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February 12th, 2016: HEY GUESS WHAT?? I've got a new book coming out in June called ROMEO AND/OR JULIET and you can preorder it now and IF YOU DO, you can send a special Valentine's Day ecard to your sweetie THIS WEEKEND that features new art by either Kate Beaton or Noelle Stevenson! AHHHH
- You may ask any dev-related question you have in a comment. (It doesn't even need to be about Dreamwidth, although if it involves a language/library/framework/database Dreamwidth doesn't use, you will probably get answers pointing that out and suggesting a better place to ask.)
- You may also answer any question, using the guidelines given in To Answer, Or Not To Answer and in this comment thread.
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|← previous||February 10th, 2016||next|
February 10th, 2016: HEY GUESS WHAT?? I've got a new book coming out in June called ROMEO AND/OR JULIET and you can preorder it now and IF YOU DO, you can send a special Valentine's Day ecard to your sweetie THIS MONTH that features new art by either Kate Beaton or Noelle Stevenson! AHHHH
Some years ago I decided I was done with certain kinds of “race writing.” Specifically, the kinds that involved responding at length to arguments so transparently shallow, ignorant, and self-serving in their racism that refuting them would only wrongly imply that such arguments raise questions that legitimately merit debate/response.
White Hollywood, apparently smarting at the thought that the world doesn’t naturally revolve around white people, has given us multiple examples in recent weeks of just such arguments:
- Charlotte Rampling (who is English) calling criticisms of the overwhelming whiteness of this year’s Oscar nominations, and subsequent calls for a boycott of the Oscars, “racism against white people”
- Michael Caine (also English) telling Black actors to be more patient about decades of systematic exclusion from acting roles, from directing and producing opportunities, from industry accolades, and from the tables and boardrooms where it happens. After all, even Michael Caine—as Michael Caine helpfully reminds us—had to wait “years and years” for his Oscars. So Black actors, Michael Caine concludes, should hang tight and wait patiently, like Michael Caine did. (Fun trivia note: not only does Caine have two Oscars, he’s also one of two actors—the other being fellow white dude Jack Nicholson—to be nominated for an Oscar in every decade from the 1960s to the 2000s. But he had to wait years and YEARS to win, y’all.)
- Rampling and Caine tilting at the windmills of nonexistent racial quotas, both objecting that it would be wrong to give mediocre performances by Black actors awards just because the actors are Black—an argument literally no one has made in their critique of the Oscars.
- Julie Delpy (French) saying the hardest thing in Hollywood is being a woman and that she wishes she were “African American” because, apparently, “women” get heated backlash for speaking up that “African Americans” do not. No one in Julie Delpy’s world, which is apparently another planet, ever lashes out at Black people in the industry for calling out discrimination, which makes all those stories about white actors miffed over Black actors’ criticisms of industry racism kind of awkward, no? And apparently it’s also impossible to be a woman and an “African American” at the same time. Guess I and every other Black woman missed the memo that we’re unicorns.
- I could go on: add Kristen Stewart and the Coen Brothers to the list of white Hollywood elites who have put their apparently racist feet in their mouths.
These comments have a few things in common. For one, as Racialicious’s own Kendra James notes, they’re all statements from white actors who are not American, on racism in Hollywood and the Academy of Motion Picture Sciences, both of which are, hmm, American. We can maybe extrapolate something from this about how global investment in whiteness and white supremacy transcends national borders, making white people who literally don’t know the culture they are talking about feel entitled—compelled, even—to weigh in in defense of their white brethren across the water, and to step in to impress on Black Americans our failure, even inability, to properly understand our own experiences and histories in our own country.
They’re also all blatantly solipsistic. Delpy, in a few words, and in the name of speaking up for the category of “woman,” renders Black women as mythological, nonexistent beings. In a few words, Caine shows he feels his individual experience as a white man qualifies him to lecture a whole race of people on what we should put up with. A whole race of people who, not merely in Caine’s lifetime but during his career as an actor, were by law barred from professional opportunities available to Caine and his fellow white actors, and were and still are excluded by custom from opportunities and accolades that white actors can reasonably hope for. Rampling complains of “racism” against her and her fellow white people even as she’s one of a sea of Oscar nominees who are almost nothing but white.
