into reinforce the oppression that queer people have to navigate on a daily basis. I do not care about your intentions. You are now part of a long and proud tradition of grossness. Congratulations.
Now would be a good time to explain why Batwoman is the only trade I’ve ever bought. And why it’s the only piece of fiction on my desk. And why my computer background is a picture of Batwoman. And why this blog’s icon is Batwoman.
About a year ago, I announced on this blog that I would start a new project: I would read as many comics as I could so I could find some that were non-oppressive and female-friendly. My friend immediately recommended Batwoman: Elegy. And since I trusted her. I immediately ordered it from the library.
That summer we had a massive heatwave in Wisconsin. No rain at all, and sweltering temperatures every day – it was pretty miserable. And I’d volunteered to take care of my family friends’ garden, which was enormous and intricate and required an extraordinary amount of water. So I had to bike there every day around five (when it started to cool down), water for about three or four hours, and then bike home. In epic heat.
By the time I got home, I very rarely had energy to read. So I kept putting Batwoman off.
One night, I brought all the comics I’d ordered from the library with me to the garden. As the sun dropped slowly towards the west, I listened to Adele and and watered the roses, the tomato plants, the lilies. I put the sprinkler on, sat on the porch and pulled out Batwoman. The garden was lit with the orange-pink light of sunset.
I read for a long time.
I’m a fast reader – a trade comic usually takes me twenty minutes to read.
But I was in that garden for at least two hours.
I read until it was dark, and I had to turn the floodlights on – and then I kept reading. And reading. And reading.
I’m not sure I’ve ever had an experience with comics as absorbing as I did that night with Batwoman. I read pages over and over again, looking carefully at JH Williams’ artwork, flipping pages back to check relevant bits of dialogue, marveling at Kate Kane’s character and admiring Batwoman’s costume.
When I got home, I reread the entire comic.
I loved Batwoman. I love Batwoman. The art is incredible. The storytelling is engrossing and powerful and painful. Greg Rucka gives us information exactly when we least expect it, complicating our understandings of the characters and their motivations. When we feel like we can’t handle anymore, he pushes again, shattering our impressions and forcing us to reconsider everything we believed. Meanwhile, Williams’ artwork is such a perfect interpretation of Rucka’s plot: it’s arresting and beautiful and thematically resonant and disturbing all at once.
Batwoman: Elegy is a stunning, superb piece of work. I love it for many reasons, and I re-read it for many reasons.
But there’s one sequence that kept drawing me in. At this point in the story, Kate Kane is a military cadet at West Point. She’s called into her Colonel’s office and told that she’s been accused her of homosexual conduct. The Colonel tells her that if she apologizes – if she says it’s a mistake, a joke – she’ll face a disciplinary action, but she’ll stay in the army. The Colonel believes she’ll make a great officer, so he’s willing to bend the rules a little and let her stay on.
The next few panels are worth seeing in their entirety:
[Transcript: Kate Kane, a white woman wearing a cadet's uniform, stands in the Colonel's office. He's a white man wearing a military uniform.
Kate: "Sir, all I've ever wanted since my mother and sister were murdered is to serve."
Colonel: "Then it seems to me your choice is clear. You know what I need you to say."
Kate: "A cadet shall not lie, cheat or steal, or suffer others to do so. I'm sorry sir, I can't."
Kate: "I'm gay."
Kate removes her cadet's ring and places it on the Colonel's table.]
That sequence, for me, was Batwoman. Honor. Integrity. And a desire to serve without having to compromise herself.
That’s what Kate Kane achieved when she remade herself into Batwoman after being barred from military service. She could still serve, even if her country did not want her service. She could still protect her city and her people, even if her sexuality kept her out of the military. She could serve by her own code.
It was a message I needed to hear.
For the next few days, I was in turmoil. Was I living by my own code? Was I being honest about myself? Was I even being honest to myself?
I’d identified as straight for my entire life. My only relationship was with a man. I talked about crushes on boys all the time, and I certainly never mentioned crushes on girls. Sure, I always said I wasn’t 100% positive about my sexuality. Anything could change, and it was entirely possible that I could also be attracted to women. But I wasn’t attracted to women now. And I hadn’t been at any point in the past.
I acted like I wasn’t hiding anything.
But I was. I was lying, even to myself. I was deeply attracted to women. I’d had crushes on women – only I didn’t *call* them crushes, even in my mind, even when I thought about what it would be like to kiss them, to touch the and to hold their hands. I’d flirted with women. I’d wanted women.
Those crushes were so vivid in my mind. The incredible actress I met in high school. A friend I admired. Another friend I admired. A girl who flirted with me. I remembered them all perfectly, remembered the way they’d made me feel, the way I stared at them, and desired them. And the way I didn’t think of it as attraction at all.
The longest crush I ever had was on a woman.
And the most instant attraction I’ve ever had was to a woman. I sat down next to her in class, glanced over at her face, and it hit me right in the gut. My lips and my fingertips were tingling
I sat next to her all that semester. We became friends. My crush dissipated when she talked about her boyfriend, though my attraction never did.
But these weren’t crushes, even though I’d had them for just as long as I’d had crushes to men. This wasn’t attraction. I was still straight, to everyone else, and to myself.
I was scared to admit my desire towards women. Scared, because yes, queerness is dangerous. Scared of how my friends would react and what my family would think. And what it would mean for me to identify as queer, to openly admit to liking women. But I was also hopeful. I saw something in that comic – in Kate Kane’s strength, in her honesty, in the normalcy of her life as a gay woman and a gay superhero. The strength of my reaction to Batwoman - the way I kept reading and rereading it, the emotional force with which it gripped me – made me reconsider my identity. I questioned myself, questioned those memories, questioned my feelings.
A few days after reading Batwoman, I came out on my social networks as bisexual.
I told my brother when we took a trip to New Orleans. “Oh, cool,” he said, and we started talking about Octavia Butler. I’ve never really told my parents, although I’ve mentioned it on the blog, and at least one of them reads it. But even if I haven’t formally “come out” to everyone, I’ve exited that strange place of dissonance where I could be attracted to women on one level, and completely straight on the other.
And I feel… better. Much better. Much happier, and more comfortable with myself.
There’s a reason Batwoman is my avatar, and my icon.
There’s a reason the Feminist Batwoman lives on this blog.
Batwoman means a lot ot me. And part of the reason she means so much to me is because of the way she – and her writers – handle her sexuality. With honesty, integrity and simplicity.
Even though I’m a Renee/Kate shipper, I was excited for Kate’s marriage to Maggie. I knew it was a major milestone. It meant something to me, a bisexual woman, to see a queer relationship treated with so much respect. To see that Kate’s sexuality was still an integral part of her storyline , without the writers ever turning it into a token social justice commentary.
Kate Kane’s creators respected her.
I respected her.
Now we’ve got the DC executives nixing storylines at the last minute. We have them kicking off the creative team two issues earlier than they planned to go (JH Williams and W. Haden Blackman both planned to stay until Issue 26, but DC’s decided to put the book under new management starting on Issue 24). You have Dan Didio saying the company stands behind the character – while calling her Kathy Kane the whole time.
Hint, Mr. Didio: Kathy Kane is a totally different character. And Kate *never* goes by Kathy, which you would know if you’d read Batwoman: Elegy.
And the execs are acting like nixing Kate’s marriage isn’t problematic. At all.
Which shows how little they understand about their own creations.
This is not respect.
Batwoman inspired me to be honest about my sexual orientation. Her bravery gave me courage. Her relationships with women filled me with joy. I felt safe within the pages of those comics. I felt hopeful within the pages of those comics.
I will keep my Batwoman trades on my desk.
But I will not be buying any Batwoman comics after Issue 24.
I asked the Feminist Batwoman, who sometimes takes over my blog, what she thought of DC’s handling of Batwoman.
This was her response:
Not very mature, but what are you going to do? She’s a vigilante who sometimes steals my computer to write on my blog. She’s not exactly polite.
Second Note: DC is also responsible for the Harley Quinn debacle, which combines stereotyping of mental illness, casual use of suicide, mental illness/suicide as a pinup etc. DC comics is doing GREAT right now.
