Tag Archives: ruth negga

Superlative Sunday :: our thoughts on the 2017 Academy Awards

26 Feb

It is very poetic that a movie made about black culture, i.e. jazz, that featured only one black person (La La Land), was upset by a story written and directed by a black man, based on a play by a queer black man, about a queer black man (Moonlight).

We did not watch the awards tonight. We stayed in and cuddled and watched Loving instead, and quietly mourned the lack of an Oscar for Ruth Negga, who is the most fabulous.

Good job, Zootopia. Good job, Viola Davis and Mahershala Ali.

I’m judging the hell out of Suicide Squad winning anything, even and especially makeup and hairstyling. You won an award for writing “Damaged” in elegant cursive across Jared Leto’s 2edgy4u forehead. I am judging the hell out of it.

I’m also kind of judging Fantastic Beasts winning costumes, largely because I judge when anything that’s predominantly suits with no apparent metatextuality to them wins costumes anywhere. I’m sure they were very nice suits, but I am a snob.

Fuck off, Casey Affleck.

–your fangirl heroines.



Television Tuesday :: 2016 and the No Trope Bingo cards

27 Dec

Ah, our old friends.

Disclaimer: I have watched maybe like… eight different shows this year because I literally can’t be bothered to undertake a lot of things that people tell me I should because I know they’ll fail me eventually and I’ll be sad.


Bechdel fail: Agent Carter was again 100% on this, of course. (This season was far from perfect, but I’m still going to miss you, my Peggy my darling.) Agents of SHIELD‘s 2015 efforts put them above 90%, including a couple episodes that were just “smack the Bechdel test in the face,” so that’s pretty damn good; Game of Thrones also stepped it up this year, coming in around 70% I believe (the document I was keeping track in, very scientifically, got lost when I switched phones this week, oops). At least in my shows, this year did better at this than other categories.

disregarded logic: I mean, The Librarians always disregards logic. That’s kind of its thing. But again, I did not do too much screaming at my television going “THIS MAKES NO SENSE,” unlike years prior.

underused/invisible POC: Agent Carter… managed a whole one POC character this year, Jason Wilkes (Reggie Austin), so that was still not great but one is at least better than none. Game of Thrones did not know what the hell to do with Missandei (Nathalie Emmanuel) and Grey Worm (Jacob Anderson) this year, which was annoying, nor did it give the Sand Snakes a lot to do although what little they did was still, in my opinion, delicious. Penny Dreadful racebent Dr. Jekyll and Dracula, so that was kind of cool? And then meanwhile Agents of SHIELD ran a glorious parade of POC characters and killed two white guys, while Luke Cage was beautifully black all the time and deal with it if you don’t like it. I feel like statistically this is a decent picture of television at large. A lot of things not really succeeding, a few standing much farther out.

dead family manpain: the Tower of Joy, which only halfway counts. Dead daughters came up sometimes, but usually from women. I’ve managed to cut most of the dead family manpain out of my television life, I hope.

invisible lesbians: no, this year was just full of dead lesbians and Sapphic ladies, in outstanding number but mostly not on my own shows. Game of Thrones instead gave us Yara Gayjoy (let’s be real, probably more like Yara Female-Leaning-But-Pan-joy, but the pun is too good) and let her shine. Penny Dreadful had a Sapphic army. And all the women of SHIELD continue to be outstandingly queer together, though it goes unsaid, but it’s not like it’s been said and it’s not being shown. It’s just implicit and I have a lot of feelings about it (also, Jemma Simmons is in the narrative closet and I will passionately argue this point based on my own real life experience).

vicious female rivalry: the demon possessing Kate (Madison Davenport) and Kisa (Eiza Gonzalez) got pretty scrappy. But considering that the paradigm of this category is Cersei vs. Margaery, it’s not quite the same thing. Cersei (Lena Headey) did in fact get way too vicious on Margaery (Natalie Dormer) and I mourn but also, narratively, at least we finally got Feast for Crows Cersei.

ho-yay: there’s none I’m explicitly recalling, which means if there was any it at least wasn’t overall detrimental.

infectious diseases: thank the gods, no.

dead prostitutes: there was a passel of them on Preacher, but Tulip (Ruth Negga) made her opinions abundantly clear and that was sort of justice for them. On the other hand, Lily (Billie Piper) led the above-mentioned army of prostitutes who murdered men for abusing them, and though poor Justine (Jessica Barden) willfully went to her end, they took revenge and it was beautiful.

dead little girls: see above re: families. Again, nothing egregious, thank the gods.

sexualized violence: eh. There’s a fine fine line, which is always tread by television and film. Nothing egregious, but also could be avoided more.

Madonna/whore: there was a bit of a play with this with Margaery’s religious conversion, but it wasn’t narratively sanctioned so much as acknowledged as a game she was playing.

Oedipal undertones: Cersei’s always a little cesty with her family members, including baby Tommen (Dean Charles Chapman), but with Cersei it kind of just is what it is and you move on.

fridging: aside from the 10001 dead Sapphic women, many of whom I cannot speak to personally, and beloved Barb (Shanon Purser), poor Margaery passed, but I don’t know it was a traditional fridge; Vanessa (Eva Green) met her end but it was of her volition; Emily (Lucy Griffiths) was among the dead of Preacher but, eh, that was a whole town, it could be worse; Candace (Deborah Ayorinde) was more vaulted than fridged; but Lincoln Campbell (Luke Mitchell) died in a literal fire and took the corpse of Grant Ward (Brett Dalton) with him and that was justice.

gratuitous sex: I mean, nobody needed to see Grand Maester Pycelle all postcoitus but at least he died and it was also justice. A lot of sex scenes were awkward but not singularly space-fillers.

inappropriate male attention: as I cast disapproving eyes on Hive. As I cast disapproving eyes on anyone who ever looked at Nancy Wheeler, ever. As I cast disapproving eyes on Uncle Asshat Greyjoy. As I cast disapproving eyes on Dracula. Etc. This will be a problem for all eternity.

pedophilic Stockholm: mm, Sansa (Sophie Turner) basically told Littlefinger (Aidan Gillen) to fuck off in the most ladylike way possible so that was satisfying.

infidelity: see also, the Tower of Joy. Etc.

custody battles: no, thank the gods.

conscious irresponsibility: Jesse (Dominic Cooper) was irresponsible, but he was also possessed, so that kind of makes up for it. Etc.

