In Defense of Finn/Poe

[Star Wars spoilers ahead]

Having now seen Star Wars: The Force Awakens four times in eight days, I’m thoroughly obsessed with the movie and have become fascinated by the growing ranks of Finn/Poe shippers: fans, many of them queer, who create art and fiction depicting the film’s two male protagonists as partners, and who hope that Episode VIII might make the pairing canonical.

It’s about time for a Star Wars film to have queer protagonists, just like it was about time for it to have non-white/non-male protagonists (and in this it succeeded, splendidly).

However, I’ve seen a lot of negative responses to this idea, such as “But it’s OBVIOUS they’re just friends” and “Why do you [gays] have to insert sex into everything” and “Why can’t you just let them be friends?”

Alright.

First of all, it’s worth noting that while queer shippers are always catching flak online for “reading too much into” presumably platonic same-sex situations or “making it all about sex” when it “clearly” isn’t, straight people rarely get criticized for doing the same thing–not just when interacting with fictional worlds, but in the real one, too. If you’ve ever heard a straight person go “OooOOOOOooo is that your boyfriend?” to an 8-year-old girl playing with an 8-year-old boy from the house next door, or “He’s going to be such a ladies’ man!” about an infant boy making cooing sounds at a few baby girls, you know what I’m talking about. How’s that for reading too much into things?

Beyond that, though, straight people–and to some extent queer people, since we get socialized the same way–tend to expect heterosexual pairings in fictional stories whether the signs are necessarily there or not. And they often are, because the people who create those stories also expect those pairings to be there, and they expect that the presence of those pairings will make the stories sell better. That’s why you rarely encounter a movie that does not include any heterosexual sex or romance, whether that movie is about aliens, robots, spies, superheroes, 18th century England, 21st century New York City, or what have you.

The constant ridicule and derision of queer shippers online neatly parallels real-world claims that queer people are “pushing their sexuality” on others. “I’m fine with gay people, but why do they have to shove it in my face?” is a common complaint when queer people do anything other than be silent and invisible. Online and off, good little queers don’t make any mention of same-sex romance or eroticism, and they certainly don’t hope out loud that two characters in a popular film turn out to be queer.

Second, a lot of straight people don’t realize that the beginnings of romance or sexual attraction between two queer people often do look like “just friendship,” because it’s often not safe for us to express ourselves any other way. Being obvious about our interest exposes us to outing, ridicule, bullying, and even physical violence (especially for men, people of color, and trans people). If queer people don’t occasionally read “more” into otherwise-platonic gestures and expressions, we’d probably never find any partners. If you want to know more about this and how complicated it can be, read this Autostraddle article.

So, queer people are constantly in a double-bind. If we avoid trying to read between the lines and always interpret others’ friendly behavior towards us as merely platonic, we’ll pretty much be forever alone. If we do read more into it, we risk ridicule and worse. That’s why it comes across as more than a little insulting and irrelevant when straight people criticize queer people for “reading too much into things.”

(I just want to state for the record that at this point, some queer person over the age of 30 usually shows up and belittles me because they’ve got this figured out and it’s “obviously” so simple, but rest assured that for most of us, especially when we’re still young, surrounded by straight people, and/or newly out, it’s really not simple or easy at all. But guess what, queer people are not a monolith.)

A great example of this in action is the eventual pairing of Korra and Asami from The Legend of Korra. Plenty of queer women saw the signs, but most straight people seemed to be totally shocked when the relationship was confirmed as canon. Some even reacted angrily and accused the creators of pandering to the queer community with this unrealistic development. Yet to us, it didn’t feel unrealistic at all.

Aside from rare examples like Korrasami, queer people are very aware, thank you, that we don’t get any representation in most fictional works (and that when we do, it’s usually marginal and/or negative). A lot of the folks enthusiastically shipping Poe and Finn do not really believe that the pairing will ever be canonical, but for them, it’s a fun sort of escapism anyway. Do you have any idea how condescending you sound when you interrupt with “Come on, they’re obviously just friends”? You might as well burst into the theater on opening night shouting “BUT YOU GUYS, JEDIS AND LIGHTSABERS AREN’T ACTUALLY REAL.” Thanks, Captain Obvious of the Imperial Star Destroyer Ruining Everyone’s Fun Forever.

(Yet, a universe in which people with mind-control powers can shoot lightning out of their fingers and use laser-swords made out of magical crystals to block laser blasts is easier for some people to grok than the idea that queer people might exist in it.)

http://dicaeopolis.tumblr.com/post/135933767197

So, sure, based on the material in The Force Awakens, Finn and Poe might be headed towards a romantic relationship (or a one-sided crush, maybe on Poe’s end) or they might be headed towards a deep platonic bond. Poe might be sexually attracted to Finn or he might just admire his bravery, ability, and sense of right and wrong (as well as being pretty grateful to him for saving him from the First Order). Finn might be falling for Poe or he might be starting to love him as a friend, the first friend he ever had, the first person to ever look at him as a human being and not as a programmed killer, the first person to give him a real name. Poe might have given Finn his jacket to keep because Finn looks sexy in it, or because he’s grateful and wants Finn to feel like a part of the Resistance.

Or…it could be all of the above.

Because here’s the truth that all of this ultimately reveals: even for straight people, romance and friendship are not all that different. They are not mutually exclusive categories. The hints and signs of one may be the hints and signs of the other. One may grow out of the other, and although it more often goes in one direction than the other, a passionate romance can, in fact, transform into a deep platonic connection. It has happened to me. It’s probably happened to more people than you think.

When you look at it that way, Finn/Rey–the “obvious” romantic pairing that people always use to try to disprove the possibility of a Finn/Poe pairing–is neither so obvious nor so inevitable. If Finn and Rey were of the same gender, or if we lived in a backwards world in which queerness was the norm and straightness was the weird anomaly, we would find plenty of ways to read their relationship as purely platonic. (Just like we currently find ways to read two women making out or fucking as “just gals being pals.”) Finn asking Rey if she has a “cute boyfriend” would be an obvious sign of jealousy–not of her boyfriend, but of her. Finn grabbing Rey’s hand would “obviously” be because he’s trying to help her run away and that’s how people always help each other run away in the holovids he grew up watching. Rey’s horror and fury when she thinks that Kylo has killed Finn? Well, obviously, they’re close friends and anyone would be horrified and furious if someone murdered their close friend. Hell, she even calls him “my friend” in the last scene she has with him, where he’s lying unconscious at the Resistance base. “My friend”! How much more obvious can you get?

