Review: “Elena Undone”

I am a queer person, and I use the word queer as an umbrella term for for non-heterosexual/non-cisgender people. If you dislike the term "queer", you may not want to read this post.

Finding movies with LGBT+ characters is difficult. Finding movies that focus on LGBT+ people is even harder. Finding movies on LGBT+ people that isn't about AIDS or social condemnation or being rejected by family or any of the other depressing tropes that seem to come with queer narratives is damn near impossible. Most queer stories end unhappily, like Blue Is The Warmest Color, and most of the time in horrible tragedy, like Brokeback Mountain.

But as I was perusing the gay side of Netflix one day, I chanced upon a movie called Elena Undone, a lesbian romance between a pastor's wife and a free-spirited writer. It sounded like a cookie cutter lesbian romance (shy, innocent straight woman falls for mysterious, seductive lesbian and cheats on her neglectful husband with her), but I was bored, so I thought "what the hell" and hit play…and I was pleasantly surprised. Yes, as I predicted, it pretty much follows the standard formula for lesbian romance films, but I still enjoyed the movie. In this instance, the plot felt less like a tired old tread and more like a cozy blanket to wrap myself up in. Warm, soft, and familiar.

It's an indie film, and its format is unusual. Tyler, a mutual friend of Elena (the pastor's wife) and Peyton (the writer) narrates the film through his sparse cut scenes. Tyler is a "love guru" and believes in the idea of soulmates. Elena and Peyton's actual story is interwoven with clips from Tyler's informative video about finding one's soulmate, and therefore serves as a narrator of sorts for the evolving romance between the two women. It's an interesting idea, and works surprisingly well.

And then of course there's the electric chemistry between the two female leads. Both actresses exude affection, intimacy, and desire when they're onscreen together. Their making out/love-making scenes are luxurious and pulsing with heat. I haven't seen two lead characters with such a magnetic attraction since…well, since I watched the third season of Hannibal.

But the best part is, the women get a happy ending. They have their issues, as real people in real relationships do, but in the end, they find each other again and realize that they were meant to be together. It's a poignant yet simple ending.

The movie isn't perfect (the pastor character and the homophobic church member are a little flat), but it's a movie I'd gladly watch again. I'm a romantic at heart, and I've always loved the idea of soulmates, so I was glad to have found a real movie about two women were perfectly made for each other. If you can get past the dumb title, I recommend this film as an effective feel good story for when you're blue.

Oh, and for all you Supernatural fans out there, Peyton is played by Traci Dinwiddie, who was Pamela Barnes, the psychic who had her eyes burned out from trying to see Castiel. ~TRL

Quit Saying That Buffy Is Sexist

I can’t believe I have to fucking write this. I can’t believe that there are enough edgy feminazi radicals out there online claiming that Buffy The Vampire Slayer is antifeminist garbage and that Joss Whedon is a misogynistic poser, that I have to write this article. But here I am, publishing this so all those man-hating dipshits will maybe shut the fuck up. (I highly doubt it.)

First of all, I would like to say that Whedon never wrote Buffy with the intention of it being some big pro-woman crusade. But to call the show sexist is straight up ridiculous, and it pisses me off.

Now, to those of you who claim that Buffy is a “pseudo-feminist” show because the female protagonist takes on a traditionally male role as a warrior, well…you’re neither wrong nor right. Yes, a strong female character doesn’t mean a girl who goes around punching everyone. But Buffy’s role as the Slayer isn’t her defining characteristic; she is a living, breathing, three dimensional character. To reduce Buffy to just an action hero is selling her character, and the point of the show, very short.

So what makes a strong character?

Depth. And Buffy is a very deep character. She has fears and dreams and beliefs. She changes over time and undergoes real development. The entire theme is about Buffy and her growth, not killing monsters. To only see that side of the show ignoring all the deeper meaning of it. But most importantly, despite all her supernatural power, she is human, capable of weakness and flaws.

This is how you write a strong character.

Now, what about Buffy’s romantic relationships?