Comment note: please do not try to defend DC’s stance as “neutral” or non-oppressive towards queer people.
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.
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?
(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!
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.
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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)
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.
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.
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.
(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)
[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).
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.
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.
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
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
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
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)
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.
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
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?
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?
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.
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.
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?
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!
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.
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
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.
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.
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.
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.
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.
GUYS. WOMEN. PEOPLE OF ALL GENDERS.
DO YOU KNOW
(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.
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.”
THIS BLOG IS NOT EVEN ONE YEAR OLD. I’m a college student rambling on the internet when I should be sleeping/doing homework.
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.
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.
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).
(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)
“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?“)
(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.”
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.
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.
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.
(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.”
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.
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.
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!
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.
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!
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?
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.
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.
THE FEMINIST BORG HAD ASSIMILATED HIM.
[No, but in all seriousness, I was super-proud of him. I mean, once I stopped laughing]
Scary Feminist Out!
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.
Thank you, Feminist Philosopher. I will forever blame you when I tear up at GIFs of Zuko and Uncle Iroh hugging.
[Content note for violence, violence against children, disablism]
Last week was not a good time for my happy levels. First, we had the Good Man Project (or,as I like to call it, the No Rapist Left Behind Project) debacle. Then a close friend of mine died unexpectedly. And on Friday, a gunman walked into Sandy Hooks Elementary School and killed twenty kids and seven adults.
I do not want to be writing this post.
Twenty eight people are dead. Twenty kid are dead, kids who are just a bit younger than my younger brother. I do not want to write about mental illness. It feels… wrong to use this as an excuse to talk about the rights of the mentally ill.
I was not planning on writing this post.
But then it started again. People diagnosing Adam Lanza over the internet, assuming he was mentally ill. An acquaintance saying “Evil is a mental illness.” Everyone, from politicians to newscasters to friends, talking about how we have a “mental health access” problem. There are very few spaces on the internet I can go where people aren’t talking about how we have a “mental illness problem” and how Adam Lanza was surely “mentally ill” and if we just had better access to mental health care this wouldn’t happen etc. Even my usually progressive and social-justice aware friends are falling into the pattern.
Now the Sandy Hooks massacre has everything to do with mental illness.
And now, even though I do not want to write this post, I need to write it.
I need to write it even though I know hundreds of other people will say the same things.
I need to write it especially because hundreds of smart bloggers and social justice crusaders and mental health advocates will say the same things. Because our voices are being out-shouted a thousand to one. We need to be heard if we’re even going to be allowed to participate in this farce of a conversation.
The Sandy Hooks massacre was not caused by mental illness. The mentally ill are not some mob of soon-to-be-violent, ticking time bombs. But damn it, if people are going to sit around and stigmatize the mentally ill as an excuse to avoid looking tragedy in the face? Then hell yeah, I’m going to talk about mental illness.
This is not a fun conversation for me to have. Those who follow the blog – or those who know me from Real Life – know I identify as mentally ill. I have a severe anxiety disorder and a major depressive disorder. Dealing with mental illness has defined my life for the past four or five years.
You’d think I’d be happy people are talking about mental illness. I, of all people, know how problematic it is for mental illness to be pushed under the rug, to be ignored and stigmatized.
Sadly, the conversation around Sandy Hooks embodies everything that is wrong with how we talk about mental illness:
1. Violence MUST be the product of.
Here’s the thing. As of this point, we don’t even know if Adam Lanza had a mental illness or disability of any kind. But strangely enough, we’re all talking about mental illness issues. It’s like we magically know Adam Lanza’s mental state.
But wait! We do! Because only mentally ill people would kill so many people. Ergo, Adam Lanza must be mentally ill.
Acting like violence is the product of mental illness – and ONLY the product of mental illness – is incredibly problematic. And saying that mental health access will solve gun violence is also incredible problematic. Both imply that mentally ill people are violent, dangerous and uncontrollable.
I’m sure some people are going “but they’re not talking about garden-variety depressives like you! They’re talking about the DANGEROUSLY mentally ill.”
Okay, first: *headdesk* again
Second: Yes, in fact, they’re talking about all of us mentally ill folk. The Rachel Maddow Show, for example, had a segment about how to prevent future shootings. The expert’s main recommendation? Adolescents should have a yearly screening for depression.
I’m sorry, how am I not supposed to interpret that as making a causal connection between depression and violence? Did the expert temporarily forget what he was talking about? Was he about to say “gun control laws” but then got his notes mixed up and started talking depression instead?
Nope. What he was saying was that if we do a better job catching depressives, we’ll have fewer school shootings.
Which implies that depression leads to violence.
[everyone better keep the butter knives away from me, I'M JUST SAYING]
The more people talk about how mental illnesses are linked to this type of violence, the more we assume mental illness means violence. And the more and more mental illness becomes stigmatized.
Ironically, stigmatizing mental illness tends to limit access to mental health care, not expand it. How many people do you honestly think are going to say “whoa, I’ve got a mental disability, I’d better get that checked out” after hearing about how mentally ill people are dangerous child killers? Not a whole lot. More people will avoid getting a diagnosis, aware that their condition could get them labeled as dangerous and violent.
Here’s the crucial thing, the thing people are ignoring completely: Violence isn’t linked to mental illness. This is a provable fact. Mentally ill populations – including populations with mental illnesses that we traditionally associate with violence (like schizophrenia) – are no more violent than everyone else.
Most mentally ill people are not violent. Most violent acts are committed by people who do not have mental illnesses. So the whole “Whoa, someone did something terrible! They must be CRAZY”?
To add insult to injury, people with mental illnesses are more likely than the rest of the population to be victims of violence. 3% of the general population experience violent crimes, while TWENTY FIVE percent of those with mental illnesses do.
Welcome to the upside-down world of public discourse on mental illnesses. In real life, most mentally ill people aren’t violent, and in fact are more likely to experience violence than the general population. In public discourse, however, mental illness is responsible for all the Terrible Violence, and no one is ever interested in talking about how people with mental illnesses are victimized and abused by violent crime [we'll come back to that point later]
2. Dehumanization of People with Mental Illnesses
In this national “conversation” about mental illness, you’ll notice something interesting: no one seems terribly interested in talking with mentally ill people.
The mentally ill are people we talk about, not people we talk to. We aren’t interested in having a conversation with them, despite the fact that they’re the ones most affected by the issue. We love telling horror stories about what happens to mentally ill people who don’t have access to mental health services, but we never ask people with mental illnesses what they think of the issue.
Could you imagine having a conversation about, say, women’s reproductive rights, and not inviting women speakers?
[... oh, wait, this is the United States I'm talking about. OF COURSE I could imagine a conversation about women's reproductive rights with absolutely no women involved. In fact, I've seen it happen! Bad example.]
By excluding people with mental illnesses from the conversation, and privileging the voices of those who see mental illness as something terrifying, we are dehumanizing people with mental illnesses. They are not even worth trying to understand. They’re just a problem to be solved, a fear to be controlled.
The most problematic entry in this category is the now-viral post “I am Adam Lanza’s Mother.” In the article, the writer discusses her fears that her mentally ill son could turn into an Adam Lanza, due to lack of access to adequate mental health care. .
[Initially, I linked to the original article, but since one of my critiques of "I am Adam Lanza's Mother" is that it violates her son's privacy, I decided that linking it would contribute to the problem. But if you want to read it, google!]
I want to be clear that I have a lot of sympathy for the author. I cannot imagine how difficult it must be to protect and care for her children, especially given how much stigma there is around mental illness, and how little support there is for children with mental illnesses. I am not disputing the legitimacy of her grievance, or of her pain. And I, like her, desperately want us to find better solutions for children with mental illnesses.
The article, however, is incredibly problematic. Not just because it appropriates a national tragedy. Not just because it appropriates Nancy Lanza’s experiences, or tries to express a solidarity with her that may not have existed.
But because it appropriates the son’s experiences.
There is a reason this went viral. And the fact that it was written by a “sane” person talking about a mentally ill person, rather than a person with mental illnesses talking about their own experiences? A big part of that reason.