narrative neglect: see above re: Missandei, Grey Worm, and the Sand Snakes. That would be my largest complaint.

uneven f :: m ratio: technically, this is true basically everywhere. SHIELD‘s main/main supporting cast is fairly even, and Agent Carter‘s wasn’t bad; overall, more ladies, though.

narratively excused sociopathy: plenty of sociopaths but the narrative fully knew how they were sociopaths and said it.

love triangles: eh. Ehhhh.


window dressing: mm, not in any particularly gratuitous circumsance.

narratively excused intolerance: see also: Preacher is set in a small town in Texas. It’s excused, but also it’s a picture of just that things are bad.

lack of POC: see above.

general male brooding: the only thing Lincoln Campbell did before he died, really.

lack of queer people: much much. I will observe that apparently Supergirl (which I’m still not watching, I admit) has done some cool coming-out stuff so that’s nice to hear.

narratively enforced gender policing: what of it I’ve seen has mostly been called out.

compulsive heteroeroticism: see also, romantic FitzSimmons. Jeepers.

crazy inbred hillbillies: none of those I’ve dealt with this year.

slut shaming: I’m sure there’s been but aside from the Margaery situation I’m blanking.

children as plot devices: Tommen is a plot device but honestly, that’s just how it is. Most of the kids this year were human props.

police brutality: requisite “I hate the Sokovia Accords and everything that comes from them even though a lot of it isn’t even on the TV shows” mention. Also, Luke Cage, but that was calling that out.

love interest syndrome: ah, my poor Jemma (Elizabeth Henstridge). It’ll be nice when this mess is over with. For example.

pseudo-incest: hm. I could have done without Mike (Finn Wolfhard) and Eleven (Millie Bobby Brown). That’s kind of in this category.

vaulting: see above re: Candace, for the biggest example.

gratuitous consequenceless substance abuse: mm, nah, I think there were pretty well consequences.

excused unwanted overtures: and most of these were unexcused, at least.

forgive your abusers: one interesting thing about the unfortunate Hive situation was, at least, Daisy’s (Chloe Bennet) stages of grief regarding her abuse, so that was the opposite of this… but then, this is another reason I’ll drag romantic FitzSimmons, though it’s obviously to a lesser degree. So.

compulsive motherhood: not really?

“don’t do the brave thing”: a fair amount of “I am doing a brave thing but you should not because you don’t deserve to get hurt,” which isn’t the same.

(evil) white guy redemption arc: mm hey, remember how Grant Ward died twice?

narrative double standard: catchall because always, often in critical reactions.

women as plot devices: again. Sort of always.

narratively excused non-con: this year was much better.

past non-con as cheap plot device: also better.

I’m less angry this year, but I watched fewer things. So.

–your fangirl heroine.


Television Tuesday :: 10 shows and their ladies in 2015

30 Dec

So this is what I think about positivity-wise in television anymore.  Some entries by my drift partner.

10. From Dusk Till Dawn
Despite flaws (which, you know, everything has, and I’m wary of what’s going on with poor Kate [Madison Davenport] but y’know) season two of this show was essentially a 10-episode revenge arc for blessed Santanico (Eiza Gonzalez).

9. Penny Dreadful
I’m not entirely done with watching through season two of this but I continue to at least be glad about how absolutely pivotal Vanessa (Eva Green) is.  Also the episode with her and the Cut-Wife (Patti LuPone) that was basically just smashing the Bechdel test in the face and giving an origin story and the fact that our s2 big bad is Helen McCrory.

8. Game of Thrones
This show mistreats… virtually all of its women ranging from neglect to misuse to horrible crimes against their humanity to actual murder, but that doesn’t mean that the women itself aren’t incredibly fabulous.  I’ve sneaked feelings into all of my fashion posts with them, but suffice to say I have them and I love everyone, except I still have problems with Selyse [Tara Fitzgerald] and Myranda [Charlotte Hope] was horrible and the opposite of the completely separate Myranda from the books and there are other characters that I love as characters but not as people, but mostly I love everyone and hope it gets better from here and they all get a chance to do murder to asshole men.

7. The Librarians
This show continues to be hilariously silly but Cassandra (Lindy Booth) flirts with girls on accident and Eve (Rebecca Romijn) basically fills the role that would normally be a dude and there’s support and it’s sweet.  Also Cassandra is just adorable and I love her.

6. Supergirl
As well as being the first superhero television show centered around a female protagonist in more than a decade (Birds of Prey on The WB aired for a season in 2002), this show also features a great deal of relationships between women. Kara Zor-El (Melissa Benoist) has a foster sister, Alex (Chyler Leigh), who she has been close to since her arrival on Earth as a teenager, and a foster mother (Helen Slater). Her boss, Cat Grant (Calista Flockhart), is dismissive of her but possessive of Supergirl, and there are frequent appearances from both her mother’s hologram and from her Aunt Astra (Laura Benanti), the latter being the villain of the piece. Episodes smash the Bechdel Test and the emotional core of the show is centered around Kara and Alex.

7. Flash
This show is…confused about what to do with its female characters on a good day, but they themselves are pretty delightful. Iris West (Candice Patton) had a plotline about her allegedly dead mother (Vanessa A. Williams) reappearing and announcing first her degenerative disease, and then the existence of Iris’ little brother, Wally West (Keiynan Lonsdale), as well as dealing with the sacrificial death of her fiance, Eddie Thawne (Rick Cosnett). Caitlin Snow (Danielle Panabaker) also lost her fiance Ronnie (Robbie Amell), and now works for Mercury Labs while growing closer to the Earth-2 version of Flash, Jay Garrick (Teddy Sears). Patty Spivot (Shantel VanSanten) came on as Joe’s new partner, and was involved in a revenge plot involving her dead father (as well as being Barry’s new love interest, because these writers are still pretending Barry and Iris aren’t in love). Kendra Shaw (Ciara Renée) appears as Cisco’s new love interest, but it turns out she is actually the reincarnation of Chay-Ra, or Hawkgirl, and she will be part of DC’s Legends of Tomorrow.


5. Brooklyn Nine-Nine
Amy Santiago (Melissa Fumero) finally got together with Jake (Andy Samberg), completely owned the entire precinct on Halloween, and found out six-drink Amy is the least fun person ever. Rosa Diaz (Stephanie Beatriz) tried out the Big Brothers Big Sisters program, broke up with her boyfriend, and came face-to-face with her old dance teacher again. Gina (Chelsea Linetti) followed Captain Holt (Andre Braugher) out of the Nine-Nine and into the PR department, egged six-drink Amy on, and passed her astronomy final.

