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izzystizzys · 1 month

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When the 212th collaborates with the 501st, chaos is sure to follow in their footsteps. This has been largely true of every engagement since the start of the war, in Cody’s experience. Had he even an ounce more of a rebellious streak, he might question why and whether the success rate is worth the feral instinct for mayhem his battalion and Rex’ awaken in each other - as it is, he simply fills out the after action reports and then screams into his pillow, which is hard as durasteel and doesn’t warrant the name.

Or, on some days, he steps into the training rooms to work off some nervous jitters only for his foot to catch on someone’s armoured shoulder and faceplant straight into what looks like the entirety of both battalions piled together in a massive cuddle pile.

“What”, he manages between gritted teeth, heaving himself up with one hand supported on Crys’ arm and the other planted in places that make Boil jackknife up with a strangled yelp, “the kriff is this?!”

“We’re watching the Corrie Reality Special, sir”, his own voice calls from somewhere across the room. “The 91st is passing by, so we have satellite access to the Coruscant Broadcast network for a few hours, and we couldn’t settle on a specific show -“

“- so we decided to watch them all”, Rex finishes, sheepishly, where he’s fought his way through wiggling piles, hoots and badly imitated monkey lizard noises. The thought that he shares DNA with these degenerates is enough to drive Cody to the brink of a nervous breakdown some days. “Spopcorn?”

Ah. The Corrie Reality Circuit. When Cody first heard of it, he’d thought it was a prank. Then, they were deployed to the middle of bumkriff nowhere on the edges of Midrim space edging on Outer Rim, with a connection so spotty even classified military intel only got through about half the time, and the whole idea got shelved in favour of clankers and keeping his General’s lightsaber in his General’s hand where it belonged.

Now, a gaudy, glittery monstrosity of a logo announcing a Coruscant Rotational special appears on a rigged up screen, which means one of two things: either Fox is pulling the Galaxy’s greatest long con on all of them, or he’s been murdered and replaced with an evil clone (ha!), because there are no circumstances in which he would agree to star on Coruscant Reality TV.

Cody tilts his head consideringly. Rex smiles at him sheepishly. Tilts the spopcorn bowl at him, invitingly.

“Oh, dank farrik, sit your shebs down!”, someone (Fives, probably) yells out, fed-up…ly.

Cody sits his shebs down.

“Good morning and welcome all of Coruscant to the Great Coruscant Rotational Special: Our Boys in Red Edition!”, a bright red Twi’leki man announces on the screen amidst cheerful jizz music and loud hooting from the training room. “My name is Braham Horton, and I will be your exalted host for this fine, fine late night cycle!”

“And now, gentlebeings of the metropolis, I present to you the images that have driven us all to laughter, joy, and even tears at times over these past few weeks - whodathunkit, that the CSF media project would enthrall a whole Galaxy of viewers and cause the largest recorded peaceful civil protest of all time?!”

“The sorry what now”, says Cody, suddenly thinking back to the urgent meeting General Kenobi was currently in with Generals Windu and Yoda - passing by on the Venator in orbit. “Uhm”, says Rex. Braham Horton, unfazed by the commotion he’s causing lightyears away, chatters on.

“- many hours, so we’ve compiled an introductory little best-of for you, exalted viewers! And what better best of to start off on than the hottest entry of the most explosive bombshell into the villa - please give it up for Commander Thorn and how he stole all of our hearts on Love Island!”

A garish, club-tech jingle Cody has so far only heard buzz through the walls of establishments that generally didn’t allow clones thrums through the training room, followed by what can only be described as the sort of noises spiced up banthas might make. Thorn appears on screen, more oiled up and half-naked than Cody remembers, though just as bleach-blond, hair slightly longer than regulation and smile blindingly perfect.

“I’m Commander Thorn, baseline twenty-four years humanoid - during daytime I might be the scourge of Coruscant’s criminal underworld, but at night I don’t mind playing good cop for you!” He punctuates it woth a sleazy wink and fingerblasters that have Rex honest-to-god gagging, and Cody seeing his life flash before his eyes. If Alpha-17 finds out about this…

Suddenly, Thorn’s smile drops in favour of what might almost be called a scowl on even his handsome face, and the music cuts out. “There, got your soundbyte. Can I go back now? I’m supposed to be on shift.” Indistinct, off-screen chatter and a captioned oopsie… appear in a shower of glitter. Thorn’s face does something complicated. “For HOW MANY MONTHS?!”

Cut to a montage of what Cody can only describe as beaches, oil and abs galore, Braham Horton narrates and extremely close-up shot of what Cody tries very hard not to identify as Thorn’s crotch. His own crotch, in a way. Oh no, that’s weird, stop that train of thought immediately-

“Although our favourite bombshell’s entry into the villa wasn’t without its hitches and hurdles-“, emphasized by a zoom-in on Thorn’s form in a speedo huddled away from a partying crowd of softcore-kriffing contestants on a yacht, “- as well as all know, he would soon find his place in the villa - or places, rather!”

