I WANT A TV SHOW DEDICATED TO RIVER SONG
I WANT A BOOK DEDICATED TO RIVER SONG
I WANT A MOVIE DEDICATED TO RIVER SONG
I WANT A COUNTRY DEDICATED TO RIVER SONG
I WANT A PLANET DEDICATED TO RIVER SONGI JUST WANT RIVER SONG, OK?! *maniac glare*
I hope I do too.
Thanks for letting me know about this— at least Street isn’t THE black character, she’s A black character. We’ve already seen one of the other characters, back on this page.
Doesn’t change how Street was introduced and I’m sorry that she’s offensive. I really hate stereotypes and feel awful I walked right into this one.
Hey, I just want to pipe in here and say that I completely understand why this character might initially come off as a stereotype, but at the same time, I want to just throw some food for thought out here:
When you decide a character is racist or a stereotype when you’re watching a TV show or a movie, you’ll probably hold out until the end of the episode to make sure that it is a racist and harmful stereotype. Even if a comic updates three times a week, the pacing is glacial. Street has been on exactly 8 pages, and until today when it was revealed that Street runs a gang of urchins, no one seemed to have any problems with her portrayal.
I expect that a lot of the outrage has to do with the fact that the word ‘gangs’ was used. When I was reading the page the first, second and third time, I completely missed the use of the word because my brain parsed the entire sentence to mean ‘group of possibly homeless children who run round around the neighbourhood causing mischief, possibly with magic.’ It was only as I was writing the above paragraph that the word ‘gang’ stuck out to me, and I have to wonder if that is the actual source of outrage, and when you couple that with PoC character and the fact that her name is Street, yeah, I can see it.
Because up until this point, Street has been nothing but well dressed, clearly educated, has money if she’s going to any place that requires uniforms to be worn—aside from being PoC, more stoic and less rambly, she’s exactly the same as her friend in all respects.
I’m not really excusing any of that, and I will completely understand if Kadi goes back and changes the word ‘gang’ to network or ‘group’ or ‘club’ or ‘pack’. But I do implore you wait until the end of the episode, as it were, before you start with the accusations and finger pointing. Blindsprings is a very involved comic with a lot of lore and world building, and one of the best part about comics from a writer’s point of view is utilizing tropes and subverting them. That’s what makes characters complex, that’s what makes characters interesting, that’s what gives them depth. “This character appears to be _______ but is ACTUALLY ___________” is what makes comics exciting, especially when so much love is being put into them. As it stands, if this were a TV episode I’d peg this entire interaction between the three girls to be at roughly five minutes or less of actual footage, and that’s not enough time to subtly subvert anything, nevermind a stereotype that Kadi didn’t even realize that she’d used.
She’s obviously mortified that this slipped past her, and I see zero reasons to expect that this is going to happen with any other PoC in Blindsprings, because it wasn’t even intentional. Intent matters, and you can bet that she’s going to be hyper aware of this with every PoC character from here on out, just because this was brought to her attention.
All this, I agree. Except for the bit about intention sort of, because I think a lot of people who are racist don’t realise they are racist and don’t mean to be, and might make a racist stereotype character because of unconscious associations, but anyway since this has been pointed out - with good reason or not - and the artist is clearly mortified, she’ll probably try to avoid it now specifically.
To clarify, when I say intention matters, I wasn’t saying that just because someone has good intentions everything they do is excusable. I *will* make a case for Kadi in this particular scenario because she didn’t have bad intentions OR good intentions—she had zero intentions because she wasn’t trying to make ANY statement about PoC.
I’m going to take her word here and believe her when she says that the character wasn’t even intended to be a PoC—she has posted older, whiter designs, and I definitely understand the scenario, since the character who has become the main focus of my own comic was a tall skinny white guy until the day I had to draw him for a page—I scrapped that design and made him a short muscular mixed race adolescent with a mohawk. It happens, designs change even if the character’s personality and purpose in the story doesn’t, and sometimes things like this that wouldn’t matter at all if you’d stuck with the original design suddenly DO matter. Things slip through the cracks, especially when you’re doing longform comics and need to keep track of a zillion plot points and timelines, etc.
Anyhow, intention matters, for sure. But there’s a difference between telling someone who meant well (or meant nothing at all) why something they did was problematic and insisting that they’re a racist even after they explain their intent and apologize at length. Yeah, PoC have to put up with bullshit all of the time, but this wasn’t intentional and all repeatedly calling Kadi a racist does is make her feel really bad about something she loves, and that’s kiiiind of a dick move since she’s spending massive amounts of time to bring you all a very beautiful comic that you read for free.
tldr; definitely call out problematic things. If someone concedes that they made a mistake and are visibly horrified that they made it even if it was just an oversight, refusing to believe that they are not a racist is BAFFLING.
I think people have problems gaining access to these characters.
Particularly coming out of the RTD era, there exist some hurdles to this, because Russell T Davies was very methodical in making his characters as overtly relatable as possible, by weaving in shared experiences very early on: oh look, Rose is unhappy with her job etc. This is really clear when you look at The Writer’s Tale and see him planning a new companion that we never got, because Donna ended up returning. One of the first things he comes up with is her boyfriend having cheated on her in order to make people identify with her. When it works, this kind of approach is incredibly effective. To this date, even though I don’t see myself in Rose and Donna at all, Martha most definitely is the companion I relate to most.
And in comes Moffat and he just doesn’t do that. He doesn’t spend a lot of time drawing parallels between the audience and the companions. He doesn’t have the same preference for contrasting the Doctor with domesticity that Davies had. In some ways he is more interested in portraying someone different than he is in portraying someone expressedly “normal”. Moffat is a lot less careful with laying out his characterisations in clear, organised ways in the manner which Davies was a master at.