The author – and the commenters – do not acknowledge that the son has his own experiences and ideas. They seem to have no interest in having a discussion with him, or with people like him. Instead, the son is portrayed solely as a problem, a terrifying child that no one can understand, an evil, calculating, rage-filled monster.
Would a post by a person with a mental illness speaking about their own experiences have the same impact?
This would not bother me nearly as much if this wasn’t usually the way it worked in conversations about mental health. When the broader community wants to “learn” about mental health issues, they do not go to people with mental illnesses. They go to their “sane” relatives, or their “sane” allies. In support groups for mental illnesses, for example, the voices of parents are far more privileged than are the voices of their mentally ill children.
I don’t think the perspective of family members or friends of people with mental illnesses are unimportant. But the reality is, those voices usually erase the voices of those with actual mental illnesses. The conversation is dominated by people who are “impacted” by mental illnesses because someone they know suffers from them, or because they have some sort of objective expertise. Meanwhile, those most impacted are shut out of the discussion entirely.
I cannot speak to the experiences of the author’s son. My various disorders are certainly nowhere near what he seems to be manifesting. But I know the frustration of people talking about your problems as if you weren’t in the room. It isn’t just that people don’t acknowledge that the mentally ill should be included in these conversations. It’s that they seem to forget we have a perspective at all.
Which is all kinds of ironic. If people were serious about addressing mental health issues, they would want to talk with people who suffer from mental illnesses. Those are valuable and important perspectives. In fact, they’re the most important and most valid perspectives.
Unfortunately, we’re just problems to be solved.
This, of course, adds to our sense that people with mental illnesses are unable to speak or advocate for themselves. That they have nothing valuable to contribute. That they’re so addled and deranged that they can’t possibly voice their own experiences.
I’m also deeply uncomfortable with the idea that the families or parents of people with mental illnesses are the best advocates for mental health issues.
Often, families will have agendas that are quite problematic, or that are at total odds with what people with mental illnesses actually want. And since the families/parents are the “sane” voices, their experiences are privileged. Moreover, our assumption that parents are best suited to advocate for their kids in these types of situations is based on the premise that parents always act in the best interest of their child. That, sadly, is not always true.
On The Rachel Maddow Show, the expert mentioned that although depressed kids want help, they almost never go to their parents. What he didn’t talk about is the reality that some of those kids won’t talk to their parents because it would not be safe for them to go to their parents. I’ve known people whose parents teased them for their mental illnesses, or who ignored their mental health problems, or who pressured them to go off medication before they were ready, or who denied them access to mental health care, or who told them their mental illnesses were just “character flaws” and they needed to “get over it.”
And unfortunately, sometimes, parents may be the reason why a child develops a mental illness (if, for example, the parent is emotionally or physically abusive).
Even when parents and families do have the best of intentions, they can make horrible, damaging mistakes. Unfortunately, the author of “I am Adam Lanza’s Mother” made one of those in writing her article under her real name. Now her child’s entire mental health history is available on the internet for anyone to read. No matter how horrible her child is, he has the right to privacy, and the right for the media and the internet not to know everything about him without his permission.
[I do think Lisa Long's decision not to use a pseudonym was an honest mistake, since I'm assuming she didn't anticipate her article would go viral. It is still an incredibly damaging mistake for her son and her other children.]
I’m not saying this because I think the author of “I am Adam Lanza’s Mother” article is a bad parent, or is responsible for her child’s mental health issues, or has anything but her child’s best interests in mind. I’m trying to explain how problematic to privilege the voices of parents or relatives in discussions of mentally ill kids.
You cannot have a constructive conversation about mental health care without including – and, yes, privileging – the voices of people with mental illnesses.
And you’re not going to get people with mental illnesses to join the conversation if you dehumanize them, act like they are the problem, or stigmatize them as violent. Which makes me suspect that this “conversation” is not actually about helping people with mental illnesses, but is about giving people an easy target to scapegoat.
3. Mental illness is only important when we think people with mental illness could be violent.
Somewhere around one fourth of all Americans will suffer from mental illnesses at least once in their lives. Most do not have access to adequate mental health resources. Mental illnesses are stigmatized and framed as “character flaws” rather than legitimate illnesses, which makes it even more difficult for people to access help. People with mental illnesses are more likely to be victims of violence. They struggle with getting proper job accommodations and with social stigma. Their voices are ignored and erased from conversations.
Mental illness, and mental health in this country, is an enormous problem.
Yet strangely enough, the only time when anyone seems interested in addressing this problem is when we’re (incorrectly) blaming the mentally ill for violence.
It reminds me of conversations around school bullying, where people argue that we need to curb bullying because the victims might become “troubled” and “violent” later.
Really? That’s why? That’s the problem with bullying?
And the real problem with mental illness is that people might turn violent? Really? Nothing else problematic about mental illness?
First, this whole “more mental health access = less gun violence” plan doesn’t compute. Since most mentally ill people aren’t violent, and most violent people aren’t mentally ill, increasing access to mental health care won’t solve our problem with mass violence.
Second: if you want me to have better mental health care access because you’re afraid I might get violent (as opposed to believing that everyone deserves access to mental health care because good mental health is valuable in-and-of-itself ) then you don’t give much of a shit about me. Or about anyone with mental health issues.
Here’s another way of looking at it: there’s a good chance some of the kids at Sandy Hook will develop mental health problems because of their experiences. Do they deserve mental health care because we want to help them? Or do they need mental health care because they might become “troubled” and “violent”?
Ironically, the people who stigmatize the mentally ill so they can protect the children? May be hurting the very kids they supposedly want to protect.
You know who needs mental health care? Everyone. Low-income families. Communities of color. Rural communities. Non-native English speakers. Children. We need to destigmatize mental illness so that it’s seen as a normal thing people go through, not as a character flaw. But that’s not a conversation anyone seems interested in having.
Instead, we want to look at acts of evil and say: that person is not like me. And if he is not like me, he must be mentally ill.
It’s a distancing technique. And it allows us to abdicate real responsibility for what happened.
I got in an argument on facebook with someone who claimed that “evil” is a mental illness. This attitude, sadly, is a trend. When we don’t understand something – or when we don’t WANT to understand something – we label it as crazy. But in a society that glorifies violence, that allows almost anyone access to assault weapons, a society that celebrates toxic masculinity and aggression, is Sandy Hook really that shocking?
To me, it seems like the logical – if horrifying – conclusion of our gun laws and our obsession with violence and aggression.
Instead of taking on the hard job of actually standing up to the NRA and the politicians and the pro-gun lobby, however, we would rather stigmatize an already marginalized community (and one that had nothing to do with the Sandy Hooks tragedy). After all, it’s so much easier to blame everything on mental illness than to come to a consensus that ASSAULT WEAPONS should not be available to anyone with a photo ID.
We live in a society where we can’t even manage to get stricter gun control after twenty kids are killed. But people with mental illnesses are the dangerous ones.
… yeah, no.
We desperately need to have a conversation about mental illness. We need to talk about access. We need to talk about how we routinely ignore certain segments of the population (especially the poor, the non-white and the non-american) when it comes to access. We need to change the discussion so that mental illness is seen as a legitimate problem, and not as a character flaw. We need to privilege the voices of people with mental illnesses, and acknowledge that they are the experts on their own experiences.
That, sadly, is not the conversation that is happening right now. Because people aren’t that interested in mental illness. They’re interested in easy (and incorrect) answers. They’re interested in blaming easy targets. And they’re interested in distancing themselves from the tragedy.
Like I said at the top of the post, I do not want to have a conversation about mental illness in the wake of the Sandy Hooks tragedy. But if people are going to stigmatize mental illness as a way to avoid looking at reality in the face?
Then yeah, I’m going to talk about it.
* Much thanks to my various friends who let me rant – and ranted with me – yesterday.
** Comments section will be moderated with the Iron Fist of the Feminist Batwoman. Priority for comments section is keeping them a safe space for me and for any other people with mental illnesses who may be reading. Personal attacks or arguments in bad faith would violate that safe space. Remember to use “I” words. And don’t police feelings.
Last year, an acquaintance of mine informed me that although he was pro-choice, he thought other pro-choicers (like me) often steamrolled over the very real tragedy of abortion (the baby-killing) in their eagerness to talk about “abstract right”
And then, dear Reader, I shot him.
