#A lot of the episodes are more about pushing opinions than being good stories

[somegirlblr]

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[pink-key]

How would Toby be with a romantic partner if he ever entered a relationship (like would he be toxic/romantic/etc??)

This will be long, buckle up, as I want to tackle multiple questions.

This is an x y/n headcanons visual thing.

Warning: Terrible writing. Might be slightly dark. Very very long

Firstly, all depends on the closeness you have with Toby.

🍨 Plaything

🍰 Congratulations, you got him interested in you. Maybe it's your overly humorous reaction to him running after you, while he was chaotically swinging his hatchets. Maybe you had a drastically different reaction to his previous victims.

🍰 Either way, he loves tormenting you; his morals are either absent or corrupt. He likes to scare you, looking into your window to your room at night, laughing and rambling nonsense once you notice him (doesn't matter which floor you live on; he can climb). He can inflict some minor or not so pain on you, especially during his episodes, from randomly swinging his weapons in anger or excitement to pushing you around. There is no particular aim in that; he just feels like it, or his mind is fogged by voices and emotions.

🍰 Contrary to popular belief, he isn't shy, he isn't easily embarrassed. He is loud, obnoxious; he will make his opinions known to you; he will comment on anything you do or any of your clothes, personal belongings, even your family. He is here to have fun, not to worry about your feelings. As long as you entertain him, he will keep you alive, driving you to madness.

🍰 He can and will find you anywhere, will make you look like an insane person to other people. He is good at hiding and is skilled at hurting physically and emotionally from a distance (throwing a rock in the head, displacing objects in the room to make one paranoid, etc.). A 2-meter-tall stalker running around with two axes after you? You're hilarious, y/n!

Coincidentally, his boss doesn't order him to kill you; maybe you don't disturb his work much, after all, he doesn't visit you all the time (his life doesn't revolve around you). Just the least when you expect him.

🍰Telling him he is disgusting or commenting his mental issues will result in an instant end, unless he would want to play a chasing game in the forest with you before that.

🍰 If you have an S/O, he will mock you for choosing such a pitiful person as a partner. Just hope he won't involve your S/O in your little games. He doesn't care about your personal life, but he sure knows how dear this relationship is to you.

🍨 "We are buddies, r-right?"

🍰 You somehow managed to survive his attacks, random outbursts, mood swings, threats and, for some reason, decided to befriend him.

Honestly, being his friend is the healthiest you can get and keep bits of your private space at the same time.

🍰 He, despite being insane, brainwashed, and amnesiac, starts to see you more than just an amusement park attraction as a cute little pet, not really an equal. Your relationship is a bit more than him having a blast using physical or mental torture on you. Your presence and personality are also fun, who knew?!

🍰 Maybe, would EVEN feel a slight parody of pity for you. Especially if you tell him your sad stories of your life. He is terrible at comforting, but if the stars align right, he can play his favorite cassettes to you with cheery songs or try to make jokes, but don't expect that to happen every time. Maybe a pat on the head would happen, usually, he would tell you to stop being sad as there are worse things to cry about.

🍰 He teases you and pranks you a lot. Doesn't matter what state you are in.

🍰 His idea of friendship is a bit twisted. You won't mind that he will destroy your belongings if he finds them annoying, right? You are friends! Friends don't hold grudges against each other! Or if he would hurt your family members or friends because they said or did something that triggered his aggression, right? Friends forgive each other! You don't mind sharing everything with him, from food to information, because friends don't keep secrets from each other!

🍰 There is a good part to this relationship. He is kinder to you. Perhaps, would bring you a cute little trinket or object stained in blood. Friends make gifts for each other! He would appreciate it if you would give him something. Be careful what you give him, as he interprets your gifts in his own way. New hoodie? Are you implying his tastes are bad? Are you mocking him?

🍰 This is also where you can shape your friendship into a seemingly normal one. Food is a safe option. Learn what he likes to convey to him that you care about him. The man needs kindness deep inside. It will confuse him; he might get angry at you, at the world without understanding why, but the long-term result is worth the risk.

🍰 If you are in danger, he might save you. Although you will bear the guilt of some hooligans being either deadly hurt or dead.

🍰 He is also more open to you. You can hold small conversations with him, discussing music, for example. However, if he is in one of his episodes or even just mood swings, he can snap, shout at you or just be mad at you for an unknown reason, while rambling something incomprehensible and leave you alone for a week or more. Violence isn't completely off the table either.

🍰 If you have an S/O (or just hangs out with friends), He can get jealous because you don't pay attention to him at that exact moment. He isn't always jealous, just sometimes. If he is in a terrible mood, might even hurt your S/O, he isn't shy at that stage to involve anyone in the mess. He can complain about your S/O. It's not advised to dispute him, as he can get angry at you. You are his friend! Why are you fighting him?

🍨 Obsessive

🍰 After a lot of talking, gifts and, if you were bold enough, light friendly physical touch, he is feeling smitten by you.

🍰 You notice weird signs of attention from him, he makes some sort of romantic gestures, but it comes off as creepy to you. For instance, he thought a fur coat is what you would like, but he didn't realise you need to work on the fur instead of giving it bloody to you.

🍰 He doesn't understand himself, his voices aren't helping him either, he is feeling hate then sickly love from one second to another. If he thinks too much about that, he twitches and tics more than usual, especially in your presence. He is more distant; he doesn't respond to you. He just sits there, shifting his eyes without focusing on anything, occasionally roughly turning to one of his auditory hallucinations.

🍰 You don't understand his ramblings or whispers, and now they are more disjointed than ever. He avoids you for a few months or even more. It worries you more than him being around you, as you're used to his presence by now. Who knows, maybe he got bored with you and just contemplates how brightly he could end your life.

🍰 He can't run from his feelings forever. As a snow during summer, he busts into your house and just dumps all his thoughts on you—just an incomprehensible jumble. You won't understand it right away until he grabs you by the shoulders and forces you into an embrace, then pushes you away, twitching, staring into your soul, waiting for your response. He doesn't say, but he already knows how you feel, even if he lies to himself. He is attentive and sensitive to human emotions, and he reads body language quite well.

🍰 You have a choice. If you deny his love, either one of things will happen. You die because he feels like it. You don't like him, if he kills you, he kills his feelings for you at the same time. Yet, there is a slim chance he can just forcefully make you like him, can lead to kidnapping, but you won't love him that way either, he would realize that, that's not right, and you are also dead in this scenario.

🍰 If you lie and accept his feelings, you won't last long, either. He notices all the slight restless movements around him, your discomfort, the way you look at him. He hates liars, so it's best to be honest and die quickly rather than slowly.

🍰 If you have a strong, twisted friendship and you learn how to talk to him, how to act when he is difficult to interact with, and you just find him with his bouquet of disorders and trauma charming in his own way, then you don't need to say much to him.

🍰 He doesn't know anything about relationships. He can come off as toxic, as his jealousy flies from low to high in a matter of moments. He is still a snappy, angry, insane serial killer, he just now sometimes apologizes if he was too rude to you. More gifts too, woo-hoo!

🍰 He is obsessive, but that also depends on a lot of circumstances. He wants to be around you as much as possible. Just your presence gives him some sort of emotional bliss when his thoughts are a bit less loud than usual. At the same time, his thoughts are chaotic and get under his skin, and he can disappear for some time. Or one of your words can trigger him; he can be violent or distant.

🍰 Dates with him are attempts to replicate what he sees in movies. He watched whatever old VHS he found in abandoned cabins or houses in the woods, so it's pretty vanilla and traditional, dare I say: eating ice cream together, watching movies, slowly dancing to some old music. He uses old pickup lines too if he feels particularly spicy.

🍰 He isn't touchy. He is touchy unless there is a sinister goal in mind or he wants to be annoying. Toby subconsciously associates touch with bullying or violence. You have to teach him to appreciate affection and kindness, and it will take you a lot of time.

🍰 Eventually, with a lot of pain he adjusts to your taction. He likes to sit next to you, shoulder pressed against yours, while resting his head on your shoulder or head, enjoying peace and silence, while you fidget with his fingers, occasionally placing brief kisses on bruises on his hand. He likes small touches. Once he learns what a surprise hug is, he abuses the life out of it. Be prepared to have mini-heart attacks when he screeches into your ear and hugs you from behind while you return from a small grocery trip back home. Other than that, his level of tactility remains the same.

🍰 His mask and goggles are also mental protection for him from the world. You notice that he takes them off when he is around you.

🍰 He is weak for compliments..even if he overthinks, in some instances, becomes angry or sad, whatever mood hits at the moment, but deep down he is squealing. He will hint at that in his own way by trying to compliment you. This is also important as at times he feels paranoid you are plotting something against him, so compliment him when you can.

🍰 Small acts, like maybe washing his bloody clothes or sewing them as they have a lot of holes, makes him intensely love you. He just stares at you, you just think he is probably hallucinating something.

🍰 Movies showed what women truly desire, so he is a gentleman, ..tries to be, so he would bring you flowers that he probably snatched from a nearby garden. Would keep the door for you, all that, his twitching, ticking, can make it unpredictable. If you're slammed by the said door on your side, trust him, he didn't mean it.

🍰 If you see him just lying down and doing nothing for days, don't try to extremely cheer him up or, goodness forbid, say "smile some more." Just be by his side, be patient. He will become cheery again soon.

🍰 He is jealous, he cares about your attention more than ever. So be careful how you act around your friends, family, or strangers if you want them to be at least alive by the morning.

🍰 His mind can be fogged by rage sometimes, so stay out of his way, he isn't in his head when he is like that.

🍰 Oh, if you have an S/O while he is in this state. No more of that S/O, maybe not you either. If anyone dares to flirt with you, no more of that person, either. You can beg Tobs to just end the lesson with a severe beating but good luck with that. He may switch his unstable bloodthirst onto you if you try too hard.

If you reach this, thank you for reading this war and peace, hope this all makes a bit of sense lmao.

[rwbyrg]

Hello again! I was wondering, in your own opinion, what moment(s) for both Oscar and Ruby, really implied that there was much more going on with the two character, in the sense that their relationship was starting to evolve? Also what do you like about those moments? To add, do you think we will see it much more in volume 10?

Hello!! I think, generally speaking, all of their focused scenes imply there's more going on or that their relationship is evolving in some way. RWBY doesn't have filler. So when characters - especially ones as central to the narrative as these two - get focused screen time together (and romance-y tropes), it's done with intention.

Ruby's arc is about many things, but especially about how she's pretty much the last silver eyed warrior that can face Salem. Meanwhile, Oscar's arc is about defining who he is while under a curse that robs him of his identity. And in their first meeting, Oscar comments on Ruby's eyes, and she asks him who he is. Even their first lines to each other are mirrored in how they're spoken!

This scene really shows that their character arcs linked from the very beginning.

We get all the stuff I mentioned in my last post and more and none of it is necessary to do if it's not building up to something. Which it very clearly is.

I have no doubts we'll get to see more of their shared story in V10 onward. The V9 epilogue - what was supposed to be the final episode of the season - works as both a closing point for the Atlas arc, and a kick off for the Vacuo one. It's setting the stage for what is to come. A non-extensive list of what we know we're getting so far:

Nora's and Winter's character arcs; both of them struggling with responsibility, grief, and guilt.

Weiss will almost certainly be getting some focus by extension of that as well. Especially because her arc has always been about her family.

Ren being more open and trying harder to support those around him.

Qrow, more hopeful than he's ever been before and how much it's propelling him forward.

And then we have Oscar.

Oscar and the merge. Oscar Pine, Little Prince, pining at Ruby's grave in the desert. I talk about this set up a lot, and it's difficult to explain succinctly because it's got a lot of complex pieces at play (and has been going on since their meeting, as mentioned above). But if I were to try and break it down as simply as possible:

Ruby's fatal flaw is her grief. Her silver eyes are powered by, and the embodiment of, the preservation of life. She doesn't want to lose anyone else that she cares about and cannot bear the weight of responsibility that comes with it alone. So much so that she almost abandons her own identity via ascension because she is offered the choice to do so. She stays true to herself in the end as someone that fights, not for those she's lost, but for those she hasn't lost yet. And the narrative, through all their interactions, but especially the Tea Party, has placed Oscar front and centre in the position of who Ruby hasn't lost yet. Oscar, who wants nothing more than to be a part of the team that he keeps pushing away. Oscar, who just wants to be who he is, to preserve himself, but is being robbed of that choice via the merge. Something Ruby, can't protect him from.

RWBY loves to make its pairings thematically complimentary and it loves pushing characters to their limits. There is no way that the scenes and setup between Oscar and Ruby haven't been intentionally building to something big with how much their respective and shared conflicts are directly playing off of each other. There is no way CRWBY - with their limited budget and resource constraints - dedicated all that screen time to these two for it to not pay off at some point. And given this arc is the last one... now's a good a time as any for it to happen.

[hallowpen]

There was a lot of destructive criticism surrounding My Marvellous Dream is You, but I actually thought the series was quite good despite its shortcomings. I'm a lot more forgiving than most when it comes to Thai GL series, and that will have absolutely affected my viewing experience. But... every time I would see a comment that just read "This is boring/terrible/stupid" without ever elaborating, I felt very much like Khun Pu's character from Be My Favorite hehe

*WARNING*: There will be minor spoilers for the final episode of My Marvellous Dream is You, should that be something you wish to avoid.

