Don’t Let Boys Be Mean To You

My mother is a huge doormat.

Growing up, she always impressed upon me the importance of forgiveness, whether or not the party in the wrong deserves it–or even wants it. It’s no wonder that she stayed married to the same abusive man (my father) for 17 years until he died or why she was willing to let me suffer the daily torment of bullying until I was on the verge of suicide at age 13.

But that’s our burden as women: having to excuse bad behavior. Because if we don’t, when we speak up against the ones who are doing us wrong, we’re labeled as bitches, or that we’re too sensitive, or that we can’t take a joke, or maybe it’s that time of the month. Either way, our legitimately hurt feelings are just labeled as us being overly emotional, and are dismissed. And that’s wrong.

I had a bunch of guy “friends” in school, most of which thought it was hilarious to tease me and insult me nearly to the point of tears. I took their harassment and belittlement, because I knew if I protested, I would be considered too much of a girl to hang with the big boys. When I was 17, I once asked myself why I hated spending time with my friends. At age 21, I now realize they were never my friends in the first place.

But I’ve realized that no matter what friendships you think you’re losing, you have to stand up for yourself. You can’t just let bad behavior slide because “boys will be boys”. Boys will never develop empathy or compassion until we make them listen to us. So if someone is making you feel upset or comfortable, speak up. If you can see that your friend is being hurt by someone else’s words, don’t just laugh along with their abuser. We’ve been letting boys be mean to us just for the sake of getting them to like us for far too long, and it’s completely unacceptable. ~TRL

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Love Is The Answer (Feminist Media)

A Wrinkle In Time was one of my favorite books as a child. So when I first saw the trailer for the Disney adaptation, I was eager to see it. Meg Murry was just like me: wore glasses, self-deprecating, stubborn, misunderstood, and angry with a world that devalued her. So I was excited to finally see her save the day on the big screen.

What I wasn’t expecting was to burst into tears as Meg angrily declared to the monster that she was flawed, but regardless, she deserved to be loved–a message that 14 year old me really needed to hear. Hell, that’s a message 21 year old me needed to hear.

Less than a year ago, another woman-empowerment movie, Wonder Woman, also directed by a woman and also starring Chris Pine funnily enough, came out. Both movies tell the story of powerful women who fight monsters that are portents for humanity’s inner darkness. At the end of the movie, Diana says that “only love can save the world”, meaning that we must spread love for one another to fight hatred and violence, but A Wrinkle In Time teaches a different but equally important lesson: we must also love ourselves.

This is an important lesson to show young women, especially girls of color. Girls are taught from a young age that they’re automatically in competition with each other, that they must be skinny, dress like mini-fashion models, that they must smile and swallow their anger. Girls of color are especially impressed upon to be more like white girls. Meg’s naturally curly hair is a reoccurring topic in the movie. She ties it up at school because she’s embarrassed that’s not sleek and straight, and when the IT shows her ideal self, her hair is straightened like the popular girl from school.

And society is rough on teenage girls. They mock their YA books, their music, their makeup, their UGG boots, their pumpkin spice lattes. And from as young as age 12, men are already sexualizing these young women, yet teenage girls who want to explore their sexuality are labeled as sluts. So a movie with a girl who saves the day by something as simple as appreciating who she is is a refreshing take on adolescent girlhood. And note, once Meg had learned to herself, the first thing she does is show kindness to the girl who had bullied her at the beginning of the movie, who we see is suffering as much insecurity as Meg herself.

Diana said, “It’s not about deserve. It’s about you believe in. And I believe in love.” Well, Meg Murry shows us there is one person who deserves our love: ourselves. Because our love for ourselves will spark love for others. And only love can truly save the world. ~TRL

Why Celebrities Aren’t Ashamed of Being Sexual Predators Anymore

Trigger warning for mentions of sexual assault.

