Please enjoy Tori and Amanda as they do their best to piece together the enigma that was the Poet, Sappho.
Tori and Amanda settle down to solve the puzzle that is The Picture of Dorian Gray written by Oscar Wilde and enjoy some very delicious cheese in the process.
In which Tori and Amanda read Sula by Toni Morrison and Amanda complains about Blackberry “flavored” water.
In which hosts Amanda and Tori read Toni Morrison’s Beloved and spend a lot of the podcast upset over how terrible slavery was.
Hi, everyone. Sorry I’ve been a little busy in my personal life. But there is a reason behind all of this.
I’ve been busy prepping for A-Kon 30!
I have three brand new panels to work on and costumes to sort out but I promise that come July, I’ll be back on schedule!
If you’d like to support me as I continue to work on panels you can:
Buy me a Ko-Fi: Ko-fi.com/aichiyume
Check out my Facebook page to see costume progress and more: https://www.facebook.com/AichiYumeProductions
Or just wish me well in the comments!
I look forward to getting back on track! Thank you for your patience.
I have loved villains in media since I was a very small hellspawn. Whether it was my attraction to Lord Sesshomaru in InuYasha or my undying allegiance to Prince Vegeta in DragonBall Z, villains have always done it for me. Narratively, they usually get the coolest powers, best lines, and most interesting motives even if they make zero sense. Like really, what was Master Naraku’s problem? He didn’t get to sleep with one priestess and that was enough to want to mess with literally everyone else he came in contact with? But why? Doesn’t matter, he was hot and had a cool design.
But in the spirit of LGBTQIA+ Pride Month, I want to talk about something that others have covered but I wanted to put my own spin on as well. I want to talk about queer coding and villains. In fact, there’s a great Princess and the Scrivener video that I’ll link here that talks about this mostly with Disney villains and I’ll use a lot of similar points but really, there’s only so much queer theory to go around.
Here’s the basics: villains in Western media (I exclude Eastern for now but put a pin in this) are often times coded (portrayed using mostly visual and linguistic shorthand) as queer or effeminate to prove a point, that point being mostly how virile and masculine the protagonist is. Think about Scar in The Lion King or Governor Ratcliffe in Pocahontas. They’re both pretty aggressively queer-coded with all the glitter and flamboyance to highlight how masculine and strong the protagonists are. Ursula looks and sounds like an angry drag queen because she’s based off an angry drag queen and Frollo, despite very clearly lusting after a woman, is given very showy clothes and his attraction to Esmerelda can even be read as somewhat closeted.
And though the video I linked talks about this mostly in the negative…I know I’m just one queer out in the world but I’ve never had an issue with that. I love Disney villains as you can tell by my very enthusiastic Dr. Facilier cosplay. This is one of those places I don’t think queer coding is terrible as if the internet is to gauge, a lot of queer people found themselves in Disney villains.
Now, my realization that I maybe wasn’t quite cis or het may have come from anime but I can also super see the appeal and reason why someone who may be a little different, a little sparkly, a little more fashionable and way more sassy may attach more readily to villains and thus celebrate that.
So that pin I asked you to put in about Eastern media, let’s come back to that because here’s where we tie in East and West. The question is why code a villain or antagonist as queer. Is it just to show off how masc and strong your hero is? Well, yes and no. The root of the reason is the same as the root of many evils: misogyny. It’s easy to take down a villain that is by most writer’s standards a perversion of masculinity which is femininity. Think of Szayel Aporro Granz in Bleach. What is the point of making him such a queen? What does that do for us? Well, when we see him in comparison to the mostly morally strict and pure Uryu, he comes an easy villain to wish ill upon. Except for me, I love him and can’t wait to cosplay him. Many cultures view masculinity as the most strong and most capable, so making your villain queer, feminine or even downright trans in the case of some anime (looking at you again, Bleach) is a great way to create parallel and difference between the force you’re meant to be rooting for. So when Szayel has a sword thrust deep into him, a strange phallic sort of metaphor at the hands of another queer-coded character, you’re meant to be reminded of his perversion, deviance and girly nature and think that those things are bad.