I will be the first to admit, that I was very skeptical about this series in the first handful of episodes. So let's just get my personal negatives out of the way first... I think, by now, it's no secret that I do not support where a lot of Thai GL adaptations source from. So, this series already had an admittedly disadvantaged subjective expectation from the get go. It wasn't really surprising to see pacing issues within the first 5ish episodes, that seems to be a common occurrence in Thai GLs produced by IDOLfactory. Whether that is a result of the novels the series have thus far been adapted from OR from a choice in direction is up to you. I, personally, think it's a bit of both. Where I believe certain productions struggle in letting their narratives breathe, I find the complete opposite problem to be true with IDOLfactory. There were a lot of plot points that needed restructuring or to be removed entirely in order to have a stronger cohesive story that focused on the main characters' relationship more so than it did.

Now, while I stand behind my opinion that the series could have benefited from tighter and better organized storytelling, a lot of the groundwork was there to make a decent character driven narrative. And that's what I've chosen to focus on. Wan and Kim are both deeply flawed characters. There were so many inferences to be drawn from character relevant visuals and their joint backstory that truly informed their current dynamic.

The👏🏾character👏🏾focused👏🏾visuals👏🏾in👏🏾this👏🏾show!!!

One of the most interesting parts of watching a series, for me, is having to pick up on certain character cues in order to understand and delve deeper into the core of their behaviors.

Wan and Kim share a trauma, and it's easy to see how they both became so dependent on one another to fill the void their fathers left.

In flashbacks, Wan is presented as egoistic and headstrong since high school. She is also shown to be extremely protective of Kim before she even realizes her feelings. Kim, on the other hand, is a bit more sensitive. She cherishes Wan's attention and affection to a point where she would be willing to play a little dirty in order to keep it for herself.

All of these emotions become heightened once they are forced into adult life with adult problems. Wan is struggling with her mental health. While trying to balance fame and the repercussions her actions might have on her career, Wan must also deal with her mother's alcoholism... which has essentially caused her to check out from Wan's life. Her need to have Kim by her side, and never leave her, has become less protective and more possessive. Kim's desire for approval and affection has led to an over devotion of herself to Wan and constant worrying about disappointing her mother. She's neglected her own wants and needs for so long, that she's afraid putting herself first would be considered too selfish...too much like her dad. Her mother's cancer diagnosis further pushes Kim to continue to place her mother's wishes over her own desires. Even though comments about Wan and Kim being 'annoying' or 'frustrating' were aiming to be negative... they weren't exactly wrong. The audience was supposed to feel that way. Heck, even the surrounding characters called out their behavior on more than one occasion. Because in an effort to not lose one another, Kim and Wan fell into a cyclically unhealthy dynamic where their actions and reactions were actually pushing each other away. Their inability to communicate their true feelings to each other beyond their (unbeknownst) shared dreams prevented them from making any true progress toward a romantic relationship that they both so desperately wanted, but were each terribly afraid to pursue. Their feelings for each other were put up against the reality that their love being unreciprocated could spell the end of their relationship altogether. There was an added pressure of being unfairly compared to their fathers, where any romance between them might be found 'unacceptable'. Couple that with societal views of same-sex relationships, and you can understand why these two were so hesitant to reveal their truths.

(Quick sidenote: I did not agree with the idea that what Kim and Wan did was exactly the same to what their fathers did. They did not leave and abandon their families. Marwin didn't make it easy for them, and given the glimpse we saw into his family's cruelty, it made all the sense in the world to have him react in the way he did. Kim and Wan were at least willing to stay and face the hard consequences of their choice, no matter the outcome.)

I think them having to work through all of their issues made the moment of Kim and Wan finally deciding to be together that much more satisfying... And that was the point Kru A was trying to make when he explained his direction for their relationship on social media after hearing viewer feedback (He was subsequently rudely criticized by interfans for that decision, to the point where he alluded to the fact that he might take a break from directing... but that's a whole other discussion).

That final scene of them being married purposely not clarifying whether it was in a dream or in reality alluded to the fact that their shared dream world and their real life were no longer at odds, finally. I thought it was very fitting.

The frustration caused by KimWan's lack of communication reminded me of a similar dynamic between Team and Win in Between Us, a series that suffered from a lot of the same problems (not enough focus on the two leads and irrelevant plot points). However, those characters and the actors that portrayed them didn't receive even half the amount of negative reactions. They existed, trust me, but there were a lot of positive reviews to balance it out. I'm not going to get into what that means, because I think you can make the inference for yourself.

All in all, I don't think this series deserves to be completely written off. Is it perfect? No... but an effort was made, and it wouldn't hurt to make the effort in return to understand the vision. Fay and May did an incredible job for their first go around as main leads. And I hope they get the chance to develop their craft further.

[gffa]

I don't know if you have read about Filoni saying that anybody/everybody can use the force now, that it was GL's vision on the force which is clearly a misinterpretation imo, to me he's just trying to make excuses for his bad writting about Sabine in the Ahsoka series. I do like the idea of everyone being part of the living force but I hardly dislike to think that anyone can be force sensitive and "become a Jedi" like they are trying to imply now. I mean, being a Jedi is more than being sensitive i know but I hope i make sense in what i'm trying to say here. I do like Sabine in Rebels she is such a good character as she is, a badass Mandalorian, why everyone needs suddenly use the force and be a Jedi out of nowhere? I'd like to know your opinion about it if you feel like answering. Thanks.

I mean, I will give Felony this: I'm pretty sure Lucas did say somewhere along the way that the Force is for everyone/that everyone can use the Force. My issue with Felony isn't that Sabine can use the Force, it's that his writing to take her down that path felt disconnected from her entire established story and that he stretched the worldbuilding too far--being able to grab your lightsaber in battle, okay, sure, maybe I could accept that, but the ability to also give Ezra a massive push across that huge of a distance. The Jedi have always said the Force is for everyone, Yoda gives a whole speech to Jek, Thyre, and and Rhys about how they can use the Force to quiet their minds in the very first episode of TCW. I don't have Lucas' quote on hand, so take it or leave it as you will, but I do think "the Force is for everyone" fits with his themes. I just don't think that Sabine being written as a Jedi makes sense for her character, even given how lost and adrift she felt (not that we actually got to see any of the important part of why she would turn down this path, just suddenly she's here! and only monologuing to tell us what happened), beyond Felony wanted her to be special. And I'm all for female characters getting to be special (male characters get to be special all the time) but not at the expense of breaking the worldbuilding, because now being able to wield the Force means less, because it's being handed out like candy to Felony's faves, rather than something that has worldbuilding and thematic rules. But that's also coming from someone who cares more about the Force and the themes of the narrative than almost any single character in Star Wars, so I treat it as being rather precious, and other people aren't going to feel the same way. A lot of people probably did love Sabine getting to use the Force. If Sabine had genuinely only been able to do small things or used it to quiet her mind/feel connected to the galaxy, I would have been perfectly fine with that. That made sense to me. But that giant push for Ezra to get him on the ship? Blehhhhh, that was more about making a Dramatic Moment than it was about keeping to the themes of Star Wars. So, personally, I'm just kind of compartmentalizing it into "Felony's pet fave gets special treatment, I'm not counting it towards worldbuilding" because I just don't care enough anymore. XD

[lupinescribbler]

Been thinking recently about this oddly specific trope of a character being emotionally vulnerable or honest in order to be able to connect with a kid they empathize with. I have slightly mixed feelings about it. On one hand it can be overdone, to where the child feels like a cardboard cutout just to elaborate on the protagonist’s traumatic backstory, but there are also a lot of cases that I liked it or thought it was done in an impactful way.

so I figured I’d walk through a handful of examples of this trope (does it have a name???) and give my personal thoughts on each. Spoilers for the episodes referenced of course. Because of image limit this will be part 1 of 2 and I’ll link the second when I get it up.

Supernatural S01E03.

This is one of my favorite iterations of this. Lucas's turmoil, fear, and mutism were portrayed with enough effort and thoughtfulness for him not to just feel like a cardboard cutout, and the way Dean interacted with him felt in-character while still showing a softer side to him. There's also a strong plot reason (Lucas being the only eye-witness) to drive their interactions, making each scene feel like it was striving for an important purpose instead of just ham-fisting 'traumatic backstory' angst.

The scene in the park is what really starts it off. The guy who couldn't name three children he knew a couple scenes earlier, has to try to coax answers out of a traumatized mute kid about said trauma. We see Dean meeting Lucas where he is (draws with him), tries to identify what Lucas might be feeling, ("Well, maybe you don't think anyone will listen to you.") reassures ("I want you to know that I will.") and doesn't push it when Lucas seems unforthcoming.

While this scene overall is very soft and endearing, we get very little of Dean talking explicitly about his own trauma, just one vague line "When I was your age, I saw something." The whole scene is about what Lucas is feeling. Dean's feelings are there too, the audience is already supposed to be drawing parallels, but they are kept on the peripheral.

Then later in the episode we get the next Lucas and Dean scene. We've watched someone else die, upping the stakes. Here is where we really get the emotional vulnerability from Dean in a few blunt, heartbreaking, lines. Even more than that, we get a glimpse at Dean's why. Why the bravado, why he is the way he is. We also have this whole confession observed by Dean's younger brother, which -- trust me as an older sibling -- is excruciating.

Overall I think this works because a) Dean has a strong reason to be this emotionally vulnerable, there are literally lives resting on his ability to get through to Lucas. b) it had the space to be built up in multiple scenes throughout an entire episode and c) Dean is the exact type of character that needs some sort of push to be this emotionally vulnerable and earnest, so the trope just fits.

Magnum PI S01E01

This one is what I'd consider a slightly meh version of the trope. Not trying to offend anyone who found this scene specifically meaningful, but it fell flat to me. The intro joking about the dogs was good, Magnum trying to comfort his dead friend’s son was a good idea, but the “when I was your age, I lost my dad too” kinda lost me. I get he was trying to empathize with the kid, but it ended up feeling like the show was just trying to be like “look! He has a dead dad!”. Additionally the character of this kid felt flat and I don’t remember if he ever even cropped back up in the story outside of this episode or ever had a shred of personality.

In my opinion it might have worked better if they’d had Magnum talk about Nuzo instead of his father. Nuzo is the person both he and the kid cared about and lost, and while it still might have felt cheesy I think it would have felt more anchored to what the rest of the episode is about and helped to get the audience to empathize even more with the grief over a dead friend that drove the whole narrative for the pilot.

I really enjoyed the show overall, don’t get me wrong, and I’ll have another example of this trope in part two of this which — spoilers — I enjoyed a lot.

Would love to hear other people’s opinions of this if anyone sees it, and I invite disagreement.

[westwingwolf]

Why the Chenford Break Up Era Needs to Come to a Close Sooner Rather than Later on The Rookie...

I've expressed my opinion on the Chenford break over several long posts in the Chenford Discord. I'm sure I've annoyed them plenty with my thoughts, but I needed a place to vent so thank you for being patient with me and letting me rant. I swear I am trying to do better, but maybe getting all of my thoughts out in once place will finally calm the beast inside me enough to hold back any further ranting. This post will focus on what should come next after the break up, and not my opinions on whether the break up should have happened at all. It's over. It's done. We're here now, and I have to accept that so I can move on to enjoy what comes next.

Anyways, I thought I would collect all my thoughts here for those of you who are not in the discord. Whether you agree or disagree with me, that's fine. I'm making this public so I know I am opening myself up to disagreements. Just know I'm likely to respond if I can, and I'm less likely to give up discussing my opinion until long after it is necessary. So fair warning, everyone should proceed with caution.

On the highly unlikely chance that someone involved with the show sees this and it makes them think about what stories the show wants to tell, then feel free to share.

I foresee this getting long as the introduction is already this long, so proceed behind the cut if you dare... (Spoiler alert: it is very long.)

First off in most typical break up storylines on television (Because keep in mind I am strictly talking about how these storylines are portrayed in fiction for maximum dramatic effect. Real life is a totally different thing.) , there are certain elements that play out in a break up that is always meant to be temporary. And make no mistake, I do believe this break up is temporary. I refuse to believe otherwise. It's just a matter of how temporary will it be. I must also commend the writers for hitting these elements in a quicker fashion than I expected. (Whether that turns out to be a good thing or not depends on what comes next, but for now I like it.)

Avoiding each other and thereby avoiding fixing the issues that caused the break up. This element is the biggest key in determining how long the break up can last. The longer the characters avoid talking to each other, the longer the break up can go on without being resolved. As we saw in 607 Crushed, Tim didn't want to talk about it while Lucy did. This set the stage for avoiding the issue. This could have gone on longer with Tim digging his heals in to avoid addressing the issue by first refusing to admit to it, but Tim actually did the adult thing and sought out help. Because he had been thinking about needing help all day and because Lucy gave him that final push to get it when he still wanted to avoid talking to her about their issues. That dramatically cuts into the waiting time of couples getting to the point where they can talk about their problems.

Pining for each other. I will admit I thought 608 and 609 were going to be episodes where Tim and Lucy avoided each other entirely to prolong more of this break up by not having them interact at all, but I was pleasantly surprised and glad to be proven wrong. They had their nice pining and awkward moment in Grey's office in 608 Punch Card. Tim spends time thinking about Lucy and being reminded of her birthday. That leads to the very sweet Kojo Birthday Card moment which leads to an even bigger moment of pining for each other in the hall.

Putting aside the relationship problems to help each other and be vulnerable with each other. In 609 The Squeeze even though Lucy is still hurt by the break up, she knows Tim is going through a lot, and so she does what she can to comfort him. Thereby showing that Lucy is still the one who brings out the most vulnerable side of Tim. He put on brave face for Grey and Angela and everyone else, but that moment of melting into Lucy's arms and answering that he is okay now that she's holding him showed just how much he was trying to hold it all in. And he immediately goes back to his brave front once the elevator doors open. Tim has always been his most vulnerable with Lucy and that doesn't change whether they are together or not. Like the Kojo Birthday Card moment, this shows that they still care about one another and they don't let anger from/resentment of/shame about the break up stop them from showing that they care.

