The Little Pakeha

a/b/o and worldbuilding

Heavy disclaimer: Alpha/beta/omega dynamics is a popular trope that’s used in a wide range of stories and my thoughts on it do not apply to all cases. I’m most familiar with it through the lens of male-focused fanfic, typically m/m but sometimes also featuring m/f and that’s the situation I’m keeping in mind while writing this, which should be pretty evident right from the first line.

I’ve always thought the reason a/b/o bugs me is because it’s just sexism without centering women, but I started thinking about it further recently with no apparent trigger and what I actually think is more that it bugs me because it’s just… kind of lazy. I love worldbuilding. Absolutely love it. I’ll forgive a lot of sins if they’re presented alongside a coherent setting that’s wildly different from the real world but still makes sense even in the details, but I’ve seen very little of that in a/b/o fic over the last fifteen years or so. I think the most developed setting was one where the default relationship was a triad, couples were extremely strange, and if two people hit it off they’d generally speedrun trying to meet someone else so that there wouldn’t be too much of an imbalance in how long each of them had known each other. In terms of how things might be different from the fandom’s canon it’s generally even more lacklustre – the biggest thing I can think of is that in the MCU if Sam is classed as an omega he’s almost always had to hide it somehow to be in the military. And… that’s about it. Apart from that, there’s an entirely new axis of discrimination and biological division that is often both even more important than and a lot more rigid than sex and/or gender that’s dropped on top of the existing setting but somehow changes absolutely nothing about it.

To me there are potentially hundreds of questions about this situation that mostly boil down to two: 1) what is the purpose of this change? and 2) what are the effects of this change? Why do the a/b/o classifications even exist? We already have a perfectly good reproductive system, so what purpose is served by evolving a second set of sexes that exist alongside the ones we already have? This is going to differ depending on what aspects of the trope you care most about. Some people seem really into the possessiveness and fetishising the differences, with everyone calling each other “alpha” and “omega” all the time, others are more into the physical aspects of varied genitalia (essentially “[fandom] but make it queer and trans/intersex”), others like ruts and heats and having a structured version of the sex pollen trope, etc etc. If I’m writing a fic with a big difference like this, this is going to be one of the first things I think about. I need to know what the difference exactly is so I can figure out how it happened and why. For an example, I’m going to go with the ruts and heats partly just because it’s the easiest. It doesn’t actually require a whole second set of sex classifications, it just needs a reason for my male characters to occasionally get really horny, which is much more in the scope of a single blog post that isn’t the length of a novel. So, what might cause that to come about? What if, as a species, we just weren’t very fertile? In the real world cis women tend to ovulate most at a particular point in their menstrual cycle. I also once read an article that suggested that cis men might actually have a similar hormonal cycle. Whether that’s true or not, I can use it here and decide that much like the stereotype about women who live together syncing up, if a cis man and cis woman cohabitate they might also sync up until they’re both hitting their most fertile points at the same time, and they’re more likely to successfully reproduce if they go at it like rabbits at that point. Over time we get a situation where that male equivalent cycle becomes more common and stronger to the point where it’s a very noticeable and default biological fact.

What’s more, because this is my fantasy fun times, I can play around with it a bit more and say that this reduces the strength of rape culture because the stereotype has actually come to be that men are more likely to want a relationship and male sexual aggression has been evolutionarily selected against – their best chance of reproducing is when both partners are fertile, not by just randomly banging a bunch of women and hoping to get lucky. (It doesn’t prevent them from doing that, nor does it prevent coercion within a relationship, but it could make them more frowned upon.) That doesn’t mean that every male character is soft and fluffy, just that it’s an accepted stereotype that men aren’t as into one night stands the same way they stereotypically are in the real world. If you wanted you could also say that people tend to imprint on each other when they go through a heat together to mimic the mating bonds that often pop up in a/b/o fic.

With a bit of thought I’ve now come up with something that uses the aspects of a/b/o that are (theoretically) most important to me, where there’s a reason for them to exist, and where some aspects of our society have changed because of them. Meanwhile in almost all of the a/b/o I’ve read there’s nothing. If we go back to the MCU, Natasha is almost always classed as an alpha, but (possibly because I don’t tend to read Natasha-centric fic – I’ve tended to use roleplay to explore general character stuff and fanfic for shippiness or wild AUs) I’ve never seen even the slightest thought about how that might affect her story arc. The Red Room specifically trains female assassins for a reason and that seems to go very much against the idea of including alphas, so why was she there? Was there a systemic issue where they can’t determine someone’s classification before puberty so they had to either train some alphas or waste massive amounts of resources by cutting them out when they finally showed? Was she an exception for some reason? Did she have to hide it, and how did she do that without ever getting caught? Did they have a way of temporarily masking an alpha as an omega for missions? How did any of these examples impact her psychologically? It’s not just Natasha, though. The only time I’ve ever seen anything even vaguely analogous to transgender or intersex people is in the case of Steve and Bucky, who sometimes have their classifications changed by the serum (very much not the same thing). It’s also rare to see anyone who doesn’t perfectly fit the stereotypes of their classification except, again, Sam or another male character not being a “typical omega” and being very unusual for that fact, and a single fic I read where omegas were viewed differently and more obviously valued and respected in Wakanda. Is there no widespread individual variation of personality that doesn’t fit these classifications? No feminist movement? What’s the situation with suffrage or property ownership if historical sexism can be mapped so perfectly onto a system that’s far more universally true than the sex stereotypes that underpin our own struggles?