They’re blatantly, completely counterfactual: Delpy claims to wish to be Black in a Hollywood whose admittedly scant recognition of female excellence goes almost exclusively to white women. In an industry where the stakes for Black actresses who speak up about misogynoir, the toxic nexus of misogyny and anti-Black racism, are more dire than any white actress could imagine or fathom. It is the height of absurdity to complain about “reverse racism” when for two years only white actors have been nominated for some of the highest acting awards in the world, when barely anyone who doesn’t look like Charlotte Rampling has been nominated for, much less won, such recognition in the 87-year history of the Oscars. It is riiiiii-fucking-diculous for a white actor like Michael Caine to compare waiting in his individual professional career for accolades to whole categories of people being passed over for industry recognition for the better part of a century.
I won’t call these statements “stupid”; intelligence has nothing to do with this. I will call them laughable. They ought to be, at least. These are patently ridiculous statements utterly unhinged from anything resembling reality.
So I decided, rather than unpacking such statements at length, my response would be merely to point, and laugh. And laugh. And laugh.
I decided that rather than get into the nitty gritty of why these people are wrong as fuck, I would instead stress how their comments show how deeply entrenched white supremacy is. How much white people think they are *owed* cultural, structural, and social supremacy over other groups.
Because here’s the thing. The comments from Rampling, Caine, Delpy—just a few recent examples of widespread sentiment in the white Western world—are merely veiled ways of saying white people’s rightful place is at the top of the heap and no one should dare question it.
Really, can you get more arrogant and supremacist than getting offended just by the *idea* that white people shouldn’t get all the nominations?
Can you get more arrogant and supremacist than claiming the reason not only Black people, but people of color across the board are barely represented among Oscar nominees and similarly elite ranks, is that white actors and directors and producers and writers are just the best, pretty much all the time?
Think about it. These folks are upset, angry even, over statements so mild they don’t—shouldn’t—even warrant the label of critique. This should be common sense: professional and artistic awards shouldn’t go only to white people.
That’s it. Awards shouldn’t go only to white people. That should not be the regular state of things. This is what amounts to a controversial, questionable, even “racist” statement in a white supremacist world.
These folks are upset that other people DARE to even think this, much less voice it and demand that it be acted on.
These folks are upset that people DARE to say when a room (literal, figurative) is all white people, this is not the result of natural “meritocracy.” It’s artificial—just one result of a centuries-long process of deliberate, systematic exclusion and oppression of people of color. It shows that equal opportunity and access *does not exist* for the 33% of Americans who are not white.
So this is the deal. If you are mad, offended, feel DISCRIMINATED AGAINST simply by having to hear—not actually confront, not actually act on—the IDEA that white people shouldn’t own or get everything? If you feel something that is rightfully yours is being threatened or taken away simply by the expression of the thought that all the nice things shouldn’t go exclusively to white people (and perhaps the occasional token or exceptional brown person)?
If this is you? I will not try to persuade you to think or feel otherwise. I will not engage with your ridiculous “arguments” about why a status quo of white supremacy is just the way things should be.
I will not validate what is essentially an assumption that white people are the bar for excellence. I will not indulge demands that Black people and other people of color prove that we can be as good as white people.
I will not participate in a debate that asks that I “prove” that white people aren’t the cream of the crop, rather than questioning why, when the world has at least twice as many people of color in it for every white person, so much wealth and power—in the U.S. and globally—is hoarded by and for whiteness.
I will not pretend that you are questioning anything less than the humanity of Black people and other people of color—because let’s be real, that’s what we’re ultimately talking about, human capacity and potential and therefore our human-ness itself.
I will not argue with you about whether my humanity is equal to yours. Nope.