Working together in spite of the break up. I was surprised by how quickly they had them working together after their break up. I knew thanks to spoilers that they would have scenes together in 610 Escape Plan, but I expected group scenes. I didn't expect the car scene. Talking about Tim's therapy. Joking about their sex life. They seemed more at ease together after a break up than I thought they would be. Which makes it hard to believe they can go back to any of the major awkwardness from before. A scene like where they can barely speak to each other in Grey's office coming after this kind of moment won't make much sense. Therefore they have to be out of the awkward post break up phase. Again something that significantly cuts down the timeline in delaying getting back together.

Having the talk about their issues or at least getting close to the talk. Now, Tim and Lucy haven't had the full discussion about the breakdown of their relationship and all of Tim's issues. But they are closer to having it 610 then they were back in 607. With Tim going to therapy, with the sense that he wants to continue therapy despite having a psychotic blackmailing therapist, and with the apology he gave Lucy in the elevator along with his promise to repay her kindness in whatever small doses she'll allow; all of that indicates that he is finally in a place to have the necessary discussion about why they broke up. And Lucy wanted to have this talk back in 607 so there no longer seems to be a reason to delay it.

So now with all the steps that The Rookie has already shown through the Chenford break up, it's time to think about what comes next. Typically once the characters finally have the talk about why they broke up, they tend to talk about if they can get back together. We know the show is going to have do a little bit of time jump. A couple of weeks at most. If they want the audience to see this discussion, they'll have to come up with a reason for why they delayed it instead having it almost immediately when the door was open for them to have it at least the next day after that elevation conversation. Which I will allow if only because I really want to see it. If you remember when Wopez broke up in season one; they indicated they needed to talk about their relationship, then the talk they had was off screen and the next time we saw them they were back together. Great for them, but after the emphasis on how important is is that Chenford needs to talk to each other about why Tim broke up with Lucy, I want to see it. So I'm willing to go along with Lucy needed a couple of weeks to wrap her head around the idea and gather her thoughts to confront Tim.

What I will not understand is if Lucy or Tim decide to delay this talk for a long period of time. Lucy wanted to have the talk from the beginning. Tim wasn't ready but there is clear indication that his ready now. In order for Lucy to have agency in this situation and regain the balance that she lost when Tim unilaterally decided to break them up, I do think Lucy needs to be the one to say she wants to talk about their relationship. I don't want it to be like Tim saying "I'm ready to talk about our relationship" and Lucy to respond with "Oh, now you're ready?!" Because she would have a right to be mad. And if Tim is being true about letting Lucy take the lead by accepting his proving how much he appreciates her in however she will allow, then he has to wait for her to make that decision. I can't see Lucy delaying for whatever reason for too long. Even if she is still hurt by his actions, her curiosity about the cause of the break up is too much for her to let it go indefinitely. Think about how she was in 607 where she was desperate to know why. Think about her behavior after Emmett broke up with her, and this is Tim. She cares about Tim way more than she ever cared about Emmett. If nothing else, that need to know why is strong in her.

Having the discussion about the break up has a huge impact on whether or not the break up storyline can continued to be prolonged or not. As long as they avoid having the discussion, the longer they can delay the characters getting back together. But Chenford has already reached the logical point where they should have the discussion. As I've shown above it doesn't make sense for Tim or Lucy to want to delay it, so it cannot work for character reasons. It also doesn't make much sense for storyline reasons because they've already done everything else they can possibly do during a typical break up storyline as I explained above. This is literally the last step. Any delay would strictly be done to drive the viewers crazy, and when your writing becomes so obvious as to manipulate an emotional response from the audience it veers into bad writing territory. Always try to keep the writing more subtle so that it works for a character or a storyline, and not so you can see the pipe laid out easily for the viewer.

Now that I've explained why they have to have the discussion right away, I will talk about how I think it should be handled and what I would like to happen because of it. And when I say right away, I mean season 7 premiere. I'll give them until 702 if they have a lot going on action wise, but no more wasting time after that.

As I said, I want Lucy to have agency. That means she decides when they have this discussion. That also means giving her a lot more control in what happens because of the discussion. I understand her heart is broken. Her trust in Tim is broken. However, I do not believe the answer in fixing any of that is by her deciding not to give Tim another chance right away. Her agency isn't going to be affected by her deciding to stay broken up with Tim. She doesn't somehow get more power or power back because she decides they can't be together right now. I also don't see Lucy punishing herself or Tim because she is hurt and angry. That's Tim behavior, not Lucy behavior. If she loves him, if she wants to be with him, then she will want to fight for them. Also she has a psychology background, is she really going to let Tim suffer because he was going through an identity crisis? Is that at all true the nature of one of the most empathetic characters on the show? Lucy's agency comes in guiding the story and taking control. If anything delaying getting back together, only keeps her level of agency in the relationship/break up at where it was before. If she chooses not to get back together with Tim now, then what will drive her to make that choice later? Something he does to change her mind? Some unknown time when she suddenly feels "ready"? Neither of those options show me she has control. True agency in her relationship is her saying "I want to be with you, but things in our relationship have to change for the better, and this is how I want to make those changes happen."

Which leads to the what I hope comes next. I want to see Tim and Lucy actually working on their relationship. I don't want them going the route of "Everything is better now that we had that break up and got back together so we never have to discuss the problems that led to our break up again." Like what was essentially done to Wopez. Or how every now and then Nolan kind of snarkily brings back up the fact that Bailey hid the truth about Jason from him, and when he does she looks like she wants to beat him over the head with a bat. Actually working on fixing the relationship is more interesting a storyline that prolonging a break up as long as possible only to pretend like everything is okay afterwards because getting back together somehow miraculously solved all their problems. The writers and actors told us the importance of this storyline was to show them as a real couple with real problems. Well, a real couple that wants to be together is going to work on their problems if they have any hope of staying together so show me Chenford working on their problems.

One way to show me Chenford working on their problems is through couple's therapy. I think watching Tim and Lucy in couple's therapy would be funny, heartwarming, and dramatically tension filled with angst when necessary. And there doesn't have to be a lot of sessions. At least not a lot shown. Alexi mentioned not wanting to do the static, almost repetitive nature of Tim in therapy even though theoretically he does want to show ways that Tim has continued therapy. So really all that is needed is one episode of Tim and Lucy in therapy. Bookend the scenes of the episode with the first meeting is them being funny and awkward about it. And the final scene has the more raw and emotional moments that are tough to watch but get them understanding each other better. Then the rest of the episodes all they have to do is talk about what they learned or discussed in therapy or trying some exorcises to improve communication and intimacy.

No matter what Tim and Lucy do to fix their relationship, one thing that is absolutely necessary is to show Tim's growth. He started showing this in the elevator scene in 610 by willingly be more emotionally vulnerable with Lucy. It's never been about that Tim can't be emotionally vulnerable with her. He's more vulnerable with her than anyone. It's about Tim willing to put himself out there without Lucy having to ask or work to pull his feelings out of him. He pushes his feelings down so much that he doesn't ask for help when he needs. He needs to learn to ask for help. And he needs to learn to accept that help when it is offered. I would like to see Tim have another personal crisis, but this time instead of hiding and ghosting Lucy, he tells her about it immediately. She doesn't even have to ask or notice that something is off about him, he just tells her that he has problem and he wants her help in whatever way she can help him. That shows that Tim has grown and that he trusts Lucy to allow her to see the messy parts of himself. We know Lucy has seen plenty of the messy side of Tim and still loves him, but there is a part of Tim who is still afraid Lucy will walk away if he causes too much trouble. That's part of the reason he broke up with her. As much as he wanted to protect her, he also wanted to protect himself by not having her walking away from him. In his mind he lost Isabel because he didn't do enough and she said that living up to his standards was too much for her. He lost Rachel because he couldn't move for her job, and she couldn't give up that opportunity either. He lost Ashley because he couldn't give up being a cop, and she couldn't deal with that kind of life for him. Time and again has shown him that he isn't enough for people all the way back to probably feeling like is some kind of disappoint to his dad. And anyone who stays with him is going to be dragged down by him. The sad irony in that Lucy feels the same way in how her parents treat her. Lucy is the person who can understand Tim the most and love him for all of it. So an opportunity for Tim to willingly put himself out there for Lucy would be a great turning point in their relationship to show it has changed for the better.

Now you are thinking, well once everything is fine between Tim and Lucy isn't that going to make things boring again and put us right back to where we were before? I would argue that things were never boring, but if you are asking if it is not better to prolong the break up so that at least Tim and Lucy have a storyline filled with tension rather than things going back to being good between them again, I say no for these reasons:

Because the working through their problems storyline is filled with tension and needs to happen. It is still wrought with tension of whether or not it will work out. Arguably more so than just waiting to see if they will change their minds about getting back together. Working on their issues means putting all those problems right back in the forefront. It means talking about them instead of avoiding them. It's raw and messy and potentially shows all the cracks in the relationship that has to be repaired.

A longer delay in getting back together means we are less likely to see them actually work on their problems. If God forbid, they take a whole season for Tim and Lucy to decide to get back together, then we don't get any of that. If we manage to get a season 8, and Tim and Lucy don't get back together until the season 7 finale, then what is likely to happen is we come back to season 8 with them saying they worked it all, are fine, and will go on happily with their lives. Which is great, but I'm still going to be pissed that I had to endure a season and a half of a break up and I didn't even get to see the effort of them working on their problems. And if we don't get a season 8, if the writers find out near the end of this season that it is their last and they spent so much time on this break up, then what we get is a rushed getting back together to leave us satisfied that they are together but not particularly happy in the execution of it.

Once they are back together, and even if they are happy, they still have other issues that could cause them problems. One is Lucy wants to work undercover. The other is the chain of command issue. These problems only have significance to Tim and Lucy's relationship if they are together. If Lucy goes undercover while her and Tim are broken up, Tim is probably still worried about her, but there isn't much he can do about it. If they are broken up, Lucy not being around because of UC is no different than Lucy not being around because they are broken up. It doesn't really capitalize on all the problems between them if they aren't together to make it an issue. Same with the chain of command problem. Doesn't really matter if they aren't together. Neither of these issues can be tackled to their full extent by the writers is Chenford is not back together first. And if these problems are solved before Chenford get back together, then it's taking away a potential storyline when Chenford inevitably gets back together. Becomes a little too easy for them if Lucy get a job out of being under Tim's chain of command and decides she doesn't want to do UC anymore before she gets back together with Tim. So get them back together sooner, and they can address the storyline sooner.

Now here we are at what storylines can Tim and Lucy have after they are back together, have worked out their problems, and seem to be in a good place.

1.) The chain of command issue: I get that it was a whole thing in 5B and eventually led to Metro Tim. Sadly, because I think the writers really do want to put focus on either Patrol or Detectives, that means no more Metro Tim. If we are all honest with ourselves, as much as we love Metro Tim, the show wasn't really do enough with him in Metro. They spent just as many storylines, if not more, figuring out how to get Tim back on Patrol and/or working with Lucy as they did doing his own Metro thing. For this reason, I think Tim is going to remain on Patrol until the end or when they promote/retire Grey so Tim becomes Watch Commander (which I hope also isn't until the end if they decide to retire Grey.) They came up with a storyline that still doesn't make any sense to me to keep Lucy from getting promoted to Detective in order to keep her on Patrol so I assume that means they want her to remain on Patrol for as long as possible too. (Seriously, Primm, you got promoted and presumably a position you wanted because of Lucy so take your male ego and shove it up your ass.) So that means Tim and Lucy both on Patrol for the foreseeable future. As mentioned above this isn't an issue for them until they get back together so it's not an issue the writers need to address until they get back together. And no point in fixing it prior to that if they want to have the storyline. But how to fix it?

Simple answer: Sergeant Grey says it is okay for them to date. Yeah, that seems to fly in the face of making it an issue the first time around. But Grey was also there for that time. He saw what Tim and Lucy were willing to sacrifice to be together. He saw what those sacrifices ultimately led to. He paired them to work together even when they were dating and knows they can still work together well. They weren't too terrible even during the adjustment period of their break up so he didn't have to say anything more than once about making it work. If he sees them working just as well together as they are broken up, and none of it causes problems, then he can make the call to let them date. Chain of command issue be damned if he says it is not a problem. Especially if he doesn't want to lose one or two of his best officers. At this point, Chenford has been through enough so who is really going to care? Are the fans going to put up a big fuss if it means if we get to see Tim and Lucy not only dating but also working together? If the writers insist they have to remain on Patrol, then this is a concession they have to give us to make it work.

More complicated answer: Promotions As unlikely as it seems, I say just give everyone the necessary promotions. That starts with promoting Grey to captain. (Shh. I don't care about Lieutenant. ) Grey has been treated like the show's captain since Captain Andersen died. He is always in charge for the big events. Angela and Nyla go to Grey to talk about cases even though he isn't their boss anymore because they work in the Detective department. When Tim got promoted and worked in Metro, he was the same rank as Grey and answered to Pine, and yet somehow he usually answered to Grey anyway. The LAPD is currently going through a big shake up; some higher ups were probably compromised with this whole blackmail scandal. I'm sure one or two captains could have lost their jobs/rank. Promoting Grey wouldn't really change anything storywise in terms of what he does, but it would make more sense. Once Grey is promoted, Tim becomes Watch Commander. During this time Lucy takes the sergeant exam and passes easily. Grey creates a position in which Lucy is now his aide. She becomes his right hand woman when crisis mode. She can work on Patrol as sort of a liason role like Tim had in Metro so she can keep doing Patrol storylines. And if Grey is okay with it, she can even do some undercover work when necessary. It keeps Lucy available for all potential storylines while also giving her a well deserved promotion. And she will officially be under Grey's chain of command only and not Tim's.