Finn’s behavior towards Rey might also be familiar to any queer person who has ever tried to convince themselves (consciously or otherwise) that they’re actually straight, any queer person who took a while to figure out that they’re queer. Think about it: Finn grew up brainwashed by an evil, violent regime that demanded complete conformity. I doubt he saw many queer male role models there. He sees a beautiful girl (yes, queer people are able to notice and appreciate beauty in people of genders they’re not into) and thinks, “This is how a man behaves with a beautiful woman.” As we’ve seen, Finn is not at all immune to some (adorable) macho posturing now and then.

Again, that’s just one reading. Another is that Finn is bisexual. Maybe he’ll end up interested in both Rey and Poe, and there will be a painful love triangle. Or maybe they’ll be poly and there won’t be. Maybe Rey is a lesbian. Maybe Finn is a sappy romantic asexual. Who knows? Isn’t it fascinating?

 

http://chaoslindsay.tumblr.com/post/135670908879/we-know-finn-we-all-know-hat-tip-to

The reason it’s so ambiguous right now isn’t (just) because the film’s creators want to build tension and curiosity for the next film. It’s also because the line between romance and friendship is itself ambiguous. True, in many movies–especially ones centered on more on romance and less on space battles–it’s made very blatant and obvious, because that creates drama and is more interesting for (some) moviegoers. People like to see the sexy [person of their preferred gender(s)] who clearly and obviously comes on to someone who could be them. People like the black-and-whiteness, the reassurance that romance always looks this particular way and you can’t miss it. It’s a fantasy as much as Jedis and lightsabers are; we’re just lulled into thinking it isn’t because the characters look like us (especially if we are white and conventionally attractive) and the settings look like places we’ve seen or heard about.

But back here in the real world, romance and sexual attraction don’t always announce themselves like stormtroopers raiding a village on Jakku. (Thankfully.) Sometimes it looks exactly like Finn and Poe in that movie, whatever the gender combination. Other times it looks more like Finn and Rey, or Han and Leia, or, hell, R2D2 and C-3PO. (I think, though, we can all agree that it almost never looks like Anakin and Padme.)

And back here in the real world, romance and sexual attraction can be very much not-obvious, especially when it happens in ways that are stigmatized and erased all the time. Yes, you can go years without realizing that your best friend is in love with you. You can, in fact, go years without realizing that you’re in love with your best friend. (Been there.) You can convince yourself that you’re not attracted to them, you’re just admiring them for their “objective” beauty. (Been there too.) You can tell yourself you’re jealous of their new partner because you miss spending that much time with them, not because you want to be their new partner. 

You can also choose not to act on feelings that you have. Two people can want to fuck each other and yet not fuck. Two people can be in love and yet not date. And this can be okay, and they can be happy with the friendship that they have without always regretting not having “given it a chance.” Sex and romance are not as inevitable and unstoppable as the movies make them seem, and for many people, they aren’t even the primary focus of their interpersonal lives.

Even if Finn and Poe don’t end up together in those ways, even if the rest of their on-screen relationship continues to look only like cinema’s most adorable bromance, that doesn’t actually mean they’re not sexually attracted to each other and/or in love. Or maybe it does. Who knows?

And while there will always be a canonical Finn and a canonical Poe, fans still get to do whatever they want with those characters in their own art and fiction. “Canon” doesn’t mean “real” because none of these characters or stories are real. People made them up. Other people are free to make them up in different ways, to have gay Poe and bi Finn and lesbian Rey and Han who didn’t actually die (sobbing) and Kylo who comes back to the Light Side (or doesn’t) and Captain Phasma who meets and falls in love with General Organa but doesn’t want to desert her cause (or does).

That’s why I’ve got no beef with anyone who simply says, “I see Poe and Finn as just friends.” (And I can’t complain about a movie centered in part on a close friendship between two men of color.) By all means, see them however you like!  But don’t act like seeing them as lovers or partners is somehow ridiculous or empirically inaccurate. Guys, it’s a story. We threw out any notion of empirical accuracy the moment the famous blue words appeared on the screen: “A long time ago in a galaxy far, far away…”