First off, I would just like to state for the record, once and for all:

FALLING IN LOVE WITH A MAN DOES NOT INHERENTLY MEAN A WOMAN IS WEAK, CODEPENDENT, OR SUBMISSIVE.

Glad I got that off my chest.

Buffy and Angel: did Buffy let her relationship with Angel take over her life for a while? Yes. That was the whole point of season 2 (“you can’t afford to be a slave to your passions”). But this was made obvious (unless, again, you’re ignoring the deeper meaning), and Buffy eventually realized she would have to sacrifice that relationship to get on with her life and her work, and this point is illustrated when she literally kills Angel to save the world. When Angel comes back, their relationship stays on a much more healthy level, until Buffy and Angel realize they can’t keep up the pretense forever, and part ways. See, that is not an example of a woman being weak and letting her love for a man take her over. It’s a story about a teenager and their first love affair, and maturing past it.

Buffy and Riley (I’m skipping over Scott Hope and Parker): there is a reason everyone hates Riley – he’s a whiner baby, who’s so insecure in his own masculinity, that he craves Buffy being dependent on him. And she simply isn’t. So he throws a tantrum and leaves her. Does Xander blame Buffy for everything that went wrong in that relationship? Yes. But, again, to those who are simply watching the show at the surface level and ignoring the deeper meaning, instead of really thinking for themselves, don’t realize that Xander was meant to be considered wrong. Anything Xander says about any of Buffy’s relationships should always be taken with a grain of salt. People who don’t realize that are mindless sheeple, blinding accepting what the narrative tells them to believe. Of course the breakup isn’t Buffy’s fault – it’s Riley’s. Buffy is the strong one, the independent one, and Riley couldn’t handle that. How exactly is that weakness on Buffy’s part?

Buffy and Spike: this relationship was OBVIOUSLY portrayed as unhealthy (at least in season 6), and anyone who doesn’t get that is clearly an idiot. Buffy is in a place of depression and self-loathing, and is using her physical relationship with Spike as a substitute for truly being happy. That’s the point. But when Buffy regains her strength again, she is no longer dependent on Spike – she’s able to stand on her own two feet.

Now let’s go over the role of the Slayer – it’s about power. One girl in all the world who was given the power to stop the forces of evil by a group of men. Yes, Buffy’s power comes from men. And to boot, there’s a patriarchal council of “Watchers” that facilitates the Slayer in her role. That sounds misogynistic on the surface, but look at what happens in the show. In “Helpless”, an episode all about gender and power dynamics, Buffy realizes the corruption of the Watchers’ Council, and in the “Graduation” two-parter, Buffy rejects the Council’s meddling. In season 7’s “Lies My Parents Told Me”, Buffy literally shuts the door on Giles’s guidance after she realizes she has outgrown him, claiming that he’s “taught her everything she needs to know”. And in the finale, Buffy literally takes back the power of the Slayer for herself from those men who created the First Slayer all those years ago and shares it with the rest of the Slayer line, creating strong women (both physically and spiritually) all over the world. Women taking power back from men – in what universe is that message antifeminist?

And I’ve only talked about Buffy herself in this article – I haven’t even touched Willow, Anya, Cordelia, Dawn, Tara, or Faith. Buffy is unquestionably a show that is dominated by strong female characters.

So for the love of God, quit saying that Buffy The Vampire Slayer is sexist and that Joss Whedon is the Antichrist. ~TRL

Why Does Everyone Hate Smallville?

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We all know the origin of the Man of Steel: infant refugee from the planet Krypton, sent by his parents in a spaceship to our world. Endowed with superhuman abilities, raised by simple farmers, and eventually became humanity’s champion, fighting for truth, justice, and the American way.

BUT DID YOU EVER STOP TO CONSIDER SUPERMAN GOING THROUGH PUBERTY?????

Smallville is the story of a teenage Clark Kent growing up in rural Kansas, learning to deal with the normal pains of adolescence, along with being a superpowered alien. It’s a new perspective on an old story. You get to see Clark’s journey from young man finding his own identity, to the paragon of goodness we all know.

