[ SECRET POST #5661 ]

[case]

⌈ Secret Post #5661 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.


01.



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02.
[SIX, a musical about the wives of Henry VIII]


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03.
[Supernatural]


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04.
[Agatha Christie]


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05. [repeat]



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06.
[Charlie and the Chocolate Factory]


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07.



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08.









Notes:

Secrets Left to Post: 01 pages, 16 secrets from Secret Submission Post #810.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[(Anonymous)]

I often feel that characters are written as more accepting of trans and other LGBTQ people than real people like them probably would be, but I also think it usually makes sense from a narrative perspective, because if the story isn't About bigotry, a character being transphobic or homophobic (or racist or anything else) would mean there should be time taken out of the real story to address the issue and that would disrupt the flow. The only other way to not disrupt the flow would be having the character be a bigot and get little more reaction than "ok you're an asshole moving on" and that would... not go over well with audiences. I think we can suspend our disbelief for the way it's done, like we do for other unrealistic things on TV (and not just the supernatural ones. Developing relationships, people's ways of talking, etc. They're all streamlined differently to fit narratives or flow better.)

[(Anonymous)]

The thing that makes it jarring to me is that the narrative so actively goes out of the way to thoroughly and clearly address it, and then does so in a way that feels like a teachable moment. I would've much preferred if Victor'd just shown up with cut hair and been like, "It's Victor now," and they'd been like, "What? But you-- I mean--" and then Five or someone had walked in like, "The universe might be ending; you can ask Viktor how he spells his name later, if we're still here," or whatever.

I feel the exact same way about literally all social justice related stuff in fiction: either skate over it with flare, or address it with subtlety and nuance.

if the story isn't About bigotry, a character being transphobic or homophobic (or racist or anything else) would mean there should be time taken out of the real story to address the issue and that would disrupt the flow.

I don't disagree with you, per se (I think your entire comment is solid really), but I do think this isn't necessarily true, if the writers are good at what they do. I mean, the first place my mind went when I read this was the first episode of Shameless, where Lip discovers that Ian is gay and has a very believable but not ideal reaction to it. And the scene where they actually talk about it and Lip gets his head around it and they reconnect again is like a minute and a half long, and still manages to feel nuanced and in character for those specific characters and their situation. TUA takes time out of the main plot to address Viktor's coming out anyway, so it's not like they couldn't have used that time more deftly, is basically what I'm saying.

I genuinely DO hear what you're saying, and I think your points are extremely valid. But I think my argument is, that's not simply the unavoidable nature of film media; it's the nature of mediocre film media, which is a lot of film media--but not all.