Two crying humanoid women appear on screen, with eyeliner smudges down to their knees. A hoot goes through the room. Cody watches with a sense of impeding doom. “You slept with her after I chose to match up with you instead of Chad?! How could you!”

Thorn, still oiled up with both blasters out for the world to see, winces. “I didn’t me-“

A hysterical gasp, a camera swerve. Three more people stand by the doorway, all clutching their chests with wide eyes. A broad, green Twi’leki man raises a finger to point accusingly. “You were sleeping with them too?! I thought I was the only one!”

“Dear Force”, Cody murmurs, unable to look away from the building speeder wreck on screen. Braham Horton laughs good-naturedly at his misery. “Ah, good times! And who could forget the all-out brawl of the following matching night, where a record number of every single other contestant attempted to physically fight the others for the right to match up with Commander Thorn! Including a somehow returned Chad, who nearly won thanks to the element of surprise. I wish we could show the footage, but then we’d have to slap several warnings on it and probably still get taken off the air.”

“I didn’t know Corries kriffed like that!”, someone (Fives, let’s be honest, it was definitely Fives) calls out into the room, receiving snickers and a well-aimed pillow to the throat for his trouble. He goes down with a choking scream.

“Someone who was less impressed by the hot’n bothered beach weather was Commander Thire, who found himself Less than Impressed by his co-contestants inability to keep it in their pants on Too Hot To Handle!”

Thire’s face, identical to Thorn’s in every way except the ones that matter, appears on screen. His black hair is cut in a cropped mohawk, arms folded over a button-up he’s carefully pieced together with… safety pins? Where are the buttons on it?

“These people are pathological and pathetic and I will spend not a second longer on this farce of an attempt at ‘entertainment show’”, says Thire, air-quotes so sharp they could cut stone. His scowl might be permanently etched into his face, Cody can’t tell. “Unlike literally everyone else, I have an actual job to do. Now move.”

A brief pause, in which cheerful jizz music plays over what is obviously a producer begging off-camera, followed by an eyeroll so hard it hurts Cody’s brain to watch. Thire throws his hands into the air in defeat, marching off into the sea behind him still fully clothed.

“When they didn’t find him until the last episode, I’ll admit, I thought he’d died too!”, Braham Horton cuts in cheerfully. “But would you look at his little lonely island lair - now that’s a fulfilled man, and too many coconuts for my taste! We’ve had to blur his hands out as he discovered the cameras just moments before these holos were taken, unfortunately. And, dear viewer, who could forget this exit-interview for the ages!”

A considerably more clothed Thire appears on screen, eyeing a microphone like he’s about to use it to stab out his own eyes. The reporter clears their throat in audible anxiety. “C-commander, how would you describe your reality experience in one word?”

“Demeaning”, says Thire, blandly.

Silence.

“Um, o-okay”, squeaks the reporter.

“Would you like some more words?”, asks a dead-eyed Thire.

“No, um, I think - I think we’re alright.”

“Because I have many words. Mostly for whoever the *bleep* thought this was a *bleep* good idea, and *bleeeeeeee-*”

“We’ve had to censor most of the Commander’s on-screen appearance, dear viewer, for your sensibilities”, says Braham Horton, eternally and painfully cheerful. “And speaking of sensibilities, who could forget Commander Stone honouring his name in several challenges on ‘I’m A Holostar - Get Me Out Of Here!’”

Soulful violin music fills the gym, overlaid with images of a bald vod Cody surmises must be Stone. Stone stares stonily into the void, glass of bright green something raised to his lips and already half-empty.

“Memorably, he downed a pint of acklay urine within seconds-“

Horrified screams are followed by an image of Stone chewing, yet another thousand-klick stare.

“- or when he ate Tauntaun anus -“

Rex doubles over gagging, and Cody slowly puts his handful of Spopcorn back down.

“- of course the ten minute worm-bath challenge cannot go unmentioned -“

“FORCE PLEASE NO!”, screams someone (Echo) tearfully. Commander Stone, buried to the chin in wiggling orange worms, looks less impressed.

“ - and who could forget his encounter with a horde of ginntho spiders and nests of vexis snakes!”

A remote goes sailing past the screen, missing by a mile, as images of Stone with his whole arm stuck in various boxes fly past. Someone is retching. It might be Cody.

“We would show the infamous butchery challenge wherein the Commander found himself drenched in nexu guts and sandworm brains, but once again, this is family friendly programming and we are not allowed. Nevertheless, a win well-deserved. And now, please welcome the one, the only, the awe-inspiring, the unbelievable: Marshall Commander Fox!”

Another Force-awful jingle, big, blocky letters, and Cody chokes on his own spit when Fox’s scowling face appears on screen. He’s thinner, greyer and angrier than the last time they saw eachother in person. Only the last one is really a surprise.