2.) Tim and Lucy moving in together storyline. Once Tim and Lucy are back together, things get awkward for Celina as she now takes over Tamara's role of constantly catching Tim and Lucy in the middle of kissing. And maybe other things. Only a thousands time worse for everyone because Tim is Celina's boss and they all work together. Celina doesn't want to know that much about her boss/coworker's sex life, and they wouldn't like her knowing about it either. So after some very humorous and awkward moments, Tim and Lucy discuss moving in together. Are they prepared for this? Are in they in a good place after their break up? (Which is another reason they should get back together soon rather than later so there is more time between being in a good place and moving in together so it makes more sense.) Do they want to move in together to a place they already have or find a new place all together that is all their own? If they find a new place, they don't have to worry about Tim's home looking different yet again. That's at least two or three episodes. Build up the awkwardness with Celina, have the discussion about moving in, finding a place and moving in.

3.) Lucy getting a longterm undercover assignment opportunity. This storyline would ideally happen just as Tim and Lucy feel happy and secure in their relationship and have taken a big step like moving in together. They finally have to discuss what this means for them and if they truly can handle it. I think Lucy will have to take it and they will be able to make it work because they've put in all the effort that came before with working on repairing their relationship to make it stronger. If the show gets an 8th season, I can see this as a cliffhanger so that they can use the break between seasons to be a time jump so Lucy can be UC for months without having to isolate her for too long from the rest of the characters. Come back in the season 8 premiere with the end of the assignment winding down to an big action packed finish worthy of a premiere. And then Lucy decides she hates the isolation of longterm UC because she is a social person who needs to be around the people she loves. So she never does longterm UC again, and it is no longer an issue for Tim and Lucy. If this is the final season, then same storyline and outcome but sped up over a few episodes with an even more dramatic conclusion of Tim & Lucy hating being apart so they decide to get married.

And finally, I present you with the additional benefits of getting Tim and Lucy back together sooner rather later:

Secret Dating Era Redux: Tim and Lucy hiding their relationship once again, but this time it's more difficult and potentially more funny. Tim sneaking out of Lucy's apartment early in the morning without getting caught by Celina. Tim and Lucy having to act sad about being broken up even though they are back together. Other people trying to set them up in front of each other, and having to come up with excuses to say no. All coming to the ultimate conclusion where everyone finds out they are dating again. Just want the fans wanted: the everyone finds out reveal. I say Nolan should still be the last to know.

Tim finds out out Lucy dated Nolan: Maybe it comes up in their therapy sessions. Maybe Lucy mentions it when she talks about the issue with dating a cop. Whatever the way it happens, it's best if Tim and Lucy are together when he finds outs to really milk it for a potential issue. Also great to see Tim finding ways to take out his annoyance about it on Nolan. Bonus points if it if happens during the secret dating era redux so Nolan has no idea why Tim is mad at him.

Tim and Lucy having fun arguments again: Comparing their first date to their second first date or whether it's their second second first date. What counts as their anniversary? When they started dating? When they started dating again? Do they have two anniversaries? Does Lucy only want two anniversaries because she wants twice as many presents? The list goes on and on for how they can try to put humor into the idea of the break up once they know they are going to be okay after getting back together.

So there you have all my reasons for why and how Tim and Lucy should get back together sooner rather than later. I know we all want them pining for each other. I get it, but ask yourself how much time do you really want to wait to see them get back together. After the initial break up, there was a three week break of no new episodes, then four episodes where they are broken up, and now we wait 8 months just to see season 7. So that's 10 months of dealing with this break up already, and we don’t even know how much longer it will take. Do you want to wait even longer or do you want to see Tim and Lucy fix their relationship as soon as possible?

As a treat for those who suffered through this long ass rambling of my thoughts, I present you with a snippet of my new multichapter fic which I hope to finish soon so I can begin posting it in July. It's a Chenford fic based on the Once Upon A Time tv series concept. Basically if fairy tale characters were in the real world.

After they finish their meals, Lucy brings Tamara a pillow and a blanket for the night. When Tim sees that she has brought a second pillow and blanket for herself, he asks, “What do you think you are doing?”

“Staying the night with Tamara,” Lucy answers plainly like that should be obvious.

“This isn’t a slumber party. She is still our prisoner. You actually have to guard her,” Tim insists.

Lucy scoffs in disbelief. “You don’t trust me to do my job?”

“I trust you implicitly. I don’t trust her,” he points at Tamara, “not to give you some sob story that tugs at your heartstrings and has you handing over the keys.”

“You know what? Fine.” Lucy takes said keys and opens the cell. Stepping inside she throws down her pillow and blanket on the other bed. She then reaches her arm through the bars to lock the door from the inside before tossing the keys back to Tim. “You can let me out in the morning, and not have to worry about our prisoner escaping in the middle of the night.”

“And what are you going to do if there is a fire or an earthquake?” Tim asks smugly, thinking he has the upper hand.

Lucy shrugs as she challenges him on that unlikely scenario. “I guess I’ll have to trust that you can race back here quickly enough to let us out before the building crashes down on us.”

Tim doesn’t respond. Instead he leaves, and Tamara thinks he is admitting defeat and going home. But he quickly returns with his own pillow. “Just how many pillows does Smitty keep in this place?”

“Enough to build a fort,” Lucy answers as she sets up her bed. Not surprised at all that Tim is choosing to stay.

“Figures,” Tim responds as he puts his feet up on the desk while situating his pillow between his head and his chair. “Don’t stay up too late gossiping. We have a trial to attend in the morning.”

Lucy shakes her head, but fondly tells him, “Goodnight, sir.”

Tim answers with a grunt and nothing more.

Lucy seems less interested in gossiping and more interested in telling ghost stories. “Have you ever heard the one about Gracey Manor? It’s a local legend about the mansion that rests on the highest hill at the edge of town.”

Tamara and Lucy spend the next couple of hours talking and playing with a deck of cards Lucy brought with her. When they finally do go to sleep, Tim’s eyes are still closed, but Tamara has the sneaking suspicion that he is only resting his eyes. That if any trouble were to happen in the middle of the night, he would awake alert and ready to perform his duties. She knows her own experiences have kept her mindful of never allowing herself to fall too deep into sleep, but she can only wonder why Sheriff Bradford would learn such behavior.

[nalyra-dreaming]

Looking at what we’ve seen so far and what has been revealed and teased in interviews I have a few DM predictions/thoughts. Would love to hear yours and @cbrownjc opinions! First some observations:

1. Louis attacking Daniel in the 70’s, his and Armand’s fight (the clip of Armand repeating Lestat’s name), Armand’s ’Gentleman Death’ speech, biting of Daniel - all seems to occur during the same night/24 hours, as they are wearing the same clothes. All clips so far from the 70’s seem to take place during the same day(s). Could be intentional, a way of obscuring as much as possible or alternatively a lot of S02E05 will take place during the same few days in the 70’s.

2. The scene in S02E02 of Louis and Armand talking about the ’young men’ is framed in such a way as to imply that Daniel might have been one of these men. Additionally at least one review has talked about there being a ’couple/third’ dynamic in the show (as well as a hunter/prey dynamic and more). However as screeners have so far only seen episodes 1-6, this could be based on speculation/good(?) story literacy rather than on what has actually happened explicitly in the show thus far. Or this dynamic comes into play before/during Daniel’s first interview with Louis.

3. In an interview with the Nerdist EB answered when asked if viewers will see anything of Daniel and Armand’s complex relationship this season: ”We’re going to have to leave that to your imagination because there is a lot coming. But I guarantee there will be some cool stuff happening by the end of the second season”. And also: ”But, it’s also going to be heavy. There’s going to be a lot of heaviness.”

4. Taking into considerations what we know about Armand’s tragic and horrific back story, AZ’s comments about Armand, about Armand’s relationship with Louis and his fascination with Daniel (which starts at the original interview) we know that Armand is desperate to be loved (and love), that he needs/craves control (fully understandable) but also wants to be loved and seen for everything that he is (which implies a need to relinquish control and be vulnerable).

Taking all these aspects together I’m going to guess that Daniel might have hooked up with Louis at his and Armand’s flat before the interview started. After revealing thet he is in fact a vampire Daniel is told ”Don’t be afraid, start the tape” (heard in the trailer) and the interview commences. Daniel fascinates Armand during the interview. More precisely the way he is able to understand and connect with Louis is something that Armand finds intriguing. Daniel will however push too far, asking to become a vampire - as well as possibly reveal something about Louis’ narrative which causes Louis to attack him (“You don’t understand the meaning of your own story!”). Armand will save his life, probably at first plan to get rid of him through his ’Gentleman Death’ spiel but will change his mind and at some point let him go. The DM chase will possibly begin. Perhaps S02E05 will end with Daniel, after having been locked up for a few horrifying days, being let go. Meaning that the chase and the beginning of the romantic relationship between Daniel and Armand could be revealed in the season finale (if the show does the chase). Armand clearly truly loves Louis, and I think that Louis loves Armand, but there is some resentment and bitterness between them due to the events in Paris + Lestat. The fight therefore, motivated in part by Louis still talking/thinking about Lestat, might result in a temporary separation, during which Armand first chases and later falls for Daniel. Maybe Louis and Armand reconcile and Daniel become their ”third” for a while. Or Armand is separately in a relationship with Daniel, Louis probably has awareness of them but might lack insight into the depth of the relationship. If Louis and Armand separate for a while it’s possible that when they reconcile Armand ”let’s go” of Daniel. Possibly motivated by his need to not lose Louis (this could be what the couple/third dynamic is referring to, the fact that there’s an understanding between Louis and Armand to not get too close to the ’young men’ they engage with). So Armand could’ve been motivated by a fear of losing Louis - and just by his love and care of Louis, who he also in addition probably felt needs him after Claudia’s death.

Another factor could also be that Daniel wanted to be turned. Armand not wanting to turn Daniel could be because he believes vampirism is a curse or because this would entail a loss of control over Daniel/their relationship which Armand psychologically couldn’t cope with. Possibly he didn’t trust enough in Daniel’s love of him (giving the Alice comment more personal context). So Armand adjusts Daniel’s and Louis’ memories, the latter’s possibly with a certain level of consent - so that Louis can cope with what happened in Paris/the trial/Claudia’s resentment(?). This kind of breakup between Armand and Daniel, and the reasoning behind it could explain what the ’heaviness’ is referring to. Since it has nothing to do with a lack of love but rather with insecurity. A part of the heaviness from Daniel’s side could also be that as he is someone dealing with internalized homophobia, he felt truly seen and free with Armand and from Armand’s side Daniel’s ability and willingness to connect and not judge and love Armand set him free, and made him feel accepted. I’m very invested in the DM relationship, but I’m a worried that their relationship will nearly not be salvageable after all revelations. The heaviness comment concerns me. Adjusting someone’s memories to such an extent and in a way is an incredible violation, and perhaps more importantly, in a way, Armand chose Louis over Daniel. And that is a difficult hurdle to get over, even if Armand’s motivations were understandable. I’m happy to be wrong here though. I’m also fascinated by the idea of what’s next in Daniel’s and Armand’s dynamic. I don’t believe it’s Marius who’s behind Daniel’s blocked memories, simply because it feels like the show is going to use episode five to reveal through Daniel’s trauma in San Francisco the extent of Armand’s ‘Mind Gift’. As revealed in the trailer, Louis will have a moment of revelation where he realises that he is missing memories. Him and Daniel are seated at the same table with the same clothes in that scene as in the scene where Daniel tells Louis that he wants to remember for his own sake what happened in San Francisco. And for a causal viewers’ sake it makes sense to show the extent of the Mind Gift as well as Armand’s propensity to use it before we arrive at the finale (and the trial). It could be pretty good foreshadowing. I do think that Armand is not going to be revealed to simply be a moustache-twirling villain and manipulator behind it all - again I think a certain amount of memory manipulation might be somewhat consensual as Louis at some point will be almost crushed by Claudia’s death.

I’m honestly happy to be wrong about a lot of this - and I certainly don’t think I’m right about everything. It should go without saying that a lot of this is me synthesising speculation I’ve read on Tumblr and online. But I’ve just thought about this for a while and would love to hear your (and others who would like to comment) thoughts on it. So sorry for long post!!! Thank you! Love coming to your and @cbrownjc blogs and reading speculation! Also - plz don’t feel obliged to respond or comment on everything!

Hey!!

So. I think episode 5 will be the horrific parts of the DM arc. I do think that Daniel went up with Louis to that apartment and maybe something happened, but I think it was mostly about the interview at that point. I don’t think Daniel became their “third” right away, but I DO think that Daniel became that over time (which I think is not something I expect to see in episode 5 - IF we get to see that we will see it in a later episode I think).

I… am not sure Armand is fascinated by Daniel during the interview. In fact I think THAT will play out like in the book, namely Daniel being told to run (a true hunt across the globe). But yes, Daniel pushed too far in the interview, and Louis will attack him - and Armand will save him in that moment - but I do not think for Daniel’s sake, but for LOUIS’ sake. Because Armand likely knows that Louis would not really want to kill Daniel then.