Not only that, there’s other characters from the mythos you get to meet and watch develop too. In this narrative, Lex Luthor is Clark’s best friend who gradually turns to the dark side and grows into his role as Superman’s greatest enemy. Lois Lane starts out as Clark’s comic foil, but their love and respect for each other grows throughout the story in a very natural and endearing way. There’s even appearances by other famous DC superheroes, like Green Arrow, the Flash, Aquaman, and Zatanna.

Are there obvious reasons why someone wouldn’t like this show? Yes. For one thing: TOO MUCH LANA LANG DRAMA. And I will admit, the first season…and some of the second…are pretty cheesy. Like for instance, (minor spoiler) the first time Clark uses his heat vision is when it’s accidently triggered by some lusty teenage hormones he’s feeling over an attractive substitute teacher. Or the girl who eats kryptonite-laced vegetables while dieting and her metabolism starts going super fast, so she has to suck the fat out of people. Or this one episode in the fifth season when Lana Lang joins a sorority of vampires. OR this one episode when Lana, Chloe, and Lois get possessed by 17th century witches and hexes everyone at a get together Clark was throwing to strip down to their underwear and act like party animals-

What, it was funny, okay?!

And you’d be surprised how many famous people played minor parts in the show. The fat-sucking girl I mentioned above? Amy Adams. Yes, the woman who now plays Lois Lane, ironically. Jonathan Taylor Thomas plays a guy who can clone himself. Lizzy Caplan plays a girl who can morph into whoever she wants, and at first is obsessed with Lana and wants to kill her so she can become her, but then comes back and tries to pass herself off as Lana’s ex-boyfriend Whitney so she can be with Lana (yeah, it’s a gay thing).

Overall, Smallville is an awesome show. Even if you’re not a fan of Superman or comics in general, it’s worth watching. No matter what happens, Smallville will always hold a special place in my heart. ~TRL

Book Review: “Killing Time”

Whaaat? Now I’m doing book reviews? Well, this is a special case. You see, this is a Star Trek novel, and if you’re a Spirk shipper, an absolute must read.

(**Spoilers ahead.**)

Killing Time is a short novel by Della Van Hise, originally published in 1985. When Pocket Books first put it out, apparently it was so gay that Paramount Pictures requested that the slashier parts be taken out. That didn’t end up happening due to a screw-up in editing, and the book was published as is. At least, until Gene Roddenberry read it and made the publisher recall it. PB had to put out a new, less gay version of the story.

I’m pretty sure the version I read was the censored edition, but even then, it’s still really gay. Let me show you what I mean.

To summarize, KT is about Kirk having strange dreams about being an ensign on a starship in an alternate universe, serving under Captain Spock. It turns out that Spock and several other members of the Enterprise, including one Jerry Richardson, are having similar dreams.

However, the dream soon becomes reality, and the Enterprise has been replaced with the starship Shi’Khar. No one remembers the other reality. In the new reality, the Federation was created not by mankind, but by the Vulcans. Kirk was wrongly accused of murder and offered a station on the starship as an alternative to prison. In addition, he’s also got PTSD connected with some disciplinary mental torture device they used on him in order to get a confession out of him, and his cabinmate keeps beating the shit out of him. This universe is not nice to our Jimmy. 😢

It’s soon established that the Romulans have a device they’ve used to pervert history so that humanity never formed the Federation. The leader of the Romulans, who happens to be a character we’ve met before – Thea, from “The Enterprise Incident” – is behind it all, wanting revenge on Spock for spurning and humiliating her. A big part of her plot is separating him from Kirk, since she knows they’re totally t’hy’la, so she can claim Spock as her consort.

Luckily, it doesn’t work, and Kirk, Spock, and Richardson finally realize the Romulans have changed history. They all work together to fix it, knowing that they and their reality will disappear if they set time right again. The three sacrifice their lives to undo the history-change, and Kirk wakes up in the right reality, once again Captain of the Enterprise, with Spock as his right hand man, with the other reality remembered vaguely as a bad dream.