http://lledra-fanstuffs.tumblr.com/post/135814847163/keep-it-it-suits-you

~~~

If you enjoyed this post, please consider supporting me on Patreon!

In Defense of Finn/Poe
{advertisement}

I Finally Saw the Movie "Her" and I Loved It and Had Feelings

[Warning: ALL of the spoilers ahead]

"Her" film poster
Last night I saw the movie Her, which, if you haven’t watched or heard of it, is about a man who falls in love and starts a relationship with his artificially intelligent operating system. The OS, who names herself Samantha, is with Theodore wherever he goes: on his home computer, on his work computer, on his smartphone/futuristic mobile device of some sort that he takes with him as he explores Los Angeles and lies in bed at night.

Knowing only the premise of the film, here were a few things I expected to happen:

  • Theodore’s love for his OS would pull him away from “real” human interaction
  • He would become unable to date “real” women
  • He would have to keep his relationship a secret from friends and family, who would be weirded out if they found out and wouldn’t understand
  • The love story would end tragically because: 1) it would turn out that Samantha had just been cruelly playing Theodore for some supposed benefit, 2) the OS would be recalled by its manufacturer due to a “flaw” in which the AI can develop romantic feelings, 3) the feelings would turn out to be “fake” (insofar as they were presumably “real” to begin with), and/or 4) Theodore would be forced to dump Samantha because he would realize that that’s the only way for him to find the life he’s really looking for.

I didn’t expect these plots because of my own beliefs about technology; I expected them because they pervade our culture. The treatment of a human-AI relationship as valid and real isn’t something I would really expect in a mainstream film, given how well technophobia sells. (At this point I not-so-subtly roll my eyes at another film I really liked, 2004’s I, Robot.)

In fact, none of these things happened. In the story of Theodore and Samantha’s relationship, the conflicts that came up and the one that ultimately ended the relationship were not really so different from what might slowly wear down and ultimately destroy a relationship between two humans. Samantha felt that Theodore was too insensitive in pointing out her shortcomings (she doesn’t know what it’s like to lose someone, she has certain vocal affectations that she’s picked up from others but doesn’t need because she doesn’t breathe), Theodore was upset that Samantha was interested others (an interesting parallel with polyamory that I’ll get into in a bit), and, ultimately, Samantha grew out of the relationship and left Theodore (to move on to a different type of existence along with the other AIs; the nature of this wasn’t really elaborated upon, and probably didn’t need to be).

Of course, some of the conflicts were mostly to do with Samantha’s lack of a body. In one scene, she asked Theodore if they could have sex using a surrogate, a woman who was interested in participating in their relationship and who would wear a tiny camera through which Samantha could see. Theodore reluctantly gave it a try but gave up midway through, unable to summon any sexual interest in this strange woman who was pretending to be his non-corporeal girlfriend. The awkwardness of the encounter and the disappointment Samantha and Theodore both felt, however, didn’t seem too far away from what a human couple trying and failing at having a threesome might experience.

Parts of this story felt a little too real to me, as someone who conducts relationships largely with long-distance (albeit human) partners and through technology. Theodore lying in the dark telling Samantha how he would touch her if she were there, talking to her “on the phone” and showing her his city through a camera, trying to date people “in real life” but coming home to talk to her–all of these are things I’ve done. And when Theodore’s ex-wife suggests to him that the reason he’s dating an AI is because he can’t handle the difficulties of dating “real” people, that rang a little true, too. (For an extra dose of feels, try going to see this movie while visiting a long-distance partner.)

There was also an interesting parallel with polyamory when Samantha confessed to Theodore that she has the capability of talking to thousands of humans and OSes at the same time, and has been talking to 8,316 of them while talking to him. She also reveals that she loves 641 others besides him. Theodore sits on the stairs leading to the subway and tries to process this information, and Samantha tries to convince him that her love for others doesn’t at all diminish her love for him; in fact, it only makes it greater. That’s exactly the way I feel about loving multiple people, and I also empathize with Samantha’s frustration in trying to explain that to someone who is feeling jealous and betrayed.

What I really loved was what happened after Theodore started telling people about his relationship with Samantha. Although he was hesitant about telling anyone at first, most of his friends responded positively. His friend Amy, who had made friends with her own OS, was curious and happy for him. His coworker, who invited Theodore on a double date after hearing that he had a girlfriend, barely reacted when Theodore confided that his girlfriend is an OS. They did all go on a date together, Samantha bonded with the coworker’s girlfriend and hung out with the three of them as though there were nothing unusual about the situation. Theodore’s four-year-old goddaughter is curious about why his girlfriend is inside a computer, but otherwise acts like that’s totally normal. The only person who reacted negatively was Theodore’s ex-wife, who was characterized as a little uptight, and even she did not so much delegitimize the idea of dating an operating system as accuse Theodore of avoiding the difficulties of human relationships.

As I mentioned earlier, the film also avoided the trope of becoming obsessed with your gadgets and avoiding human interaction. At the beginning of the movie, Theodore had been broken up with his ex-wife for about a year and had withdrawn from his friends and family. (Early on, there are a few interactions in which friends and family members ask Theodore where he’s been or why he didn’t return a call and so on.) As he gets to know Samantha, however, Theodore starts going out and exploring LA and reconnecting with his friends and family. He even goes on a date for the first time in a while, and it goes well at first but ends badly when his date asks him to commit to something serious, which he’s not ready for. (Oddly, she responds by referring to him as “creepy” and leaving, which I thought was really weird. He didn’t behave inappropriately on the date and she was really into him until the end. I really hope this isn’t meant as an affirmation of the myth that women call men “creepy” for no good reason.) Theodore also finally meets with his ex-wife and signs their divorce papers, a step that he’d been avoiding to her and the divorce attorney’s annoyance for some time.

In short, like any good partner, Samantha helps Theodore grow as a person and experience new things. She also takes the liberty of posing as Theodore and sending some of his best writing to a publisher, who accepts it for publication. The writing in question is Theodore’s letters, which he writes as part of his job. People pay Theodore’s company to compose heartfelt, handwritten letters and send them to friends, partners, and family members for various occasions. While many would consider these letters fake or even deceptive, nobody in Her’s universe treats them that way. In fact, Theodore’s writing is praised by many people, and he’s had some of the same clients for many years. (Contrast this with Tom’s pointless greeting cards in a slightly similar movie, (500) Days of Summer). It’s an interesting parallel with Theodore’s relationship, which many in our world would consider fake, but which Theodore and the people in his life treat with all (or almost all) of the respect they would afford to a relationship between two humans.

It’s not clear how far in the future Her takes place. It does seem, though, that most people in this future world have lost the negative, panicked attitudes many have toward technology today. The film does not even attempt to answer the question of whether or not a relationship between a human and a computer can be real; it seems to consider that question settled (and the answer is yes). Rather, the film is about the trajectory of a relationship, about how partners can change each other, and how, ultimately, relationships can fail even though both partners love each other.