Armand does love Louis. He betrays his coven for him! But… he goes about it in the only way he knows how, and that is not how Louis nor Lestat need to be loved. And he is so desperate to have and keep that love he does anything to keep it - unfortunately. (Luckily for him Daniel is the counterpart to that desire to love.)

I … don’t think that Louis will be “away” during the chase and the aftermath (resulting in Armand and Louis actually being together for so long) because I think… I think the Louis prior to SF is a different one after SF, namely in Dubai. The Louis in Dubai is more settled, tempered, but still spiraling. The Louis in that bar in SF? Is trying to numb himself, eaten alive by guilt, seeking out substance users to get high. So … something happened between Paris and modern day Dubai, and SF seems to be it - especially if the hints we got re this episode being THAT KIND of episode hold true (and I mean it’s episode 5, right^^). So, we’ll see. But I expect gutter punches.

Daniel… will want to be turned, yes. And I think it has already been hinted with the “Alice said no” that Daniel will ask Armand at some point as well - and that it will be driven by love - but Armand did not trust that love enough to turn him.

The thing about Armand is… that he is Armand. He is not a moustache-twirling villain!!! But he goes about things in his coven-master mentality, making decisions for others, using his gifts as he sees fit.

That is canon behavior. That does not make him a big caricature villain!

But he does canonically influence Louis, makes him do things. Louis, in s3 has already commented on that. And he lets the coven kill Claudia.

He is doing that not to be evil - but he is doing this to keep the ones he loves, and he does it to protect his own heart, which is very understandable, imho. In the only way he knows how.

And, unfortunately, he does not love Claudia.

[yelling-screaming-crying]

Rant alert

If Sofia the First: Royal Magic is a massive flop I will unbury Walt Disney himself and make him roll is his grave.

I loved how in the original they kept bringing back old characters and referencing previous scenes and events, I love it when shows do that.

Normally pieces of media revolve around the main characters and how they interact with the world around them, sure it builds a story but it mostly builds a story of the main characters and a surface level view of the world around them. Obviously there are exceptions and minor characters who have effected the main characters growth in an important way sometimes get brought up again in passing thought or sometimes make small cameos. However, I love it specifically when minor characters are brought up repeatedly both in passing thought and in physical presence because it builds on a stories world in a more in depth way. You aren't only focusing on how the world has effected the main characters, you are also focusing on not only how the world has effected the side characters but also how the main characters have effected the side characters. It builds on how the world is structured and how much of an effect the main characters have had on the world around them through the side characters. It makes the world you're viewing seem more alive in a way because you get to know every aspect about it. Sofia the First. There's so much to go over that I won't do a complete deep dive. Cedric. Cedric the person who got hands down the BEST character arc in the show. Cedric's progression as a person from misunderstood to villain to hero was AMAZING. I love how you can actively see the development in his character in most, if not all, of the episodes he's in. I love how in each of those episodes you can SEE the effect that Sofia has on his confidence in every episode he's in. I love that he isn't taken as just a joke. He's taken as a person. He's developed as a person. I might go in depth of each of the episodes he's in but somebody who I think does a really great job of explaining Cedric's growth throughout the show is Rockotar on youtube. (Also I ship Cedric and Greylock.) Hugo. Hugo's development as character who went from actively pushing gender norms to defying them with the help of Sofia was great in my opinion. He goes from being the antagonist pushing the belief that activities are rightfully separated by gender to defying that separation himself. I love the fact that it isn't shown as something he just thinks, it's a belief that started due to his own father's beliefs. A belief that he grows out of directly due to the help of Sofia. He grows so much in just a couple episodes and it's great. Of course there are a lot more characters that have shown growth in Sofia the First, some others being Miss Nettle, Princess Vivian, Amber, and Kazeem, but this is getting long. So, I wont go on about characters and I'll keep the scenarios built up short. Some aspects I liked about Sofia the First were, Sofia's influence to the students and staff members of Royal Prep, The Secret Library, and Sofia's adventures in the mystic isles as a protector, it shows the effect Sofia has on the world around her. This doesn't mean that shows that don't have this aspect are immediately bad or shows that do have it are immediately good, also some shows just don't have the correct plot for this aspect or they don't focus on the right things for this aspect to really be needed, but it's something that I liked about Sofia the First that I really hope they bring back and stick with. It made the world feel so much more alive than if Sofia just moved on from each character without any real growth among the. It also made it more realistic in a way than if Sofia moved on from each character with them instantly being changed in a single episode. I may have gotten some things wrong or repeated some things, if I did feel free to let me know. This really was just a yap session on how much I love the story telling in Sofia the First. Let me know if I should continue this with a more focused perspective on certain characters or situations/episodes. (Also I did have to cut like 5 whole paragraphs out so lemme know if you wanna see those.) If Sofia the First: Royal Magic is a complete flop I will cry and pretend it never existed.

[ofmdsalt]

(Pasting this from a YouTube comment I made cause I’m lazy)

This is a very unpopular opinion, but one of the biggest things that bothered me about season 2 was Ed. People are always like "Oh you just can't handle a messy gay" or something like that when Ed's arc is criticized in season 2, but I dislike it because I feel it SIMPLIFIES him too much. Ed in season 1 just felt so much like a real person, a complex man capable of multiple contradictions equally within him at once, not one or the other battling for dominance in separate opposition. In season 2, it feels he is bad, or good, poison, or positivity, never both. Gone is the man making mistakes born of insecurity and a confused sense of self that hurts the ones he, in spite of this, deeply and openly loves. Now it feels like, narratively, his flaws and missteps must be pushed away completely for love to flourish within him. He seems so much more immature than season 1 would've ever lead me to believe, even in the episode 10 “kraken” sequence. Putting someone in a potato sack and a cat bell and having the ones he literally traumatized be like "eh alright, he's harmless now" is neither realistic nor satisfying. (Actually it was a misstep in my opinion to have him commit absolutely overboard atrocities in the first place. I don’t care how many people try to convince me he was this cartoonishly violent and scary all along, it does not fit the character I saw the entire damn season.) It's not in anyway engaging in the meaningful reconciliation of a very complex adult man, his wrongdoings, and his desires.

hi anon!

you raise a lot of good points in terms of what season 2 ultimately failed to do. it ultimately failed to live up to its own hype and premise.

the whole Kraken arc at the beginning of the season was a lot. and there's a reason Ed was basically killed for it and brought back to life by the power of looooove. which is all fine and good because this is a show that doesn't take realism all that seriously but in that case i don't think it gives the fallout of the Kraken arc any room to breathe.

i mean Lucius said it best when he was like "So we're all just going to continue on" or something along those lines. like he's purposefully asking, as the man who was shoved off the ship and left for dead, that everyone's just going to move on and... they do! the plot just does move on! and we're supposed to treat Lucius shoving Ed off the boat as like something equal to what Ed did to him? i just don't buy it. it doesn't feel satisfying. there's no emotional catharsis for any of these characters because everyone feels hollow.

it feels really messy. like there's no breathing room for this major story arc of abused people being capable of abuse themselves. which could have been explored well in a show like this but ultimately it gets nerfed by being in the hell era of streaming we're in where you only get 8 episodes a pop so good luck trying to do any of that

but you are right in that this season simplifies Ed. he feels aimless and not in a good way. like did we really have to have the Pop Pop scene? was that really worth the screen time? there were just a lot of missed opportunities in this season

[mdhwrites]

Okay, don't you think you're being harsh to think Dana Terrace is incapable of creating anything good and dreading it when she creates something? Like, the idea Owl House never should have existed (based on what that one anon said) is way too harsh and insulting to Dana.

Like come on, Dana's a pretty nice person. Heck, a lot of the people and creators who work at Disney TVA like Alex Hirsch, Matt Braly, Frank Angones, Matt Youngberg, Daron Nefcy, Chris Houghton, and Shane Houghton have nothing but nice things to say about her. Ditto with the rest of the Owl House cast and crew (a ship is more than its captain after all) being saying nothing but nice things about Dana.

And it's not like Dana's the only Disney TVA creator who has caused people to go against Disney. Alex Hirsch has badmouthed Disney several times (even making a Twitter post on how much Disney meddled with Gravity Falls), Matt Braly was frustrated with the last minute True Colors delay and expressed frustration with them here ( https://twitter.com/Radrappy/status/1746706435080323397), and Bill Motz has made comments on how Disney treated Molly McGee that worsened the opinion of how Disney treats their animated shows.

So I had considered saying that the ask did go a bit far in how angry it was at Dana. I mentioned that being unprofessional does not make you a bad person. Some of the actions are frustrating to me but I am not trying to say Dana is wrong for having made a product in such a flawed way. I am at least trying not judging her as a person, just as a creative. I also don't think TOH simply shouldn't have existed. It had plenty of good ideas but at the end of the day, its captain should be the one who is in charge of those ideas and making sure that they're focused on telling the story and staying consistent. Dana wrote Reaching Out, one of the episodes of the show that most destroys both character potential and the believability of the world. It's also not by any means the only episode with a main writing credit for her like that, such as The First Day. As a writer, I genuinely just don't get the impression she has the attention span to be leading such a large project, especially if she is going to complain about not having full control over it while also lacking more concrete ideas to what it is. When I say I am not interested in the next work Dana is the director for, I just mean director because these flaws in her style make me think that unless it's an anthology series, anything she makes is going to have me get frustrated by the work over time.

NOW as for the stuff about her being unprofessional: Time and context is HUGE here. Matt getting upset about True Colors leaks? The COMPANY is also going to be upset by them and while it might berate Disney for lack of security, it is a genuine fuck up on their part to do with his show and him lambasting the leaks also pushes the audience not to spread them. There's nothing unprofessional about that nor that might harm the show. Alex Hirsch released that video about the censor board for Disney on Gravity Falls YEARS after the fact (this also goes for the tweet that you quote from Matt which is literally two weeks ago, well over a year past when Amphibia ended). The show was already a success and a video like that might make Disney look a little silly but it won't harm how people see the product or trying to get into it. In fact, with the current state of things, it might actually be seen as a PR bump.

Meanwhile, Dana was shit talking her own show and blaming it on the company she CHOSE to work with regarding literally half of the content that was out at the time. Worse yet, the first half. The half that theoretically needs to sell you on the show. What is a new viewer supposed to think of that if they haven't seen the show? "Well, even if it gets good, even the creator admits the first half is at least underwhelming. I don't want to have to put up with half a season of subpar work just to get to the good stuff."

And as I said with Hirsch: How people feel about Disney, and how clearly Disney actually does want the rep in TOH to be a selling point for them (they immediately were willing to do Lumity marathons or have them featured on Disney+ for Pride Month, as well as Lumity being the only t-shirt released by Disney that wasn't of just The Owl House members or the logo), means that Dana getting upset about them for the homophobic acts in Florida probably was seen as at worst neutral. Buuuuut that shifts when she starts trying to accuse the treatment of their programming onto their homophobic ideas because suddenly part of the company's selling point on the show is being actively damaged by the creator. Worse yet, she is doing it as speculation rather than sticking to the reasons given by Disney. Feeding into people's anger about the company while eschewing responsibility for why the show was shortened like it was. This is admittedly less of a strong argument, I do still support her lambasting their homophobic politics, but it's a moment that has stuck with me for something I'll get into later.

This is also without getting into the fact that one interview with her specifically mentions her first response to the shortening being to end S2 on a massive cliffhanger and then just GTFOing on them, a statement that is going to make ANY production company start sweating about you as a creative they want to work with. After all, the crew and other creatives may love Dana... But what do actually publishers and people she has to clear this stuff with think of her? You know, the people who decide funding on these matters because that is just a part of the majority of animated work currently unless you somehow manage to get enough patrons to be able to go independent like Vivziepop with Helluva Boss.

All of this also gives the impression of someone who would rather blame other forces than learn. Honestly, one of the best things I've heard her say is that the shortening did push her creatively. Force her to make decisions and try harder. That gives me hope... But she spent so much of TOH complaining about corporate oversight or riling up her fans against the company who shortened her that... I don't know if she'll take that to heart. If she's going to treat this as a learning experience or if she'll double down. Again, one of the biggest regrets she has is not getting to do more Raeda, despite their one episode already being almost entirely pointless.

Even if she is a wonderful person, from a publisher's standpoint, she seems like a high risk gamble for honestly not that incredible of numbers. Someone who might turn on you if you ever force a decision she doesn't like or push her too hard. That's not something a big corporation is going to want. It makes it sound a lot more like she's someone who indeed should just go independent if she really found working for Disney so rough.

I would love to be wrong though. I would love for her next work to be a knock out of the park. I just know that I'm probably going to pick it up AFTER it's done and I know it actually knew where it was going instead of just scrambling to put the tracks in front of it.

======+++++======

I will probably try just not to talk more about Dana as a creative because I REALLY don't like talking about the creators themselves instead of just judging the quality of their work. I genuinely wish Dana the best but... Man, after I've had so many people dismiss everything I've ever said about this show because of the shortening, or because Disney was too restrictive on LGBTQIA+ elements or because they forced Hexside onto Dana, ruining her plans, excuses Dana has herself pushed for the fans to use by using them herself...

It made learning just how little of any sort of plan she ever had so exhausting and infuriating, amplified by just how much this fandom screeches about TOH's unfair treatment when I don't see any of them going to bat for Molly McGee right now the same way. Not in my corners at least. Edit: I have been corrected that people are pretty mad for Molly McGee which good. They should be.