Instead, I will point and laugh.
Instead, I will note that you are catching feelings and pitching a fit because you think you and your fellow white people are entitled to everything.
Instead, I will point, laugh, and note the absurdity, the solipsism, the naked belief in white superiority that you are clumsily trying to cloak as logic and reason.
And then I will move on.
Because ridicule and contempt? Is all this mindset—that the natural state of things is white entitlement, for you and yours to have more than the rest of the world—deserves.
The post White entitlement is white supremacy appeared first on Racialicious - the intersection of race and pop culture.
We’re all bracing for an onslaught of analyses surrounding Beyoncé’s “Formation” this week. But at least for right now, via Mic, here’s another chance to see her and Bruno Mars do their thing at Sunday’s Super Bowl halftime show with all of that Coldplay stuff cut out.
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February 8th, 2016: HEY GUESS WHAT?? I've got a new book coming out in June called ROMEO AND/OR JULIET and you can preorder it now and IF YOU DO, you can send a special Valentine's Day ecard to your sweetie THIS MONTH that features new art by either Kate Beaton or Noelle Stevenson! AHHHH
For the second year in a row there were zero actors of colour nominated for lead or supporting acting awards, and no Black directors recognised for their efforts. The lack of nominations for Creed and Straight Out Of Compton stood out to many, leading to the resurgence of @ReignofApril’s #OscarsSoWhite tag, calls for a boycott of the show, and demands that there be immediate changes in the voting and nomination process. To the Academy’s credit they did move rather swiftly. Their statement began with: “The Board’s goal is to commit to doubling the number of women and diverse members of the Academy by 2020.” and outlined some important changes:
Beginning later this year, each new member’s voting status will last 10 years, and will be renewed if that new member has been active in motion pictures during that decade. In addition, members will receive lifetime voting rights after three ten-year terms; or if they have won or been nominated for an Academy Award.
At the same time, the Academy will supplement the traditional process in which current members sponsor new members by launching an ambitious, global campaign to identify and recruit qualified new members who represent greater diversity.
Under President Cheryl Boone Isaac’s leadership the Academy has taken steps to mitigate their diversity issues, but this top-down solution isn’t the only thing necessary to fix Hollywood’s race problem. Viola Davis hit on it when she won her Emmy –working in the television industry which is often considered more diverse— for How To Get Away With Murder. “You can’t win an Emmy for a role that isnt there,” she said during her acceptance speech. The same principle applies to the big screen– people of colour cannot be nominated for the roles that do not exist.
Changing the rules and membership the Academy operates under is a giant step, but does the number of diverse people there to vote matter if the number of diverse people in mainstream Hollywood films doesn’t increase at the same speed?
White actors have the largest breadth of roles in Hollywood. It’s as easy for Steve Carrell to make Foxcatcher as it is for him to make The 40 Year Old Virgin, Little Miss Sunshine, or The Big Short, and he’ll receive acclaim or some kind of major nomination for all of them. Note the variety of topics and genres Carrell is able to work with; not to mention the different directors and writers. Each of these films was marketed to a general audience– not just a white one. This makes sense since in 2014 white people made up 63% of the population and only made up 56% of the movie going audience, while Latin@s were 25% of the movie going audience despite making up 17% of the American population.
With numbers like that you’d think that actors like Gina Rodriguez would be more in demand. You might assume that there would be more than one Oscar Isaac taking over Hollywood along with the likes of fellow white heartthrobs Zac Efron, Channing Tatum, and –as inexplicable as it is– Bennedict Cumberbatch.
