Things in Print Thursday :: a review of George by Alex Gino

27 Aug

Courtesy entirely of my drift partner.

George might be one of the most important books in the last decade. It is about a trans girl who wishes to be called Melissa, and who is trying to figure out how to deal with her gender identity and how her loved ones will react. It’s a pretty typical coming-out/identity story. What makes it unique is that Melissa is in the fifth grade and her story was written for 8-12 year olds.

I first heard about George via a tumblr post, which is how I find out about roughly half of the books I read anymore. That post contained the text from a blog post by the author, Alex Gino, in which they explained the most respectful ways to discuss the main character of the book, her gender identity, and their own gender identity (Gino is genderqueer and uses they/them pronouns). The last time I bought a brand-new hardcover book was in February (and it was only because it was by my favorite author and I had been waiting for it for years), but I decided I needed to buy and read this book, since it was coming out the next Tuesday (August 25). I’m cisgender, probably (gender is kind of uncomfortable for me to think about but that is neither here nor there), but I wanted to make sure to support the book.

Melissa is a sympathetic character from the first page. For most of the book, the narrative calls her “George,” which in the trans community is known as “deadnaming” (Gino explains this in the linked post), but uses she/her pronouns. Melissa is a sensitive, clever, funny person who wants more than anything for people to know her secret, but whose anxiety of what might happen to her keeps her from saying anything. So she has to do things like keep a secret stash of teen girl magazines hidden in her closet, or practice for the role of Charlotte in her school’s production of Charlotte’s Web. The play acts as the obvious conflict, since Melissa badly wants to play Charlotte, but is terrified that her teacher won’t let her because she thinks Melissa is a boy. But I actually think that the play was kind of secondary to the narrative, and the real conflict involved Melissa’s relationships with her mom, brother, and best friend. That might be a personal thing, because I’m much older than a fifth grader, but I know the fear you feel when you can’t be your true self around your loved ones. At one point, Melissa’s mom thinks she’s gay, and tries to give her a talk about how it’s okay, she’ll accept her no matter what, and Melissa panics and changes the subject. The mom is probably one of the most realistic characters in the book, actually, because she talks about being accepting of gay people, but when Melissa actually tries to explain herself her mom shuts her down. Unfortunately, even some people who say they’re accepting of gay rights can be transphobic, either accidentally or through willful ignorance. (I won’t spoil it because everyone should read this book, but I will say that the ending is perfect.)

Gino’s writing style is engaging and emotional and pulls you into Melissa’s head right away, and they bring up a lot of struggles that trans people face in language that kids or people unfamiliar with transgender issues can understand. One of my favorite small touches involves a scene where Melissa is taking a bath and arranges the bubbles so that she won’t be able to see her penis. (Interestingly, the book never uses the word “penis,” but instead uses language like “the thing between her legs,” which I thought was a nice way of communicating the disgust and dysphoria Melissa feels about her body.) The word transgender isn’t even brought up until about halfway through the book, which is an interesting choice, and the right one, because it’s made clear that while Melissa has done a bit of internet research, she’s still fumbling around with the term and unsure of how to express herself exactly. I know in LGBTQ spaces, there’s some heated debate about how to refer to trans men and trans women, i.e. should we differentiate between cis and trans people when speaking about sexuality? So I think that having Melissa just refer to herself as a girl and not a transgender girl is the easiest way to help kids understand how she and other trans people feel.

Overall, it’s a sweet, heartbreaking, wonderful little book that’s definitely worth checking out. I hope it’s helpful to trans kids, kids who don’t fit into the gender binary, cis kids who want to be compassionate and accepting people, and adults who fall into any of those categories.

Whimsy Wednesday :: in which there is much drama and also the weirdest monster.

26 Aug

So much dramas from the cliffhanger oh my

Final showdowns.  A lot of the middle-bads have a taste for those.  They’re not going to work.

DRAMATIC MUSIC

You know how hot it is when Haruka and Michiru just drive up it’s pretty damn hot.  Oh dear now Haruka and Michiru are getting existential.  “Those people will probably want to keep you safe..” eh something like even at the expense of their own life.  USAGI REALIZES THEY ARE URANUS AND NEPTUNE DEFINITIVELY TOOK YOU LONG ENOUGH

OH GOD THEY ARE WAY TOO HOT FOR CARTOONS

“Is it all right to ignore the people being sacrificed?” Usagi cries.