[burst-of-iridescent]

atla live action thoughts: episode 2

SPOILERS AHEAD

tw: opinions

things i liked:

love, love, love the depth they're adding to suki here. it feels as though they've drawn on the bits we get from the original and deepened it - it makes total sense that suki would feel stifled after having been trapped on kyoshi her whole life, and it adds more weight to her being inspired by sokka to leave kyoshi and go to ba sing se in the future

really enjoyed maria zhang's performance as suki. she brings the fierce strength, but there's also a softness and vulnerability to how she plays the character that's really nice to see

as much as i love suki kicking the sexism out of sokka, toning down the overt misogyny was a good idea, especially since it pretty much disappears from sokka's arc after this episode. i think they did a good job addressing the spirit of the original in having sokka try and show off to suki only to be severely humbled and still choosing to better himself by going back to learn from her

aang and katara laughing at sokka's horrendous flirting... biblically accurate book 1 trio dynamic

i wasn't sold on iroh in the first episode but paul sun-hyung lee 100% won me over here. the scene where he tries to convince zuko to eat quailpole egg felt right out of the cartoon lmao. i do like that this iroh seems to be trying to steer zuko to the right path earlier and more obviously

thank GOD aang still seems to be affected by what happened at the southern air temple. i love the scene where he was hesitant to train because the only person he'd ever trained with was gyatso. going from discovering genocide to riding the unagi was always a major tonal whiplash in the cartoon and it barely worked in animation so i'm glad they're giving aang's trauma the weight and respect it deserves in live action

the action and bending continue to impress, as do the visuals and cinematography. the show is just so visually beautiful to watch and it feels like a fantasy world take notes percy jackson

things i disliked/am conflicted about:

don't really get why we're delving into kyoshi so deeply here. it's not a bad change but neither do i see the need for it when we could've spent the time on other things. if anything, the avatar who should be more fleshed out at this point in the story is roku

katara receiving the waterbending scroll from gran-gran instead of stealing it... i get it, but i also don't love it. it really spoke to katara's desperation and will to become a waterbender that she stole from pirates just to get a chance to learn, and it also highlights the tragedy of what happened to the southern water tribe benders that she had not a shred of her culture or heritage left to guide her

i don't think sukka had to be pushed so heavily in this episode lmao. once or twice was fine, but it was starting to get a little cringe by the end. also not a fan of them kissing at this stage, especially if they're keeping the yue/sokka romance. maria and ian do have pretty good chemistry though

why are we going to the north pole because aang had a vision of them being in trouble?? wasn't needing to learn waterbending enough?? i don't mind them foreshadowing the ending battle but aang needing to learn the elements is the driving force of the show and it doesn't feel like we're getting that here

why is zhao... like that. there is no WAY animated zhao would've ever proposed working with zuko. this zhao feels a lot more like a long feng or a littlefinger than the reckless, hot-headed original who was meant to be a foil to zuko. the whole reason for introducing zhao is to show us that zuko is not the worst of the fire nation by a long shot, but between the two in the live action zuko still feels like the more unlikeable one and that's worrying. i hope we're still getting the zuko v zhao agni kai bc i have no idea where this storyline is heading

aang can only talk to the past avatars in the avatar's shrine? i can foresee this causing issues later on in book 2 and 3, if they happen

i'm guessing the zuko/katara "fight" here is supposed to replace the "i'll save you with the pirates" (RIP you were always gonna be too iconic for netflix) but it just feels out of place. what do we really get from this scene that we didn't know before? in the original scene, this is the moment we see katara master a new waterbending move AND use it in a fight but she's already bending earlier in the episode so it doesn't have the same effect. zuko seeming ready to burn katara while she's cowering and defeated also doesn't feel like something zuko would do. the dude spared zhao, of all people.

overall episode rating: 7/10

[blackgirlsuperherorants]

Alright, thoughts on Kaos, after watching the first three episodes. I'm going to try to keep this more organized than it's gonna wanna come out, but no promises lmao.

I REALLY want to like the show. In fact, I don't hate it, strictly speaking. It's... interesting? But it's also a really frustrating watch, for me. I guess the biggest problem for me is that it very much feels like a show that would have worked better if it was made 15 years ago. Like, it's a very late 2000s, early 2010s show. Which isn't terrible, but compared to other recent shows in the fantasy genre, it just feels like... something that would've been edgy and boundary-pushing in like 2009, but falls flat in 2024.

And I hate to do a lot of comparing, but as a creator, as a writer, as a show runner, they needed to expect comparison to happen. Especially when they're dealing with figures from one of the most studied, most read, and most adapted mythologies in human history. And like, yes, please do your own take on Greek gods-- on Greek myth in general. I am not expecting a 1 to 1 interpretation, and the fact that the show is doing it's own thing with these figures is not a problem for me. It's just not hitting. And in a time when there are VERY POPULAR books, movies, shows, and plays using these same characters and telling versions of these same stories, like... you gotta compete. You gotta pay attention to what others have recently and popularly done with the stories, and yours has to be as good or better or it's just going to fall short. And for me, that's what's happened, here, with Kaos. I'm going to try to go into detail about what I think works well and what I think isn't working, so be mindful of spoilers.

Their version of Zeus... I dunno. I like him, I guess? But I'm not sure if that's just because Jeff Goldblum is very interesting to watch or not. I think the thing they got really right about Zeus, and many of the other gods depicted here, is the casual cruelty and indifference. A lot of shows and movies about these Greek deities are either afraid to depict them as too cruel (making them Good Guys TM), or make them just villains-- rarely is the balance met well. And, well, I think that's one of the things that this show does best. When Hera disguises herself as Zeus and fucks Zeus's little human lover, then makes the girl go through a full pregnancy in seconds and turns her into a bee and makes Zeus kill the baby-- that was GREAT. I hated it and loved it because it was so mean and cruel and Zeus just snapped the baby's neck like it was nothing, because it was nothing to him. A very good depiction, in my opinion, of how cruel these gods can be without even an ounce of remorse for the mortal they're being cruel to.

But, again, I dunno if I like what the show is doing with Zeus, in particular, or if I'd just enjoy watching Jeff Goldblum read the phonebook for 9 hours straight, you know?

Hera? She's wonderful. 10/10, no notes. I love this Janet McTeer as Hera, I love the way Hera is depicted, I love the way she looks. She eats.

Now, to my biggest problems with the series, and I apologize in advance because I have A LOT OF FEELINGS about it. I've been ranting about it every time I try to sit through episodes.

Let's start with my beloved Dionysus. Now, I want to be clear: Nabhaan Rizwan is great as Dionysus. He is giving such a good performance, it's just... something is lacking. Which makes me feel like it's on the creative side. Like, it's the direction or the writing or something that is off. So, they're obviously going for this... like... youthful boredom, with Dionysus. Dionysus is often depicted as, like, one of the youngest gods, and his whole thing is theatre, wine, debauchery, pleasure... so, yeah, having him be this kinda youthful party boy is perfect. I get it 100%. I just think the idea they had is SO GOOD and wasn't well executed at all. Here is where comparison is going to come in, so I apologize in advance if this is a problem for you--

We live in a time of very good television. Okay? And the trope they're going for with Dionysus is something we have seen done extremely well. Even, like... Klaus from Umbrella Academy fits that trope, and was done extremely well. The way they're trying to depict Dionysus is very pansexual, very life of the party, very "knows everyone who is anyone at all the spots", very "casual sex just because." And like, we LOVE those characters. Bratty disasters who live in the moment and are perpetually into some shit. And we've seen so many versions of them on recent television shows that, while ALL different, were all executed way better than this version of Dionysus. Lestat on AMC's Interview With The Vampire. Blackbeard on Our Flag Means Death. Klaus, as I mentioned before. The whole disaster bi/pan dude thing.

Dio, in comparison, seems very half-baked. Very 2009. I think out of all of the characters, he feels the most 2009, you know? Like, back when making a bi/pan character was edgy, and even then, it wasn't explicit or was even played for laughs. I know this is a comedy, but so is Our Flag Means Death, you know? And even when the whole Blackbeard/Stede thing was funny, it was never because being queer is funny. And like... this show DID THAT with Dionysus. There's a moment where he goes into The Cave with Orpheus and he casually orders drinks from the (male) bartender, and the bartender flips him off-- implying some prior knowledge of each other-- and then Dio goes off to have a quickie with the bartender. And like... he's getting fucked by the man, and in that moment it didn't feel like... like a male character having desire for a man and having a sexual tryst with him. It felt like "isn't it funny that Dionysus is getting FUCKED in the ASS?!" Which, like... no? Like, that's so 2009. It's so passe to play the gay for laughs. Like, even in other fantasy comedies, like What We Do in the Shadows and Our Flag Means Death-- the CHARACTERS are funny, but their same-sex attraction never is. It's not funny that Stede and Blackbeard fall for each other-- it's lovely.

And let's be clear-- I'm not expecting Dio to "fall for" the bartender or anything, but it's clear that they were going for "Dio is a fuckboy who has probably had casual sex with this man before, and probably scorned him in some way, and so he uses the casual quickie to make up with the guy and possibly get free drinks." Cute, fun, I like that. I don't like HOW they did that idea. Like, Dio did not react like someone who enjoys getting fucked. He reacted like a straight boy playing getting fucked in the ass for laughs. IDK.

To be fair, this version of Dionysus is very bored with his whole debauchery schtick and we do see him boredly getting his cock sucked by a girl in a club in an early scene, too. But even that looked more like someone who enjoys getting their cock sucked but is just bored, and less just... "it's funny because of what it is." Does that make sense? IDK.

Like, it feels like a direction problem. Because this Dionysus seems to work very well on paper, and the actor doesn't seem poorly cast, to me. It just seems... executed like it's directed by a dudebro older man who was very cool in the 2000s and still thinks the way dude filmmakers thought in the 2000s.

Then there's the Orpheus.

2/10. I do not... like him. And like, not because of the story-- we all know Orpheus and Eurydice. (Which is part of the problem.)

I think it's because he very much gives CHRIS MARTIN, gives COLDPLAY, and not in a good way. Like, yeah, I like Coldplay alright. They're fine. But for ORPHEUS? Orpheus' whole thing is that his music is supposed to be... extremely special. Like, nobody is touching him. His music is so beautiful it can like... literally change the world. Move the gods. All of that.

And they chose to make him... COLDPLAY? This man whose music is the most special, beautiful thing anyone has ever heard. Like, I don't understand that music direction choice. At all. Who... decided that this was the move? I need something otherworldly. Something ethereal. Like, when he's playing the piano at The Cave for the fates in an attempt to get them to allow him to go into the underworld to retrieve Eurydice's soul... as soon as he started, I was like "This basic ass piano." Like, THAT IS NOT "the greatest, most beautiful music-- music that breaks your heart so much that you'd let him defy the gods and get his lost love back." It sounded like he was playing Christmas hymns at the Christmas morning service. Basic as fuck.

And again, I hate, hate that I have to compare, but YOU CANNOT GIVE SUCH A MEDIOCRE MUSICAL PERFORMANCE IN A WORLD WHERE HADESTOWN EXISTS. Like, we cannot hear Reeve Carney give the most beautiful performances of the most heartwrenching songs in a hit Broadway musical as the same character, and then you give us Chris Martin playing Christmas hymns.

Again, you are allowed to make your own interpretations, and the showrunner did not need to try to copy Hadestown. That is not what I mean. But you need to pay attention to what perhaps the most popular telling of that myth OF ALL TIME did, and you need to try to match or exceed it. Why even both with Orpheus and Eurydice if you're not going to slay us with the music? YOU NEED TO SLAY US WITH THE MUSIC! THAT'S ORPHEUS' WHOLE THING!

Honestly, full stop, even though they have every right to tell their own versions of these stories and create their own versions of these characters, you're fighting an uphill battle when AMERICAN GODS, PERCY JACKSON, and HADESTOWN exist and have done EXTREMELY WELL and been EXTREMELY POPULAR touching this same mythology. You have to MATCH OR EXCEED. Because why would I want to sit through your mediocre Orpheus when I could listen to Hadestown and hear a far superior Orpheus?

Now, their Eurydice? She is beautiful. She is fierce. She is heartbreaking. I love her. Hera and Eurydice are the best characters on the show, and the only ones I just full-on like without much complaint.

And maybe the point is that the men suck? IDK. Like, I don't give a fuck about this Orpheus. I'm not sad for him. His reaction to Eurydice's death is selfish and not at all heartbreaking. I don't even believe him that he wants to go into the underworld to retrieve her. I feel like Dionysus wants it more than he does. But Euridyce. I feel so sad for her. She lost her mother to Hera's cult. She dies tragically. Her stupid husband took her coin, so she can't even pass through to be Renewed and have a new life. She wasn't happy in her marriage, and she isn't happy in her death, and all I want is for her to succeed.

IDK if their goal was for us to dislike Orpheus, but if that is the goal, they've succeeded. Like, I want my heart to break for Orpheus. But I just feel like he's shitty. And I don't care about him at all.