Dream Scenario

2023, directed by Kristoffer Borgli

Dream Scenario is a movie about a mild-mannered (read: kind of pathetic and outright whiny) professor played by a nigh on unrecognisable to me Nicolas Cage who suddenly starts appearing in people’s dreams. At first he’s not doing anything other than just watching, failing to intervene in various scenarios that you would really want someone to intervene in, but then suddenly they switch to being nightmares where he attacks people in horrifically violent ways, which everyone reacts to by treating him as though he has done or would do those things in real life. The IMDB summary actually says that this is triggered when he encounters a dreamer whose visions of him differ substantially from the norm but I’m struggling to remember who that was… I think probably Molly, who I’ll get back to later.

This set up seemed interesting to me because there’s actually someone in my life who is consistently threatening and malicious towards me in my dreams despite that being the furthest thing from the truth in reality. It’s weird and I have no idea why. Admittedly in the dreams they never get really violent, but you know how much it’s affected my relationship with them? Zero. Zero much. I’ve never even told them about it. But this is a movie, and it’s a movie with a metaphor. It might not be obvious yet but it should be if I bring up the scene where he posts a breakdown video where he cries (literally) that people are treating him badly because of nothing he’s done, just things they imagine him doing, and how that makes him the real victim in all of this. Also notably it’s not literally everyone who’s having these dreams. Quite a few people simply don’t – including the only significant Black character in the movie.

Okay. So there are some major issues with this metaphor. Like, they aren’t actually imagining him doing those things. They’re dreaming them. With the exception of the few people who’ve learned lucid dreaming techniques, we cannot control our dreams (see above paragraph about my person). This naturally removes a whole lot of agency from the people mistreating him, in particular his students who are legitimately traumatised by the dreams and are shown almost universally to be too scared to complete a cognitive behavioural exercise designed to help them see him as harmless and non-threatening. It’s also very one-dimensional with a single exception of the young woman who dreams about him as an exciting sexual aggressor who confidently and assertively takes the lead in their encounters. Fear is a very base emotion that’s designed to be difficult to overcome when it’s strong enough to become panic, and it’s not the primary expression of most racists. Even if there is a layer of fear baked into many widespread social attitudes towards Black people, the ways racism plays out are not as obviously motivated by it as they are in the film. And while for the most part you could take the position that it’s not editorialising on whether people’s reactions to him are valid, the scene with his students very definitely presents their position as sympathetic and understandable – and that’s not just one person, it’s two or three dozen. Between that and the way his own responses range from lashing out in anger to a snivelling, blubbery mess of an apology video that he’s outright told is embarrassing to a persistent and stubbornly confused denial, it’s easy to get impatient with him even though he’s actually completely right that he is the victim. In fact I’d speculate it’s designed for us to get impatient with him, making for a movie which tells us that it’s not everyone else’s fault that they’re scared of him, but it is his fault for being upset about it.

Yeah. Not too impressed with that one.

Big Eyes

2014, directed by Tim Burton

I didn’t expect to be watching a Harvey Weinstein movie today.

How it happened was, I had a few hours to kill before my regular afternoon streamer came on, so I was browsing Netflix looking for something I hadn’t already seen that didn’t look terrible, and I came across Big Eyes, which purports to be based on true events about a woman who left her controlling husband in the 1950s and promptly married another guy who stole her art, selling it under his name – Walter Keane. I put it on and not long into the credits, there was his name: produced by Harvey Weinstein. Seems like a weird movie for a guy like him to be so heavily involved in and I was curious so I shrugged and kept it going.

If Big Eyes is a decent movie, it owes it to two things: the story and (some of) the acting. Between the movies I’ve written about before this one and a few more that I watched but never got around to writing up I’ve recently seen quite a few subtle, evocative, oppressive performances of both victims and villains (and people who refused to be victims). This movie did not feature any of them. The funny thing is that the movie actually highlights its own flaws, at one point having the narrator question why Margaret stayed with Walter, something we never really get a feeling for. Even earlier than that Walter announces himself that he’s not capable of subtlety. It’s true – there’s nothing subtle about his performance, which is a problem I have with most of the Tim Burton films I’ve seen. At one point when he’s drunk and menacing Margaret in their flash home, flicking lit matches at her and chasing her to her studio, I had a flashback to Jack Nicholson’s famous “Here’s Johnny!” scene from The Shining and almost laughed out loud. Big Eyes isn’t a horror film, but it is a drama about a relationship that should feel horrifying but somehow never once did.

The closest thing to effective cinema we got was probably the court painting scene (the preceding minutes having been another example of Walter being far more ridiculous than unnerving – I couldn’t help but compare it unfavourably to Edward Norton’s film debut Primal Fear in which he also rapidly and suddenly swaps between personas in a courtroom, only far more chillingly), and even that no doubt could have been done better. It’s the sort of scene that you know should be really memorable, but some people know how to produce that vision and some people don’t.

But then that’s about what you’d expect from a film about a woman being controlled and manipulated by a man, produced by a man who’s only ever been on the wrong side of that particular balance of power. With the right director it could have been much better – producers rarely have that much creative influence – but Burton is a German expressionist whose early influences were sci fi B-movies and Hammer horror films. Visually, the big-eyed waifs that Margaret painted might be reminiscent of Burton’s art style, but that doesn’t mean he’s a good fit to direct a story about her emotionally abusive marriage. Abuse is a subtle monster that knows when to strike and when to charm, and Burton… well, he’s just not capable of subtlety.