Sometimes this show reminds me of Avatar, and this is one of those times.

“Now get in the elevator…. I’ll send you straight to heaven.”  Meant as a threat.  Sounds… like bad porn dialogue instead.  Oops.

Something something powerful energy barrier.  “Let’s use the stairs.”  “That sounds like a better idea.”  Bless bless Mercury.

URANUS AND NEPTUNE ARE THE FUCKING HOTTEST CARTOON CHARACTERS IN THE WORLD OH MY GOD SWOOPING IN ALL DRAMATIC

“It seems its brightness is an indicator of purity…” ‘It looks like we went through all this trouble for nothing.”  As Haruka smiles softly and sappy music plays.  Dear. God.  “You saved me.”  “Thank goodness.”  It’s a good thing we’re not drinking tonight because oh my god I’d be drunk already.

And then…

Sailor Venus is dressed up as “Sailor Moon” and it’s a hilarious comedy of errors where they all pretend and blush.  Uranus and Neptune try to duck out but Sexy Doctor Melisandre blows out the windows and even that doesn’t work truly.

“If you insist on settling things here…” “Then we accept your challenge.”  SO HOT

Boy that looked…hARMful………..

You’re the actual cutest.

The Daimon is so confused

Sailor Moon lobbying desperately for helping Uranus and Neptune oh gosh as Kaolinite fights them with her hair.

“I won’t let you blow up this tower that delivers fun TV shows to living rooms across the country.”  Yes, that’s the priority.

“In the name of the viewers, I punish you!” can we set her on Jack Kenny please

Man oh man a combined attack can’t even stop Sexy Doctor Melisandre.  Only the Sailor Planet Attack!

Or Tuxedo Mask, apparently.

NEPTUNE HOLDING URANUS UP

Uranus’ face wibbling as she recalls Usagi’s selfless monologue and she attacks once more, somehow reversing the effects of Kaolinite’s ice crystals and backfiring them on herself so she falls to her death.

Ah so Doctor Daddy Dearest summons the first of the Witches 5, Eudial.

Chibiusa returns just in time for a new middle-bad!  Doctor Daddy Dearest doesn’t have the same weird sexual tension with all of the Witches 5, and Eudial is in that category, I think?  If I recall?  She’s using techy science to find targets.  This is probably more effective than just riding around on the train waiting for one to happen by.  There is also a new techy science process to making Daimons.  And distributing them.  My.

Rei canceled the session to have coffee with the pure heart target.

“Who was it that was so sure she was on a date?” WELP

“YOU NEVER KNOW THERE’S HARUKA’S EXAMPLE”

Why does it keep closeupping on liquid on a straw wrapper?

“Well, there is one taiko you can play.”  That also sounds like an innuendo.  But it’s actually the girls volunteering at the goldfish booth.  Adorable.  Also Minako’s hair is adorable.

Romantic music and flower petals for Michiru and Haruka at the festival these beautiful beautiful cartoon hotties.

Even their goldfish scooping turns to colored pencils.  Haruka calls the fish cute and Michiru comments on this and Haruka is like “Jealous?” “Maybe.”  DEAR GOD

I know I look like I’m just popping in to comment on gay things but…no I am though. GAAAAAAYYYYYYY

Rei is so worried about the one-off drummer overworking herself perfectionistically it’s sweet it really is.

“The data says the target is around here.”  Adorable.  The Witches 5, the sexy evil doctors.  With data and glasses.

Weird… sexy drum monster?

Well this is one of the dumber monsters.

But luckily, Uranus and Neptune are here to… sass Eudial, mostly.

“Aren’t we helping them today?”  “Sometimes they have to do it for themselves,” Uranus says as she watches Sailors Mars and Moon jump up and down.

“Start with her first!” oh my god Usagi

Sailor Chibi Moon is here to fix things with her Pink Sugar Heart Attack that has the twee-est music you’ve ever heard.  Because it is the twee-est attack that’s ever been invented.  And is currently giving Soiya a thorough spanking?

for…kids?????

“We don’t look anything alike!!!!!” Sure, Jan.

So Chibi-Usa is here to train in the 20th century.  And is only a few episodes away from her own first love affair.

–your fangirl heroines.

Television Tuesday :: HGTV vs. the History Channel in haiku

25 Aug

(HGTV)

Person or people
Look for a home, rent or buy
Important life choice.

Or, person/people
Renovate buildings for use
Creating new “life.”