And the other thing was small, but Theseus and Nax being in love was brushed over and not fully explicit and the Nax actor didn't play it well enough. Theseus actor was believably in love and heartbroken that Nax might die at Minos' hands, but Nax was almost playful, like his whole purpose was to reveal that Theseus was not for Ariadne rather than to truly be Theseus' lover. Which, again, feels like a director problem. They WROTE "Theseus is revealed to be gay and in love with Nax, the secret prince of Troy". He DIRECTED "and then we learn that Theseus is actually gay and Nax sassily reveals it to Ariadne because lol they're gay and she doesn't get the man isn't that amusing?" Which, again, is very 2009. Very "see? It's EDGY, the character is GAY! But not too gay, because eww, amirite?" And like, again, in a decade in which we have OUR FLAG MEANS DEATH and INTERVIEW WITH THE VAMPIRE, that just doesn't work anymore. We have pirates and vampires being openly gay and kissing and being casual about how in love they are with their partners... and you play your gay Theseus as if it's edgy just to imply he's in love with this prince and that you don't need to show us that he is because you let the prince call him "babe" and let their hands touch a bit and let Theseus cry for him. Like? Coward shit, man, it's so outdated. I don't know how else to say it. Like, even having Nax just show an ounce of empathy for his partner who is terrified that he is going to be executed would have been enough, but Nax was just sassy and smirking and resigned to his fate as if it was just words on a script. Even a man who knew he was probably going to die because of his actions to save his people should have more emotion and conflict than just "Oh well, I'm not afraid to die, lol, Theseus babe stop crying omg lol"

Anyway, I think this was more negative than positive. But... I like the modern setting. I think it's fun. Very "Romeo + Juliet", which is I think what they were actually going for. I love the Fates and the Furies. I think they look so cool, and I think the gnc Fates was a great choice. I liked their Poseidon. Didn't like their Hades and Persephone, but there's nothing wrong with them, actually. I just don't like what they did with them personally.

I like Prometheus, and I like that he's serving as the narrator. I think that's interesting. I like that Zeus keeps summoning him and sending him back-- again, that casual cruelty thing that the show does so well. (Also, when Poseidon drowns the servant girl for no reason. That was very fun. Just, perfect Poseidon behavior-- he's such a piece of shit, and I love that this show decided to show us that.)

I also like the story it's trying to tell, with the three humans who are prophesized to bring down Zeus/the gods. I'm interested in seeing how that works out, and especially in seeing Eurydice's role in it. The show has a REALLY good premise, and has some REALLY nice elements. It's just, honestly, the execution that leaves something to be desired. Like, I feel like I'm pulling my hair out every time I try to watch an episode. Like, I pause every few minutes just to rant about something.

And to be fair, I'm a mythology girlie. I read a lot of mythology. I watch a lot of mythology shows and movies. I listen to mythology podcasts. Like, it's my special interest. But also, I understand completely when people adapt these myths to tell their own versions, or use these characters in their stories in ways that don't match the mythologies. I understand, and I've even done it myself. And so does the mythology. There are so many different versions of these gods, of their myths, so many different ways they were worshipped and things they were worshipped for-- it's perfectly on-brand to change them in your own ways for your own purposes. I don't think that's my problem with Kaos. I just think... I don't like how it was executed. It's a very "sounds good on paper" show, at this point. And I feel for the cast, because they're not doing a terrible job. It really feels like the problems are on the director/producer side. I even think what the writers wrote sounds better than what the creative team did with it.

And... that's all I'll say. I'm still going to finish the season. Maybe I'll give final thoughts after I finish the season. Sometimes things that you think are problems are there to pay something off in the end. But some of these things, IDK, I just think they're problems in general. And, like... I'm kinda disappointed, because I really want to like this show, and right now, I can't say that I do.

[reiderwriter]

Hello!!If you were part of the writers on criminal minds,what would you have done differently when it came to the romantic relationships of it all and whats your opinion on some of the ships?Which would you erase and which are your favorites?I'm willing to read as much details and analysis you are willing to give on this lmao😂I loved the analysis on Reids sexual evolution season by season and am really curious on what you think on the ships like Reid and JJ,Reid Lila,Reid and Maeve,Reid and Elle😂Personally I would have created a diffrent character as a love interest for him all together.

This is practically an essay so I'm just going to apologise in advance of this. I'm not going to say I'd change much because the end product we got is my favorite show for a reason but yes, here is me talking about all the romantic relationships I can think of in CM and my opinions on them!

(Spoilers for season 1-15 of CM, CME, and season 8 of NCIS - yeah that's how long this post is).

Reid Ships

I think Reid ships are the ones most people have issues with in Criminal Minds so I'm going to start here with personal headcanons and my personal highlights. It's going to become clear that my biggest pet peeve in CM is when the writers want to give the characters a love interest and then just gender-bend their personalities, so let's start with Maeve and Spencer.

I've already talked at length in other posts about how I think the Maeve/ Zugzwang plotline wasn't my favorite. It was some amazing acting from MGG and Beth Reisgraf, but personally, I think it suffered from "serialized cop drama" plot line status. This show airs week after week with another case to solve in 45 minutes and they don't have the time or the format to pause through moments that in a standard drama would be very impactful.

To go on a slight tangent, that is partially why the relationships between the main cast are usually the only ones developed very well over extended arcs (I'll return to this when I talk about Jeid).

So, when you're trying to have an emotionally resonant moment, and you only have a handful of cold opens and one full episode to do it, you're going to have to make the characters motivations, personalities and back stories mesh in a way that makes you think: "holy shit they're perfect together."

Maeve and Spencer aren't that. I hate to use this term, but Maeve is like a manic pixie dream girl for Spencer? She's written as if she's too good to be true, which is why we're supposed to feel so sad when she dies. But they also tried to make her a complex character and didn't have the time to really do it, which is why we're given a back story that makes no fucking sense (as Spencer's DOCTOR no less) and some hints that she probably doesn't feel the same way as Spencer does for her (fiancé she never told him about etc.)

When Spencer's character starts evolving in later seasons to being more than just a genius, but a genius with trauma, they pull a similar stunt with Cat Adams/ Max

The show runner Erica Messer did mention that the Maeve plotline was always designed to be a three act plot: she's introduced, Spencer is in love with her, she dies. But, in my opinion, we didn't get enough of an introduction to her for me to feel really all that bad about it? They banked a lot on the audiences attachment to Reid, so when you feel bad about Maeve's death it's all about Reid - why do bad things keep happening to HIM, I wonder how HE will get through it - when she is the one who was just murdered. Those kind of dynamics always kind of throw me in romantic relationships.

I'm going to be clear, I do not ship Cat Adams and Reid either and I have pretty much no opinion on Max other than that if she were real I'd probably avoid her (teachers who hate teaching and blame the kids are weird! And I'm a teacher so I can say that I think lol).

Cat Adams is girl-Reid if he had a villain arc. She's 100% again there to push Reid's character development, and she's used as an action rather than a character. Max is the same. In season 15, with the entire team at a crossroads, they have to allow Reid two outs: one villain arc where he gives into his lust for Cat Adams, and one happy ending where he gets to start something with someone who is totally normal and a way out of the BAU the way Savannah was for Morgan. But it can't be as easy for Reid, and that's why we're left with the Cat/Max dilemma because he is really attracted to Cat, despite the fact that she was threatening to end the lives of members of Max's family.

By the end of the show, Reid had been actively on the team the most out of all the cast members (bar Penelope, but she wasn't out on cases first hand, so there's not as much emotional baggage there for her). He can't have an easy exit, so I kind of view this "love triangle" bullshit as a metaphor for Spencer choosing a normal life vs a continuation with the BAU.

Which is why I think that if CME continues, I think we're unlikely to see or hear from Max, because that means he's picked the BAU.

Okay now, not to sound like a broken record but, Jeid:

Before Truth or Dare, there is one single suggestion of Jeid being a possibility and it's a suggestion, from Gideon of all people, in season 1. It is CRAZY to me that after thirteen seasons they just decided to develop that one plotline again because jesus CHRIST.

My main problem with Jeid is that, actually, I think it had a lot of potential. Like I said, serialized dramas only have time to develop relationships between their main cast members, which is why we end up with a pseudo-found-family vibe no matter who happens to be on the team at any given point. A lot of similar dramas go down the route of coworker/ team mate relationships (think Ziva and DiNozzo in NCIS or Mulder and Scully in The X Files).

There was absolutely the potential for an opposites attract relationship with Jeid, but I think the minute they abandoned that after that small dialogue we got something WAY FUCKING BETTER. Their friendship is entirely underrated, Spencer regularly babysits her kid, she comforts him after Emily "dies," enough for them to have arguments about it after the fact. Your honor they are SIBLINGS. That is UNCLE SPENCER. Not your future step-dad.

When they decided to commit to JJ and Will, they should've stuck to it, and as a big fan of the Season 7 finale + Hit and Run it is very shitty seeing them trying to retcon both of these characters amazing developments and growth over 14 seasons and have them regress to shit tier versions of their Season 1 selves.

"But Kacie, there must be some Spencer relationships you like," I hear you ask. And there ARE:

Lila Archer is a great foil for Spencer. She has a happy, glamorous life until their paths cross, and then we can assume from dialogue in season 6 that she continues having a pretty fucking glamorous life after everything goes down. I don't think Spencer works best with characters that are traumatised or overly smart the way he is, because he needs something to return to after the cases that switch off that part of him, to help him forget the horrifying shit he sees on the job.

So Lila Archer was kind of a great love interest.

Another one that I'm so annoyed they didn't explore more is Austin. She's the bartender in the Season 4 Episode "52 Pickup" that is charmed by Spencer's card tricks. She is never mentioned again, but they had a great chemistry, she was quick on her feet and managed to spot the unsub first, and she was a really great foil for Spencer as well; it was a street smarts/ book smarts kind of dynamic. If they'd carried that character forward and had her reappear a few times, it could've been a great romantic plot.

I will just quickly note that the reason we most likely didn't see many romantic plots for Reid was because Matthew Gray Gubler didn't like the idea of giving him a romantic plotline, stating that there were so many more interesting things to do with the character - and he's right!

I'm a fanfiction writer, and the allure of characters like Spencer Reid is they are mostly romantic clean slates - you can write whatever you want for them within reason without having to disregard canon relationships. This is why similarly, Steve Harrington, Eddie Munson, Venom, and young "Marauders" fanfictions are pretty popular here imo too - canon compliance isn't disregarded, the reader is just written in. So I don't think I'd change a thing for Spencer to be honest (apart from maybe not kill Maeve off and give her the actual villain arc, but I say that so regularly I'm beginning to sound like a broken record).

Also I'll just quickly mention Elle because you mentioned her - outside of fanfiction there are literally zero hints (imo) of a thing between Elle and Reid lmao there's more of a case to be made for Elle and Morgan, but for some reason, writers and fans alike don't like committing to giving Morgan more than simply platonic connections. THEY SHOULD!! THE MAN IS SEXY AS HELL!!!!!!! GIVE ME A MORGAN WHO IS REGULARLY FUCKING!

Hotchner Ships

Speaking of characters that have a long time where they are single! Aaron Hotchner is another fandom favorite to write self-insert fanfiction for, because of the gap between Haley Hotchner's death in 100, and the introduction of Beth in season 7.

In general, I like the way Hotch's relationships play out on screen. Let's start with Haley:

You can tell that the writers really enjoyed the dynamic between work Hotch and home Hotch, because they played on it so much across the four first seasons. The very first time he is introduced he's in his bedroom picking out baby names with his childhood sweetheart, so any further scenes of him being more stern or serious are always in contrast with that introduction. It's a cold open to his character that immediately let's you know that there is more going on in his world than just the BAU, and he is the only member of the season one team that has that.

Then, they really LOVE taking that shit away from him. I'm not going to go into detail here about how fucking wack the time line is for Criminal Minds, but it is stupid and that's important here because:

I think Haley's reasons for divorcing Hotch are stupid.

She says that she married a man who was a prosecutor, not a man that was an FBI Profiler but realistically by the time of their divorce, he'd been in the BAU like 10 years. They rely more on the audiences sense of time (we're two years in, so they've all been on the team two years etc) to push this character motivation off. And for a while it makes sense that they were separated, until the events of 100. But also: in sickness and in health, for better and for worse, you literally signed up for whatever the FUCK happened, that's what a marriage vow IS.

Now I'm a sucker for the angst of 100,but would it not have felt 10x more emotionally disgusting if Hotch and Haley were talking about reuniting? If they had never celebrated in the first place, and had just finished working through their marital issues when Foyet comes back into their lives and Haley has to be whisked away again? Yes. Yes it would.

There's an episode in season 9 that really pisses me off, and it's the one that Hotch passes out from an old tear in his Foyet stab wounds and he goes into surgery and talks with Haley and Foyet in heaven while watching the rest of his life after the events of 100 on a cinema screen. It's cliché and also has no pay-off because it doesn't change the way he views his relationships after that, and it's not like he's at a crossroads at that point, so it means nothing to the audience except as a remembrance of an issue and an episode so far in the past that it feels like flogging a dead horse. They do this twice, btw, and this is the more successful use of this plot (the first time they do it to Elle in Season 1/2 during the events of The Wicker King - she talks to the father we didn't even know was dead, who died decades ago in an unrelated time. Not to keep bringing NCIS up, but I think the only time I've seen it done well is whenever Gibbs kept seeing Mike Franks in the diner scenes). They do not out enough effort into these plots to achieve the emotional resonance they are aiming for in my personal opinion.

I'm not entirely sure, but I think this could've been the beginning of the era where Gibson was having a lot of issues with the cast, because it just felt like they didn't want to use him in the on-location shoots for a while lmao. Anyway, all that to say, Haley should've stayed dead, and not come back as a stupid phantom.

After the dust has settled on Haley and Hotchner though, we get Hotchner and Beth:

This is going to be a short note, because I actually really like the relationship between these two characters. They have the very slow cold-open build up that Maeve and Spencer get, but there's a lot more and a lot less to Beth's character that makes the dynamic between them really enjoyable to watch.