Roy Moore. Bill Cosby. Harvey Weinstein. Kevin Spacey. Charlie Rose. There’s a new one everyday. There have been so many accusations of sexual assault in the media that it’s no longer shocking, which is a sad reflection on our society. And when celebrities are called out for their misconduct, very rarely are they made to answer. Everyone jumps to their defense, claiming that these women are just making up the story, attacking poor innocent men who never did anything wrong, that they’re just attention whores or they have a liberal feminazi agenda (even though bad behavior clearly falls on both ends of the political spectrum).

It follows a simple pattern. In 2016, as Donald Trump was running for President, oven ten women came forward and reported that he had sexually assaulted or harassed them at some point. But Trump denied his misconduct at every turn, claiming, that all the allegations against him were a plot to undermine his Presidential campaign. Access Hollywood even released a tape revealing shocking and disgusting commentary made by Trump, casually claiming that he habitually grabs women by their genitals without their consent (no, Mister Trump, we do not let you do anything just because you’re famous). But despite all the evidence against him, he was never charged, and now he’s President.

With Trump on America’s throne, it’s become quite obvious to the American people that sexual predators, if they are rich, powerful, and predominantly white, can not only get away with rape and harassment, but be lauded by the public and have successful careers in business and politics. He’s the motherfucking President of the United States! And he’s been accused by tons of women of sexually assault or harassment. And it seems like roughly half of America just doesn’t give a fuck.

So of course the predators are coming out of the woodwork. They’re obviously not outing themselves, but rich and powerful men don’t have to be ashamed of themselves or apologize for committing sex crimes anymore, because in this country, you can literally be a known “alleged” rapist, and be elected Head of State. What kind of precedent that must set for these disgusting people.

As Matthew Norman once said, “Power means never having to say you’re sorry.” It seems like he was right.

Gender Starts At Childhood, Not Birth

I’ve been a member of the LGBT community for a few years, and I’ve had friends scattered all over the gender identity and sexual orientation spectrums. I don’t claim to know everything about the nuances of sex, gender identity, and romantic/sexual orientation, but I would consider myself an accepting individual, and am always open to learning more about people and their identities. So when I first encountered the idea of gender fluidity and non-binary identity, I was intrigued.

When I was born, I was declared female and I was pretty much raised that way. That’s not to say I was a girly-girl: I loved playing in the mud, I disliked jewelry and the color pink, Legos were my favorite toys, and I opted to play on the boys’ team when participating in girls vs. boys games on the playground. But I wasn’t a tomboy either; I loved playing Barbies and dress up (even though usually I was a firefighter or a railroad engineer), and I didn’t really have an interest in sports (although that was mainly because I was never good at them, not because they were “for boys”). I guess you could say that my gender expression as a young child was fairly gender neutral.

I do remember one instance when I was six where I was insisting to my mother that I was a boy, because at that time I thought of myself as a tomboy because I wasn’t super ultra-feminine like the other girls at school. Finally, my mother convinced me that I was a girl because I peed sitting down rather than standing up. But my notion that I was a boy never stemmed from a desire to actually be a boy, but rather that I should be because of the gender roles society enforces on us at youth. Never in my life have I suffered from “penis envy”. I’m glad I was born female, and I doubt I’ll ever change that.

That being said, now that I’m older, and have learned from my friends and my online community that there’s more than two genders, if I was asked, I would say that I don’t really feel like I have a gender—that I’m agender, if you will. Sheltered from such ideas until up into my late teens, it never occurred to me that I could be anything other than what my parents, my doctors, and society had classified me as. I still wear feminine clothing, but that’s because I find women’s clothing appealing. I dress for me, not my gender identity. I go by feminine pronouns (she/her) out of convenience, not because those pronouns particularly feel right or wrong.

But I always come back to that one moment when I was six and my mom convinced me that I was a girl.