Person or people
Have drama, real or made up
It’s secondary.

(Sometimes when buying
It takes more of the focus
But that is stressful.)

Shows are positive
About moving forward in life
Or creating things.

(The History Channel)

Aliens!  Nazis!
Government conspiracies!Amish Mafia!

Or, middle-aged guys
Or old guys, often white ones,
Buy and sell old stuff.

Sometimes they tell tales
Of the stuff’s history, ’cause
History Channel.

Other times, they tell
Bad jokes and laugh at themselves
Quite manufactured.

–your fangirl heroine.

Marvel Monday :: 5 reasons why Thor/Jane is a healthy relationship

24 Aug

So one of the reasons I managed to go head-over-heels (with exceptions) for the MCU is the absolutely varied nature of the relationships.  There are some kinds of variations we still need to see (sideeyes, throws shade, etcetera) but the content of the relationships is a little different each time.  We’re going to be looking at these in sequence, but I thought we’d start tonight with one that’s pretty uniformly healthy: Thor (Chris Hemsworth) and Jane (Natalie Portman).

5. Thor is unbelievably attracted to Jane’s intellect.
He’s interested in helping her prove her scientific theories completely for her own benefit.  He finds her curiosity endearing even when it’s quite honestly dangerous.  He praises her for her intelligence soon after meeting her: “Ah, but you’re clever. Far more clever than anyone else in this realm.” He goes out of his way to brag about her, for goodness’ sake.  When Tony starts to brag about how Pepper is running Stark Industries so well, Thor immediately counters with Jane’s world science tour. This goes on for about two minutes and is adorable.  This is made even more adorable by the fact that Thor himself is not exactly an intellectual: he’s not dumb by any means, but he’s more physical in his nature.  He just sincerely appreciates Jane’s wholly opposite way of thinking about things.

4. Thor respects Jane.
Thor is a character who very well could’ve been a meathead stereotype who treats women like shit, but he doesn’t. Even in the beginning of the first movie, when he’s cocky and arrogant, he’s not lecherous or creepy towards Sif (Jaimie Alexander) or disrespectful of his mother (Rene Russo) (Thor actually loves his mother so much, which is another thing I love about Thor). And he continues to be a perfect gentleman to every woman he meets, but especially Jane. He isn’t pushy with her or rude, and when he upsets her he apologizes for it. This is also important because while Jane has her people (Darcy [Kat Dennings], Selvig [Stellan Skarsgard]) you get the feeling in the first movie that she hasn’t been too widely respected for a while.  And you can’t honestly tell me that if a giant handsome man fell out of the sky and was all over you making hearteyes and being reverent and chivalrous, you wouldn’t be into him. I don’t care who you are.

3. It’s realistic within the parameters of the world
This pairing tends to get a lot of flack from people outside of fandom for being “rushed” and “unbelievable.” First of all, go watch Nolan’s Batman trilogy and then come back and tell me about rushed romances. Thor and Jane’s relationship is actually pretty realistic, save some stuff in the second movie that wasn’t handled super well. Someone on the internet calculated that Loki’s Earth age is approximately seventeen, or late teens, which would likely make Thor somewhere in late teens-early 20s. Now, consider that he’s a young adult, falling in love for what may very well be the first time, and his fixation on Jane makes a lot more sense, doesn’t it? And as far as Jane goes, well, she’s a practical woman, but she’s also been literally swept off her feet by a giant handsome man who calls himself a god and who helped her retrieve part of her life’s work. Again, you can’t say you wouldn’t be at least a little moved by that. I think maybe having her go into an emotional tailspin after he leaves is a bit much, but I can certainly understand being hurt by what she felt was him ignoring her. Anyway, he makes it clear that she is a priority to him, and while he is certainly a priority to her as well (she was prepared to die with him) she’s a bit more realistic about it, ultimately. We see this with the aforementioned conversation in Age of Ultron: just because he’s sticking around for her doesn’t mean she doesn’t want to go back to work. So, ultimately, is it blown out of proportion? Maybe. But for these two characters, I think it’s reasonable.