We're once again treated to the out-of-work Hotchner that had been missing since Season 4 (his in between scenes with Jack are cute but there's always the tragedy hanging over them). Beth is running a marathon in honor of her dad, Hotch is doing something similar for the FBI Triathalon, they train together the tension builds, they start dating. Now obviously it wasn't the purpose or aim of this character introduction to build to tragedy, and I think they just genuinely wanted to show a happy Hotchner again, but its still a valid criticism of the weird voyeuristic Maeve build-up that they literally succeeded a more sympathetic and audience engaging late minor-recurring-character EARLIER THAN THE MAEVE ARC.

I'll shut up now, but yeah, I like Hotch and Beth.

Penelope Ships

This post is getting ridiculously long, so much so that I'm even contemplating adding a fucking word count, but let's continue and dive in to my next issue.

Penelope's romantic life is used as a punch-line for the first 11 seasons and I HATE it.

There is no easy short to say this, but I despise Kevin. He is stupid, and a joke, and I hate him and I am SO HAPPY that she dumped him. They made her really pathetic about him for a few episodes, and then he kept fucking coming back too which was even worse.

Kevin is literally male Garcia but with all the worst attributes. He's clingy, and needy, and he may be smart but in a very "incel" way. In my opinion, Kevin is less a fully fledged character and more a joke line/ convenient plot point for when they need more tech analyst work. The best moment in the Kevin/Penelope arc is during the The Gathering, where she really lays into him and tells him off for being jealous of her ukelele instructor AFTER THEY'D BROKEN UP.

Penelope deserved so much better than what they gave her romantically in these seasons. First, her date tried to kill her, her boyfriend was a joke, etc. She never gets the serious romantic plotline that her other teammates do (Hotch/Haley, Spencer/Maeve, Derek/Savannah, JJ/Will, Emily/being a big old lesbian etc). Penelope is really great levity for the rest of the cast because she is happy and she is positive and she is unapologetic in her positivity. It's annoying that they don't let her be more than that in the romantic relationships they give he during these seasons.

Then Luke Alvez is introduced and there is some hope! Galvez truther's please, rise they are so adorable.

Anyone involved in the writing of CME - what the hell was that? Now I haven't seen it myself, to be completely fair, but I know enough to ask the question - really what the HELL was that?

Tl;dr Penelope's sexuality and romantic relationships should not be used as punchlines.

The Aversion to Homosexuality

This is just a general note, but the writers originally did plan to have Emily Prentiss be gay - amazing, great, it's a completely different time now, please let her have a gay awakening soon. It was obviously scrapped early in, but there's a lot of subtext that can be interpreted in that way.

They did commit with Tara, and she gets a gf in CME, so I want to see some Temily in the future if we do get more CM seasons.

So just so you know, everytime I mention Emily flirting with someone in my fic, assume it's a woman if you aren't already, lmao.

(They did also talk about making Reid bisexual as well, which would've also been great, but again, I don't think we're ever getting any more romantic plotlines from Reid).

Other Characters

Here's just a rating and short mention for all the other character couples I can think of in Criminal Minds, because this is already thesis length lmao:

Morgan + Savannah - 8.5/10, no notes, really just the gender bent love interest but done right.

Alex Blake + Husband - 7/10, solid couple, very much enjoyed when they started bringing in the people in established relationships again lmao.

Kate Callahan + Husband - 5/10, same as above but I wasn't as attached to her character rip.

Matt + Kirsty - 10/10 really no notes, I too would be called a breeder if I managed to lock that man down, damn.

Rossi + His 3 Ex-Wives - Make total sense for his character, very enjoyable to me, love that he has a nice moment with most of them again throughout the series, not going to rate it lol.

Rossi + Strauss - 3.5/10 - Last ditch attempt to make Strauss a sympathetic character, but I felt more attached to her growth after being called out by Derek rather than the effect that her death had on Rossi.

Gideon + the friend of his who is murdered by that Frank guy at the end of season 2 - stupid, worst way to go out, made no sense for the character, but I know Mandy Patinkin wanted OUT and honestly, anything for you Inigo Montoya.

Why I think Criminal Minds is Better Without Romance

Generally, I really do agree with Matthew Gray Gubler when he said that there were more interesting things to explore with these characters than their romantic attachments. It does frustrate me to no end that they focused on some of them more than others, and that post Henry, most of JJ's big moments are tied to motherhood and being a mother/ wife, but that change in her character is still amazing and leads her to a lot of growth (not mentioning Truth or Dare again, sorry it doesn't exist at this point in the post)(also I didn't have much time to mention Will and JJ, but I do love them).

Their best moments are the ones we get of them together as a team, saving people and putting away murderers for life, it's a perfect Found Family!!!

Also, no more romance = Spencer Reid can be mine. In conclusion, I am delusional. Thank you for reading this far.

[zvtara-was-never-canon]

https://www.tumblr.com/ecoterrorist-katara/743680863675580416?source=share

I know that you have already talked about the "female gaze" more than once, but what do you say about this?

Let's get the easier parts out of the way:

1 - The showrunners consider Aang the angel on Katara's shoulder on The Southern Raiders because Avatar is a kids show and the moral of the episode was "Hey, kids, even if you ever meet a truly horrible person don't immediately respond with violence, it could backfire horribly or push you to do something you'd regret later" not because they think she's an object that Aang gets to posses and control - hence them having Aang give her advice on what to do, but not try to prevent her from leaving nor judging her for not forgiving her mother's killer.

2 - Katara's point was NOT central to Zuko in that episode, at least not at first. By the end of the episode he understood and felt compassion for her and her family, but at the start he was only looking for a cheat-code to make Katara stop hating him because it reminded him of his screw ups. It was Zuko being entitled and trying to avoid consequences.

3 - "This thing is like the PLATONIC version of a thing that sometimes happens in romance" If it's platonic (you said it, not me) then it's not a "win" for your OTP. Zuko and Iroh's falling out after Ba Sing Se has lots of dramatic, super intense and heartbreaking moments, just like romances do - but their storyline is obviously not a romance and they are explicitly treated by the narrative as father and son.

4 - "Katara isn't hiding any side of her personality from Zuko" Katara doesn't hide any side of her personality for ANYONE - family, friends, rivals, enemies, strangers. Highlighing that she is herself with Zuko is pointless because she is herself with everyone, including people she does not like, which was the category Zuko fit into at the moment.

Now, onto yet another absurdly long take by this annoyed feminist that has had enough to the "Male Gaze VS Female Gaze" bullshit.

(Check this previous post before reading the rant in case you don't know these terms or what they mean/were supposed to mean)

Zutarians gotta learn that just because a trope is popular, that doesn't mean it is present in every story, and that NO TROPE appeals to a whole group of people, no matter how much they keep insisting that their ship is the "female gaze" - like that thing could ever even exist.

To give a practical exemple so people understand what I mean: Imagine that a woman wrote screenplay about a lesbian romance, which is then filmed by a female director, and edited by a woman. The actresses playing the lead roles also have their own perspective on the story and characters. The movie is then shown to 200 women, every single one of them has their own opinion on it.

Which of the women I mentioned above is going to speak FOR HER ENTIRE GENDER, and decide if that romance fits "the female gaze"? Do we take a survey and whatever points are repeated the most are taken as objectively correct due to being how the majority feels, and thus any differing opinion is treated as lesser and "not what women like" regardless of how many women feel that way? Do we only listen to the proffessional criticts in that audience of women and completely disregard the opinion of any woman that didn't study anything regarding cinema and writting?

Even if somehow it is decided that the movie fits into the "female gaze" - if all those women rewatch the movie years later and some of them feel differently about it, would that affect the definition? If their grand-daughters watch it 50 years later and don't agree with their grandmother's takes on it, does the definition change? If the movie is shown to other groups of women, from different countries, and they all have their own opinion on it that is radically different from that of the first group, which group of women gets to say "OUR culture's way of interpreting this story is the TRUE way women feel about it, everyone else doesn't count"?

If the movie is then shown to 200 men and they all like it, does that turn it from "female gaze" to "unisex gaze"? Does it become "Male Gaze" if the guys get aroused by it, even if the movie was designed to appeal to women and not to them AND there was no exploitation involved? If the 200 women then watch a movie that has scenes that are considered as having been made to appeal to guys, but some or all of them ALSO enjoy it (story of my life), does that make it change from "male gaze" to "Female Gaze"?

Gender is simply ONE out of many, many, many things that can impact how one views fiction - and it doesn't exist in isolation, being affected by generation, culture, language, religion, class, etc. The "Female Gaze" doesn't exist. It CAN'T exist because humans are more complicated than that. It is a concept that is almost fully divorced from reality.

Also I can't help but notice that, because of the way these terms work in the assumption of absolutes, no room for nuance, "MALE Gaze" is meant to describe lazy writting/film-making that is sexist towards women and cases of full on exploitation and abuse in which men were the abusers, and sometimes the label even gets attached to harmless things as a form of bad faith criticism just because guys like it - but "FEMALE Gaze" is NOT about lazy writting/film-making that is sexist towards men (say stories that full on say that a guy hitting a woman is bad, but a woman hitting a man is funny, or using "guys always want it" as justification for scenes of female characters forcing themselves on the male characters).

Instead, Female Gaze is meant to either neutral or POSITIVE. "This appeals to women" is used for praise, "this appeals to men" is used as criticism. Women are harmless, men are dangerous. Women are helpless victims, men are evil abusers. Women need to be protected and put on pedestal, men need to be hated and feared. Female desire is inherently pure, male desire is inherently objectifying. And, of course, any woman that disagrees is bad and a traitor and needs to be "called out for being anti-feminist" (aka be condescended to or full on attacked).

This is sexism, pure and simple. Anyone can be a victim, anyone can be an abuser. Anyone can like any kind of story, trope, genre, ship, etc. Desire is a morally neutral thing, and it doesn't become "pure" or "inherently corrupt" depending on the gender of the person who feels it.

The "Male Gaze VS Female Gaze" thing is nonsensical at best and perpetuates a dangerous double standard at worse, and I'm so fucking tired of it never being questioned because people are afraid of being labelled misogynistic.

[my-rose-tinted-glasses]

Thank you for this question @wen-kexing-apologist.

What scene in BL has made you the happiest?

I'm a pretty happy girl while watching bl in general. I talk to the people on the screen, I clap and cheer and all that. If I'm supremely happy then I'll probably let out a scream and scare my cat. So I think the show recently where she suffered the most with my happy screams was definitely Tsukutabe. I hope you don't mind if I answer with a GL. The amount of times I just wanted to jump up and down with glee was unmatched, I believe. And I think nothing made me as happy as watching Kasuga talk to her father. This moment, I was just cheering like a crazy person.

It was fantastic. She is just so quiet for most of the time, but she's always listening, observing the people around her and processing. And after the talk with her soon to be divorced friend (I'm sorry, her name escapes me), where she confided in her and got the acceptance that she, maybe subconsciously, craved and words that she needed to her, she was finally able to do that. To have that conversation, to be firm and honest with him and be somewhat at peace with that part of her life. It was excellent. I LOVE HER. There are so many other moments from this show that I could honestly use to answer this question.

Now comes the anger.

So that really depends. I get angry at characters and at a show in general. I get angry at shows a lot for making stupid decisions. All my posts during Absolute Zero are a testament to that. And more recently I had a bad reaction to episode 11 of Unknown so I guess I'll talk about that.

See, I'm not really into sex scenes in general. Because more often than not they are just there. They don't add much to the overall story except to say that it happened. But when the show is good I expect them to match it. And Unknown is a really good show. It's great. So to say I was disappointed would be a massive understatement. I've spoken about this with @lurkingshan in the comments and the scene just didn't match up with the quality of the rest of the show. And this is obviously my opinion and how I see this show. There are a couple of reasons for my anger.

The first is Qian. Qian had just spent a lot of time considering Yuan's feelings and his own, the change in the relationship dynamic and he had to tackle his own fears around being vulnerable to another person and allowing himself to surrender to his desires. Because he has so little sense of self worth beyond being a carer for people around him, if Yuan didn't keep pushing, in his own way without actually forcing anything, I don't think Qian would consider crossing that line. But once he did, I think they needed a slower scene, where we could see him really embracing the moment and surrendering. Let's not forget this happened on the same night he said it wasn't sure he could make the change from brothers to lovers. That it wasn't sure what his feelings for Yuan were. So I just don't like that choice.

The second reason was the editing. And maybe this is a me thing. But even if I were to think that their first time would happen exactly that way, that scene was a mess. Sex scenes are usually not great in bl. Because the pretty takes the place of the good. So it's a lot of pretty lighting and bokeh effects. Which I have no problem with by itself. But the quick cuts drive me crazy. It's the same reason I never connected with the pretty sex scene in The Sign. If I'm gonna connect to the characters during a sex scene I should be able to linger a bit, to take in the atmosphere and physicality of the actors during it, so that it resonates emotionally. And it has to flow naturally as well for that to happen. So just cutting it randomly with different body parts, kissing and flashing facial expressions here and there just doesn't do it for me. And that's what happens in some of them including this one. And the SOUND. It drove me crazy. If you wanna use breath sounds during a scene like this, then do it well. I've seen both versions of the scene so I'm gonna focus on the reedited one cause the other one makes me doubly angry for other reasons. They change between normal speed and slow motion in the scene. And the sound doesn't really change between them so of course it didn't match, but the worst is the fact that it also didn't match anything. The sound was not from that scene. Probably because it was edited so much so the sound that they used was different, but it kept taking me out of the scene on top of what all the other reasons.

That was a longer answer than I was expecting. So I'll stop now. I hope most of that is coherent enough. I rambled a bit. Anyway thank you so much for this question.

Have a good day💜