4. Jessica Jones
This show debuted about a month after Supergirl, to a great deal of fanfare, but also skepticism. After all, Jessica Jones was a D-list character at best, nowhere near a household name, and while Daredevil had gone over very well, that character at least had the 2003 movie to give him some notoriety. Marvel’s Alias was 10 years old, semi-obscure, and the character hadn’t had a significant appearance in years. Fortunately, the showrunner chose to tell a story about abuse, survival, personal strength, and male entitlement that was disguised as a gritty superhero show. Jessica (Krysten Ritter) is a beautiful unapologetic asshole, and her friend Trish Walker (Rachael Wilson) has been the one constant in her life for years. Jeri Hogarth (Carrie-Anne Moss) is an attorney friend – or “friend” – of Jessica’s, who sometimes works with her on cases. Hope Shlottman (Erin Moriarty) is another victim of the villain Kilgrave (David Tennant), although her ending is less happy than Jessica’s. There is also a sideplot about Jeri’s ex-wife Wendy (Robin Weigert) and her new lover Pam (Susie Ambromeit).

3. Daredevil
Karen Page (Deborah Ann Woll) got hired at Nelson & Murdock, as well as helping to uncover the Kingpin’s (Vincent D’Onofrio) secret hold over Hell’s Kitchen. Claire Temple (Rosario Dawson) dealt with Matt Murdock (Charlie Cox) stumbling into her life continuously and bleeding all over her furniture (as well as making a guest appearance on Jessica Jones, where she dealt with different bleeding superheroes stumbling into her life). Vanessa Mariana (Ayelet Zurer) stepped into her place as the female partner to Fisk’s criminal enterprise. Elena Cardenas (Judith Delgado) enlisted the help of Nelson & Murdock to try to save her apartment complex.

2. Agent Carter
Angie Martinelli (Lyndsy Fonseca) was a beautiful ray of sunshine and a constant, enthusiastic support for Peggy (Hayley Atwell) no matter whether she knew all of the details of the situation or not, because she trusted Peggy and it was beautiful.  Dottie Underwood (Bridget Regan) was part of crafting an important female legacy in the overarching canon and created a compelling antagonist and equal.  And Peggy Carter is one of the most important women on television.

1. Agents of SHIELD
But Daisy Johnson (Chloe Bennet) may arguably be one of the most important women in the entirety of media.  Daisy, previously known as Skye, is an absolute force of nature (slight pun intended) and no matter whether she’s hacking, doing social justice, supporting her people, or using her kickass Inhuman powers, she’s absolutely remarkable.  Also, Melinda May (Ming-Na Wen) had both a compelling backstory and a beautifully compelling if often overtaxing current storyline, the likes of which is rarely granted to female characters.  Bobbi Morse (Adrianne Palicki) actually had screen time devoted to both her physical and emotional healing after a traumatic experience and that’s pretty damn cool.  Jemma Simmons (Elizabeth Henstridge) survived outer space and while there have been some minor clusterfucks in her current line she continues to be unbreakable (although it would be A+ if they stopped trying to break her so much).  Rosalind (Constance Zimmer) was the most delightfully terrifying dominatrix girlfriend known.  And let’s not forget about all of our friends from 2b, who have been previously mentioned in varying depth (fascinating Jiaying [Dichen Lachman], beautiful poignant tragic brilliant Raina [Ruth Negga], heartbreaking Kara [Maya Stojan], and Anne [Christine Adams] who I’m convinced is still involved with SHIELD but had to nope out of the Playground upon realizing that its director was going to be a doucheface about the Simmons In Space Situation and knowing that there was nothing she could do).  I feel more about this show than about other shows pretty unequivocally and I will acknowledge its flaws but I will fight you about its positive points.

–your fangirl heroines.


Marvel Monday :: relationships between female characters on Agents of SHIELD.

15 Sep

So tonight we are here to talk to you about relationships between the female characters on Agents of SHIELD.  As the chart illustrates, there are many.  And we’re going to discuss them all.  Because it’s important.

(And she’s Skye until she says she’s Daisy singularly.)

Skye (Chloe Bennet) and Melinda (Ming-Na Wen).
The most obvious relationship analogue here is that of mother and daughter. Melinda acts as a somewhat beleaguered mother figure to the youngest team members, but especially Skye. At first, she’s a bit dismissive of her, questioning whether Skye should be on the team at all; Skye looks up to her after Melinda saves her life in the pilot, and in 1×11, she goes undercover posing as Agent May (much to May’s chagrin). But May’s feelings toward Skye don’t really start to warm until Skye’s shot in the stomach in 1×13. In the scene where they try to revive her with (at that point unknown) Kree blood, May asks tensely, “Is it working?” and shows visible relief when Skye stabilizes. Then, after the team discovers Ward’s betrayal, May goes to visit Skye, bringing her a drink, and they have a talk about how Skye’s dealing with it. From that point on they’re much closer, and by the time the second season has started, May is Skye’s new SO and we see them running missions and training together. May’s still her blunt self – “Don’t get cocky, this is step one” – but she and Skye clearly respect and are fond of each other. This, of course, makes it all the more heartbreaking when Skye eventually is forced to (she thinks) make a choice between her people and her team, and the two have a confrontation. “I hope your mother is everything you wanted her to be,” says Melinda, stone-faced. Later, Skye feels threatened and uses her new powers against May, though May is mostly unscathed. Eventually, of course, the truth comes out and Skye rejoins the team, but the future of her relationship with May is a bit uncertain.

Skye and Jemma (Elizabeth Henstridge).