2. They’re both dynamic, together and individually.
As mentioned above, Thor starts out as a bit of an asshole with more regard for himself than others.  He does violence before he really thinks about it, he’s impulsive, he speaks in capslock and doesn’t seem fazed by destroying property.  But he spends the first movie learning how not to be a douche, and part of that is Jane suggesting that maybe he avoid that.  Meanwhile, Thor backs Jane as she asserts herself, goes out of her way to help, and honestly, I imagine that his arrival marks the longest amount of time she’s spent with someone who’s not helping her do her research project directly in a while, so, sociability.  That’s something.  Because they have each other, Thor learns not to be a jerk and Jane has the extra bit of proof she needs to get the success she deserves in her field.  And they go from giggly, blushing teenagers with crushes to… well, giggly, blushing teenagers who are dating, but it’s progress.  It’s cute progress.

1. Thor and Jane’s stories compliment each other.
Thor’s character development is pretty obvious: in the beginning of the first movie, he is arrogant, foolhardy, and too charming for his own good. By the end, we have seen him learn to apologize for his actions and not to jump into fights hammer-first, but rather to attempt diplomacy first if possible. (Of course, he’s still having issues with that second part later, but it’s a process.) And by the end of the second movie, he’s admitted that he is not yet mature enough to be King of Asgard. But Jane’s development, though more subtle, tracks as well: she is learning that she and her theories matter, that she’s smarter than most of her peers, and that she’s a very strong person. She’s tenacious and fearless and she refuses to be stopped, even when faced with severe consequences like jail time or death. And once she got onto something that the scientific community would actually listen to, they sat down and took notice. Additionally, in the second movie, she’s the one who carries a fucking Infinity Stone inside her body for something like a week or two, which is no small feat. Jane is learning to own her strengths and Thor is learning to own his weaknesses, and that makes for a more interesting couple than most people initially think.

–your fangirl heroines.

Sundry Sunday :: more modern Goofus and Gallant!

23 Aug

Tonight’s theme, relating to LGBTQA* people!

1.
Goofus refers to someone’s partner as their Friend.
Gallant asks the partners how they define themselves and uses the appropriate verbiage.

2.
Goofus asks questions like “how long have you been gay?”
Gallant does not ask rude questions and uses the terminology he is asked to use.

3.
Goofus doesn’t think that the lesser-known sexualities, such as bisexuality, asexuality, and pansexuality, are “real.”
Gallant may not know everything about everything but respects people and their sexualities regardless.

4.
Goofus thinks bisexual girls want to have a threesome with him and his girlfriend.
Gallant treats everyone as autonomous people who have their own desires and thoughts.

5.
Goofus is afraid of gay and bisexual men because he thinks they will hit on him.
Gallant is not offended if someone he is not attracted to hits on him and doesn’t go out of his way to worry about the possibility of that happening.

–your fangirl heroines.

Sarcastic Saturday :: performative gender complexes in haiku, part one

22 Aug

Is this shirt for boys?
Or might this shirt be for girls?Does it matter much?

Does it make you feel
Happy when you put it on?Boom.  Then it’s for you.

–your fangirl heroine.

Fictional Friday :: 5 more x5 women we’d like to invent an alternate canon for

21 Aug

Haven’t done one of these in a while!   The first two contributed by my drift partner because these things are important.

5. Annabelle Riggs (Fearless Defenders)
Fearless Defenders was a 12-issue comic that ran for most of 2013 and was touted as an all-female team, and it was great. Then Marvel canceled it because no one was buying it and I hate everyone for it, because it was wonderful and I loved it. Anyway. Annabelle Riggs was a character created specifically for the comic, pitched originally as a female Indiana Jones-type but with less field experience and more theory-spouting. She was clever, brave, and loyal, and also a lesbian, as we learned in issue #1 with this panel, when she kisses Valkyrie as a thank you for rescuing her (and also because she is hot tbh). Her feelings for Valkyrie continue to be an explicit theme of the comic for the next five issues, until Valkyrie is transformed into the Doom Maiden of rage (it’s a long story) and almost destroys an entire village before Annabelle is able to stop her with the power of love. And then she’s killed because nothing can ever be nice in comics ever. Granted, within the next couple of issues Valkyrie is able to rescue her soul from Valhalla, but only on the condition that her lifeforce merges with Valkyrie’s and they share the same body. I know it’s stupid, just go with it. So basically, Valkyrie and Annabelle switch back and forth every so often and only one of them can be available at a time. I was glad she wasn’t dead anymore, but are you fucking kidding me that is ridiculous. She did get a new girlfriend in issue #11, but we didn’t get a lot of time to see them together. And then the series got canceled and we haven’t heard anything about her since, so I presume that she’s just hanging out in Valkyrie’s body and not getting panel time. Whatever. Maybe the new Thor and Valkyrie will get together, since Odinson is off pouting to himself. Like I said, I love this comic with all my heart but I still think this was one of the worst subplots I’ve ever read, and I read Ultimates.