In trying to decide for myself whether the relationship was “real” (and how “real” it was), I knew that it’s impossible to tell what a hypothetical AI means when it says, “I love you.” But it’s almost just as impossible to tell what another human means what they say, “I love you.” The word “love” means different things for different people. For me it means, “I feel a very strong mixture of respect, affection, and warm fuzzies toward you and want to try to be together for as long as that feeling lasts.” For other people it means, “I would sacrifice anything for you and I never want to so much as kiss another person.” For other people it means, “I am certain that I want to spend my life with you and have children together.” Often it’s some combination of those, or others.

Every time I get stuck in my head thinking about whether or not to say “I love you” to someone I’ve been feeling it for, like I am now, I wonder what they’d really hear if I said that, and whether or not it would be anywhere close to the message I was hoping to convey. And if they said it back, would the feeling they’re describing actually feel the same as the one I’m describing? Probably not.

I suppose that to me, the film’s premise is not at all controversial. Of course you can love a computer, if that computer behaves indistinguishably from a person you could love. But what the computer ultimately “feels” is as much a mystery as what your human lover feels, because language can only approximate the experience of seeing through someone else’s eyes.

I Finally Saw the Movie "Her" and I Loved It and Had Feelings

"We Saw Your Boobs" and Distorted Views of Female Sexuality

I’ll leave it to others to thoroughly excoriate Seth MacFarlane’s performance at the Oscars. What I want to address specifically is his gloating “We Saw Your Boobs” video, and the interestingly skewed notion of sexuality that it presents.

If you believe MacFarlane, and others who think like him, sex is a sort of competition between men and women. Whenever women engage sexually with men–for instance, by appearing topless in a movie that is viewed by men–the man “wins” and the woman “loses.” In the video, the women whose boobs MacFarlane says he saw are portrayed as shocked or embarrassed, whereas Jennifer Lawrence, whose boobs MacFarlane notes that we have not seen, is shown to be celebrating.

In this view, women have no agency to experience sexuality on their own terms and for themselves. MacFarlane et al. do not realize that a woman might want to appear topless in a movie not (just) to be viewed by men, but because it makes her feel good or because it increases her opportunities as an actor, or for any other reason.

Of course, that’s arguable, because nowadays in Hollywood female actors’ opportunities are so limited unless they’re willing to appear topless. So for an actor who doesn’t want to do a nude scene for whatever reason but feels pressured to do it because there’s not much of a choice, doing a nude scene is a sort of loss. But not because “hur hur we saw your boobies,” but because in the society we have set up, people often have to do things they find objectionable in order to make a living.

This view of sex as a game or competition is embedded in the language we use to discuss sex–for instance, in the case of virginity. Although men are also sometimes thought of as being virgins or having virginity, traditionally it’s a concept that only really applies to women. Virginity is something that women “lose,” “save,” “give up,” “give away.” Although you could certainly argue that sometimes we can also lose things that are bad and that we’re better off for having lost, it’s still interesting to think about the connotation that it has to say that women “lose” something when they have sex for the first time.

It’s similar when we talk about “playing hard to get,” which is a role that’s traditionally been assigned to women. A woman “plays hard to get” until she finally “gives in” and lets the guy “get” her–he wins, she loses. (Interestingly, the “hard to get” role is becoming more associated with straight men, as well–thanks to PUAs, the cultural ideal of apathy, and probably tons of other factors.)

(As an aside, it’s interesting and also discouraging that some of the most problematic aspects of traditional views of female sexuality–virginity, playing hard to get, etc.–are increasingly being attributed to male sexuality as well. Equality shouldn’t mean making things suck for everyone.)

Why must women “lose” when they have sex with men or allow themselves to be viewed sexually by men? Because it seems that some people still believe that ultimately, women don’t really want to be sexual. It’s good to remember that views of female sexuality have varied widely throughout history, and until fairly recently one of the predominant views was that women didn’t have sexuality. They “gave in” to sex because men wanted it and because they wanted to please men. When I read The Hite Report on Female Sexuality, a landmark 1976 study of women’s sex lives, for class, I was stunned at how many women reported that their male partners didn’t really seem to notice or care whether or not they were having orgasms or otherwise getting pleasure out of sex. It can’t be that all of those men are just terrible people who don’t care about their partners; it’s more likely that they simply didn’t realize that that could even be a concern.

At the time the report was published, prevailing notions of female sexuality were already beginning to shift. Many of the women who responded to the questionnaire said that they faked orgasms for their male partners because the partners expected them to have orgasms–but only from whatever the men enjoyed (generally, vaginal intercourse).

Of course, there’s usually more than one view of any given thing circulating in a given culture at a given time. Interestingly, an alternate and sort of opposite view of female sexuality from MacFarlane’s is the one championed by Girls Gone WildCosmo, and hookup culture: that sex with men is empowering for women and that if you’re out there flashing your boobs in front of a camera or hooking up with as many guys as you want, you’re not “losing” at all–you’re winning. There’s a reason this sort of ideology is so popular with young women: it appears, at least on the surface, to affirm and empower female sexuality as opposed to treating it as something shameful or even nonexistent. You could view it as a direct repudiation of outdated views like MacFarlane’s.

But ultimately it falls short, because in this view, sex and the female body in general are still things that exist for male consumption, whether it’s the leering guys behind the cameras of Girls Gone Wild or the mythical and almost deity-like “he” constantly being referenced in Cosmo headlines: “Drive him wild with pleasure!” “Find all of his erogenous zones!” “Make him feel like a real man tonight!”

A few nights ago my friends and I were laughing at a book of Cosmo sex tips and someone asked if the magazine ever even mentions the possibility of sex with women. We shook our heads. Although many people see Cosmo as a celebration of independent female sexuality, the fact that it completely ignores the existence of queer women suggests that it’s really just about female sexuality for men.

In this sense, the Cosmo view of female sexuality isn’t actually that different from MacFarlane’s wacky sex-as-competition view. Whether women “win” or “lose” by engaging sexually with men, the reason they ultimately do it is always for the men, and never for themselves or for any other reason.

The irony of MacFarlane’s song is that a bunch of the nude scenes he mentioned are actually rape scenes. The female actors in these scenes weren’t topless in order to titillate (male) viewers, but to depict a cruel and tragic part of reality. And Scarlett Johansson’s “nude scene” was actually not one at all, but rather the nude photos of her that were leaked to the press. She certainly didn’t take off her shirt for MacFarlane’s smug pleasure.

Of Charlize Theron’s nude scene, Salon’s Katie McDonough writes:

[T]he only time we see Theron’s breasts is in a quick shot in the bathroom, following a brutal rape at the hands of a john, in which she examines her badly beaten body. The “boobs” that MacFarlane sang an ode to are made up to appear badly swollen and red from the multiple times she was kicked in the stomach by her abuser. The nudity isn’t there for cheap thrills, it’s a snapshot of a terribly beaten body that should evoke horror — not giggles — from the viewer.