Skye and Jemma, as we would be the first ones to tell you, are everything.  As Jemma says to Trip (BJ Britt) while Skye lies in her medical pod, “We have nothing in common…couldn’t be more different.”  “But you can’t imagine your life without her,” he says, to which she agrees.  Skye is the team’s first mission and then the team’s new recruit, and immediately Jemma is bubbling over with excitement about Skye being on board.  They’re friendly, they and Fitz (Iain de Caestecker) work together, Skye is distraught when it looks like Jemma is going to die and then ecstatic when Jemma is safe and alive, and then “I can’t be a part of your bad girl shenanigans! I like following the rules and doing what’s expected of me.  It makes me feel nice” and nothing is ever the same.  There are hilarious moments (manscaping) and heartbreaking moments (when it looks like Skye is going to die and Jemma is distraught) and moments where I honestly don’t know what the writers or actresses were thinking if not what I got out of it (their, erm, doctor-patient scene in 1×15) and it’s pretty clear that these girls are close as all hell.  Season two puts something of a pin in this, but Skye still saves Jemma’s life and still says how glad she is Jemma is alive and Jemma still threatens to kill Ward in part because of what he did to Skye while physically guarding Skye from him and Jemma doesn’t understand Skye’s powers at first but she still tries to help save her life no matter what and “I just want you to be safe, Skye. You know that, right?” and everything hurts.  The best thing about them, in my opinion, is that they are such different people, but they still care about each other so much. Skye’s recklessness combined with Jemma’s caution gave us the infamous “I can’t be a part of your…bad girl shenanigans!” scene, which was hilarious. They compliment each other so well: Jemma is a planner and when she tries to be spontaneous, it fails, and Skye’s spent her entire life having to think on her feet so she excels at it. Skye is blunt and snarky and funny and Jemma is generally a bit more diplomatic, unless she feels very strongly about something. And Jemma pays attention to the details that Skye doesn’t really think twice about – she brings her the Hula girl from the Bus, after all, and made her the gauntlets to control her powers. And most of all, as evidenced by the multiple examples above, they directly look out for each other.  They celebrate the other’s well-being and save the other’s life and try so hard for each other and all I’m saying is that if one of them was a boy they would already be canon by now.

Skye and Bobbi (Adrianne Palicki).
Less to go off of here.  Skye and Bobbi have interacted the least out of the main four at this point, but there are still instances of significant life-saving and Bobbi calling Skye a rockstar and there’s a foundation for something really solid and good here.

Melinda and Jemma.
Jemma is another of Melinda’s ducklings, and Melinda explicitly stated that she told Bobbi about the cube in order to protect Jemma, on top of the many other things that have been done for this same purpose if indirectly.  Jemma was initially very reverent of Melinda, and still respects her a great deal.

Melinda and Bobbi.
These two are more comrades-in-arms than anything, and there’s a bit of impressive subtle parallel construction.  They’re both soldiers who have made sacrifices for their cause, some more traumatizing than others (the “let the girl go” theme, which honestly can be applied to Bobbi regarding the finale too, I expect), and they have both suffered for it but stood strong.  And they both have the ex-husband theme, though it plays differently.

Jemma and Bobbi.
It could be strongly argued that from the moment Bobbi saved Jemma’s life, Jemma had a very definite hero-worship crush on her, and while they continue to do things that may seem flirtatious they also develop a very legitimate actual friendship.  Multiple times throughout the season Bobbi and Jemma have serious conversations about one thing or another (work, other significant players in their lives) and it could be argued that Bobbi is really the only one who spent much onscreen time listening to what Jemma had to say.  I assume that Bobbi had no hard feelings about Jemma knocking her out because she understood, because even after the “real SHIELD” takeover Bobbi and Jemma continued to talk.  With some reticence on Jemma’s part for other reasons, but Jemma still jumped into the surgical act of saving Bobbi’s life with aplomb.  Again, they directly have saved each other’s lives and it’s incredible.  That episode where we’re introduced to Bobbi was basically a spy romcom.

Skye and Jiaying (Dichen Lachman).
My personal issues with Jiaying’s eleventh-hour villainy aside, I actually thought her relationship with Skye was very well done. We’ve known that Skye’s search for her bio-parents is what drives her to join both SHIELD and Rising Tide, and even when she became involved in official SHIELD business it was always at least a secondary element of her plotlines. One of the most interesting things the show did with them was keep Jiaying’s identity a secret from Skye for a few episodes after they’ve met, while the audience knows about it. Jiaying spends a while mentoring Skye first, teaching her how to use her newly manifested powers, before revealing the truth. “I was too afraid to hope,” says Skye, crying, even though Jiaying immediately tells her not to share the secret with anyone. It becomes obvious why later on, when Jiaying suddenly turns into a general bound and determined to start a war with SHIELD and will kill anyone who gets in her way, even Skye. It’s heartbreaking to watch Skye get everything she wanted and then have it yanked away from her in the space of a few episodes, but it’s well-done and powerful and I don’t know that I’m happy with it, exactly, but it was handled well.

Skye and Raina (Ruth Negga).
More parallel construction.  (This is one of my favorite terms when discussing MCU, honestly.)  Both, we eventually learn, had tough lives, and they seem to have reacted in directly opposite ways: Skye becoming generally compassionate and reaching out to help others, Raina becoming incredibly skilled at looking out for herself at others’ expense.  Yet they both point toward the same moment: the evolution of terragenesis, which yields unexpected results for both. At first, Skye is pissed: Raina’s actions caused destruction and Trip’s death. Eventually they seem to reach a peace of sorts and Raina accepts that her grand destiny is to die that Skye may live and learn, and it’s sort of beautiful.

Melinda and Maria (Cobie Smulders).
We don’t see a lot of the friendship between May and Maria, but May asks Maria to bring reinforcements at the end of season 1, when SHIELD is under attack. She chooses to do this as Maria is walking alone at night, talking to Pepper Potts on the phone, and Maria says something about how Melinda’s lucky she knew Melinda was there or she could’ve hurt her. They’re clearly friendly with each other, and there’s probably a lot more going on there than the show can get into. May’s mother, in her one scene, mentions that she likes Maria. (This led to a pervasive fandom theory that Maria was the person Melinda had been married to “once,” which turned out to be false but was enjoyable nevertheless.)

Melinda and Victoria (Saffron Burrows).
Both were agents and therefore they were colleagues.  Respect was a mutual thing, although Melinda did sort of pull the wool over Victoria’s eyes that time.

Melinda and Isabelle (Lucy Lawless).
Both were agents and therefore they were colleagues.

Melinda and Anne (Christine Adams).
Both were agents and therefore they were colleagues, but the way that Anne reacted to Melinda trying to get one over on the real SHIELD before they took over suggested there might be more going on in that background, and of course there’s mutual respect, albeit sometimes grudging.

Melinda and Kara (Maya Stojan).
Well, Kara had Melinda’s face. They fought while Kara was under various influences.

Jemma and Victoria.
Mainly, Jemma seemed to have a giant hero-worship heart-eyed colored penciled crush on Victoria. That’s pretty much the gist of that.