I think it’s important to listen to children, because despite popular opinion, they aren’t stupid. No one knows us better than ourselves, and childhood is one of the most important developmental stages in our life, second only perhaps to adolescence. If our teenage years are the time that we come into our own identity and realize who we are, then childhood is the time that we collect the building blocks—morality, opinions, personality—that will someday form into ourselves. When my parents made me believe I was a girl, that had an indelible effect on who I am as a person, and I’m not unhappy the way I am. But I’ve often wondered: what if I’d been allowed to continue believing I was supposed to be a boy? Would I still be the person I am today, or would I be someone completely different? Would I dress the same, act the same, have the same beliefs? Our actions can shape people in ways we can’t imagine, and our parents arguably have the largest effect on us all.

I decided a long time ago not to have children of my own, but someday I might adopt kids. If I ever do, I know what kind of parent I want to be: a loving, understanding one. One who her children can confide in about anything. One who really listens to them. One who her children aren’t afraid of, but who rightfully earns their respect, and respects them in return. One who will sit on the front row at their wedding and cheer them on, no matter who they’re marrying, or whether they’re wearing a tuxedo or a wedding dress. ~TRL

The Art Of Writing Female OCs

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Television and film writers, I get it. You wanna have more awesome girls to even up the playing field and level out these awesome guys you’ve got to work with – and that’s great! But there is a way to go about it, and there is a way to NOT go about it. As a woman, and a writer, will you please…just listen to me? Because I’m about to give you all the secrets to creating strong original female characters.

*Note, this is an article focusing on creating female OCs for media based on pre-existing material. Not that it can’t help with purely original works either.

Comics have been dominated by men since forever (even though their female audience is larger than they realize), so naturally, there are a lot of strong male superheroes. Yeah, we’ve got our Wonder Womans and our Black Widows, but let’s be real: when you think of  “superhero”, you probably think of Superman, or Batman (because money is totally a superpower, right?), or Spiderman. I mean, how many of you have actually heard of Ms. Marvel? Anyone? Anyone? Bueller?

With shows like Arrow and The Flash, stories about boys saving the world, there’s a crying need for a female counterpart. A Bonnie for every Clyde, a Scully for every Mulder. Oliver Queen has Felicity Smoak. Barry Allen has Caitlyn Snow and Iris West. Even Kara Danvers on Supergirl has her sister Alex. All badass secondaries in their own right. But the grandmother of all these awesome OFCs is the intrepid right hand of Smallville‘s Clark Kent – Chloe Sullivan.

Chloe was my idol growing up. She was whip smart, witty, brave, and indomitable. She wasn’t just a love interest or just a sidekick. She was a person, with an identity and a personal life and a mind of her own. Yes, she did have a crush on Clark for a while, but it didn’t define her. Helping Clark and the Justice League was important to her life, but it wasn’t the only aspect of her character. She wasn’t stuck as a prop in the narrative. Chloe was so freaking awesome, she actually was put in DC Comics as a real canon character. That is the way you write new female characters.

So let’s just make a little list of dos and don’ts when writing strong, three dimensional women:

  1. DON’T make a woman just a love interest or helper for the main protagonist.
  2. DO give your female characters a backbone (or have them develop one over the course of the narrative – because character development is always a great tool for a writer to use!).
  3. DON’T presume that a “strong” female character just means a woman who punches people a lot (because let’s be real, without the ass-kicking, Black Widow would just be Ms. Fanservice).
  4. DO give your female characters a storyline of their own! If they don’t have a life of their own, they’re not really a character, they’re just a object in the narrative. There’s an easy test you can use called the Mako Mori test. There’s only three requirements: 1) have a female character, 2) who gets her own story arc, and 3) her story arc doesn’t support that of a man. That’s it, that’s all there is to it. Believe me – it’s not as hard as you think.
  5. DON’T make a woman a damsel in distress. It’s fine if she gets saved sometimes, but it’s great to turn the tables occasionally! Lois Lane saved Superman a few times, you know.
  6. DON’T define a woman by traditional gender roles (romantic interests, mothers, etc.) – be original!
  7. DON’T have “strong” women be romantically interested in jerks or weak guys – because that doesn’t happen in real life. I know men don’t really want to have to try when it comes to getting women and they think they just deserve us because that’s what our society has taught them, but in reality, truly strong women don’t love men who obviously aren’t good enough for them. Instead, have a man truly earn her love – that does not mean automatically receive it just because. Or have the man and the woman be on equal footing from the beginning. When a woman says she’ll never love a man because he’s a jerk, DON’T have her do a 180 by the end of the episode and throw herself at said jerk (lookin’ at you, Supergirl).