… okay, I didn’t shoot him. But I entertained the notion. I also blew up at him, which is something I wasn’t doing that often back in 2011 (blogging has made me such a better, more publicly pissed-off human being).
What I said, as I recall, was “ABSTRACT RIGHTS FOR WHOM, YOU PRIVILEGED DIPSHIT? THE RIGHT TO CONTROL MY BODY IS NOT AN ABSTRACT RIGHT TO ME.”
And then I went on a long rant about how not-abstract the right to have an abortion was.
My acquaintance never responded, which I took as a victory.
I mention this incident not because it was unusual – I’ve gotten into lots of fights about abortion – but because of the argument led me to an epiphany. As I, filled with rage, typed up my response, I finally hit on why, exactly, abortion was such an important issue to me.
So why? Why do I care so much?
Because abortion isn’t just about a woman’s right to choose what happens to her pregnancy. It also symbolizes a woman’s right to control her own body FULL STOP. A woman has a right to abortion because her body is her own – not the government’s, not her partners, not her relatives, not the doctors.
There are very few things less “abstract’ than our ability to control our own bodies.
And, crucially, the right to bodily autonomy is not just about abortion. It’s not even just about contraception, or reproductive rights, or consent.
Not surprisingly, I have a story to explain my point.
So, random fact: I actually first started thinking about broader issues of bodily autonomy when I realized that November was pancreatic cancer month. Yes, I know, that seems random. But there is a reason to the random, I promise.
Pancreatic cancer is arguably the deadliest of all cancers in terms of survival rate. The one-year survival rate for all stages is 25%. The five-year survival is 5%. The median survival rate for metastasized or locally advanced cases (which account for 80% of all diagnoses) is 6 to 10 months. Pancreatic cancer kills almost as many people as breast and prostate cancer, yet receives less than 1% of the funds for cancer research – possibly because very few people survive the cancer long enough to become advocates.
A pancreatic cancer diagnosis is basically a death sentence.
When my maternal grandmother was in her early forties, she was diagnosed with pancreatic cancer. She turned out to be somewhat of a miracle case, surviving almost ten years before the disease metastasized to her liver and killed her.
Here’s where this story gets back to bodily autonomy. My grandmother never knew she was a miracle case because she never knew she had cancer at all.
Wait! You say. She was diagnosed! How could she not know? Did the doctor give her the wrong diagnosis by accident, or something?
Oh, ha-ha, I wish. In fact, my grandmother’s husband (my… step-grandfather?) and her (male) doctor thought that my grandmother would be devastated if she found out she had cancer.
So they decided not to tell her. At all.
She was horribly sick for ten years without ever knowing why. And she died without ever knowing why.
I realize there may be people reading this who will think my grandmother’s doctor and husband did her a favor by sparing her pain and grief. My father is one of those people – when we talked about my maternal grandmother recently, he said he “could not find fault” in her husband’s decision to lie.
My grandmother was so afraid of death, after all. It was better for her not to know.
Welcome to paternalism.
You know what? Maybe my grandmother was happier overall than she would have been knowing her real diagnosis. But that was not her husband OR her doctor’s choice to make. It was not their body. It was not their life. It was not their choice.
It was her body, her life, her right to know.
But these men thought they knew what my grandmother needed better than she did. They thought they had the right – nay, the obligation – to control her life.
Let’s think about the very real consequences of their decision, shall we?
My grandmother could not make choices about her own medical care, since she did not know what her actual medical conditions were. Certain procedures must have been unavailable to her, since they would have forced doctors to reveal the secret (there aren’t a lot of reasons to get chemotherapy except cancer).
My grandmother could not make informed choices about how to live her life, since she did not know crucial facts ABOUT her life. She did not know she was living with a deadly illness. She did not know that her prognosis was severe; that doctors thought she would survive a few months or a year, at most. Maybe my grandmother would have made different choices. Maybe there were things she would have wanted to do. But she did not have the information necessary to make those choices. Tragically, she could not even decide how to prepare (or not prepare) her youngest daughter, who was a very young child when my grandmother was diagnosed.
And, although she did not know it, the lie made my grandmother utterly dependent on her husband and her doctor. They were now in complete control of her medical future. They could have chosen not to treat her. They could have chosen to use highly experimental drugs. Her husband could have withheld medication. He could have used his knowledge to manipulate her into making big financial decisions that she would not have made knowing her prognosis.
As far as I know – and I do not know a lot – the doctors and her husband did not abuse their power. I mean, except for the part where they lied to my grandmother for TEN YEARS. Other than that.
But they could have. From the time her doctor and her husband decided to lie to her, to the time she died, my grandmother did not have bodily autonomy. She could not control her own life, or her own body. Other people had that control.
My grandmother died of pancreatic and liver cancer two days before I was born.
Paternalism did not kill my grandmother. Cancer did. But paternalism took away my grandmother’s ability to make informed choices about her body and her life.
And this isn’t just a random horror story. It’s the dominant narrative of our past. Women and other minorities have not traditionally been allowed to control their own bodies. Their male relatives did. Their doctors did. The government did. Their owners did, in many cases. The US government sterilized mentally ill women and native women. Hospitals forced – and continue to force – women to undergo dangerous medical procedures without informing them, or seeking their consent. Hell, for over 30o years, black peoples in the United States were considered property.
It’s not just a historical horror story either. In Kansas, a law passed this year that allows doctors to lie to women about their pregnancies if they believe that the information might lead the woman to choose abortion.
Doctors can lie to their patients to stop them from getting abortions.
Bodily autonomy is not just about abortion. But there’s a reason people get so mad when our right to choose is threatened. We know that abortion is just the tip of the iceberg. We know bodily autonomy is not some kind of contingent thing where you can say “you control your body up to the uterus, but after that, it’s in the government hands.” We know what happened to us when our bodies were not under our control. And we’re not interested in going back.
I’m not particularly angry at my step-grandfather, or my grandmother’s doctors. I think what they did was disgusting and unethical, yes. And I’m rather grateful that I don’t have to interact with my step-grandfather. But I’m not that angry at them. I’m angry at the system that made it okay and normal for them to lie to my grandmother. I’m angry at a system that told them it was okay for them to take control of this woman’s body and life. And I’m angry that that system still exists. That we’re still fighting for the basic right to bodily autonomy today. In 2012.
People are allowed to control their own bodies. Women very often are not.
Rebecca West once said: Feminism is the radical notion that women are people. It’s a surprisingly radical notion.
Any comments that justify the decision to hide my grandmother’s illness from her will be mocked or banned. So will any that engage in victim-blaming by arguing that my grandmother “must” have figured it out. Maybe she did, maybe she didn’t. That’s not the point. Of any comments that talk about how difficult it must have been for her husband to hide the truth from her will? Yeah, it was probably hard. You know what would have made it easier? TELLING HER THE TRUTH.
Comment with care
Psst! You! Readers! is CD around?
No? Oh, FANTASTIC. I’m just going to let myself in, then! You guys don’t mind if I take over blogging duties for the day, right? Right!
Yes, yes, it’s me. The Feminist Batwoman. Champion of Intersectional Feminism and Enemy of Restrictive Gender Roles!
I know. Very exciting. I keep meaning to drop in and blog, but C.D. is kinda paranoid, and she doesn’t want me around. Something about the police putting her in jail for
being harboring a vigilante blah blah blah.
Also, she’s convinced that people think SHE’S the Feminist Batwoman. Which is obviously not true. CD and I have actually never met! How can we be the same person if we’ve never met!
Anyway. I think the problem with C.D. is that she just doesn’t have trust. I mean, I love that woman, but… seriously. You guys aren’t going to turn me in, right? I’m the Feminist Batwoman! I fight for Intersectional Feminism and Gender Equality Throughout the Shadows of the Interwebs.
AND I have a fabulous mask. Why would anyone turn me in?
See what I mean about the fabulous mask?
So now that we’ve established that you aren’t going to turn me in, let’s turn back to CD.