Jemma and Anne.
As the director of the Sci-Tech SHIELD Academy, Anne was Jemma’s supervisor and professor.  Jemma respected Anne very seriously and Anne respected Jemma in turn, calling on Jemma’s medical expertise even after real SHIELD took over and in doing so respecting Jemma more to her face than certain male agents on her own team.

Jemma and Kara.
Well, Jemma did medical-examine Kara.  I’d like to think that in another world, a world where Kara was granted emotional agency, this could have become a friendship.

Bobbi and Victoria.
I mean, I assume they were colleagues and friends by virtue of both being agents with Isabelle in common.

Bobbi and Isabelle.
“I love your whole thing, you know that?”  Friends, mutual real SHIELD colleagues, mutual experts in putting up with Lance Hunter’s (Nick Blood) bullshit.

Bobbi and Kara.
Bobbi is the first person we see talking to Kara like she’s, well, a person.  This is powerful and later complicated by the knowledge that Bobbi’s intel is what got Kara captured. Not knowingly, not maliciously, but because it was the rock or the hard place and Kara happened to get caught in the crossfire.  This sucks, but it’s probably no reason to kidnap and torture and nearly murder someone.  But hey, that’s what A+ Guy Grant Ward is here to enable.

Victoria and Isabelle.
Girlfriends they were girlfriends we never saw it and the only clue we have aside from writer interviews is Isabelle mentioning she got a text from Victoria on the day SHIELD fell but they were girlfriends nobody can stop me.

Skye and Hannah  (Laura Seay).
These two only have one conversation, but it’s an important one for Skye. Hannah is panicking because she’s terrified that she’s called forth a demon and God has forsaken her, and Coulson brings in Skye because he seems to think Skye can get through to her. Skye’s not so sure, but she starts talking to Hannah, and even though she doesn’t really believe in God, she did grow up at St. Agnes so she knows Hannah’s basic beliefs. She’s compassionate as she explains that she’s not even sure if there is a God, but that if there was one, the idea that God is love is the one that resonated with her. Hannah is comforted and Skye learns that she’s better with people than she thought she was.

Skye and Sif (Jaimie Alexander).
Skye respects Sif, as she is naturally inclined to fangirl over someone who a) associates with an Avenger and b) is a badass woman in her own right.  And Sif sees Skye’s willingness to put herself in harm’s way for her team’s good and respects that back.

Skye and Akela (Pascale Armand).
Skye helped save Akela’s life and stuff.

Skye and Isabelle.
They worked together as agents, mostly offscreen.

Skye and Red.
You know, the self-cloning ginger Inhuman girl.  They knew each other and then fought each other.

Melinda and Hannah.
“Let the girl go,” which is to say Melinda saving Hannah’s life was one of our first real clues about her.

Melinda and Sif.
These two are something like friends, despite only having met twice and for very brief periods. The first time, they have a conversation about weapons which sounds…well, not entirely without innuendo (something about how Melinda’s handled a weapon before “but I prefer to use my hands”), and the second they go searching for clues about the series of events that lead an amnesiac Sif to land on Midgard. Those scenes are especially endearing, since Sif, knowing nothing of her own identity, immediately decides Melinda is a person she should be emulating, for example crossing her arms when she sees Melinda doing so.

Melinda and Akela.
Melinda helped save Akela’s life and stuff.

Jemma and Akela.
Jemma helped save Akela’s life and stuff.  Complete with complicated ocular surgery.

Jemma and Audrey (Amy Acker).
Jemma helped save Audrey’s life and stuff.  Complete with sympathetic conversation.

Raina and Jiaying.
At first Jiaying spoke for the possibility of Raina’s gifts.  Then she saw a less-positive outcome of them being used and did some murdering, but eh.

Sif and Lorelei (Elena Satine).
A rivalry of epic proportions, waged across realms.  This is cool because it’s not every day you see such a thing between two women.

Jiaying and Red.
Jiaying was kind of Red’s boss, so.

Raina and Debbie.
Raina murdered Debbie a lot when she stopped being useful, and they were also totally making bedroom eyes at each other.  (For everyone who’s forgotten, Debbie is the ginger Centipede doctor from the first five episodes.)

–your fangirl heroines.

Marvel Monday :: Flowers With Thorns [a Raina fanmix]

22 Jun

flowers with thorns (front)

flowers with thorns (back)

1.  Right as Wrong (Inara George)
I wanna leave the house, wanna stand up now, open the door and find a destination, a revelation. I’ll see a ghost, he’ll steal my voice and I’ll begin again. I wanna be right, I want to be right.

2.  Happy Flower (Nellie McKay)
Me and you, we tease, we try, we’re cuttin’ off the ample charms put forward from the skies. But it’s a happy flower in the mornin’ sun And it’ll keep on glowin’ when the mornin’s done. And though our happy flower doesn’t make a sound, well, it’ll keep growin’ ’til it fills the ground of the garden ‘neath our window pane.

3.  Freak Like Me (Santigold)
If you will, there’s no need then to lay down. Why could you not stand, take a chance now, oh. Freak like me, freak like me, you a freak like me freak-freak like me-me.

4.  The Apocalypse Song (St. Vincent)
It’s time, you are light. I guess you are afraid of what everyone is made of. Time and light, I guess you are afraid of what everyone is made of. So take to the streets with apocalypse refrain, your devotion has the look of a lunatic’s gaze.

5.  No Mythologies to Follow ()
Born free, who am I to be when nothing in the world will have to rely on me? I remember good old times, the starships in your eyes, now we’re just getting drunk and die. You make me wanna waste by our wonder, only the gods save you when I’m gone. And we walk in fire like every riot and we do not know what to do. Where, where do we go? Where the, where the wind blows. We’re the youth on our own, waiting for our call. Where, where do we go? Where the, where the wind blows. Generation with no mythologies to follow.

6.  Lawless (Zola Jesus)
In these lawless times I’ve got nothing left to hide, give it up for good .You either run or take it and I know I won’t lose the will to make it out alive. Remember those unbilled days when I bought all and nobody could tell me I was wrong no, and in my own desire I’d be owed to no one other than myself?
We gotta get used to it now.

7.  Dark Doo Wop (MS MR)
The earth breaks, it falls and save your beat. I’d find myself swallowed, drowning in your heat. As long as we’re going down, baby you should stick around, baby you should stick around.
This world is gonna burn, burn burn burn. As long as we’re going down, baby you should stick around, baby you should stick around.