This book is a Kirk/Spock goldmine. For one thing, it is established very clearly that Kirk and Spock are t’hy’la (duh), and they have a mental bond! (In Vulcan culture, mental bonds are developed between married couple. Hmmm…)

The first few chapters talk a lot about the close, personal “friendship” between Spock and Kirk, and they are very tender with each other. There’s even a part where Spock lays his hand on Kirk’s shoulder and Kirk covers it with his own (gee, good thing Vulcans don’t kiss with their hands or anything…oh, wait). Also, Spock muses several times on Kirk’s looks: “firm features, tanned flesh, expressive hazel eyes, and a compelling human grin. Single lock of gold-bronze hair falling to the middle of a high forehead.” Geez, Spock, we all know Kirk is a dreamboat, but come on.

Even when time is changed and they don’t know each other, Spock and Kirk yearn for each other’s company. Kirk wakes up from a bad dream and immediately calls out for Spock; Spock has a vision of Kirk and wonders possibly if this is his t’hy’la. You know…the Vulcan equivalent of soulmate.

Not to mention, due to the time corruption, Spock goes into pon farr (because no Spirk fic is complete without the ritual Vulcan mating frenzy!), and he dreams longingly about Kirk! (Unfortunately he ends up banging the Romulan chick out of desperation. She kind of takes advantage of his needy state. It’s a little on the squickish side.)

But the homoerotic subtext doesn’t end with the space husbands! There’s also some flirting between Kirk and Richardson, who calls Kirk “Juliet”. When Richardson dies, Kirk sadly calls him “Romeo”. I am not making this up. Also, there’s a romance between Richardson and this alien chick who works on the Enterprise/Shi’Khar named S’Parva, and they perfectly parallel Kirk and Spock!!!!

Toward the end after they’ve saved the universe, Spock is dying from a poison bullet wound, and the second reality is collapsing. And Kirk and Spock decide to die holding each other????? While melding their minds one last time????????? What kind of old-couple-cuddling-each-other-as-the-Titantic-is-sinking romantic tripe is this?!?!?!?!?!?!?!?!?!

Here are some lines that made me fangirl squee with joy:

Surely, he told himself, there would be someone with whom the Vulcan could bond, someone who could walk the path with him, balance him, love him. For a long time, Kirk considered that. (just platonically pondering whether or not your bro will have a life partner)

…when he opened his eyes again, it was to see Spock still standing, looking down at him questioningly. There was concern–and possibly Vulcan worry–written in the black eyes. Kirk held the penetrating gaze for a moment, then managed a smile when he saw the Vulcan soften. (And then he drags Spock off to the ship’s garden for a date I MEAN manly stroll.)

Absently, he reached out to touch the human’s cheek for confirmation, but stopped when Kirk’s eyes widened fearfully. (So Captain Spock notices a bruise on Kirk’s cheek and just casually reaches out to caress his face. #JustBroThings)

For an illogical moment, he found himself thinking of the future–with Kirk at his side. . . (THIS SPOCK BARELY KNOWS THIS KIRK AND HE WANTS TO SPEND THE REST OF HIS LIFE WITH HIM WHAT THE HELL)

The images whisper-walked through his mind. Blue and gold. Warmth and companionship. Stolen moments when the firm Vulcan mask did not have to fit so tightly. (I’M ABOUT TO EXPLODE I SWEAR TO SURAK)

He glanced up, meeting the Vulcan’s eyes. Somehow, shirtless, and with hair slightly dishelved, the Shi’Kahr’s legendary captain seemed almost vulnerable in the dim lighting… almost reachable. (Kirk checkin’ out Spock’s hot Vulcan bod, hell yeah.)

“Kidnap James Kirk, keep him from the Vulcan long enough … and Spock will do anything in his power to get him back safely, Sarela.” (Damn, Thea knows EXACTLY what Spock’s weak spot is.)