This is turning into a rant, I’m gonna stop myself now.

To provide a cautionary tale of what NOT to do, I’ll bring up the infamous BBC Sherlock. The original Holmes canon doesn’t lend itself very well to strong ladies. It’s essentially the excellent adventures of two “heterosexual” male life partners. The only long running female characters are Mrs. Hudson (sometimes Turner), the voiceless housekeeper, and Watson’s beard wife, who except for the one story where she’s a client, pretty much has no dialogue either. So naturally, there’s a crying need for girl power.

Enter…Molly Hooper. Oh, Molly.

In the very first scene she’s in, it’s made apparent to everyone that she has a gigantic crush on the eponymous detective. Okay, that’s fine. But that’s literally where her characterization begins and ends. Throughout the entirety of the series, Sherlock either ignores her, makes outrageously rude remarks to her, or uses her feelings for him to get her to do things for him. There was a brief respite in the beginning of series 3 where it seemed like there was some growth for Molly’s character in being able to move on from Sherlock, but in the last episode of the show, Molly has hit rock bottom in the pit of patheticness, getting weepy over Sherlock and demanding that he tell her he loves her, even though she knows it’s not true, instead of just realizing that Sherlock is kind of a dick to her and moving on with her life.

I pity any woman who thinks they should have been together. If that’s your idea of romance, don’t be surprised when none of your boyfriends respect you.

So, TLDR, don’t make a Molly Hooper. Make a Chloe Sullivan. ~TRL

6 Pairings That Romanticize Abuse

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Every time, I swear to God, every time I fall in love with a new TV show, some asshole comes along, sweeps up the main character, and brings down the entire show, causing me to stop watching in disgust. I’m not kidding, this has happened three times this year alone.

Abusive relationships being romanticized is one of the things that I absolutely hate with a burning passion. But gone are the days where the hero dudes go around smacking their girlfriends, because if that happened, everyone would be up in arms. No, TV and movies have found sneaky ways to paint abuse as “true love” and get away with it scot free. But luckily for you, my little raspberries, I’m here to expose their malpractices with the light of truth!

For this article, I’ve avoided obviously abusive pairings, like Joker/Harley Quinn and Hannibal Lecter/Will Graham, or pairings that have been beat to death by the mainstream like Bella/Edward (seen above) and Anastasia Steele/Christian Grey. I’m choosing to focus on those pairings who are the darlings of their fandoms, who can obviously do no wrong. Oh, but they can, my ducklings! They can. I’m about to rock your world.

**Warning: mild spoilers ahead for various media, including Star Wars: The Force Awakens and BBC Sherlock.**

1. The Phantom and Christine Daaé, The Phantom Of The Opera

Because every girl’s fantasy is to be stalked by a murderer in the shadows and be forced into marrying him or have to watch her childhood best friend be strangled to death. I don’t give a shit how many roses he leaves in her dressing room – that’s f**ked up.

Not to mention, Christine is 18. Eighteen! She’s barely legal as it is. She claims that the “Angel of Music” (the Phantom) has been tutoring her and watching over her since she first came to the opera house. She’s been living there since she was eight years old. And thanks to Madame Giry’s flashback, we know that Erik is only a few years younger than Madame Giry – so he’s 40, at least. This is a fully grown adult who’s been stalking a child and gaslighting her until she’s old enough to bang. That’s disgusting.

But, you know. Some free music lessons and a candlelit boat ride through a swamp make everything okay.