8.  Volunteer (Bitter Ruin)
Yes it’s a shame but you’re missing the point, I am fine, reliving, reliving, And yes I’m ashamed but the milestone is wandering far and I’m running, still running. Matter of fact you’re the bible with a violent impact, matter of fact you are blind.  In my mind I guess I am a volunteer, here out of choice.  In my mind I guess I am a volunteer, screaming with no voice.

9.  That Light (Dark Dark Dark)
Where’s that light you’re looking for? You can’t see it with your head underground, so just dig yourself out. You, your hands are stronger than you’d ever imagine so use them and dig and dig….

10.  The Flowers (Regina Spektor)
The flowers you gave me are rotting and still I refuse to throw them away. Some of the bulbs never opened quite fully, they might so I’m waiting and staying awake. Things I have loved I’m allowed to keep, I’ll never know if I go to sleep.

11.  Rose & Thorn (Alela Diane)
Said what I needed to say, I guess. Left those words a-hanging like a red dress. Oh the mess I’ve made, a crimson rose, a hundred thorns. Don’t ask me to explain for I do not know why, I’ve been keeping secrets for the first time in my life. Oh the mess I’ve made, a crimson rose, a hundred thorns.

12.  Cocoon (Polly Scattergood)
They sing of lost electric love, they sing about hope, they sing of giving up and then they sing about joy. They sing of pain, they sing about cold metallic blame. From my cocoon of angel wings, from my cocoon, I’m gonna let you in.

13.  Alien (Kim Boekbinder)
It’s bitter, it’s salty, yet sweet. It helps us go strong and good to do the right thing, just like we should, to do the right thing just like we should. When we are so removed we are alien.

14.  A Brand New Me (Bitter Ruin)
A waiting game, and though I can’t sit still, I’m sure that you are in more pain, as you’ve the guilty plea. And you can claim upon your mother’s life that you are in the clear, the jury’ll pin the blame on me. But I know that you know the lie and I know that you know there’s details you cannot deny.  So I will lie defeated here and though it may take many years, you’ll come clean.  I will cry repeatedly but I’ll come out the other side a brand new me.

Flowers With Thorns at 8tracks.

the most rage

Marvel Monday :: on the SHIELD finale

18 May

So here we are on a brand new theme day to talk about the SHIELD finale.  These bullet points will be frustrations wiith the plot and metanarrative grievances mixed with analysis, positive points, and observations, and will be primarily about the finale but partially about the season as a whole.