…what is dearest to him in all the combined universes… (This is what Kirk is to Spock, according to Thea. I MEAN)

Spock knew he must be there when his companion awakened… (So Kirk and this other crew member were in danger and Spock only had time to save one of them, and of course he picked his darling Kirky! Now Kirk is knocked out in sick bay, and Spock is longing to be at his bedside, calling Kirk his companion. Again, HE BARELY KNOWS KIRK.)

In seven years as command of the Shi’Kahr, he had never met a human who could arouse such forbidden feelings, who could wrestle emotion from him as easily as turning on the light. (*me, screaming* Also, they’re sexy anger-wrestling right now.)

“I need you. The Empire needs you. . . . What more can there be?” “James Kirk,” the Vulcan murmured without hesitation. (Lady, you just got REJECTED.)

“Can he be worth what you are doing, Spock? Can any one man be worth an entire universe?” The Vulcan’s response was direct and without hesitation. “Yes.” (JIM IS WORTH THE ENTIRE UNIVERSE TO SPOCK I CAN’T)

Kirk smiled wistfully, then reached out to touch the Vulcan’s arm reassuringly as he remembered the mind-fever he’d felt himself. Without explanation, it had vanished … and as he glanced at Thea, the reason became clearer. “As long as you’re alive,” he said quietly, absently projecting a warmth into his companion’s mind. (Kirk is “wistful” that Spock had sex with Thea. That’s not something I made up. Also, Kirk felt Spock’s pon farr????? Vulcan marital mental bond much?????)

He is even deeper in your blood than Vulcan. It was, he realized, a very simple truth. (*more screaming*)

“Perhaps it would be wise to discuss the matter in more detail later this evening,” he suggested. “Since we are both due on the bridge …” He let the sentence trail off, unfinished. (DID SPOCK JUST INVITE KIRK TO HAVE SEXY TIME LATER??????)

In the Vulcan’s quarters, Kirk sat slowly on the ornate meditation pillows (OH YEAH THEY DEFINITELY DID THE NASTY)

Remembering an ancient human proverb, he found some small comfort in the knowledge that Kirk was obviously laughing to keep from crying. (Again, they’re talking about Spock hooking up with Thea and Jim has laugh to keep from crying???????)

This novel is so perfect. ~TRL

In Defense of Star Trek V

The original Star Trek series spawned six movies. A lot of Trekkies will tell you, “the evens are good, the odds are bad”. I’m sorry, but you will never take away my love for Star Trek V: The Final Frontier, aka, the redheaded stepchild of the Star Trek movie sextet. (Spoilers ahead.)

The plot is basically the crew of the Enterprise is roped into helping Spock’s surprise half-brother find the garden of Eden. That’s it, that’s the story. It doesn’t sound promising, I know.

People argue that the problem with the religious overtones of the movie don’t mesh with the overall philosophy of the pantheon. But I say why not. Star Trek has touched on topics of racism, gender, politics – why not touch on religion? To me, Star Trek has always been about hope, and the ideal that humanity will grow and improve. Sybok is tricked by the fake God figure. He’s searched for “Sha Ka Ree”, paradise, his entire life, only to finally reach it and find out it’s all a joke. But Sybok isn’t disheartened by his defeat. He shows incredible courage by sacrificing himself to save the others and the rest of the universe. It’s a story about faith, and the idea that we can become strong in times of misfortune, and I think that very much fits in with Star Trek.

Then people complain that FF doesn’t work within the Trek universe because it presents a society of criminals and amoral individuals: the denizen planet of Nimbus III. I, on the other hand, find it a very ambitious path to take. Before, Star Trek has only shown us shiny worlds like those within the Federation, like Earth or Vulcan, or planets that become fixed by being influenced by Federation ideals. But I think it’s necessary to show cesspools such as Nimbus III, to show that Starfleet hasn’t fixed everything, because they can’t. The point of being existence is to develop. As James T. Kirk once said, “Man stagnates if he has no ambition, no desire to be more than he is.” The universe will never be a utopia, but we will always work to make it so.