Again, it’s about optics. I love his character and him being aggressively queer-coded doesn’t bother me as much as other characters in the same show do. Even one of my favorite series of all time does this with a villain most ignore and that’s Barry the Chopper in Fullmetal Alchemist, really, what’s the point of making him a crossdresser? Does it add anything? No. But I can tell you that I can still recite his lines in the same lyrical sing-song fashion that Jerry Jewell brought the character in the dub and it scared one of my friends very much to know I can do so.
I’ve spent a lot of words talking about the fact that I don’t think queer coding in villains is that bad but if you follow me over on Twitter then you must know what is to come.
Y’all, I don’t like BBC’s Sherlock. I don’t like Benedict Cumberbatch playing Sherlock, Martin Freeman is fine but the plot, the lack of plot and the aggressive queer coding of most of the characters rubbed me the wrong way to start. Episode one features many jabs at how gay Watson and Sherlock must be for each other and that was a bitter enough pill to swallow but then we meet Jim Moriarty. Oh Moriarty. What even is he? Why is he? What is he doing? Andrew, no. Please. Don’t do this. Not like this. Moriarty isn’t even queer coded because coding is meant to be at least a little subtle. He’s just the most. There’s an amazing Hbomberguy video that makes all of these points much better than I ever could but here is my problem with Moriarty’s queer coding while I’m willing to give it a soft pass in other places. What is gained by Moriarty being queer coded? Why do we need to know that he’s apparently slept with one of his bodyguards? Why does it matter that he’s dressed up in the crown jewels? Why do we care that he apparently has the biggest of possible hard-ons for Sherlock? Why? What does this add to the story? You can just have him be a villain. It feels like it’s pandering and that’s why Moriarty doesn’t get a pass from me. Nearly every other queer coded villain has a reason for it. Even if the reason is a crappy one like internalized misogyny but really if you made Moriarty less queer coded, does anything change? Does this make him interesting? Steve Moffat, do you think this is helping? I tend not to throw around the word queerbaiting a lot because I think it’s overused by fans who are just unhappy their ship didn’t sail but in this case queerbaiting Moriarty and coding so aggressively as a flashy queer man doesn’t do a damn thing for the narrative. It’s good for slash fic and even then to what end? Does Sherlock show any interest in Moriarty? No. He shows no interest in anyone, that’s the damn problem. What’s the point? Why are we doing anything? Is bear still driving?
Queer coded villains are frustrating. So much of it is rooted in old and toxic aspects of culture that prize traditional masculinity over flamboyance, style, fashion, good puns and excellent villain songs. And there are other examples where this fails. Think about all the fuss with LeFou being the first out gay for Disney in Beauty and the Beast(2017). What does making Gaston’s literal idiot sidekick gay do for the plot? A whole lotta nothing.
I can see why some in the LGBTQIA+ family are more up in arms about queer coding and villains because at the end of the day, a lot of these characters die or face some horrible evil and that just isn’t fun. It isn’t fun watching a character you relate to face a horrible death and it does continue to perpetuate a lot of things about being queer that many do not like. Not all of us are sassy, mean, flashy and out to steal your girl/boy.
But for those of us who are all of those things and oh so much more…well, let’s just say that I do love my queer coded villains… most of the time.
I was never a YAS QUEEN sort of member of the LGBTQIA+ family but a recent change on my favorite show that I love to hate (RuPaul’s Drag Race) gave me pause. RuPaul, Mother of the All, recently started spelling the word “look” stylized as “lewk”. Now, Drag Race has for a while stylized words differently. There’s the Werq the World Tour and of course Ms. Stacey Lane Matthews’ famous “henny” but the changes that have come are new, startling and worth discussing considering that I am your favorite queer feminist postmodernist formalist.