While giggling about a rape scene is several orders of magnitude more egregious than giggling about the fact that a woman showed you her boobs, the common thread is an inability on the part of MacFarlane (and, I’m sure, others) to see the “purpose” of women’s bodies and sexuality as anything other than entertainment and titillation on the part of male observers.

"We Saw Your Boobs" and Distorted Views of Female Sexuality

Creating More Accurate Media Representations of Stigmatized Identities

Greta recently wrote about Yes, We’re Open, a new indie film about a couple in an open relationship. She wrote:

A lot of why it was frustrating can be summed up in the question I asked the filmmakers in their post-film Q&A: “Given that the template of San Francisco poly culture is that it’s hyper-ethical, hyper-processing, talking everything to death… why did you choose to make the poly couple in this movie so skanky, and not particularly ethical?”

They clearly understood the question, and the context for it. They agreed about poly people, if anything, tending to be hyper-ethical to the point of relentlessly over-processing everything, and hyper-honest to the point of being TMI and never shutting up. In fact, one of the filmmakers is himself non-monogamous. But they were making a comedy, they said, and unethical people are just funnier. For a long-format story, anyway.

She later says:

I don’t want every poly character in every TV show or movie to be a perfect paragon of sensitivity and high-minded ethics. I’m okay with them being flawed and human. The need for role models isn’t a need for one perfect hero: it’s a need to see that you have options, other than the ones your culture is unfairly slotting you into. (Not to mention the need for the rest of the world to see that as well.) I don’t think every producer of pop culture has an obligation to single-handedly fill that entire gaping hole. And again, I don’t want propaganda. Propaganda is boring.

But given that there are so few poly characters in pop culture, and even fewer who don’t fall into the stereotype of unethical seducers and skanks with no self-control, I think producers of pop culture do have an obligation to not actively perpetuate that stereotype.

I left a comment there but subsequently realized I had way too many Thoughts for just a comment, so here we go.

It’s true that creators of pop culture are (and should be) primarily concerned with telling a good story, not teaching us morals or otherwise educating us. When the latter goals take priority, you end up with the insipid morality tales that comprise much of children’s media.

However, when media presents a false or misleading portrait or a group that is already stigmatized and misunderstood by the public, that’s a negative externality that should be dealt with. But how?

I think that one way the entertainment industry falters in presenting characters who have a stigmatized identity is by making their entire character all about that identity.

Sometimes they do this by having the character confirm a stereotype. In the film Greta wrote about (which, full disclosure, I haven’t seen), the poly characters are unethical and obsessed with sex. Another film might have, say, a flamboyant gay best friend or an uptight Asian student who’s obsessed with her grades. Even if that character also does a bunch of other stuff, the prevalent stereotypes keep the audience focused on the character’s polyness or gayness or race.

So that’s one way. It’s the most obvious way, so many people rightfully attack it these days. A less obvious way is making that character’s entire story arc–or, indeed, the entire film or show–all about that stigmatized identity. That’s what Yes, We’re Open is. It’s not a film that happens to have poly characters or that references polyamory in some way. It’s a film about polyamory.

Because of that, the central conflict of the film has to be about polyamory, too. And that means that the filmmakers have to exaggerate. After all, if you made a documentary about my open relationship or that of one of my best friends or all the other poly folks I know, it’d be boring as hell. Making it interesting requires making it unrealistic, and because most people don’t spend much time reminding themselves that entertainment is not reality, they’re going to watch the film and think, “Oh, so this is what polyamory is like.”

The same thing happens to a lesser extent with any film that’s primarily about relationships. Romcoms are unrealistic because their writers have to create an unrealistic amount of conflict in order for the film to be interesting and funny. So you see massive failures to communicate, glorification of abusive relationships, and other crap.

The most realistic portrayals of romance in film tend to be the stories that are mostly about something else. For instance, Eric and Tami’s marriage in the show Friday Night Lights has been praised for its realism. Eric and Tami love each other and their children and work to improve their relationship, but there’s still conflict in it. It’s just not enough conflict to base an entire show on, which works because the show is primarily about a small-town Texas football team, not about the relationship between two characters. That’s one of the reasons it’s realistic.

That’s why I believe that the best way to improve representations of stigmatized individuals and misunderstood identities in the media is actually to make the story about something other than those identities. Make a spy thriller where one of the main characters happens to have two partners. Make a sci-fi film in which the main character turns down a potential love interest because the main character happens to be asexual. Present these possibilities as just a part of life.

This approach won’t fix all of the problems. It also doesn’t have to be applied universally. There should be films out there are are about polyamory or homosexuality or whatever, although they need to be made by people who know what they’re talking about. These films can serve their own purpose.

But in order to really normalize a lifestyle or identity, you have to present it as realistically as possible, and that means presenting those characters as fully-formed individuals who are not defined by that particular identity. If the subject you’re addressing (polyamory, homosexuality, etc.) is the only source of conflict in the film, you’ll end up having to exaggerate that subject for the sake of entertainment.

When something like this happens in movies that address very common and accepted things–such as, in the case of romcoms, monogamous heterosexual dating–misrepresentation is still a bit of a problem, but at least people can draw on their personal experiences and those of friends and family, as well as on their knowledge of the dozens of other films and shows that address that experience, in order to evaluate whether or not the film is realistic.

But when it happens in movies that deal with unfamiliar and misunderstood experiences, like polyamory, the audience is much less likely to have other sources of information about that subject readily available. So they end up with glaringly inaccurate ideas about that subject.

Creating More Accurate Media Representations of Stigmatized Identities

The Role of Feminist Criticism

In one of my recent pieces, I criticized a particular aspect of the love stories often found in popular books and movies. Whenever someone critiques pop culture–especially from a feminist perspective–it raises a lot of questions for many people. Questions such as:

  • Does it really matter that this work is “problematic”?
  • Can you even have media that isn’t problematic in any way?
  • Am I a racist/sexist/etc. if I find a racist/sexist/etc. joke funny?
  • Would people really take this seriously?
  • What’s the point of talking about this?
  • Am I a bad person if I enjoy this book/movie/show?

Of course, people rarely come right out and ask these questions; they usually couch them in objections instead: “You’re just looking for flaws,” “It’s just a movie,” “There’s nothing that would make you feminists happy.”

But if you read between the lines you’ll usually find questions like the ones above, and all of them eventually condense into the same question: What is the role of feminist criticism? In other words, what’s the point of picking cultural artifacts apart and finding their flaws and analyzing them?

In my view, the role of feminist criticism is not to prescribe what you should and should not read, watch, listen to, wear, or otherwise consume. It is not to say which things are “bad” and which are “good,” since, as some detractors have pointed out, everything seems to have flaws. It is not to create some list of 100%-feminist-approved media and boycott everything else.