Gaslighting: a practice in which the abuser gains the trust of the victim and uses that trust to manipulate them into doing things against their will, all while maintaining the pretense of someone who has the victim’s best interest at heart.

2. Rey and Kylo Ren (Reylo), Star Wars VII: The Force Awakens

It honestly shocked me that this was even a popular pairing – or a pairing at all. Not as popular as Kylux (Kylo Ren and Armitage Hux), but it’s up there.

There’s not much to go on here, as there’s really only a couple of scenes between them, but what is there, is pretty frightening. I’m going to put aside the fact that Kylo straight up murdered Rey’s friend and father figure. I’ll even waive all the physical abuse in the lightsaber battles because, hey, this is Star Wars, and it isn’t exactly Star Wars without lightsaber battles.

But there is the creepy torture scene (torture isn’t a very good premise for a romantic relationship, now is it?) where Kylo is trying to get information out of Rey and threatens her with a line about how he can force her to tell him what he wants to know, and J.J. Abrams himself admits that this is supposed to be a “rape” scene. Getting inside a person’s head and violating their thoughts is mind rape. Plus there’s the disgusted, fearful look Rey makes as Kylo reaches toward her face that tells us all that Rey is in distress. Rey is trapped in the room, tied down, and can’t escape this situation, where she’s under the threat of physical violence and having her mind raped by Kylo. And that is abuse.

3. Kara Danvers and Mon-El (Karamel), Supergirl

This is what I was talking about earlier when I said TV shows often get ruined by some asshole (Mon-El) swooping in and becoming the protagonist’s “true love”. I’ve stopped watching Supergirl because my once beloved show about a strong, kind lady hero has been hijacked by this entitled jar of mayonnaise.

Upon crashing down in National City, Mon-El has done nothing by lie to Kara (not telling her that he’s the prince of Daxam), insult Kara and everything she stands for (“You fly around, rescuing people, like you’re just pure of heart, but that is crap. Because you love that attention. You love people loving you. You are not selfless.”), and go against Kara’s wishes (“You have ignored what I need from moment one today”), and generally just be a piece of shit (“I never said I wanted to save the world.” “Oh my God. You are so selfish!”). When she doesn’t return his affections, he whines and guilts her into loving him. And somehow – he ends up with her! What kind of message is that sending young girls?

Also, telling someone you allegedly love that they’re your “Kryptonite” (weakness) is NOT romantic. Love is supposed to make you stronger. If your romantic partner makes you “weak”, that’s a bad sign. Believe me, I know.

4. John Watson and Mary Morstan, Sherlock

I’ve been a little harsh on men in this list. But women can be abusers too, and this is a prime example.

Thanks to poor writing from misogynistic, self-satisfied dipshits, Mary Morstan’s characterization has been all over the place. But two things are for sure: Mary is a psychopath and a pathological liar. It eventually was revealed that Mary wasn’t as sugary sweet as she initially tasted. She was actually a killer for hire before meeting John, which she kept from him for almost an entire year, even after they were married. And the lengths she goes to keep that secret from him are outrageous. Namely, attempting to murder John’s best friend – the very same friend who had been missing for two years, whom John had been grieving over, which Mary had to know would devastate John at losing Sherlock all over again. But does she have any regards for his feelings? No. She would rather kill her husband’s dearest friend then have to come clean.

John does eventually find out, and naturally, is a little pissed off by it. So much so that he leaves her. When John finally does agree to speak to Mary again, she immediately guilt trips him – for being rightfully angry about Mary lying to him and trying to murder Sherlock. But for some reason, John takes her back and all is forgiven and forgotten.

(By the way, she never actually says that she’s sorry for shooting Sherlock in the chest. Not until she herself is dying, but honestly, series 4 is such out-of-character, bizarre, melodramatic, sloppily written horseshit that I don’t take any of it seriously. But that’s an essay for another day.)