  • Jemma (Elizabeth Henstridge).  Jemma Simmons is an angel, a precious sweet science princess, and I went into the finale basically expecting her to be the one to take a bullet for someone.  I didn’t want my girl to be hurt, I just wanted her bravery to be large-scale acknowledged and intuited that at this point in the narrative her self-preservation instinct was at perhaps 10%.  And she helped at Afterlife, as much as she was able; she saved Bobbi’s (Adrianne Palicki) life medically.  These things were wonderful.  The things with Fitz (Iain de Caestecker) are still unclear and open for interpretation, as far as I’m concerned, so I’m going to continue to sit in my corner just praying for it to turn out not the predictable way.  I’m talking about the very end of the episode.  There’s Jemma Simmons doing science and then the rock-liquid-thing bursts free (because Fitz accidentally left the latch open) and swallows her.  That’s it, that’s the end.  This wouldn’t bother me as a cliffhanger week-to-week, because week-to-week cliffhangers are just ridiculous sometimes but you have them answered soon, but as the summer cliffhanger it strikes me as an insult: Elizabeth Henstridge has confirmed that Jemma’s alive, but we don’t know more than that, and this way she comes off as more something being used for shock value and less a character whose agency is respected.  I’ve since thought of several possibilities for where she’s gone and what’s happened, and they’re comforting if nonsensical, so I’m not going to be raging about it all summer, but to say that I was upset about it is rather an understatement.
  • That scene between Fitz and Jemma that seemed to be framed as him asking her on a date…that gave me really horrible flashbacks to the Warehouse 13 series finale, in which the male and female leads suddenly, despite four seasons of material that would suggest otherwise, got all awkward-crush with each other and confessed their love. I’m really worried that they’ll do the same thing to Jemma that they did to Warehouse’s Myka (Joanne Kelly), because Myka’s repeated explicit refusal of interest in Pete (Eddie McClintock) in a romantic way got completely steamrolled in the last season in order to give Pete the romance subplot he’d allegedly wanted. Hopefully, this won’t happen, but it was a little close for comfort for my tastes.
  • While I understand the narrative reasons for the deaths of Kara (Maya Stojan), Jiaying (Dichen Lachman), and Raina (Ruth Negga), and I’m not really upset about two out of three of them (Kara’s I’m mostly sad because I find it suspicious at best that what apparently tipped Ward over into explicitly being a villain is…the death of a lady…okay), I do kind of find it awkward that all three of them were women of color. To its credit, the show does have a higher amount of women of color than the majority of TV shows on the air right now. And in the past, it has brought two of them (Anne Weaver [Christine Adams] and Jiaying) back from the dead. Also, in pretty much no series ever has there been a woman of color getting killed by another woman of color in order to protect a woman of color. This episode had a lot of interesting little things like that (I also can’t really think of too many female antagonists of color who have been written as the hard-hearted general who is trying to protect her people and fuck everyone else), but when you step back and look at the facts, they’re all still dead. And Coulson (Clark Gregg), Ward (Brett Dalton), and Cal (Kyle MacLachlan) are still mostly fine. It’s an unfortunate habit that this show seems to have fallen into.
  • STOP TRYING TO MAKE HUNTINGBIRD HAPPEN.  I actually have a theory, vaguely supported by canon, that Bobbi is aromantic and either unaware of it or unable to make Hunter (Nick Blood) understand it. She says at one point, “Hunter’s always worn his heart on his sleeve, I don’t know how to do that… maybe something’s wrong with me.” Which is not, of course, an ironclad identifying statement, but it is an interesting thing for a character who has been shown to form emotional friendship bonds with people, while having a tumultuous relationship with her designated love interest (wherein he seems to care far more about the non-sexual aspects than she does). The likelihood that the writers actually know what aromanticism is is miniscule, but it’s something that I find kind of comforting, much like imagining that Fitz is asexual.
  • Grant Ward is horrible.  I never had strong feelings about Grant Ward prior to the reveal that he was Hydra, and after that my feelings progressed from “oh my god they’re doing it they’re making their Mr. Cheekbones the bad guy I’m so happy go to hell Mr. Cheekbones” to “oh my god what an asshole I hate him actively” to “how about Melinda and Bobbi beat him up, Jemma hits him with poison somehow, and then Skye shoots him right in the head” to their current state, “I DON’T EVEN CARE WHO DOES IT GRANT WARD JUST NEEDS TO GO AWAY.”  (I, on the other hand, hated him on sight from day one, and my feelings did not improve at any point in season 1 prior to the Hydra reveal. Then I felt very smug when he turned out to be the worst.) There are two interesting things about Grant Ward, though: his rabid fanbase of apologists (people who bend over backwards to excuse and justify him and his actions because he is an abuse victim and an attractive white guy – Kara pretty much recited all of their main talking points in this episode, finishing with their rallying cry/hashtag “I will always stand with Ward”) and the way that the narrative seems intent on decrying him and proving over and over that there is nothing good to come of him.  2.19 was an exercise in watching the entire team be done with his shit – Bobbi, who prior to this point had had minimal personal interaction with him (more on this in a minute) but knew of him, was trying to hold it together when the thoroughly if not “technically” brainwashed Kara was going on about him; the conversation on the Bus about how Skye (Chloe Bennet) was glad she’d shot him and Jemma and Fitz and Melinda (Ming-Na Wen) agreeing; Jemma’s attempt to off him.  Interestingly the only one who wasn’t entirely done with his shit was Coulson, but then again, Coulson was the one least personally affected by Ward.  And then, if I personally needed any more reasons to hate Ward, he brought Kara into a plot for her “closure” that involved kidnapping and torturing Bobbi: Bobbi was having none of it, saw right through what was going on and tried to get Kara to see through it too (deconstructing the incredible level of manipulation on Ward’s part), tried to defend herself and her people to the best of her ability but didn’t apologize for doing what she’d had to in the past (which yes, it was shitty that that had happened and avoiding it would have been better, but it hadn’t been done maliciously).  Bobbi was, well, amazing.  And Grant Ward tortured her, among other things with needles (I couldn’t tell you the details because I only watched these scenes with my ears, given that needles are one of my only hard nos).  I really, really hope that Grant Ward doesn’t hurt anyone else I care about, but I also really hope that Grant Ward is so evil in season three that it ends with his death.
  • Coulson, come to think of it, is an unreliable narrator.  It’s not necessarily good or bad singularly, but it’s interesting what we only or primarily get his POV on (Cal being the thing that comes to my mind first).  It’s also probably why “real SHIELD” had grievances, honestly.  When one person’s POV becomes the thing dictating everyone’s actions and fates, there are going to be fuckings-up.  (Being entirely honest, I spent most of the season genuinely angry at Coulson largely for the reasons that “real SHIELD” cited and also for his improper handling of mental health situations.)
  • Anne Weaver and Jiaying, though.  As mentioned above, both characters (both of them women of color) were brought back from the narrative dead, Anne a death by default (we hadn’t heard about her fate, she was probably dead) and Jiaying a very explicit death.  Yet within a couple of episodes, suddenly here they both were again, both with an increased and multifaceted role in the narrative.  Anne was, as part of the “real SHIELD,” one of the voices against Coulson’s leadership style and choices, yet she also managed to show more overt respect for both Jemma and Melinda than other characters had in ages, maybe all season.  Jiaying was introduced as a mentor figure, for all of the Inhumans but also for specifically Skye, and the narrative spent a nice long time allowing us the audience to get to know her as a person and understand her motivations before the eleventh hour reveal of her unstellar choices (which were in large part prompted by others’ previous unstellar choices in the past as regarded her as an individual).  And the amazing thing about this is: I called both of these situations.  I’ve been quietly screaming “but what about Anne Weaver” since the beginning of the season, I’ve been sitting here going “but Jiaying could be alive, though!” at least since the winter hiatus.  This latter plotline/character development is also significant because of the honestly eerie similarities it has to a certain other plotline/character development in a certain series of books that is the increasingly loose basis for a certain television program, a plotline/character development that those in charge of said show decided to forgo altogether.  It’s like these guys said “well, if they’re not going to do it, then we’re going to do it.”  And considering that I think Jiaying was handled mostly well, I’m going to go out on a limb and say I’m glad that that was the interpretation we got, not the one that originally was supposed to be given us.
  • I watch this show with a few other people, and one of them, while not thinking about it enough to be considered a true SWWer, has been fond of throwing the phrase “redemption arc” around as far as Ward is concerned.  The first time I rolled my eyes.  The second time I growled.  The third time I believe an expletive was used.  Etcetera.  I’m not sure if he truly believes this or just says it to annoy the rest of us (the rest of us are avid anti-SWWers, after all) but he says it a lot.  I bring this up now and not above because I find it fascinating that the “r-word,” as I’ve come to call it, can properly be applied in this but, instead of being applied to Ward, can be applied to Raina.  Raina my manipulative crazy knowledge-and-glory-hungry girl, who spent the first part of the season building to the transformation, then spent the immediate time following her transformation disconsolate and confused and in pain both emotional and physical, then after her gift of prescience was revealed settled into an understanding of her purpose and role and filled them admirably, sacrificing herself because she knew it was the right thing.  Who saw her fate and in accepting it and understanding how it filled what she’d always wanted went out just how she wanted to, which is to say gloriously, if unmagnificently.  Another interesting point to note: Raina, for her entire run on the show, has been “Flowers,” the girl in the flower dresses who filled her prison cell with origami flowers and spoke fondly of them, but to my remembering was never in the same shot as flowers that had been cut – until the scene where she predicted her own death to Skye.
  • And then there was Skye. Skye is my girl and I am so proud of how far she’s come from the pilot, where she was just a mouthy kid in a van who didn’t want anything to do with the establishment and may or may not have been a mole. Part of my affection for her is me projecting like crazy, because I can count the number of mixed-race characters I’ve encountered in fiction on both hands and none of those characters have been half-Chinese, like me. So when the show went out of its way to canonize her as a half-Chinese character I had a lot of feelings. (I still find it irritating that apparently the writers just didn’t want to even entertain the possibility that a person born in China to a native-speaking mother might perhaps have a Chinese name – hell, I’m fourth- or fifth-generation and I have one! – but oh well.) But I’ve also loved watching her grow and mature and evolve over the course of the last two seasons. She has gone from someone who was closed off and selfish and snarked her way through pain to a girl who is willing to do whatever possible to protect the people she cares about, as well as people she doesn’t even know. She became the first superpowered woman in the Marvel Cinematic Universe, and she learned how to use those (seemingly destructive) powers to her advantage, to save and protect people. And she found her parents, and they didn’t turn out to be anything like she’d imagined, and she found a way to accept that and stop making them and their absence an integral part of her emotional journey. I admit, also, that part of my glee is in the knowledge that the viewers who have hated Skye from the beginning and were calling for her death since the first episode are probably really mad right now, because not only is she a canonical 616 character, she has full Protagonist Immunity. She basically can’t die, because the story is about her now. I think the last time I saw anything remotely like this was Nikita, maybe? And that was a very different sort of story. Niki was the anti-hero on the hunt for redemption; Skye is a superhero classic, the flawed but ultimately good-hearted person who wants to protect and save people. And she’s so important.
  • statistically speaking, I do believe every episode of the season passed the Bechdel test, if barely (some conversations slid between being about men and not about men, but at the least women spoke to each other in every single episode).  And 2.17, “Melinda,” which was one of the strongest episodes of television I’ve seen this year, probably, involved male characters exclusively appearing in flashbacks designed to explain a woman or providing a support role to a woman, with the exception of the last short scene.