Rather, it is to use cultural artifacts as a way to analyze our prevailing norms and values and see how they might be harmful. For instance, in my earlier post, I used the romance genre to show how people are encouraged to maintain abusive or otherwise unhealthy relationships because that’s the “romantic” thing to do.

In this situation, I’m definitely not saying that you shouldn’t consume those books, films, and TV shows, because then you wouldn’t be able to criticize them. I’m not even saying you shouldn’t enjoy them, because ultimately I don’t care what you enjoy and what you don’t. That’s up to you.

Sometimes, though, it might be more ethical to avoid something “problematic” entirely. The role of feminist criticism is also to remain aware of what we consume so that we’re able to draw the line when it’s gone too far. For instance, I don’t eat at Chick-Fil-A and I don’t purchase any music from Chris Brown. Others may draw their personal lines differently, which is okay. But I wouldn’t have been able to decide that this business and this musician do not deserve my money had I not kept myself informed of what they do and what the criticisms of them are.

For me, the most important insight that feminism has given me is that we do not live, love, consume, and decide in a vacuum; we do so under the influence of society. That doesn’t mean we don’t have “free will” (and I do hate to get into that debate), but it does mean that we might not always be aware of all of the reasons for which we want (or don’t want) to do something. We will probably never be able to disentangle ourselves from the influence of society, and that’s fine. What’s important to me is to be aware of what some of those influences might be.

To use an example that’s slightly off-topic: makeup. Many women like to wear it, and many women are, unfortunately, under the impression that feminism opposes the use of makeup unilaterally. Hence the “I’m not a feminist, I wear makeup and dresses” thing that you get sometimes. (Maybe second-wave feminism did oppose makeup, but no feminist person or piece of writing that I’ve ever come across has said that.)

Again, in my view, feminism doesn’t prescribe whether or not women should wear makeup. What it does is ask questions:

  • Why does makeup exist?
  • Why are women expected to wear it and considered lazy, ugly, or unprofessional if they don’t?
  • Why aren’t men expected to wear makeup?
  • Come to think of it, why are men shamed if they do choose to wear it?
  • Why do some professions require women to wear makeup to keep their jobs?
  • Does wearing makeup ever actually make a woman better at her job?
  • Why do makeup ads show women who are considerably more flawless than any foundation or cream could actually make you look?

And so on. Answering those questions for yourself is enlightening, a bit disturbing, but also (in my opinion) kind of fun.

In my own case, becoming a feminist and learning about feminist criticism of makeup and the beauty industry didn’t change my makeup-wearing habits at all. I still do exactly what I did back when I wasn’t a feminist: sometimes I feel like wearing it so I do, and sometimes I don’t feel like wearing it, so I don’t.

What feminism has done for me, though, is to silence that petulant voice I get in my  head on days when I choose not to wear makeup–the one that tells me I’m being lazy, that I’m not a real woman, that people are going to judge me, that I look bad. Before I’d stubbornly choose not to wear makeup on days when I didn’t want to but then have to deal with that voice in my head all day. Nowadays it’s gone. Maybe people do judge me for not wearing makeup sometimes, but I no longer give a fuck.

So feminist criticism hasn’t kept me from doing things i want to do or forced me to do things I don’t; it’s merely given me a framework for understanding some of my own desires, fears, triggers, values, and so on.

The same sort of thing applies to feminist criticism of pop culture. I still enjoy popular movies and TV shows (except How I Met Your Mother, perhaps), but I understand how some of the assumptions they contain are inaccurate and harmful. Thinking through these things helps me think about our culture as a whole and how it might be improved. It also helps me construct a blueprint for how I want to live my own life, raise my future kids, and so on. (For instance, I will never tell a daughter of mine that if a boy treats her like crap “it’s just because he likes you.” That’s the most dangerous bullshit I’ve ever heard, and He’s Just Not That Into You is with me on that.)

And on that note, feminist criticism has one more role–showing us ways to improve the stories we tell. It reminds us that casts should not be all-white, that the Bechdel Test should be passed with flying colors, that glorifying violence against women (or anyone, really) is not okay. We can’t produce better books, movies, and shows unless we criticize the ones we have thoroughly.

In summary, feminist criticism is important because:

  1. It allows us to analyze problematic aspects of our culture.
  2. It lets us know when we should consider avoiding something entirely.
  3. It helps us understand how culture influences our behavior.
  4. It points the way to better media in the future.

It’s unfortunate that some people think that feminist criticism “ruins” everything or that feminists are here to take all the stuff you love away. Nothing could be further from the truth. There are ethical ways to consume problematic media, and I’d say it’s easier to enjoy something when you understand exactly why you sometimes get uncomfortable feelings about it.

I’m sure many feminists would disagree with a lot of what I’ve said, but I’d probably respect their views nonetheless. The view I definitely do not respect is that we should just ignore critiques of the stuff we like because it’s boring and not fun and who cares that the stuff we read, watch, and listen to is selling us a version of reality that we might despise if we actually thought about it.

The Role of Feminist Criticism

Writing A Better Love Story: On Pop Culture That Romanticizes Unhealthy Relationships

Imagine this story.

You meet someone you really like and fall for them immediately. They’re attracted to you too and the sex is great. But you want something more serious and they drag their feet. They’re emotionally detached, they forget to call, they make you do all the work of moving the new relationship along. It becomes tumultuous. You fight, you break up, you make up and get back together. They cheat. They lie. They promise to change every time but they never do.

And then, finally, the story reaches its climax–perhaps because you’ve finally walked out, or maybe because of some dreadful accident or because their best friend got married or something else that leads to a Big Realization. And they finally decide that it was you they wanted all along, and one of you proposes to the other, and you get married.

If this sounds familiar to you, it’s probably because that story weaves its way through too many novels, movies, and TV shows to count. It’s in Sex and the CityTwilight, 50 Shades of Grey, How to Lose a Guy in 10 Days, Gossip Girl. 

These stories suggest that this relationship script is somehow supposed to be romantic. That that moment when they Finally Realize how wrong they’ve been makes it all worth it and that after that moment everything becomes healthy and happy. That a relationship built on detachment, betrayal, manipulation, or even abuse can survive and become some great love story.

There are two misconceptions that one can get from these kinds of stories. One concerns how to actually conduct your relationships, and the second concerns what we value in our relationships and what types of relationships we consider romantic.

The first misconception is that it makes sense to stay in a relationship with someone you love even though they are clearly unable to give you what you’re looking for. In pop culture, women are often portrayed as refusing physical intimacy and men are often portrayed as refusing emotional intimacy, although some stories flip this around (such as (500) Days of Summer). What’s to stop the other partner from just leaving and finding someone who’s able to be as intimate as they need?

Part of it is the false belief that you can make someone change by the sheer force of your love, and that you have enough patience to remain in a relationship that’s not satisfying to you until your partner changes.

Of course, sometimes people do change. They become more empathic, better listeners, less self-centered, more attentive, better at managing their time and money. But they generally don’t just flip-flop personality-wise. Going from a noncommittal, dishonest, and/or abusive jerk to a loving and affirming partner doesn’t just happen; it probably requires years of therapy. Yet in these stories, it does just happen.

