The apostle Paul’s letter to the Romans of his day has been described as an “all-encompassing…[summary] of the Christian faith,” at least by the Devotional Study Bible I’ve held on to since I was a child. As a result it contains a number of passages that will be all too familiar to the present and former church-goers among you. Romans 10:9, for example, is a pithy primer on salvation for the would-be evangelist, whereas 8:28 is a verse that’s often brought to bear in tough or uncertain times. A particular section that’s been weighing on me is more broad in its usage: Romans 12:15.
Rejoice with those who rejoice; mourn with those who mourn.
It brought to mind an event from several years ago, in the hazy span of time between my tween years and my early twenties. My family was all together for a summer in Toronto, and it was the weekend of the city’s Pride Parade. I remember it raining that Sunday, and hearing my mother muse aloud that it was a good thing the weather had taken a turn for the worse as it would undoubtedly put a damper on the festivities. She intimated that for her this was a time of great sadness.
I couldn’t help wondering if she felt the same way at the beginning of this week.
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Posted in America, Christianity, feminism, health, lgbt, morality, news, politics, religion, sex
Tagged abortion, Bible, Christian, Christianity, LGBTQ+, Matt Walsh, mourn with those who mourn, politics, pride, rejoice with those who rejoice, religion, rights, Roe v. Wade, Romans, schadenfreude
When last I updated this blog Donald Trump was still the President of the United States, and it would still be a little over half a year before COVID-19 significantly made its presence known in North America. Since then life has undergone drastic, almost unimaginable changes, and as I make my entirely unexpected return to Culture War Reporters I thought it would be fitting to provide updates on the half dozen posts I wrote back in 2019 to underscore the ways in which time has moved inexorably onwards.
It’s laughable to look back on a post that explores J. K. Rowling’s take on representing the LGBTQ+ community given that the author has positioned herself as a bastion against what she views as the dangers of transgender men. How could I have known that at the tail end of the year she would tweet support for Maya Forstater, a British woman who was fired for her comments about that particular group of people? Since then Rowling has doubled, tripled, quadrupled, and so on, down on her stance, in many ways becoming a figurehead for the TERF (trans-exclusionary radical feminist) movement. This has caused a rift in the Harry Potter fandom between those who would demonize the author and paint her entire body of work as being “bad” or “problematic” and others who would defend her writing to the point of adopting beliefs and stances that they might not otherwise.
Michael Chu, on the other hand, is no longer the head writer on Overwatch, and in fact no longer works for Blizzard Entertainment at all. He now acts as Narrative Director at 31st Union, a “San Fransisco Bay Area studio formed with a common purpose of crafting highly engaging entertainment and a commitment to putting fans first.” As far as his former employer, we’ll be digging into that oversized can of worms a little further down.
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Posted in art, celebrity, film, internet, lgbt, media, race, television, video games
Tagged 2019, 2022, Black female character, Blizzard, Chris Harrison, F9, Hobbs and Shaw, J. K. Rowling, LGBTQ+, Overwatch, representation, Sojourn, The Bachelor
It’s the Year of Our Lord 2019 and storytelling is still important. In some cases the stories are the same, like the age-old tale of good triumphing over evil, but they’re being delivered in increasingly more novel ways. Comics are drawn and fan fiction is written and YouTube sketches are filmed, and sometimes the collaborators aren’t even in the same city, let alone country. In other cases the stories, while nothing new, are finally being given the opportunity to be told. The idea of finding yourself isn’t an original one, but the narrative of coming out as gay or lesbian or transgender or any other identity has only recently found a foothold in popular media.
Storytelling and identity are crucial building blocks to our culture, and both are heavily intertwined (as are all things, these days) with the internet (it would be remiss of me not to mention that I chose to do so in a podcast I co-hosted). This is certainly as true for a multi-award-winning online first-person shooter as it is for a series of books that wrapped up a dozen years ago. The Overwatch and Harry Potter universes are like ours in that they are populated by a myriad of different characters, some straight and some LGBT+, but I want to delve into how the similarities, and ultimately the differences, of their respective coming out stories (in both cases the term “coming out” feels accurate, as none of the characters discussed were initially introduced as being anything other than straight).
“Yer a Gay Man, Dumbledore”
Before touching on her approach to revealing one of her characters’ sexual orientations, it’s worth making note of how the billionaire author has reentered our collective conversation. Two years ago a BuzzFeed writer was one of the first to report on a shocking revelation found on Pottermore, a site Rowling created for her legion of fans to learn more about the Wizarding World. Most people online will have come across this by now, but the page in question was about the Chamber of Secrets, and explained that wizards once vanished their excrement in lieu of using toilets. It resulted in one of my favourite Tumblr posts:
The user has since deleted their blog, so no direct link, sorry!