Have you guys noticed that she’s a bit… off, recently? She keeps writing about all this UBER-depressing stuff, and going on long rants and freakouts. Now, as the Feminist Batwoman, I fully support long rants and freakouts, but…
I’m worried that CD has lost her joy.
I mean – did you SEE what happened two weeks ago? The American Election? SHE SHOULD BE OVER THE MOON ABOUT THAT! She should be blogging kitten GIFs and celebratory confetti and explosions ALL THE TIME.
The activist joy should be EVERYWHERE!
So, you know. I thought I would cheer up CD (and bring on the return of the Kitten GIFS!) by reminding her of all of our Great Victories this month.
Maybe if CD remembers all the happy things that happened, she’ll be happier! Can’t hurt, right?
Let’s start at the top:
#1: Mitt Romney, oppressive douchebag and plutocrat supreme… Defeated!
I will not have to spend the next four years tracking down and defeating his Legion of Anti-Roe judges! I will not have to fight his attempts to turn over Obamacare and get us in more wars and cut the budget for food stamps and medicare and medicaid and social security and education. And hey, we won’t have to deal with his racism and sexism and homophobia and transphobia and classicism and general… barfiness.
My costume is already SUFFICIENTLY covered in the Barf of Oppression just from fighting to defeat Mitt Romney’s campaign. I’ve had to go to the dry cleaners ten times this election cycle. They’re giving me REALLY weird looks.
Imagine what I would look like if he were president. *shudder*
2. President Obama (a somewhat too-conservative-for-my-taste but generally pretty-decent- president) won. And President Obama is someone I can work with. He’s the man who brought us Sonia Sotomayor and Elena Kagan and Obamacare and who ended Don’t Ask Don’t Tell and who passed the mini-dream act. He saved the economy and made insurance companies cover contraceptives and signed the Lilly Ledbetter fair pay law. He passed a bill that made it a hate-crime to commit an assault on someone based on their sexual orientation; he extended employment benefits to same-sex partners of federal employees and he became the FIRST SITTING US PRESIDENT to come out in favor of marriage equality. Oh, and he extended health insurance to four million uninsured kids (why, in the name of the Holy Batmobile, do we have FOUR MILLION uninsured kids in the richest country in the world? QUESTIONS).
Like I said. I can work with this guy.
All good news so far, right? All news that should make CD happy, right?
It gets better.
3. In Maryland, Maine and Washington, people voted to legalize same-sex marriage. YES THEY DID. We broke the 32-state losing streak (including a loss in my – I MEAN CD’s – home state of Wisconsin) with a three state victory! We finally got a popular victory for same-sex marriage!
(although I object to people’s fundamental human rights being put on the ballot, but if they’re going to be put on the ballot, this is the desired outcome)
Moreover, Minnesota had an amendment on the ballot that would have defined marriage as between one man and one woman. You know what happened? Voters said NO. AGAIN FOR THE FIRST TIME
I’d like to take this opportunity to congratulate my fellow Anti-Oppression Superhero Alliance member, The Queer Question (also known as Renee Montoya), who led the charge in the fight for same-sex marriage. The Question knows how to stop the Forces of Oppression, y’all.
Has CD cheered up by now? If she hasn’t, I have even MORE good news for her (because this election is just the gift that keeps on giving).
4. The next American congress will have the highest number of female senators in recorded history: twenty
(which: it is super-gross that 20 is a HIGH number of women in the senate. But we’re getting better).
And let’s talk about those women! Because it’s not just that we’ve got more women senators and representatives – it’s that the ones we’ve got are incredible.
Elizabeth Warren won a senate seat in Massachusetts. I’m quite fond of that woman. She scares Wall Street half-to-death, and is already fighting the Forces of Economic Oppression. Go Warren!
Tammy Baldwin WON A SENATE SEAT in Wisconsin! Tammy Baldwin is now Wisconsin’s first female senator – and the first openly gay member of the senate in US HISTORY.
I’m a huge fan of Tammy Baldwin’s. She’s been
my CD’s representative for years (since I’m CD is from Madison). Her work in the House was incredible; and I fully expect great things in the Senate.
CD, of course, was terrified that Tammy Baldwin – an openly gay woman from the hellmouth of hippie-liberalville (Madison) would have no chance of being elected in Wisconsin. And I do like proving CD wrong.
Claire McCaskill defeated Todd Akin (aka: “Mr. Legitimate Rape”). She won the Mississippi Senate seat – one that almost NO ONE thought a democrat could hang onto – by fourteen points. Because she is an incredible campaigner and she knew how to let Todd Akin hang himself by his own rope.
And to cap off our list of amazing women senators, Mazie Hirono won Hawaii’s open senate seat, thus making history as the USA’S first Asian American female senator. Whoo!
My good friend and fellow Anti-Oppression Superhero, the Anti-Racist Black Bat (Cassandra Cain) (who happens to be one of the few Asian members of the DC Universe) is REALLY excited about Mazi Hirono’s election.
Cassandra is also rather pissed that it took until 2012 for an Asian-American woman to be elected to the Senate.
The fun doesn’t even stop with senators! The great state of Illinois elected Tammy Duckworth to the House of Representatives. Duckworth served in the Iraq war, where she lost both legs. She is the first female war veteran with disabilities elected to the US House of Representatives.
You will not be surprised to know that Disability Rights Oracle (Barbara Gordon) was thoroughly pleased by Duckworth’s election!
And the great State of Hawaii elected Tulsi Gabbard, another female war veteran – AND the first Hindu member of the US House of Representatives.
But the best part of this election – and yes, we haven’t even gotten to the best part yet – wasn’t just that a League of Awesome Women were elected.
5. It was that the League of Awesome Women (in conjunction with the Anti-Oppression Superheroes) defeated the Evil Alliance of Rape Apologists.
Senate candidate Richard “Rape Babies are a Gift From God” Mourdock? DEFEATED.
Senate candidate Todd “If It’s A Legitimate Rape, the Female Body has ways to Shut That Whole Thing Down” Akin? DEFEATED!
House candidate John “The Rape thing” Koster? DEFEATED.
House candidate Joe “‘there is no such exception as life of the mother” Walsh? DEFEATED. By the way, Mr. Walsh, if pregnancy can’t actually kill women, what happened to Savita Halappanavar?
Vice Presidential Candidate Paul “Rape is just another method of conception” Ryan? DEFEATED.
All congratulations are due to The Consent Culture Batgirl (Stephanie Brown) who took point in the Anti-Oppression Superhero Alliance’s battle with the Evil League of Rape Apologists. I think we can agree she did a pretty fabulous job, no?
So, overall, I think the forces of Anti-Oppression did pretty well this election cycle, no?
We defeated the forces of oppression and darkness and plutocracy! We brought down the Evil Alliance of Rape Apologists! We elected a swath of Awesome Women!
Its definitely party time at the Anti-Oppression Superhero Alliance Headquarters, if you know what I mean!
(No, I don’t mean an orgy. Get your minds out of the gutter).
Party! Party! Party!
And I totally think CD should join us in this great party of activist joy, don’t you? Now that she’s undoubtedly been cheered up by all our good news!
I mean, come on. We won! Time to stop moping and stop ranting and smell the Victory Flowers, no? Or else CD is going to go all Batman, and be angsty 99% of the time, and no one wants that, do they?
It’s time to bring the joy to CD, ANTI-OPPRESSION PARTY STYLE!
I’m just going to check CD’s agenda book and see when she’s got a free slot for the party, shall I? Then we can all persuade her to go.
Huh. Can’t find CD.’s agenda, but… there’s this blog post draft on CD’s computer. I’ll just go ahead and read it (Hey, I’M not Consent Culture Batgirl. Privacy is not my only priority. Also, CD and I are
the same person friends!)
Well, this blog post is disturbing.
And by disturbing, I mean:
Montana voters passed a state ballot measure that puts in place a parental notification law: any person under the age of 16 who seeks an abortion needs to notify their parents. A PARENTAL NOTIFICATION LAW?
Well, HOW COULD THAT POSSIBLY GO WRONG?
OH GREAT, and IT KEEPS GOING.