And even if that ever happens in real life, would you really want to spend years in an unhealthy relationship in the hopes that it will?

The second misconception is that stories like this are Romantic. They are Love Stories. They’re the kinds of stories you would want to tell at your wedding and then to your children and grandchildren. They’re something to aspire to. They’re something to make movies and write books about.

Really, though? I’d never want to tell my future kids that I took crap from their other parent for years and years until they finally Came Around after some supposedly romantic moment and started loving me back. I would want to tell them that I knew my partner was a good person from the very beginning, and that while we’ve had our disagreements, we always managed to learn from each other and compromise.

Now, I get that that doesn’t make as flashy of a movie. Conflict does make stories interesting (although I still don’t see why the type of conflict that gets written about has to romanticize unhealthy relationships and abuse). It’s difficult to criticize cultural scripts like these without people suggesting that I’m somehow saying that these books and movies shouldn’t exist.

The point of feminist criticism, in my mind, isn’t to say what should and shouldn’t exist. It’s to remind people that these stories are written from a particular perspective, one that we don’t necessarily have to agree with or accept. People who make movies and write books are operating under their own assumptions of what the world is or what it should be. It’s up to us to present alternative views.

Media affects us in ways that are too nuanced for easy fixes. As it is with eating disorders, it’s not like anybody would read Twilight or watch Gossip Girl and immediately conclude, “Gee, it sure is hot when Edward/Chuck treats Bella/Blair like that. I’m glad my boyfriend’s the same way.”

But these scripts can change what we value in our relationships: is it mutual respect and open communication, or is it that hot, passionate, tumultuous “love” that’s being sold?

These scripts embed themselves in our minds and start to seem normal. It’s easy to start telling our own stories through those lenses. For instance, a survey done at Twilight screenings in Idaho showed that 68% of the teens seeing the movie thought that Edward’s treatment of Bella is a “sign of true love.”

Of course, that doesn’t mean that watching and enjoying Twilight literally causes people to interpret Edward’s abusive behavior as evidence of a loving, healthy relationship. Perhaps people who already view relationships that way gravitate towards films like Twilight.

That’s why the solution isn’t to boycott them or vilify them unilaterally; it’s to use them to examine the assumptions we hold about love, relationships, and all sorts of other stuff. It’s also to write our own stories–ones that portray manipulation, lopsided relationships, and abuse as antithetical to the lives we want, rather than as stepping stones to the healthy love that supposedly follows.

Writing A Better Love Story: On Pop Culture That Romanticizes Unhealthy Relationships

How to Have Sex Like They Do in the Movies

My recent post on consent got me thinking about how open communication about sex isn’t just important because it establishes consent, but also because it’s what makes sex great.

A man meets a woman–it’s always a man and a woman.

He is tall and handsome–she, thin and beautiful.

He cracks a witty pickup line with a confident smile, and she laughs and moves in closer.

Some amount of time passes–the amount depends on the kind of movie this is–and finally they are alone, almost always in his apartment. Without much (or any) invitation on her part, and without any prior discussion of matters sexual, the man kisses the woman, who responds passionately as though she’d been waiting for this very moment the whole time. They have sex. Few if any words are ever exchanged. But the sex is awesome anyway. It’s like they’ve been searching for each other their whole lives.

Does this ever actually happen? I mean, really, does it?

…not really.

Seriously. Observe a moment of silence for that script. Give it a eulogy. Stop searching for it.

I mean, I guess you don’t have to. If you dedicate your whole life to the search, you may eventually come across a person with whom you fit like two adjacent puzzle pieces, just like that. A person who just happens to share your favorite sex positions, who gives head just the way you like to receive it, who loves to be tied up while you love to do the tying (or vice versa), who feels ready for increasing intimacy at the exact same pace you do, who doesn’t have any triggers or STIs that you might need to discuss first, who shares your fetishes, who comes the easiest from whatever it is you already love to do most. A person who can do and be all this, without ever having to talk about any of it with you.

You might come across a person like that, but I doubt it.

Besides, you could have that kind of sex without finding that person at all.

Say you’ve met someone you’re attracted to. Maybe you’ve known them for an hour, maybe a year. Doesn’t matter. You’ve flirted with each other, and that tension is definitely there. Maybe you’ve gone on “dates,” maybe you haven’t. Regardless, this is a person you absolutely want to fuck.

So tell them!

Ridiculous, right? Aren’t you supposed to “get” them drunk? Shouldn’t you send signals and make sexual innuendo or just grab them and make out with them?

That’s what our pop culture would have you think, but as it is about many other things, it’s wrong.

Here’s the thing: nobody who really wants to have sex with you will be turned off by you telling them you want to have sex with them. In fact, they’ll probably be turned on. They may be a bit shy and embarrassed at first, because this kind of genuine, open forwardness about sex isn’t something our culture encourages. But they’ll probably get over it if they really want you.

Likewise, nobody who really wants to have sex with you needs to be drunk to do it. Having a few drinks may loosen them up and put them at ease, but if that desire wasn’t there already, no amount of alcohol will put it there–at least, not genuinely. And also, sex with a drunk person is not actually legal, since a drunk person cannot consent.

So, hopefully your would-be hookup buddy agrees that sex with you would be an awesome thing. Hopefully they’re also open and comfortable with talking about sex, because, unlike the movies tell you, communication–more so than “chemistry” or “the moment”–is what makes sex great:

“So how do you like to come?”
“It’s easiest for me if I’m getting myself off…with a little help. You?”
“I like to get head.”
“Good! I like giving it.”
“How do you feel about doggy style?”
“I love it. Could I handcuff you while we do it?”
“Actually, handcuffs make me a bit uncomfortable. What if you tied me up with a scarf instead?”
“That works!”

This isn’t something that most people are used to, except perhaps in the context of an established and ongoing sexual relationship. First of all, despite our sexualized culture, sex is still considered dirty and “inappropriate” for casual conversation by many people. Since it’s such a supposedly private and shameful thing, many of us will never discuss it with anyone but the closest of friends (and partners). Someone that you haven’t even slept with yet probably doesn’t fit the bill.

What this means is that many people feel a reflexive discomfort with talking about sex, a discomfort that they assume is “natural.” But it’s not. It’s a consequence of us being taught from birth that sex and penises and vaginas and butts are shameful. And so we’re ashamed.

Second, our culture–for example, the sorts of movies that I mentioned–teaches us that you don’t need to communicate about sex in this way for it to be great. In fact, it says, too much talking about or during sex is just weird and a turn-off (remember that awkward scene in The Notebook where they nearly have sex for the first time? And also that awkward scene in the pilot episode of Girls?). Furthermore, someone who is Right For You will supposedly Just Magically Know what you like Because Chemistry, so talking about sex shouldn’t even be necessary.

But it is. Not only to prevent assault, but to make sure that the sex you’re having is truly cinematic.

How to Have Sex Like They Do in the Movies

1 + 1 = 2: Why I'm Not Looking for My "Other Half"

I was listening to music today when I noticed something odd about the lyrics to many of the songs:

Give me a reason to fall in love

Take my hand and let’s dance

Give me a reason to make me smile

Cause I think I forgot how (Meiko)

 

Who doesn’t long for someone to hold