4. Myka Bering (Joanne Kelly, Warehouse 13)
To be fair to Warehouse 13, it was doing so many good things before season 4. It was a story about a team of misfits who worked together to find and retrieve magical artifacts and keep the world safe, and it featured a variety of well-written female characters who were all distinct, interesting people. It also featured a male-female partnership that was explicitly non-romantic. So I’m not really sure what happened, but season 4 sent Myka’s character development down a path she never recovered from. The first red flag was in 4×04, when she is “whammied” by a wish-granting artifact that Pete accidentally uses to wish himself a family, and she got magicked pregnant. It’s established in the first season that Myka doesn’t want kids, and in this episode she panics and expresses a great deal of distress over being pregnant. Pete, to his credit, is apologetic and horrified that he’s caused his friend distress, but in general it’s a weird episode that plays up the magic pregnancy for laughs and doesn’t really pause to acknowledge Myka’s unhappiness (it is undone by the end of the episode, thank goodness). Then somewhere in the back half of the season, Myka finds out she has ovarian cancer. She is terrified and decides to keep it a secret from the rest of the team, but because this is television Pete finds out and acts all pouty because she never told him about it. And then in the season finale, we see her deciding to go in for surgery and it’s left on a cliffhanger. Then…she’s perfectly fine in 5×01, and it’s hardly mentioned again. It was lazy, cheap dramatics, in a season that already had too many subplots. Finally, season 5 was a disgraceful embarrassment in pretty much every way, but especially when it came to the sudden introduction of ~Pyka~. (I am incapable of writing it without the sarcastic tildes.) From the beginning of the show, Pete and Myka had been work partners, and some of their dynamic was a bit standard (think Beckett and Castle) but the difference was that Myka never showed a hint of romantic or sexual interest in him, and his flirting with her quickly petered out into a genuine fondness and respect. They referred to each other as brother and sister, sharing a very close bond that is scarce on television between different-gender partners, and it was lovely. Until, of course, the network interfered and demanded a romantic subplot because, well, apparently the Myka/HG storyline the writers accidentally wrote was too gay or something. So in the final season, we went from watching coworkers who had a deep platonic bond to watching a pair of teenagers who danced around each other like they had suddenly become aware of each other’s sexuality. There is literally a flashback scene in the final episode that they invented to pretend like the “sexual tension” had been there all along (it hadn’t) and their realizations that each is in love with the other come across less like important personal revelations and more like the confession is being dragged out of them against their wills. The big confession scene is hollow and false, especially since we know Joanne Kelly has been against ~Pyka~ since season 2 and it’s likely she was hating every romantic scene she had to film. And the worst part of it is that Myka, in the beginning of the show, is reeling from the death of her fiance (Sam) and attempting to throw herself into work to get over it. It is over the first four seasons that she learns to trust her fellow Warehouse agents and open up to them; they become a family. Her storyline is about love, but it’s not the kind of love we’re used to seeing showcased in fiction, and she barely expressed interest in getting together with any other guys after she had properly grieved for Sam. (Her story with HG was as much a surprise to her as to the writers, I think.) She had become strong on her own and she had become strong because of her love for her family, but to suddenly throw her into a romance at the end that she’s never expressed interest in before really cheapens it all. It was framed as being about Pete’s wishes more than hers (incidentally, the entire finale is all about him and his problems and how he can’t handle that the Warehouse is self-destructing and did I mention that Pete has never been the central character in this show because he hasn’t), and it was horrible and gross and upsetting and bad writing.