Now, there is a reason that queer people around the world have their own language: safety. For those who are not aware that it recently has really only been acceptable to be queer in America (in some places) since the Stonewall Riots (which was lead by two trans women of color). Queer people in America have their own language to help find other people like you and to protect against those who do not understand or wish to harm you. Point blank.
One of the big influences in queer language for Americans is also deeply rooted in Ballroom culture. Now, I could have an entire blog on Ballroom culture (watch Paris is Burning or Pose for a good primer) but let’s start with two basics: ballroom culture was started by queer people of color. You have queer people of color to thank for shade and voguing and fan choreography that could snatch a girl bald. Second is that is was a welcoming place for all. Cis people were involved, trans folks, cis gay men, cis les women. All were welcome. And because of the ethnic roots of ballroom culture, a language began to form that was unique to queer people. You throw shade at a girl you don’t like. You punch the clock and go to work when you are on stage dancing. You snatch a girl’s wig when you don’t like her and you say something that could literally end her life. Ballroom culture informed drag culture and then club kid culture which brings us to…RuPaul. RuPaul has always said she as a drag queen was a club kid but as a queen often hearkened back to the roots of ballroom culture.
RuPaul is for many America’s first recognizable drag queen. She’s very easy to digest. She’s black but not scary, she’s very classically beautiful and she’s very charismatic. (Here is where I pause to say yes I am gendering RuPaul, a cis gay man, as she but that’s because I’m mostly discussing her as a drag queen) and her ability to use the language queer people have been using for decades at that time was mostly just a funny thing the nice pretty lady says.
The show Drag Race got popular in the 2000s. Hell, I remember watching Season 4 (the best season) on television and a lot of the themes of that season were older drag queens (Latrice, Willam, Chad) teaching the younger queens their history [herstory] (Jiggly, Phi Phi). It wasn’t a very popular show unless you were queer (because it was on LOGO and that channel was mostly for queer people). That meant that if you were watching Drag Race in let’s say 2007 you either understood the references made or you knew someone who did.
But that changed as the show began to gain very commercial success around the time of All-Stars Season 2, the language that kept queer people safe for decades became mainstream. Now, I’m not here to say that it isn’t good for queer culture to join mainstream culture because let’s be real, gay people exist and it’s a part of history that’s worth knowing. But opening things up to mainstream culture means that sacred items once held tightly together through cultural memory and history can be more accessible without the baggage of the history behind them. So a group of wine moms now can say YAS QUEEN WERK because she heard Trixie Mattel say it without understanding at all why that has meaning or value.
And with mainstream acclaim, there is a lot of people who love to monopolize and quote queer culture without giving queer people credit. For many OKURRR is a Cardi B thing rather than a noise drag queens having been making for years. This also plays into commercialization. Recently, I see a lot of merch with YAS and WERK and honestly, it’s all just exhausting. Not to mention the fact that it’s now socially acceptable for wine moms to use drag lingo but if me, a queer person of color still uses it, I get called out for following a trend.
This all culminates with RuPaul taking what was typically drag language like using work and look and now making those words more cutesy? Lewk is not a word. Werq is not a word. They’re odd spellings of words that have real double meaning to queer people. Now, these misspellings are likely for trademark purposes because Ru is a ruthless capitalist and likes to sell merch but it also makes something rooted in struggle and in bloodshed and in violence and in a lack of hemongeny.
Cultural appropriation is real and I’m seeing it happen with the memeification of queer language. And I’m not going to gatekeep to the point that I’ll say only queer people can say YAS but really, before you go on and try to “snatch a wig” just remember who gave you those words, who gave you that language and on the backs of whom you are not able to walk around in Target-sold merchandise.
Be mindful of where you spend your pride dollars. If it isn’t going to an organization, maybe stay away from it. Be mindful of brands who will swap over to rainbows for a month and then continue to deny queer people basic rights the rest of the year. Be mindful of people who love saying these words but also don’t think that gay people should be allowed to marry in churches. You can hold people accountable and still be cordial.
Happy Pride Month, everyone.