And beyond all that…she’s just not a nice person. She makes fun of everyone, treating them all like they’re so beneath her. At one point she implies that John is so stupid, a dog is superior to him in intelligence. She’s manipulative, critical, and conniving. And yet, even though there’s little to no affection shown between John and Mary, she’s supposedly the great love of his life. His saving grace. His angel with a sniper rifle. *noise of disgust* Whatever.

5. Emma Swan and Captain Hook, Once Upon A Time

God, where do I BEGIN with these two?

Captain Hook completely ruined Once Upon A Time. He’s been sucking the soul out of Emma Swan for four seasons, and now she’s pathetic, codependent, and completely unrecognizable from the amazing, badass female protagonist that rolled into Storybrooke in a beat up Volkswagen seven years ago.

Hook started off, appropriately, as a villain. He gets into a sword fight with Emma right off the bat and makes lewd, rapey comments towards her. Emma was sensibly repulsed.

Then in season three, Hook decides he’s going to become the guy everyone loves – especially Emma. “I will win your heart,” he growls in her face. Again, another line that’s supposed to sound romantic, but is actually really gross.

Eventually, Emma was hooked (get it?), and her character development was sacrificed for makeout scenes with this guyliner wearing piece of shit. Like Mon-El and Mary, he lies to her constantly, doesn’t respect her wishes, manipulates her, and verbally abuses her when his world isn’t going perfectly ducky. In season 5, Emma saved Hook’s life by using dark magic, turning him into a Dark One (long story). She erased his and everyone else’s memory, but he does inevitably find out, and boy, does he drop that sweet boyfriend act fast. He hits Emma right in the emotional chink in her armor – by saying that all she’ll ever be is an orphan. He knows Emma’s trigger and uses it against her in the most brutal fashion possible. But are there ever any repercussions? Nope. Because Hook is the love of Emma’s life, and he can do no wrong!

Luckily, Jennifer Morrison, who plays Emma Swan on OUAT, has announced her retirement from the show after the end of season six, and this godawful romance can die a festering death. Let’s just pray Colin O’Donoghue (Hook) gets fired and the show is left to be run by the only two likable characters left, Regina and Henry Mills.

And number six…

6. Severus Snape and Lily Evans, Harry Potter

I get it, Internet. You pity him. He never got the girl of his dreams. It’s the age old love story: boy meets girl, boy likes girl, boy calls girl a racial slur – wait, what?!

There was no fucking excuse for Snape to EVER call Lily a Mudblood. James was bullying him, Lily stepped in to defend Snape, Snape got his sensitive little male ego bruised and had been hanging out with a bunch of wizard white supremacists, and called Lily the worst word possible. She was his best and only friend, and he called her that. So no, I don’t feel bad for Snape at all. Especially since he carried his butthurtedness against her and James past their deaths and onto their orphaned child who had endured domestic abuse for the last ten years of his life. Snape gets no sympathy from me.

Okay. Rant over. Hopefully next post will be something more cheery. Thanks for reading. ~TRL

Why The Star Trek Reboots Annoy Me

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Don’t get me wrong, the 21st century Star Trek movies have some good things going for them. I love Simon Pegg as Scotty, and Karl Urban as Bones is just so on point (seriously, if they’d given him blue contacts, I would’ve sworn it was DeForest Kelley).

But the problem for me is that James Kirk and Uhura are completely wrong.

I’ve always loved Chris Pine, and Zoe Saldana is a kickass actress. But they don’t much convey everything I love about Shatner’s Kirk and Nichols’s Uhura. Pine!Kirk is not actually Kirk. He’s the Kirk stereotype.