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Posted in internet, lgbt, literature, relationships, video games, writing
Tagged Ana, Bastet, Blizzard, books, comics, coming out, Dumbledore, Fantastic Beasts and Where to Find Them, gay, Grindelwald, Harry Potter, J. K. Rowling, lesbian, lgbt, Michael Chu, Overwatch, Pottermore, queer, Reflections, Soldier: 76, Tracer, Twitter, video games, writing
To say that the relationship between a child and parent is fraught with emotions, most of them far from easy to put into words, is putting it lightly. Yet this is the subject of Mum, a short film that captures a visit from a trans woman to her aging mother. Having already won a handful of accolades, it began screening as part of New Irish Shorts 3 at the Galway Film Fleadh just this past Thursday, July 13th.
Mum is the creation of many talented individuals, chief among them being director Anne-Marie O’Connor and actor and star Kate O’Donnell. In addition to being able to review the short film I was also offered an interview with the two of them that allowed me to gain a better understanding of how this particular work came to be.
First off, congratulations to the both of you on the awards that Mum has won so far, at both the London Independent Film Festival and Global Shorts. To springboard off of that into our first question, as it’s screened as part of “New Irish Shorts 3” at the Galway Film Fleadh, what helps to make this an Irish film outside of the talent involved?
O’Connor: The song that is played and sung throughout the short is Black Velvet Band. It was important to me for this to link the film as it was a song that Kate’s mum used to sing to her and a song that my dad used to sing to me as a child. And although geographically it isn’t set in Ireland, the relationship between Kate and her mum feels very Irish to me and in writing this I felt that Linda was second-generation Irish and that Kate was a product of that upbringing.
I noticed in the credits that Mum was created by the two of you, but that it was only written by Anne-Marie. Could you both go into some detail regarding the creative process?
O’Connor: Kate and I are good friends and have been for years, and as she’s a leading trans actor and activist I’ve always wanted to work with her creatively. We often discuss the way that transgender people are portrayed in film and TV (the fascination with the transition, the no-one-will-ever-love-me storyline, sex workers or outsiders) and wanted to make a short that didn’t fall into those familiar tropes, to have a transgender central character in a universal story.
So I met with Kate and I asked her what story she would tell if she could and it simply came from her saying she’d love to go home and paint her mum’s nails; something she used to do when she was younger but is impossible to do because her stepfather makes life difficult (he’s always been difficult, way before Kate transitioned!). And so we built the story around her own story. It was very important for both of us that Kate was acknowledged in the creative process. So that is why it is created by both of us.
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Posted in Europe, film, interview, lgbt, relationships, writing
Tagged actor, Anne-Marie O'Connor, Black Velvet Band, Colm Whelan, director, family, filming, interview, Kate O'Donnell, lgbt, Mum, short film, trans, Transgender, You've Changed
It’s a term that elicits a broad range of emotions, with each of our respective childhoods affecting how we react to it. Who we were, growing up, is a significant factor. But what about instances when who we are now is worlds apart from the person we once were?
Having spent much of her career up to now working in television, Mum is Anne-Marie O’Connor’s first short film, and one that she created with the help of star Kate O’Donnell, a transgender actor. Her debut short focuses on a trans character of the same name whose visit home is derailed by the discovery that her mother is in very poor health.
Much like the director, O’Donnell’s limited experience is also in television, where she starred in an episode of the transgender romcom series Boy Meets Girl. As the character at the centre of this short film she delivers a performance that, while uneven at points, always feels painfully real. Continue reading →
Posted in Europe, family, film, lgbt, review
Tagged actor, actress, Anne-Marie O'Connor, Ash Palmisciano, Boy Meets Girl, childhood, family, Galway Film Fleadh, Joseph Pearson, Kate O'Donnell, LGBTQ, Margot Leicester, Mum, short film, trans, Transgender
Let’s get right to business here, folks.
I’m sure most of you are aware that, last Monday, Late Show host Stephen Colbert joked about Trump’s mouth being Vladimir Putin’s “cock holster.”
This prompted outrage among many conservatives, and lead to the Twitter hashtag #fireColbert, along with calls to boycott CBS advertisers. Today, the FCC (Federal Communications Commission, for our non-American readers) announced it was starting an investigation into Colbert’s joke, “following up on complaints” of obscenity/indecency/profanity. As much as that sucks, it’s not the FCC I want to call up to the dock today. It’s the folks who got them involved.
Conservatives (who might accidentally stumble across this blog) – let me address y’all directly:
Many of you have cited that the joke was homophobic:
I gotta ask ya, Conservatives –
– since when do you give a **** about homophobia?
A sizeable chunk of the past twenty years has been dedicated to the battle to stop gay marriage, which was – to hear you talk at least – the breaking of the seventh seal. I mean seriously, we have had millions and millions of dollars and countless work-hours poured into this battle. Gays were, as you once claimed, destroying the moral fabric of the nation with the indecent and immoral behavior. To sanction it as a nation was to spit in the face of God!
Unlike rejecting refugees, widows, orphans, and the poor, of whom the Bible makes absolutely no mention.
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Posted in advertising, America, bizarreness, celebrity, Comedy, government, internet, language, lgbt, media, morality, news, politics, television
Tagged #fireColbert, Barack Obama, CBS, censorship, Donald Trump, FCC, gay, homophobia, homophobic, homosexuality, Obama, political correctness, Putin, quote, stephen colbert, Trump, Twitter