After helping to pass Texas’ abortion sonogram law, Texas State Senator Dan Patrick is trying to cut off Rural Texans’ access to abortion. Because there’s nothing Dan Patrick cares about more than controlling women’s personal medical decisions!
The head of the Maine Republican party thinks there was voter fraud, because “dozens’ of black people showed up to vote, and no one in rural Maine knows any black people! Mitt Romney says Obama won because he gave “gifts” to women, young people, Latinos etc. Paul Ryan blames the urban vote (*cough* people of color *cough*).
Okay, I know I was complaining that CD seems really pissed off these days? BUT THIS? THIS IS PISSING ME OFF ALL OVER AGAIN.
Scott Walker is trying to end same-day registration in Wisconsin, because the best way to follow up an election full of voter suppression is MORE voter suppression.
In Kansas, the city of Selina passed a proposition that overturns the city’s protections from discrimination for gay, lesbian, bisexual and transgender people. The City of Hutchinson also overturned their city’s discrimination protections.
Proposition 35 passed in California. It raises the penalty for those convicted of sex trafficking to as high as life in prison, which SOUNDS great, until you figure out that survivor groups were against the proposition. Why? Because the bill conflates sex trafficking and sex work, which means that both sex workers and sex trafficking survivors could be penalized, put in jail, put on sex offender registries etc. The bill will probably have a much worse effect on sex workers and victims than it will on actual bad guys. Melissa Gira Grant wrote a smarter and longer analysis of the problems with Proposition 35.
… And Oklahoma passed a constitutional amendment that bans affirmative action practices in state government hiring, education and contracting. But that’s okay, because apparently they weren’t using affirmative action anyway! And it’s not like there’s institutional racism or sexism in the USA, because, as everyone knows, we live in a post-racist and sexist society.
… yeah, okay. Maybe there’s a reason CD is still angry. Hell, I’M ANGRY.
You know what? Victory party canceled. We can have a victory party later. I can use the streamers to tie up some misogynists. Kyriarchy-Blasting Wonder Woman can use the helium from the balloons to power her invisible jet. We can throw the confetti in the eyes of the racists.
CD’s right. Our activism isn’t over, not even after this victory. People are still being oppressive asshats. A woman’s ability to choose is still under fire. People of color are still being targetted. Homophobia is still ruining lives. Misogyny is still rampant.
Time to get back to work.
ANTI-OPPRESSION SUPERHERO ALLIANCE, ASSEMBLE!
Oh, uh – before I leave to go fight oppression, could you guys do me a favor?
Could you NOT tell CD that I was here?
Like, keep it all hush-hush?
Also, you really don’t have to mention that I changed my mind and actually, we can’t celebrate yet because there are so many other things wrong in the world we need to deal with.
She doesn’t need to know she was right. That woman is not a gracious winner.
Just keep it… quiet, is my point. Okay? Okay!
Great! I’ll be back soon, faithful readers! In the meantime, I will go forth into the Shadowy Corners of the Interwebs and Fight Against Restrictive Gender Roles and All the Other Forces of Oppression!
Until next time.
- Your Friendly Interweb Feminist Batwoman.
CD HERE. WHAT THE HELL DID YOU DO WITH MY BLOG, FEMINIST BATWOMAN?
… oh, fuck. I knew I shouldn’t have
had that half-glass of beer and put on the mask left my computer unattended. The Feminist Batwoman is devious. Super-devious. And in no way related to me. Ignore the shot of my shoulder in the last picture. That’s not my shoulder. I’m not the Feminist Batwoman. Yeah. I had nothing to do with this.
I need to change my passwords. AGAIN.
Anyway. Sorry about that, everyone. I’ll try to
stay away from the mask keep a better eye on my computer in the future.
Although I do agree with the Feminist Batwoman’s point. We did win a big victory this November, and we should celebrate. But we should remember that there’s still a war on. It’s not time to lay down our weapons yet.
As Consent Culture Batgirl always says:
- I’m not ready for this to be the end of the fight. There’s so much ground to cover still. More misogyny and racism and homophobia and ableism and transphobia and oppression to uncover and stop. A new, better society to build.
- What are you still fighting for?
- ETA 2: Okay, FINE, ONE CELEBRATORY KITTEN GIF. But only because of the marriage victories in Maryland, Maine and Washington and Minnesota. And because of Tammy Duckworth and Tammy Baldwin and Claire McCaskill and Elizabeth Warren and Maizie Hirono and Tulsi Gabbard.
Question: Let’s say your wife doesn’t want to get in the shower. So you grab her, pick her up, and shove her into the shower while she screams and yells for you to let go. For good measure, you pin her to the wall while she keeps screaming.
Is that abuse?
Not on Grey’s Anatomy, it isn’t!
[no, but seriously, it is abuse]
[It's also domestic violence]
I, uh – I can’t really believe I’m writing this post. Because, I mean, Grey’s Anatomy has done a lot of stupid stuff over the years but – surely – SURELY – they didn’t just portray domestic violence in a positive light? Surely that didn’t happen. Surely I was imagining it.
… No, wait, I didn’t. It actually happened.
The fuck is wrong with you, Grey’s Anatomy?
And yes, I know, I just admitted to watching Grey’s Anatomy. In my defense, I kind of gave up on it after the Ghost Sex season. Yes, I rewatched the first two seasons during my finals – but only because it reminded me that my life, though stressful, could be a lot worse.
It could be scripted by Shonda Rhimes.
But then this fall, my Romantic Interest (hereafter known as the Feminist Philosopher) got me to watch Grey’s Anatomy with him on a regular basis. And I will admit I’ve been enjoying it. Mostly in a “let’s point out how terrible this plot is” way. Or a “oh, that dialogue was just terrible” way. And sometimes in a “Cristina Yang is my spiritual guru and I will do whatever she tells me to do” way.
Intermingled with my love for Cristina Yang and my enjoyment of the terrible dialogue, however, is a slow-simmering outrage over the show’s treatment of the newly-disabled characters.
Quick recap: at the end of last season, a bunch of the doctors were in an airplane crash. Two of the principal characters – Lexie and Mark – died. Arizona Robbins’ leg was crushed, and later amputated against her wishes. Cristina Yang was diagnosed with reactive psychosis.
The way Grey’s Anatomy is dealing with Cristina and Arizona is killing me. KILLING me. It’s like they’ve got a bingo card of how NOT to write about disability, and they’re trying to check off EVERY SINGLE BOX.
For a while, I held it in. It was just a slow-simmering outrage, and a couple of rants. But Episode 3 (“Love the One You’re With”) officially pushed me over the top. The scene where Callie abuses her wife, Arizona and NO ONE CALLED IT OUT?
And it wasn’t a gross moment? It was a big “Oh, finally, Arizona will realize that her disability makes Callie unhappy too!” moment.
Yeah, that was the end of Ms. Nice Feminist.
NO MORE MS. NICE FEMINIST.
CALLIE ABUSED HER WIFE AND YOU MADE IT SEEM JUSTIFIED.
FUCK YOU GREY’S ANATOMY.
Okay. I’m calm. I’m totally calm. I can write this in a calm and mature manner.
Before we get to the problem of Arizona Robbins (who, let me remind you, was ASSAULTED BY HER WIFE), let’s start with the Case of My Spiritual Guru, Cristina Yang.
After the rescuers finally show up and save everyone, Cristina lapses into a catatonic state, punctuated with brief moments of rage and violence. Her doctors diagnose her with reactive psychosis.
Now, in a perfect world, Cristina’s friends and family would be like “Oh, yeah, she’s got a mental illness because she was in a plane crash and survived for a week with no food/water/medical help and she was keeping all these other people alive. Not super surprising. Let’s let her get the care she needs!
… And if you think that’s how things actually went down, I have a piece of the True Cross I’d like to sell you.
Here’s what actually happened. Cristina Yang is diagnosed with reactive psychosis, and then…
Cue scene where Owen (Cristina’s estranged husband) yells to the psych ward chief that he won’t let them take Cristina to the psyche ward. Cue scene where Owen – the chief of surgery – essentially prevents his wife from getting adequate medical care because he doesn’t want her to go to the psych ward. Cue scene where Meredith, Cristina’s best friend, grabs her by the shoulders and tells her to “snap out of it” because if Cristina doesn’t “snap out of it,” she’ll be put in the psych ward and “pumped full of anti-psychotics.’ Which is apparently the worst thing ever, since anti-psychotics will strip Cristina’s identity away (#NotActuallyHowAntiPsychoticsWorkMeredith) (#SeriouslyYouWentThroughMedSchoolAndYouDontKnowThis?)