“I am neither naked nor afraid”, says Fox, arms crossed firmly, foot tapping impatiently on the ground. “I am, however, quickly losing my patience. Explain to me again the point of spending my valuable time undressing in the middle of bum-*bleep* nowhere on the Midrim instead of doing my job as the head of planetary security in the middle of a Galaxy-wide war?”

Several beats of silence follow. Fox grows less impressed with each. Cody knows that look well. Usually, it precedes handcuffs and a cold sonic blast to the face.

“Um… you signed a contract?”, says a producer’s voice uncertainly off-screen. Fox barks out a harsh laugh. “I’m legally classified as military property, my signature holds less weight than if I’d had one of the Guard’s massiffs shit on that contract for me.”

“Ouch!”, calls Crys.

“Gettim!”, adds Longshot.

“But… don’t you sign off military documents all the time for the Senate?”, sputters the producer.

Fox smiles with far to many teeth. It’s also a look Cody knows far too well, and even lightyears away it has a shudder going down his spine.

“Really makes you think about the technicalities of that definitely-not-slave-army, doesn’t it?”, he says, dryly.

“Although considerably less naked and afraid than all other contestants, Commander Fox left us with many memorable moments - such as when he saved the entire crew from an angry Acklay!”

Most of the next holovid is blurred out, though Cody can (unfortunately) guess at the why and how. So can most everyone else, judging by the collective groan.

“Down, boy”, says Fox, flatly, to a hissing Acklay twice his size. It rears its fanged head, and a shudder goes through the room. Fox simply crosses his arms and nails the beast with an unimpressed look. “You are making a fool of both of us. Cut it out.”

Chastised, the Acklay blinks at him, slowly lowering itself back down with a confused hiss.

“No kriffing wonder all the Corrie shinies are such hardasses”, mutters Rex, whom Cody is hard pressed to agree with. “I came from a tube and that look gave me daddy issues.”

“Yes, dear viewer, who could forget these heart-warming moments of good, quality television!”, sighs Braham Horton, dreamily. “Not Coruscant anytime soon, that’s for sure! We are now entering the twentieth rotation of the sit-in protest of a petition to allow the Commanders of the Coruscant Guard to compete on Dancing With The Planets, Coruscant Rotational’s epic dance competition!”

“Dear bum-kriffing Force”, whispers Rex, wide-eyed and awe-struck. “Does Fox know about this?!”

Cody, who’s already dialing the kriffer’s comm-code, wipes a singular tear from his eye. “Not a clue, but kriff, am I going to enjoy telling him.”

#sw tcw fic idea #spopcorn: space popcorn #commander cody #captain rex #commander fox #commander thorn #commander stone #commander thire #inspired by a quality month of quality destressing with quality tv #and the fact that i keep putting off booking therapy probably #corrie guard deserves better #they deserve trash reality tv in fact #braham horton the coruscant rotational host #he has his own chitter show which is the only one padme will agree to go on #she’s a simple woman. let her get sloshed and talk shit fashion and radical leftism your honor #i wanted thire to have more fun but he didn’t wanna #not shown but featured in my head: nuisance on geordie shore grids on love is blind and stabby on come dine with me #they shoot in the corrie mess hall and serve rations bcs that’s the only thing they get #everyone is so horrified by the quality of said rations it kicks off half the protests at least #this is too long and too insane to truly unleash unto yall but have it anyways #no i have no excuse except i am not sleeping and the voices are telling me to write this #somehow this results in palpatine being lynched by an angry mob of reality tv fans #which both results in the galaxy being saved and fox fucking losing it because somehow that’s worse than before #i didn’t proofread any of this as you can very obviously tell

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angelsdean · 10 months

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I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.

So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?

Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.

Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.

Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.

So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)

And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."

So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)

And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."

But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.

Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)

So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.

Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.

Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.

Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.

#long post #LONG-ass post #but it needed to be said!#i'm sorry if you think every creative involved with spn was a braindead asshole but the thing is.#even the most mediocre of writers understands a thing or two abt symbolism and writers working in TV are plagued by S&P #countless writers have talked abt the S&P bullshit and having to tweak and edit down their work to get past censors #it's a reality of writing for television #and the people who understand all this and understand the context of making TV in the early 2000s (to present tbh!) aren't 'delusional'#i'm sorry but it's naive to think that queer stories and queer characters are free to be told even nowadays. it's still a constant battle #times have changed but unfortunately not as much as you'd think #the confession !!!!! the confession still struggled to air and what we got was so obviously hacked down to bits!!!!!!#how can anyone think getting destiel content into the show was ever easy?#how can anyone think the pro-destiel writers weren't constantly having to be careful and underhanded in their writing?#there's a reason queercoding and subtext exist and it's this!!! it's censorship from TPTB #anyways. people much older than me have been talking abt this for ages. younger fans who are used to more open queer rep need to understand #it hasn't always been that easy and even nowadays SO many networks are still not willing to take a risk on queer stories #so creators do what they can #vic.txt

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