–your fangirl heroines.

secret smile

Television Tuesday :: 2014 in television (some missed opportunities and some positive things)

30 Dec

Missed opportunities

Jessica (Deborah Ann Woll) and Adilyn (Bailey Noble)
Because while I was mad at gorram True Blood from the get-go thanks to the Tara (Rutina Wesley) situation that I’ve already discussed at length, the first episode at least did have one situation with promise, the one with Jessica and Adilyn.  While I still hate what happened to the other Bellefleur girls (I think I care about the auxiliary Bellefleur girls more than everyone else in fandom combined, and I’ve come to terms with this fact, but but aren’t they a missed opportunity too wouldn’t you watch the shit out of a show about baby fairies who embody tumblr and look at the world through fresh eyes and therefore are optimistic about most things while also not understanding manners 100% of the time and I’ve spent too much time thinking about this I’m so sorry) I hate more that this situation was never really resolved.  Jessica felt guilty and swore to protect Adilyn, then after Adilyn was drawn into the actual most horrible kidnap scene they… didn’t say anything to each other ever again.  Adilyn didn’t even attend Jessica’s bullshit wedding, despite the fact that it was in the daytime and Adilyn’s father was presiding over it.  What could have been an interesting, complicated friendship (with undertones?) was basically a plot device that was thrown to the side in favor of both girls getting shoehorned into unnecessary heterosexual romantic relationships that consumed their entire characters.

the entirety of Sons of Anarchy, tbh
Sons was never my favorite show, but it didn’t used to annoy me as much as it did by its final season.  And maybe some of that was just that I was blindingly mad about the Tara (Maggie Siff) situation, or that I got increasingly frustrated that I couldn’t play “how is it Hamlet” nearly as well, or maybe it was just that when every episode is two hours long it stops meaning anything that they’re that long, or maybe I don’t know anymore, but it just felt so unnecessarily drawn out.  Also increasingly sentimentalist and with an increasingly laughable score.  “I think Sons might have been better served as a three season show,” I mused, causing one of my people to berate me for questioning the creator’s artistic vision, but it stands.

all of these dead people
All of them.  Even the ones on shows I don’t technically watch.  Special shoutout to Amber Mills (Natalie Hall), who for some reason I am also really bitter about, because I mean, Sarah Newlin’s black sheep-y vampire sister could have been such an interesting storyline and… nothing.  Also, obviously, Isabelle (Lucy Lawless).  Poor thing.

the damn Orson’s beetles scene
You know.  The one before Tyrion’s (Peter Dinklage) trial where he talks to his brother Jaime (Nicolaj Coster-Waldau) about his cousin Orson smashing beetles.  And it lasts for something like four minutes and it does absolutely nothing to further the plot in my read.  This has actually become a thing with my mom and I: pointless scenes happen in media and we turn to each other and say “Orson’s beetles.”  It’s a code.  And anyway it’s a missed opportunity because that scene is, uh, not about Orson’s beetles in the books, it’s about something important that they just sort of ignored in the show and I’m not sure how that’s going to play out in the future and that scares me.

Positive things

sometimes SHIELD and ladies
It’s had its failures and its questionable moments as regard ladies (see also the above dead people collage) but when it gets things right, it really gets things right.  Jemma (Elizabeth Henstridge) saving everyone else and herself with her porcelain-ivory-steel-skinned resolve and her scientific knowhow?  Melinda (Ming-Na Wen) kicking all of the ass (hey remember that time she made a joke about how she was always on top when she and Ward [Brett Dalton] banged while beating his ass I do) and also being an important supportive figure to the entire team but especially Skye (Chloe Bennet)?  Skye growing from awestruck mouthy hacker baby to capable snarky take-no-shit agent to honest to gods superhero?  Raina (Ruth Negga) who was originally supposed to be a one-off character becoming this compelling-as-hell not quite villainous queen of moral gray areas and wide-eyed faith?  Thank you, guys.

the following Game of Thrones things

  • Oberyn (Pedro Pascal) taking time out of his busy bisexual orgy schedule to explain bisexuality (and his bisexuality specifically) to Olyvar the boywhore (Will Tudor).
  • Varys (Conleth Hill) taking time out of his busy confusing scheming schedule to explain his asexuality to Oberyn.
  • Oberyn in general.  Pretty much all of his stuff was perfect.
  • Ygritte’s (Rose Leslie) death scene.  I mean, I know that scene in the book inside and out, so there were lines I missed (why, why, why did they go to the trouble of including the “is that a castle?” “no, it’s a windmill” part in season three if they didn’t have Ygritte asking Jon [Kit Harington] “is this a castle?” while she was dying in his arms) but overall it was well handled and I wasn’t disappointed.
  • Missandei (Nathalie Emmanuel) and Grey Worm (Jacob Anderson) and their out-of-nowhere crush thing.  Normally it would annoy me if they wrote crushes in that weren’t book canon, especially because in the books Missandei is a ten-year-old, but this was handled tactfully and sweetly and also, if by default, is an asexual romance!
  • The rest of this list.

–your fangirl heroine.

taking no shit today thank you