Meredith and Owen fight tooth and claw to keep Cristina from going to the psych ward and getting psych treatment. Do you think they would fight to keep her out of the hospital if she’d gotten pneumonia? Would they be screaming at her and telling her if she didn’t “snap out of it,” she’d be pumped full of antibiotics and her personality would be totally changed?
Of course not.
This is gross on so many levels, I can’t even. As usual, mental illnesses are treated as if they’re The Worst Thing Ever, as opposed to, you know, just another set of illnesses. And Grey’s Anatomy acts like Cristina getting psychosis is the Worst Thing Ever.
Psychosis is the Worst Thing Ever, y’all! THE WORST THING EVER.
And going to the psych ward is the other Worst Thing Ever.
Meredith and Owen’s behavior reinforces the stigmatization of mental illness. PSYCHOSIS, OOOGA BOOOGA. Whereas Owen and Meredith would recognize that pneumonia is an illness, that catching pneumonia is not a person’s fault, and that a person with pneumonia needs TREATMENT, they act like mental illnesses are a character flaw. Psychosis is a stigma, a brand to be avoided at any cost. Cristina can just “snap out of it.” And if she goes to the psych ward and received proper, adequate treatment for her “condition,” she’ll officially be a “psychotic person” and that would be the Worst Thing Ever. Because mental illnesses are the worst thing ever blah blah blah.
Someone shoot me.
Mental illnesses are just that: illnesses. Like all other illnesses, they require treatment. And honestly, to deprive Cristina of treatment tailored to her illness because you don’t want her to go to the “psych ward” (OOOGA BOOOGA) and you don’t want her to take “anti-psychotics” is tantamount to medical abuse.
Grey’s Anatomy always makes a huge deal about ultra-religious parents who refuse to allow their child to get proper medical care. Don’t they realize they’re doing the same thing with Cristina?
(Well, of course not, because Mental Illnesses are different, and Cristina can’t be Psychotic GRAB THE FAINTING COUCH).
As a person with several mental illnesses, let me be the first to say “FUCK YOU, GREY’S ANATOMY.” You know what? I’ve been pretty close to catatonic in the super-severe phases of my depressions. I’ve never been put on anti-psychotics, but they were on the table, and they still are (some of them can be very helpful to managing depression. Who knew?). I’ve never been to a psych ward, but if things got bad enough, I would hope that the psych ward stigma wouldn’t be enough to keep me away.
The attitude the show – and Owen and Meredith – display towards mental illnesses is precisely the reason it took me twenty five minutes to type up the previous paragraph: because it is so fucking scary to come out as a person with mental illnesses. The attitude of “mental illnesses are the Worst Things Ever” and “mental illnesses mean you’re Crazy” do hurt people with actual mental illnesses. That attitude is part of the reason I was pushed by certain members of my family to keep my depression a secret and to get off anti-depressants as fast as possible (as opposed to when I was ready).
So yeah, FUCK YOU, GREY’S ANATOMY.Th
The show’s treatment of Cristina gets even worse in the scene where Owen (her estranged husband) takes her home and bathes her.
Ick. Ick, ick, ick, ick, ick.
Because Cristina and Owen were more or less estranged before the plane crash. So Cristina’s estranged husband managing her entire life, bathing her, controlling her, while Cristina herself is still catatonic and unable to give consent? Cristina’s estranged husband discussing, in vivid detail, how the rest of Cristina’s life will go? Cristina’s estranged husband deciding what kind of medical treatment she’ll get (or won’t get)?
Cristina and Owen are no longer in a relationship where there’s some kind of consent implied for these big, major medical decisions. She never gave consent for him to take care of her, and she can’t do it now, since she can’t talk. So yeah, in this context, it is really gross that Owen basically takes control of her entire life.
The worst part is that the bathing scene is meant to be romantic and loving. Oooh, look at Owen, standing by his catatonic woman, taking care of her, isn’t he the Bestest?
No… he’s not. Bodily autonomy and consent is a thing. You don’t lose it when you go through mental or physical illnesses.
And also, using a person’s illness and/or disability to prove how generous and self-sacrificing YOU are is suuuuuper-gross. Don’t do it. Ever.
Which, fittingly, brings me to the case of Arizona Robbins.
Reminder of Arizona’s condition: her leg was amputated shortly after she was rescued from the plane crash. Although Arizona did not want her leg amputated, at some point she started dying and was unable to give consent for medical procedures, so her wife (and doctor) Callie gave consent to an amputation.
(Question one: why is Callie, Arizona’s WIFE, her doctor? Oh, never mind, this is Grey’s Anatomy where that sort of thing is TOTALLY okay)
Post-amputation, Arizona is super-pissed at Callie for deciding to go ahead with the surgery without Arizona’s condition. She’s also unhappy and depressed and generally in a state of rage over losing her leg.
Now, I will gladly admit that Arizona has not been a particularly pleasant person in the wake of the crash and losing her leg. I would also like to point out that there’s no “right” way to react to severe trauma, and Arizona is not a bad person for not being all smiles and rainbows post-amputation. You cannot control the way you feel.
Hell, I don’t even think there’s anything wrong with Callie being upset and angry and sad at Arizona. You can’t control the way you feel; Callie is not a bad person for having normal human emotions.
But if you can’t control the way you feel, you can, however, control how you ACT on your feelings.
Cue the end of Episode 3. Callie comes home to find Arizona has left her wheelchair. Arizona apparently tried to go to the bathroom without help, but collapsed and urinated on herself.
Callie orders Arizona to take a shower. Arizona refuses.
Okay, yes, Arizona is being a bit silly. Then again, Arizona has just discovered, for what must be the 90th time, that she can’t do even the simplest tasks on her own anymore. And she’s coming to terms with the fact that she’s going to go through a long, hard process of rehabilitation and relearning her body. That’s not something “easy” to go through. It’s not something most people can just “get over.”
But you know what? Even if Arizona’s behavior had been completely unjustified, there is still NO EXCUSE for what Callie did next.
Arizona refuses to take the shower.
Callie picks her up and shoves her into the shower. Arizona screams for Callie to let her go, and get out; Callie slams Arizona against the shower wall and holds her there while Arizona keeps screaming.
DOMESTIC ABUSE. DOMESTIC ABUSE. DOMESTIC ABUSE.
And yes, Callie is super-emotional and crying. And yes, Callie yells “There’s nowhere for me to go; this is my life now too!”
BUT IT’S STILL DOMESTIC ABUSE.
Least you think I’m exaggerating about the violence of the scene, see for yourself. And this, by the way, is AFTER the grabbing and shoving:
Sadly, because I am female and I grew up in the USA, I only believed my own conclusions about the Super-Gross-Abuse-Scene-Of-Doom AFTER a person of the male gender independently came to the same conclusion. Fortunately, I happened to have a person of the male gender sitting right next to me when the Super-Gross scene happened:
The Feminist Philosopher paused the video and turned to me.
Feminist Philosopher: Well. That just happened.”
Me: “Uh, yeah. You saw the same thing I did.”
Feminist Philosopher: “Callie assaulting Arizona? Yup. Suuuper gross.
So yeah, it’s not just Team Culturally Disoriented Seeing Things over here. Hell, I don’t understand why anyone – anyone – would look at this scene and not go “Jesus H. Christ, what the hell is going on here.”
Hey, I’ll tell you what the hell is going on:
CALLIE ABUSED ARIZONA.
And no one has called it. Not on the show, not – as far as I can tell – in the world of the internet.
So I’m calling it now: Callie Torres physically abused Arizona Robbins. It happened. It is domestic violence.
This is not a “normal” couples argument. This is not okay. This is abuse.
Okay, I can hear the critics now. What does this scene – gross as it was – have to do with disability? Callie’s treatment of Arizona is abuse regardless of Arizona’s condition, right?