But if you’re still not convinced, let me just show you some moments you’re missing out on:

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Kirk, Spock, and Bones go camping together. Kirk climbs a mountain and almost falls to his death but Spock saves him, while Bones watches and worries from afar. They sing “Row Row Your Boat” around the campfire and Spock roasts “marshmelons”. (Also Sulu and Chekov get lost hiking in the woods and pretend that there’s a blizzard so Uhura will save them.)

Go Climb A Rock

Also, Kirk wears this shirt.

Uhotty

Canon Uhura/Scotty!!!!!! And they’re so adorable!!!!!!!!!!!!

Spocket Boots

Did I mention Spock has rocket boots? (He’s carrying Kirk and Bones up an elevator shaft.)

In Front Of The Klingons

THIS. F**KING. SCENE. Kirk almost dies but Spock saves him AGAIN and Kirk almost kisses him, but unfortunately, Spock stops him. (“Please, Captain. Not in front of the Klingons.”)

And there’s a lot more moments that I probably missed. But in conclusion, Star Trek V doesn’t deserve the bad rep it gets. If you disagree, go climb a rock. ~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

How To Speak Fandom

It occurs to me that I’ve used some jargon that someone who doesn’t spend half their life on Tumblr might not understand. So here’s a quick manual to knowing the lingo of fandom and fan fiction.

  • Ship – (can be a verb or noun, depending on the context) derived from the word “relationship”. To ship two people is to believe that they should be in a relationship.
    • I ship Mulder and Scully so much. Mulder/Scully is my ship.
  • Pairing – a synonym for ship.
    • The pairing of the Joker and Harley Quinn is problematic.
  • OTP – “One True Pairing”; two characters you ship so hard, you could never see either party with anyone else.
    • The Doctor and Rose Tyler are the OTP of many fans of Doctor Who.
  • BroTP – two characters you ship, but only in a platonic sense (brotherly love).
    • A lot people think Sherlock Holmes and Molly Hooper should date, but I just see them as good friends. They’re my broTP.
  • NoTP – two characters you are very against being together.
    • Wincest is my noTP, because Dean and Sam are brothers.
  • OT3three characters you ship together (yay polyamory).
    • Kirk/Spock/McCoy is an OT3 for some Star Trek fans.
  • OC – “Original Character”.
    • For my Walking Dead fan fiction, I created an OC who dates Daryl, but then gets turned into a walker.
  • OOC – “Out Of Character”.
    • It was so OOC for Superman to kill Zod in Man Of Steel.
  • Canon – recognized or established by the source material.
    • The Star Wars expanded universe is supposed to be canon, but has some continuity issues with The Force Awakens.
  • Headcanon – a personal theory by a fan, not necessarily canon, but could be supported by the canon.
    • I have a headcanon that Harry Potter is bisexual.
  • Fanon – a fan theory that is accepted by pretty much the entire fandom, even though it’s not actually canon.
    • Will Graham from NBC Hannibal is probably on the autism spectrum, but it’s never really been confirmed by the writers. It’s mostly fanon.
  • Slash – fan fiction that is romantic or sexual in nature and focuses on the relationship between two men. This term arose in the 1970s when many viewers of Star Trek believed Captain Kirk and Spock were actually in love, and began to share their Kirk/Spock (Kirk slash Spock) fan works. The term slash later became a general term for works about men in amorous situations with each other, even though the “/” is now used to denote gay, lesbian, and heterosexual pairings alike.
    • I was reading a fan fiction about Captain America and Bucky Barnes last night. It was very slashy.
  • Femslash – the same as slash, but with female/female pairings instead. The first significant femslash pairing was Xena/Gabrielle from Xena: Warrior Princess.
    • I wish there were more Swan Queen fan fictions to read. Everyone seems focused on Captain Swan and Rumbelle. Femslash is such a small community.
  • RPF – “Real Person Fiction”. Writing about real life people, namely celebrities, and sometimes shipping them with other real people.
    • There is a surprising amount of RPF about the members of One Direction.