Who knows how to love you without being told

Somebody tell me why I’m on my own

If there’s a soulmate for everyone (Natasha Bedingfield)

 

You got a piece of me, and honestly

My life would suck without you (Kelly Clarkson)

 

Before you met me, I was a wreck

But things were kinda heavy

You brought me to life

Now every February, you’ll be my valentine (Katy Perry)

 

Look into your heart pretty baby

Is it aching with some nameless need?

Is there something wrong and you can’t put your finger on it

Right then, roll to me (Del Amitri)

If you pay attention to these songs, it seems that romantic love is something that “saves” you from loneliness and misery. It’s not just in our music that you see this sort of thing, either. Plenty of movies and novels are based on the premise that one or both of the people in the love story are lost and broken until they find each other, and there’s a reason, I suppose, that we talk about “finding our other half.” My parents, too, always told me that once I fell in love I would not be depressed anymore, and used my ongoing depression as “proof” that I didn’t really love my boyfriend.

In a way, this seems like an extension of the rescue trope in our love stories. Typically, it’s a woman being rescued by a man, but you see the story play out the other way around, too, with the woman “rescuing” the man from workaholism, domestic ineptitude, skirt-chasing, substance addiction, emotional numbness, and even, apparently, a propensity for BDSM. All ills, it seems, can be cured by falling in love with the right person.

I used to buy into this myth completely. The fact that I had depression and few genuine friends probably fueled my acceptance of it, as did the fact that in our culture it’s freakin’ everywhere. I told myself, “I can never be happy if I’m single,” and believed that once I was in a stable relationship, I would immediately feel understood and loved–and thus would finally begin to understand and love myself.

Well. I don’t buy this anymore. (I also don’t buy the other extreme, which is that “you must love yourself in order to be loved” or whatever. People with self-esteem issues are capable of having relationships, thank you.) At one point I took stock of my life and realized that I’m single and…happy. I would still like to have a significant other sometime soon, but not because they will make me “complete.” I already am.

I now believe that the fundamental “unit” of humanity is not a couple or a family, but a single person. Nobody can ever be as close to you as you are to yourself, but you can choose to make connections of varying degrees of closeness with others. After all, if we’re all “meant” to be half of a couple, why are many people genuinely happy being single? Why do some people choose to form triads or group marriages? Why do some people find happiness as single parents? Why are some people’s greatest loves their friends, not their spouses?

Now that I’ve realized that I don’t “need” a partner, it’s sometimes difficult to articulate why I nevertheless want one. I don’t need to be “saved” from anything, and I don’t think that a relationship would (or should) change my life in a huge way. Now that I have lots of good friends, I don’t need much emotional support from a partner (or from any one person), and now that I don’t have depression, I don’t need much emotional support anyway.

If you were to imagine relationships as a mathematic equation, the traditional one would be 1/2 + 1/2 = 1 (or, perhaps more paradoxically, 1 + 1 = 1). I like to think of them as 1 + 1 = 2. Two people in a relationship are still two people. They still have (or should have) their own personalities, friends, hobbies, careers, and lives. (In my view, they should have their own last names and bank accounts, too, but I suppose that’s not for everyone.)

They also still have their own problems, because you can’t cure loneliness or depression or insecurity or boredom by adding into the mix another person and all of their own issues. I think a relationship between people who consider themselves whole is by default healthier than one between people who consider themselves fractions.

1 + 1 = 2: Why I'm Not Looking for My "Other Half"

1 + 1 = 2: Why I'm Not Looking for My "Other Half"

I was listening to music today when I noticed something odd about the lyrics to many of the songs:

Give me a reason to fall in love

Take my hand and let’s dance

Give me a reason to make me smile

Cause I think I forgot how (Meiko)

 

Who doesn’t long for someone to hold

Who knows how to love you without being told

Somebody tell me why I’m on my own

If there’s a soulmate for everyone (Natasha Bedingfield)

 

You got a piece of me, and honestly

My life would suck without you (Kelly Clarkson)

 

Before you met me, I was a wreck

But things were kinda heavy

You brought me to life

Now every February, you’ll be my valentine (Katy Perry)

 

Look into your heart pretty baby

Is it aching with some nameless need?

Is there something wrong and you can’t put your finger on it

Right then, roll to me (Del Amitri)

If you pay attention to these songs, it seems that romantic love is something that “saves” you from loneliness and misery. It’s not just in our music that you see this sort of thing, either. Plenty of movies and novels are based on the premise that one or both of the people in the love story are lost and broken until they find each other, and there’s a reason, I suppose, that we talk about “finding our other half.” My parents, too, always told me that once I fell in love I would not be depressed anymore, and used my ongoing depression as “proof” that I didn’t really love my boyfriend.

In a way, this seems like an extension of the rescue trope in our love stories. Typically, it’s a woman being rescued by a man, but you see the story play out the other way around, too, with the woman “rescuing” the man from workaholism, domestic ineptitude, skirt-chasing, substance addiction, emotional numbness, and even, apparently, a propensity for BDSM. All ills, it seems, can be cured by falling in love with the right person.

I used to buy into this myth completely. The fact that I had depression and few genuine friends probably fueled my acceptance of it, as did the fact that in our culture it’s freakin’ everywhere. I told myself, “I can never be happy if I’m single,” and believed that once I was in a stable relationship, I would immediately feel understood and loved–and thus would finally begin to understand and love myself.

Well. I don’t buy this anymore. (I also don’t buy the other extreme, which is that “you must love yourself in order to be loved” or whatever. People with self-esteem issues are capable of having relationships, thank you.) At one point I took stock of my life and realized that I’m single and…happy. I would still like to have a significant other sometime soon, but not because they will make me “complete.” I already am.

I now believe that the fundamental “unit” of humanity is not a couple or a family, but a single person. Nobody can ever be as close to you as you are to yourself, but you can choose to make connections of varying degrees of closeness with others. After all, if we’re all “meant” to be half of a couple, why are many people genuinely happy being single? Why do some people choose to form triads or group marriages? Why do some people find happiness as single parents? Why are some people’s greatest loves their friends, not their spouses?

Now that I’ve realized that I don’t “need” a partner, it’s sometimes difficult to articulate why I nevertheless want one. I don’t need to be “saved” from anything, and I don’t think that a relationship would (or should) change my life in a huge way. Now that I have lots of good friends, I don’t need much emotional support from a partner (or from any one person), and now that I don’t have depression, I don’t need much emotional support anyway.

If you were to imagine relationships as a mathematic equation, the traditional one would be 1/2 + 1/2 = 1 (or, perhaps more paradoxically, 1 + 1 = 1). I like to think of them as 1 + 1 = 2. Two people in a relationship are still two people. They still have (or should have) their own personalities, friends, hobbies, careers, and lives. (In my view, they should have their own last names and bank accounts, too, but I suppose that’s not for everyone.)

They also still have their own problems, because you can’t cure loneliness or depression or insecurity or boredom by adding into the mix another person and all of their own issues. I think a relationship between people who consider themselves whole is by default healthier than one between people who consider themselves fractions.

1 + 1 = 2: Why I'm Not Looking for My "Other Half"