Everyone gets Kirk wrong. People always see Kirk as this machismo, arrogant, gun-slinger womanizer, but that’s selling his character really short. James Tiberius Kirk is so kind and caring, and actually pretty brilliant. He loves classic literature and can recite Shakespeare and poetry by heart. His crew adores him because he shows them respect and is a good captain. And yes, fine, he is a lady-killer. But it’s not like Kirk’s just lookin’ to get laid. He’s a romantic, and he really does care about the women he woos. Or, alternatively, he uses his sex appeal against villainous ladies to disarm and defeat them. If this were a woman charming men like this, we would call her a femme fatale. It’s the same thing for Kirk. I kinda dig it. It’s resourceful, and subversive.

But truly, Kirk respects women. In the episode “Charlie X”, Kirk tries to explain to a young man how to show women courtesy (and not to go around slapping their asses). There’s a scene in “Tomorrow is Yesterday”, where a fighter pilot from 1960s Earth gets accidentally beamed onto the Enterprise. As Kirk is showing him around the ship, a female crew member passes by. The pilot says to Kirk, awed, “A woman?” Kirk gently corrects him: “A crewman.” Gene Roddenberry wanted to paint a future where people of all types are equal, so it wouldn’t exactly do for the main hero to be a misogynist, would it? I’ll grant you, it’s not perfect feminism, but it was the ’60s, after all.

And unfortunately, the reboots portray Kirk as the Han Solo type that he is exactly not. (This is a Tumblr post that perfectly illustrates my point.)

And Uhura. Darling sweet Uhura. I think it was the writers’ misguided attempt at feminism to have Zoe Saldana play Uhura as tough, emotionally distant, and alpha female, but honestly, Uhura from the original series was gentle and serene. She sang pretty songs for her crewmates on her off-duty hours. And she was still totally awesome. I think it’s great that Uhura plays a more active role in the reboots instead of just sitting at the comm station relaying transmissions, but filmmakers need to learn that writing strong female characters doesn’t necessarily mean making them more like men. Not every feminist icon has to be Buffy. Saldana!Uhura is basically just a not-green version of Gamora from Guardians Of The Galaxy.

Plus…why the fuck is Uhura with Spock when she and Scotty are already together in the original series?

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LOOK AT THEM! THEY ARE ADORABLE AS HELL! I AM SO ANGRY ABOUT THIS!!!!!!!

Also, everyone knows Spock and Jim belong together. They are literally soulmates. “This simple feeling” doesn’t mean friendship, sports fans. Their love is so powerful, it literally created the concept of shipping at a time when shipping wasn’t even a thing. It’s 2017 and Spock hasn’t been allowed to kiss Jim Kirk onscreen yet and both I and William Shatner think this is a disgrace. See, this is the kind of bullshit that happens when you put a man like Jar Jar Abrams in charge. He doesn’t even LIKE Star Trek; he said it himself!!! *raging*

Uhura being with Spock was the most out-of-left-field romance I’ve ever seen in a movie. There’s literally no development. I think they have like, one conversation before macking in the turbolift. All we know about their relationship is that he was a professor at Starfleet Academy and she was his star pupil. Then all of a sudden…they’re in love? Because…heteronormativity, I guess?

A LOT of Uhura’s motivation for Star Trek (2009) and Star Trek Into Darkness (2013) stemmed from her romantic involvement with Spock. This is the exact opposite of writing a strong female character. When 95% of her actions revolve around a man, especially a romantic attachment, that’s not good. That’s just enforcing the idea that a woman is only an object in a man’s life, and not an actual person. (To be fair, Star Trek Beyond does wayyyyyy better in this respect. Thank you, Simon Pegg.)

You wanna show an interracial couple? PLEASE, GOD, DO IT. But for the love of Surak, respect the goddamn canon. Like I said, Scotty and Uhura were already together, why didn’t you just do that? To block me from shipping Spirk? Too bad, motherfucker, how bout I do anyway?

If the reboots weren’t reboots, if they were totally original, I wouldn’t have that much problem with them. But they’re based on content that I’ve recently come to know and love, and it annoys me.

And one more thing, why they got Benedict Cumberbatch’s lily white ass playin’ Khan when Ricardo Montalbán was from Mexico? Helloooooo? ~TRL