The problem isn’t just those in the Academy voting, it’s the variety and number of roles that people of colour are offered. If you’re a good actress, say a Meryl Streep or Cate Blanchett, steadily working on a number of movies in different genres marketed towards wide audiences each year then your chances of making something that is clearly Oscar Bait or even stumbling into a nomination unexpectedly is much higher. Easy A comes to mind when thinking of “stumbling into nominations.” It brought Emma Stone an unexpected Golden Globe nomination (she was also later nominated for an Oscar for Birdman). ‘Classic Literature retold via teen movie’ is a fairly common movie trope more often than not told via a majority white gaze, and often critically adored. Easy A represents a widely popular and financially successful genre of film that Black, Latino, Asian, and Native actors have never gotten to lead. We have no Jane Austen teen comedies starring Amandla Stenberg, no modern day high school Shakespeare romps starring Avan Jogia.
Exposure is just as important in the nomination and voting process as the quality of the movies themselves. I speak from experience, as someone whose job it was to fill out Emmy and Oscar ballots for someone during the 2011 awards season. I hadn’t seen all the movies and shows up for nomination, and in some categories I voted based on the past work of those nominated that I’d seen most of and enjoyed. Whether their films deserve awards or not, I imagine it’s easy for voters to check off boxes for Leonardo DiCaprio and Jennifer Lawrence simply because these are people who’ve had ample opportunity to star in a variety of things that show their talent as actors. Even if you’re not thinking of Joy while voting, perhaps you’re remembering that you enjoyed American Hustle, Silver Lining Playbook, or The Hunger Games or X-Men franchises. If Leonardo DiCaprio wins an Oscar this year for The Revenant I’ll go to my grave swearing it’s actually for Catch Me If You Can or The Wolf of Wallstreet.
Jennifer Lawrence has made three movies a year since 2011. Michael B. Jordan made one movie in 2014. Despite being active in the business for longer than Lawrence, 2015 is the first time he’s released more than one film in a single year. This means she’s had triple the chance for interviews, soundbites, fake celebrity friendships, and quirky red carpet stumbles to stick in the public’s mind. Jordan’s not been offered the chance to make the same impact.
The strangest part is that as hard as it seems to be for Hollywood to imagine more roles for actors of colour, they’re the most obvious things in the world to me. Brooklyn reminded me how much I’d loved Re Jane –a modern retelling of Jane Eyre about a Korean-American girl from Queens who attempts to find herself and love in both America and Korea– and that I’d happily watch it play out on screen. If there’s room for a major studio backed movie about a blonde lady who invented a mop, there’s room for a fictionalised account about the man who invented the Supersoaker, or the woman who changed the landscape of Black hair care. I’d love to see Gina Rodriguez nominated for an unexpected Oscar because she got to stand out in a witty comedy written by some Hollywood darling, a la Bridesmaids. We’re about to get our 4th Batman film of the past 11 years, and yet no one has called on Pedro Pascal to reboot the Zorro franchise. It’s not difficult to think of all the movies that could be Brown Oscar Bait, or just entertaining, to mass audiences if Hollywood would just think to make and cast them.
When winning her SAG Award this past Saturday night, Viola Davis had more to offer. “I can play any character in Chekhov and Shakespeare and Miller. All of the actors of color I know don’t place any limitations on themselves either,” she said, in part. As an actor like Sean Penn isn’t just regulated to making Milk, actors of colour shouldn’t be regulated to being recognised for the so called Important Movies™ like Selma and 12 Years a Slave. We need more Creeds and more Straight Out of Comptons. More variety; struggle borne from character driven personal goals and modern day adversaries rather than the fallbacks of bondage and whiteness. It’s time for Hollywood to figure out a bottom-up approach on casting, the stories that written with people of colour in mind, and the marketing of said films to meet the Academy’s top-down approach in membership and voting change.
The post #BlackOscarBait: On The Importance of Casting appeared first on Racialicious - the intersection of race and pop culture.
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February 5th, 2016: HEY GUESS WHAT?? I've got a new book coming out in June called ROMEO AND/OR JULIET and you can preorder it now and IF YOU DO, you can send a special Valentine's Day ecard to your sweetie THIS MONTH that features new art by either Kate Beaton or Noelle Stevenson! AHHHH
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February 3rd, 2016: This comic touches on a some of the notes my TEDx talk hit (A Time Traveller's Primer), so if you are interested in seeing me tell you about this CRAZY STUFF while wearing a suit, oh wow, have I got a 15 minute video for you!