3. Myrcella Baratheon (Nell Tiger Free, originally Aimee Richardson, Game of Thrones)
So remember how in the books Arianne and the Sand Snakes are on Team Myrcella?  Because in Dorne they put girls in the lineage based on their age, not after all the boys, so by Dornish law Myrcella should have the throne before Tommen, and also the Martells are still not on Team Lannister but Myrcella is a nice girl and beloved of Trystane and by all accounts cleverer than Tommen anyway so she’d theoretically be a better baby monarch?  Remember how in the books Arianne exists and is all big-sisterly toward Myrcella?  Remember how in the books Ellaria is like “no, please stop all this murdering”?  Remember how in the books they didn’t make a shitshow of the entire Dornish storyline?  This is a hill I will die on too but they still have chances to redeem themselves.  I’ve even thought of a way they could semi-retcon Arianne in.  They won’t do that particular thing but they might do the rest.  In any case, though, I would settle for that timeline for poor sweet Cella right now even though it’s not exactly sunshine and puppies for her on account of, you know, the maiming and all, and it might eventually go to shit.  She’s still breathing, though.  And I mean, I guess I understand why her being murdered was the logical conclusion of what the show did, so I’m not exactly angry about it in the same way as the thing I’m about to talk about, but I am angry about it.  Cella deserves a timeline not pseudomedival in nature, where she can be adorable and happy and not be thwarted for it.  I’m not sure exactly what, but she’s got the air of a coming-of-age story about her.

2. Shireen Baratheon (Kerry Ingram, Game of Thrones)
Shireen’s murder, however, I am furious about.  Because unlike Cella, who might at least in death be a catalyst for something or another (somewhat like poor Lyanna Stark?  Certainly like Elia and Rhaenys Targaryen by way of Martell), Shireen’s death served the purpose of making the audience aware of the fact that Stannis [Stephen Dillane] was a crappy person.  (Because Renly’s murder, the subsequent other people’s murders, hadn’t done that already?  I don’t really know.  But some people were late to hop on the “Stannis is crap” train.)  It also sparked a chain of events including Selyse (Tara Fitzgerald) offing herself and many of Stannis’ soldiers, and then Melisandre (Carice van Houten), abandoning him before he went to go fight the Bolton army, whereupon they were defeated horribly (therefore proving the futility of Shireen’s murder) and then Brienne (Gwendoline Christie) came along and murdered Stannis.  Mind, I am thrilled that Brienne murdered Stannis.  But the murdering of Stannis put Shireen’s own murder into perspective.  It wasn’t done to further any plot, it was done to tie up what would otherwise be a loose end that served no purpose in the showrunners’ eyes once Stannis was out of the picture.  And that?  That is complete nonsense.  Shireen is a sweet darling girl and I want her to live in a world where she can give literacy to anyone who wants it and be happy and alive and not overprotected and I don’t even care what the details are but maybe let’s facilitate actually sending this girl to school.

1. Kara Lynn Palamas (Maya Stojan, Agents of SHIELD)
The more I think about Kara the more I want to wrap around her protectively and hiss at any bad influence that comes near.  And this is kind of a funny impulse on one hand, because we know virtually nothing about “real Kara,” what Kara was like before Hydra and then Grant Ward brainwashed her.  (And I will argue till I’m blue in the face that the latter did that very thing.  Abusive relationship, a la the Joker and Harley.  Every single thing that Bobbi [Adrianne Palicki] said about what he was trying to do to her was true.  Every.  Single.  Thing.)  But I want to know that.  I want — well, okay, back when there were rumors about a spinoff for Bobbi, I had two ideas.  One is my crack-filled Bobbi and Lance (Nick Blood) flip houses premise.  One is a road trip story of sorts where Bobbi and Lance, probably, would take off on some mission.  In a convertible, because this is important.  Along for the ride would be Kara (this premise was designed pre-finale, obviously, so I didn’t account for any of that baggage), trying to find herself again in the wake of everything (“are you sure this is the best for her, Bob?” Lance would ask.  “Director’s orders, and besides, it’s no worse than the base,” Bobbi would shrug, though she privately had the same worry).  An episode in, Lance would get murdered for reasons and Bobbi would be upset (not heartbroken, because she doesn’t love Lance because she’s aromantic, but upset, because she cares about him despite her better judgment) and then she and Kara would drive around the country like, having adventures and finding themselves and doing good agent things for those in need and probably developing a really lovely romantic friendship where they kiss even though it’s not love because Bobbi doesn’t do that and honestly Kara isn’t probably up for it but they still can enjoy each other and take comfort in each other and Bobbi would show Kara she’s beautiful no matter what or some sappy but true nonsense like that and Kara would get her mind back and all would be well.  But barring that, I will gladly put Kara in any alternate timeline where she is granted agency and respect and adoration, because she deserves that, because having one’s agency taken and being disrespected and used as a thing of convenience instead of a person, especially by someone who claims to care about you,  is one of the worst things in the world.

–your fangirl heroines.

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