Now, that doesn’t mean at all that his characters are less relatable or less complex or that they have less depth. But they are often going to appeal to different people and a different approach is necessary. You go from “oh, Rose isn’t happy with her job” to “Amy Pond is a Scottish Girl in an English village and she has been talking about her imaginary friend for years with others not believing her”. The latter has plenty of identification material - feeling different and alienated, not fitting in, finding joy in imagination and storytelling, struggling with other people’s lack of understanding etc. But it is not right there on the surface.
So why do I talk about relatability here? Because like I first said, this is about access to these characters. And if you are lacking access, it will be incredibly hard to gain an understanding of these characters - and with a lack of understanding, you really can’t help but notice the similarities. You look at Amy and go “well, she’s beautiful and flirty and often cracks one-liners… ugh, I don’t get her at all” and then you look at Clara and you will see exactly the same thing - and then you will complain that all of Moffat’s characters are the same (and that he sucks as a writer because of this).
And in some ways, this is correct - but in others this is most definitely wrong. To somebody who possesses a better access to these characters, it will quite frankly sound like bullshit. We see Amy struggling to hold on to “Doctor life” while slowing building herself some sort of “real life” as well and can’t understand how people could mistake her difficulties in committing to something with Clara’s determination to only travel with the Doctor one day per week. It is obvious to us how different they are around children - one caring and responsible, the other more like a rebellious sister. We see that Amy is a lot more brash and we notice Clara is a lot more scared in the situations that she comes across in her travels with the Doctor. And we notice how Amy grows more trusting and able to express her emotions, while Clara becomes more naturally confident.
We notice their back stories and the little moments and all the information we receive about them and we understand. And sometimes we relate - often even, because seeing yourself in the particles that make up their character is surprisingly easy.
No. Not even a little bit. I think Molly probably thought she had moved on. You have to remember Sherlock was gone - with no word - for two years. That’s a long time. Certainly long enough to convince yourself that he’s a thing of the past. I think it was easier for Molly to tell herself that with him out of sight, honestly.
His return is undoubtedly bringing back feelings, but she’s trying her best. The thing is, Molly has always been portrayed as an unrequited love - she has absolutely no reason to believe that Sherlock will ever be capable of a functioning romantic relationship. At some point - you have to force yourself to move on. She’s trying. And she’s protecting herself, and becoming more confident around him, so she actually is moving on in a sense. She is not letting him manipulate her any longer, and Sherlock telling her she matters is giving her confidence in dealing with him.
Just because we the audience are judging her for being with Tom when she obviously still has feelings for Sherlock doesn’t mean the writers are treating her badly. This is what happens in real life. Sometimes loving someone isn’t enough and you have to force yourself to move past a person. Molly has been handling herself admirably as far as I’m concerned - she’s trying to move her relationship with Sherlock into a different area. Transfer that unresolved crush into a deep friendship. I don’t think it will work necessarily, but it’s her prerogative to make the attempt. And she’s not wrong to, at all.
Mary wants Sherlock and John to still be best buddies. (Way different from how John’s previous girlfriends have reacted to his very committed friendship with Sherlock) She wants them to feel free to show affection, even encourages more affection. She WANTS them to go solve murders. (And she’ll even join sometimes because solving murders is fun, but not everytime because she knows they need their own adventures and time to just be boys)
And Sherlock makes an effort to be nice to her. And more importantly, he actually LIKES her! She’s smart and useful and loves John just as much as he does.
And John acknowleged that they have bothed saved him and just loves the shit out of both of them because he’s a warm, cuddly, loyal, open hearted little soldier boy.
THIS is what it looks like when there’s a pair of best friends, and one gets in a relationship, and it doesn’t automatically ruin everything! They believe in their friendship and she believes in their friendship and creates her own friendship and everything is good!!
BEST FRIENDS CAN HAVE LEGITIMATE RELATIONSHIPS THAT DON’T RUIN THE EXISTING FRIENDSHIP.
And not ofen enough represented in the media!
(This is disregarding the end. Which in my opinion, was more caused by the new baby, which changes all the relationships in a whole new way.
And as far as Johnlock goes, there’s still no tension. If you do see a romantic relationship there, I’m convinced they just ADDED Mary to their love nest. Still not endangering the original relationship. Bam.)
I’ve heard some complaints about the Eleventh Doctor’s regeneration. Fans suggest that it was too quick and not a proper send off. Others say that it wasn’t as poingt as it should’ve been. That there was a better way of doing it. Or that it wasn’t hardly as sad and emotional as Nine’s or Ten’s.
I’m going to have to disagree. And here’s why:
(Posted under a Read More to avoid spoilers… So, SPOILERS ahead. You’ve been warned)
Thank you for asking!
The key to the TARDIS seemed to be a recurring theme under RTD -all of his companions save Mickey got one-, but not under Moffat –it was only a joke with Churchill. The key given to Victorian Clara was an exception, but not precisely. It was a symbol, since the Doctor was locked up in his grief and Clara helped him to come out after a long mourning. The key in itself is useless considering none of the companions can fly the TARDIS.
Modern Clara did not receive it and even had her share of the TARDIS being downright mean to her –which, according to the The Doctor: His Lives and Times has something to do with her impossibility and entering the Doctor’s grave. Other Moffat era companions and River were not shown receiving the key, simply because Moffat is all about symbols and he would use this one sparingly, here with Clara unlocking him, to give it more weight. It would have had less impact, had he written it for every character travelling with the Doctor.