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February 1st, 2016: YOU GUYS, I started Dinosaur Comics on February 1st 2003, 13 years ago today! AS OF TODAY DINOSAUR COMICS IS OFFICIALLY A TEENAGER! This is madness. This is pure, freebased madness. Thank you all for liking my comics, for supporting it through merchandise and patronage throughout the years, and for letting me have the best job in the world! Holy crap. Y'all are the best.
I can't believe I have a teenager now. Dinosaur Comics is all sassing authority figures and sneaking into R-rated movies! Metaphorically!!
Ball gives life.
Explosive energy, fierce fashion, and a strict, family focused culture all hallmarks of the ballroom social scene.
Featuring the lives of Chi Chi Mizrahi, Christopher Waldorf, Divo Pink Lady, Gia Marie Love, Izana “Zariya” Vidal , Kenneth “Symba McQueen” Soler-Rios and co-written by Twiggy Pucci Garçon, KIKI is a joyous and energetic look at the next generation of unwavering LGBTQ self advocacy in the face of a hostile world. The artist’s description of the film is full of affirmations and vision statements, revealing the core idea underlying the documentary:
In this film collaboration between Kiki gatekeeper, Twiggy Pucci Garçon, and Swedish filmmaker Sara Jordenö, viewers are granted exclusive access into this high-stakes world, where fierce Ballroom competitions serve as a gateway into conversations surrounding Black- and Trans- Lives Matter movements. This new generation of Ballroom youth use the motto, “Not About Us Without Us,” and KIKI in kind has been made with extensive support and trust from the community, including an exhilarating score by renowned Ballroom and Voguing Producer Collective Qween Beat. Twiggy and Sara’s insider-outsider approach to their stories breathes fresh life into the representation of a marginalized community who demand visibility and real political power.
25 years after the debut of Paris is Burning, the controversial documentary sensation is starting to age. The references, music and fashion feel dated, and the persistent questions around storytelling, racism, and exploitation are just as relevant today as they were when the film aired.
KIKI brings a fresh update and perspective on how ball has changed. KIKI exists in a world where transgender rights have been pushed into the limelight by brave pioneers like Laverne Cox and Janet Mock. While Paris is Burning valorized passing, most of the characters in KIKI believe they exist on a transgender continuum. Some openly identify as trans, but question if the label isn’t just another restriction. The idea of “realness” being divided into “female” and “male” categories is interrogated by one character, who asks why the LGBTQ ball scene has to follow the same binaries as the rest of the heterosexual world.
KIKI also features refreshingly frank conversations about policy over the course of the film. While all of the delicious aspects of ballroom culture are still in full effect – music! costumes! competition! – the narrative frequently swings toward the activism of the participants outside of the scene. The houses look at violence, police brutality, medical policy and housing policy and do their best to advocate for more rights and protections under the law. The director’s notes reveal some of urgency around their activism:
Kiki scene-members range in age from young teens to 20’s, and many have been thrown out of their homes by their families or otherwise find themselves on the streets. As LGBTQ people-of-color, they constitute a minority within a minority. An alarming 50% of these young people are HIV positive. The Kiki scene was created within the LGBTQ youth-of- color community as a peer-led group offering alternative family systems (“houses”), HIV awareness teaching and testing, and performances geared towards self-agency. The scene has evolved into an important (and ever-growing) organization with governing rules, leaders and teams, now numbering hundreds of members in New York and across the U.S and Canada. Run by LGBTQ youth for LGBTQ youth, it draws strategies from the Civil Rights, Gay Rights and Black Power movements.