If we unpack the scene a bit more, however, it’s pretty clear that Callie’s actions are intimately connected to the show’s attitude towards disability.
There’s a reason why this scene isn’t played as domestic violence. There’s a reason it’s framed to make Callie seem “justified.”
Indeed, from the first episode of the new season, Arizona’s disability has been framed in terms of its effect on Callie’s life. It’s about Callie’s feelings. Callie’s sadness. Callie’s struggles. Callie’s torment. Callie’s guilt. Hell, we don’t even SEE Arizona in the first episode – until we discover she’s lost her leg.
And we don’t see her much in the next few episodes – except when she’s interacting with Callie.
Then we get this beautifully revolting scene in Episode 2, where Callie tells Owen that “the person in that bed” isn’t Arizona, but just a shell of a person with all of Arizona removed. Callie says she thinks that if Arizona loses her leg, Callie will never get Arizona back again.
And Owen then says he doesn’t think he’ll ever get Cristina – his still-catatonic wife – back.
Let’s just back up and look at how Owen and Callie have taken their significant others’ Huge Illnesses and made it All About Them.
We need to save Arizona’s leg so Callie gets her back. We need to make Cristina un-psychotic so Owen gets her back.
Wow, I never realized that when people suffer through traumatic illnesses and injuries, their experiences don’t matter at all! It’s All About The People Around Them!
I’m learning so many new things from this show.
Look, being the partner/friend/significant other/family of a disabled or chronically ill person is not easy. And those people deserve support and help and sympathy. My problem isn’t that Grey’s Anatomy showcases Owen and Callie’s emotional meltdowns. My problem is that the show does it AT THE EXPENSE of Arizona and Cristina.
Despite the fact that Arizona and Cristina are the ones actually dealing with trauma and disabilities, their stories are secondary. Their emotions are far less important than those of Callie and Owen’s. The show centers on Callie and Owen’s sadness at their wives’ illnesses/disability, and on how generous Callie/Owen are to stick with them.
Arizona is relegated to the role of a symbol. She’s not important for herself, but for what she represents – Callie’s tragedy, Callie’s sacrifice, Callie’s generosity, Callie’s emotional struggles.
Hell, Arizona isn’t even able to define herself anymore – it’s Callie who decides that Arizona is “not her wife” anymore, but just a person with all the Arizona scraped out. How Arizona feels, we don’t know.
The show’s writers took Arizona’s voice away and made her silent in her own tragedy.
And what does Callie yell to her wife as she’s pushing her into the shower? Why does she think it’s okay for her to abuse Arizona?
“This is my life now too!”
This is my life now too.
It’s not Arizona’s life anymore. It’s Callie’s. By virtue of Arizona’s disability, she has become less of a person. She’s been relegated to the symbolic.
You know what? This is not Callie’s life. It’s not. Arizona’s life is Arizona’s life. Arizona’s body is her body.
If Callie can’t handle Arizona’s behavior, she can try to have an honest conversation with her. She can go to therapy. You know what? If it’s too much for Callie to deal with, CALLIE CAN LEAVE ARIZONA. She can divorce her. Callie has somewhere else to go. She has a choice. She’s choosing to stay with Arizona.
Arizona, on the other hand, really does have nowhere else to go. She can’t just “leave’ her body when she gets sick of it. This is her reality. This is her life. This is her body.
It’s not Callie’s.
I don’t mean to diminish Callie’s very real pain, or Arizona’s very real vitriol over the past few episodes. But I’m sick of illness and disability being portrayed as “harder” on the family/friends/whatever than on the person experiencing them. I’m sick of shows using disability as a way to show OTHER characters’ emotional struggles and generosity.
I’m sick of narratives that tell us that people with disabilities are less-than-human, that they’re just a broken version of a more perfect person. I’m sick of narratives where Meredith get to say that treatment for a mental illness will strip your identity away. Where Callie gets to say that her wife’s accident has made her “not-Arizona.”
Hell, I’m not even sure why I’m so surprised by this. Grey’s Anatomy has always treated illness and disability as symbols. In the show, the disabled body is nothing more than a shiny toy for doctors to have fun with. People with disabilities are only important insofar as they are symbols. They’re not people.
People with disabilities are not broken. We are not symbols. We are people.
Screw you, Grey’s Anatomy.
The worst part of the abuse – and yes, we have only just now gotten to the worst part – is that its for Arizona’s own good. Supposedly.
In Callie’s Super-Important Surgical Case (right before the Shower Scene), her underage patient wants to run off and complete a sailing competition even though it’ll mean losing her leg. Callie tells the patient’s parents that they need to stop her. They need to be her parents. They need to be “the bad guy” so they can save their daughter.
And, of course, because this is Grey’s Anatomy and Grey’s Anatomy has the subtlety of a GIANT SLEDGEHAMMER, Callie’s case is a metaphor for her personal life, and how she needs to be the “bad guy” with Arizona.
In this little equation, Arizona has been transformed into a child. A child. And Callie is her PARENT.
The whole “people with disabilities are just like children” meme has been well-overplayed. Don’t think I didn’t notice the infantilization of Arizona. Don’t think I didn’t notice that she peed on herself (childhood!) and had to be cleaned by her wife/parent (infantilizing!). Don’t think I didn’t notice that you did exactly the same thing with Cristina in the scene where she’s being bathed by Owen (infantalizing!)
Disabled people are not children. We’re not, thank you very much.
And Arizona is not a child. Arizona is a grown-ass woman. Losing her leg does not mean she lost her right to control her own life. Her body is hers. Her life is hers. You do not get to choose what she does with them, even if you think she’s hurting herself.
You cannot control adults’ lives for their own good. You cannot shove your wife into a shower for her own good (you can’t do that to your kid either, actually, because that too is abuse). You cannot take your estranged wife back to your house without her permission and give her a bath (yes, I’m back to Cristina). You cannot choose your estranged wife’s psychological treatment.
That is abuse.
Look, I get it. You see sick people, hurt people, you want to help them. They say no. You say “it’s for your own good.”
But that’s NOT OKAY. You cannot help people without their consent. You cannot force people to do things “for their own good.”
Not after they’re 18 anyway.
Look, this isn’t some kind of fringe issue. People with disabilities are up to four times more likely than abled people to be abused by partners or caretakers. Four times. And part of the reason they’re more likely to be abused – and less likely to seek help (or to get it when they go to the authorities) – is because of stupid narratives like these.
Narratives that emphasize the pain and the generosity of the caregivers and the partners at the expense of the actual people with disabilities. Narratives that portray people with disabilities as children. Narratives that portray abuse as something done for the person’s own good.
Who would ever believe that a woman so generous and selfless that she would stay married to a cripple would commit an act of domestic violence? It wasn’t abuse! It was for Arizona’s own good.
Fuck you very much, Grey’s Anatomy.
Callie abused Arizona.
You showed it as something good and romantic and cathartic.
Fuck you, Grey’s Anatomy.
Arizona and Cristina are not symbols. They’re not tragic parts of other peoples’ lives. They’re not children. They’re not broken. They’re people with real pain and real lives and real stories. So please start treating them that way.
And please don’t give me any Arizona/Callie scenes for another few weeks. I honestly can’t look at Callie without wanting to call the Seattle cops. SHE ABUSED HER WIFE. Send her to therapy.
As a final note: CALLIE ABUSED HER WIFE.
Just say that over and over to yourself until it sinks in.
*In order to thank the Feminist Philosopher, who re-introduced me to Grey’s Anatomy AND who was kind enough to let me rant at him for a REALLY long time without ever telling me that I was exaggerating or that I should calm down… I will finish this blog by saying: FUCK YOU, DAVID BROOKS.
**ALSO, if you are in the Montreal area, you should go see the play Inherit the Wind, which is going up at McGill Player’s Theater, November 14-17 & 21-24, 8:00 PM. GO SEE IT. I saw it last night, and my reaction was something like this:
It was pretty damn near perfection. And I’m not just saying that because I know a lot of the people in it and I baked cookies for their bake sale (if I hated it, I would just NOT TALK ABOUT IT on the blog).
GO SEE IT.
oh, here’s a review.