Conversations about race, masculinity, femininity, performance all feature prominently throughout the doc. One illuminating conversation featured Gia and another activist debating the role of sex work in the LGBTQ communities. Symba soberly recounts the realities of living with HIV and the horrible day he found out he was positive. Twiggy Pucci Garçon heads to the White House to advocate for LGBTQ rights, but finds out he was evicted from his home while traveling. But not all the moments of discussion are heavy. Chi Chi Mizrahi breaks down the various types of experiences on the transgender experience, but explains that none of those labels fit him: “I’m just a boy that likes to play in women’s clothes!” He says, before analyzing a pair of shoes for both their masculine and feminine qualities.
KIKI does not have a clear narrative arc but the confusion doesn’t distract from the core purpose of the film. One of the most powerful devices used in the film is the long, silent camera shots that focus deeply on each subject. The camera lingers, forcing the viewer to confront the subject’s stoic gaze. Each shot feels a beat too long, but that is the point – it’s a quiet exhortation of the viewer to look, really look, at what is in front of them.
For all the pageantry and opulence of ball culture, all anyone really wants is to be seen for who they are.
The post Sundance Pick: KIKI appeared first on Racialicious - the intersection of race and pop culture.
From time to time, the OTW will be hosting guest posts on our OTW News accounts. These guests will be providing an outside perspective on the OTW or aspects of fandom where our projects may have a presence. The posts express each author's personal views and do not necessarily reflect the views of the OTW or constitute OTW policy. We welcome suggestions from fans for future guest posts, which can be left as a comment here or by contacting us directly.
Today's post is a Q&A with University of Minnesota undergraduate Olivia Riley. Olivia's thesis on Archive of Our Own and the Gift Culture of Fanfiction caught our attention. As she created a video for 2015's International Fanworks Day, we ask her about looking at fanworks through an academic perspective.
How did you first get into fandom and fanworks?
I’ve been a lifelong fangirl. I grew up watching Star Trek (the original series, TNG, DS9, Voyager, and later Enterprise when that came on) with my parents, who introduced me to the shows that would be my first fandom. We always had shelves of Star Trek novels in our basement, and when I was in elementary school, I started writing stories about going on adventures with all the fictional characters I loved. So I was writing fanfic before I even realized what that was!
However, it was truly Doctor Who and Sherlock that brought me into modern, Internet fandom as we know it now. My love for those shows inspired me to find out if other people also adored them, and lo and behold! There existed huge, magical communities of fans who’d loved these characters since before I was born! I discovered blogs, and social media pages, and fan videos, and fanfiction and fell in love.
What made you think about writing your thesis on a fandom topic?
A summer ago, I discovered rather accidentally and then subsequently devoured the wonderful book Fangasm: Supernatural Fangirls by Katherine Larsen and Lynn Zubernis, and that was my first real introduction to the academic study of fandom. I was totally captivated by the idea that other people had spent time investigating and working to understand fandom, and that maybe I could do that too! So, when I embarked on my research project, there was no question that it was going to be about something fannish.
Then came the more difficult matter of deciding what angle I wanted to come at the topic from – communications, cultural studies, gender studies; a quantitative analysis or fic or a qualitative analysis of community; did I want to focus on vids or art or fic, etc. I ended up choosing to focus on fic, through the lens of the gift culture, mainly because it was an aspect of fan culture that I’d been peripherally aware of for years, but hadn’t known there was a name for.
What was the most difficult part of it to do?
Staying on task! It’s pretty hard to focus on writing a scholarly analysis of the structure of AO3 when, for that purpose, you have a really intriguing Daredevil Cops & Robbers AU open. Also, it was sometimes hard to remember that my own personal fan experience was not everyone else’s fan experience, and I had to keep a very open mind and look out for ways of interacting with fans and fanworks that I hadn’t known about before.
To do that, I dove into the (rich and insightful) world of the scholarly study of fanworks and fandom, and determined that some of the most important aspects of fandom and fanfic in particular are gender, community, and the gift economy. I then argued that AO3’s form and function reflects and incorporates these key values of media fandom, from the site’s inception to the technical specificities of its realization. However, getting to the point where I had this nice, neat, thesis involved a lot of digging into literature and wandering around the Internet, and it was a bit of a struggle trying to figure out what exactly it was that I really wanted to talk about.
Did your perspective on fanworks change as you worked on your thesis?
It did. I realize now that what I really fell in love with wasn’t just the fanworks, but the love that their creators put into them. I’d often fan-girled in isolation, or only with a few people that I’d met in real life, but this project really opened my eyes to the expansive and amazing communities that blossom around every imaginable aspect of fandom. I saw how these incredible fans put their blood, sweat, and tears into their works and share them freely and with great love to their fellow fans, often in opposition to and despite the machinations of male, capitalist, power structures. (To my great pleasure, the more research I did, the more the feminist tilt of fan creation became apparent!) So, before I began my project I thought fanworks were really cool, but by the time I’d finished, I had a whole new level of respect for fanworks and their talented creators.
What do fanworks mean to you today?
To me, fanworks mean love, community, and freedom. They represent social ties and caring between friends and fellow fans, and they’re a tangible representation of these relationships. And they also mean freedom and revolution to me, because they represent a female tradition of creativity that has grown and thrived and created its own space separate from male-dominated capitalism. Fanworks are beautiful and magical and I could gush about them for hours...and in fact, did gush about them for months on end in the form of writing a ninety page paper!
What would you tell others about International Fanworks Day?
Participate! Don’t be scared to put yourself out there - the celebration of fans and their love is what this day’s all about. And participation doesn’t just mean going out and writing and posting your own fic – it can mean reblogging someone’s fanart on Tumblr, liking their fanvid on YouTube, or leaving comments on their fanfic on AO3. It’s pretty amazing that the Day exists, and being part of it can be a truly rewarding experience.
- Fandom in 2015 was more "out" than ever before, with increasingly insightful takes on it that questioned common assumptions and sought to educate the public (and not just through academia.) Some of the developments had to do with changes in the media itself, and some due to an understanding of its rewards to both the media, as well as everyday efforts.
- Hypable noted how fans were likely to spend the year-end holidays. "The fact is, everyone has their own traditions, and if you’re a part of a fandom, these traditions could (and probably do) relate to your passion. If you’re looking for ideas on how to add some flare to your celebrations this holiday, here are some ideas from six different fandoms!"
For some people, as in The Burlington County Times the real celebration was discovering a new fannishness. "[W]hen 'Star Wars Episode VII' was announced, my sister almost cried with immense anticipation. I, on the other hand, wasn’t exceptionally fazed, but in the spirit of sisterhood, I agreed to attend a showing two days after the movie’s release. I hadn’t minded the original six films that I had been emphatically encouraged to watch as a child, and I knew that Laura would appreciate someone to whom she could fangirl.
I had no idea that I would leave that theater shaking and screaming with joy over what is now my favorite movie. Somehow, I had been involuntarily indoctrinated into the 'Star Wars' cult, and I regret nothing."
- While some fannish meetings turned pretty permanent other fannish developments were personal revelations. "One of the awesome things about burlesque is that even when mainstream media usually only shows a limited ideal of women’s bodies, burlesque embraces all bodies. Big or small, tall or short, fit or not so fit. I’ve found the whole thing to be a very body positive experience. When I perform, I don’t care if people see my cellulite. And you know what? They don’t care either. They care that I’m performing as The Joker, or Edward Elric, or a post-apocalyptic road warrior. They care that I’m funny. They care that I’m showing them a great time. When everyone is having a great time being geeky, that’s all that really matters."
What did you see as the major changes in how fandoms were represented in 2015? Write about it in Fanlore! Contributions are welcome from all fans.
We want your suggestions! If you know of an essay, video, article, podcast, or link you think we should know about, comment on the most recent OTW Fannews post. Links are welcome in all languages! Submitting a link doesn't guarantee that it will be included in a Fannews post, and inclusion of a link doesn't mean that it is endorsed by the OTW.