#Even more than the actual showrunners in that moment

[aingeal98]

One thing I didn't expect to love about the finale is the fan reaction to the final scene. Because the narrative intent is very clear. Innie Mark chooses himself over his outie, something that's been a clear theme running throughout the season. It's bittersweet and painful because of Gemma, but we're supposed to also be celebrating, that the innies are choosing themselves. That Mark chose Helly over what his outie wanted.

And yet when I go on social media and look at fans reactions, so many of them didn't feel happy for innie Mark. Gemma is their main concern, and he made Gemma sad so fuck him!

It's so simplistic and emotional but I kind of love it? This character we barely knew until 2x07, this attempt at doing something interesting and deeper with the dead wife trope, we're supposed to care about Gemma, of course we are! All of outie Mark's actions are driven by his love for her, they had to make them convincing, make us root for them. But we're not supposed to care about her more than everyone else, more than the characters we've been following since the beginning. And yet somehow the actors and writers and directors just did their job too well, because in that final scene I'm seeing so many people ignore everything else going on to focus solely on Gemma and her pain.

And I love it. I don't care that fans are ignoring the themes and the story and the basic morality of innie vs outie Mark. I love how much Gemma is loved. She's a side character, she's thematically in a fight for narrative control through outie Mark, and innie Mark won this round. And yet despite how well written and acted and shot and built up those final moments are, so many people care primarily about HER. What should be a moment of bittersweet triumph is turned into pure tragedy by so many fans, because that's what it is for Gemma and she matters. More than anyone else.

[sashayed]

ok now it is time to air my grievances with severance s2, a season of television i thoroughly enjoyed and looked forward to every week. s2 is mr milchick putting on a spectacular drumline Just For Me and what do they get for it. trapped behind a vending machine (readmore cut) while i batter them with a trombone. classic ingratitude.

my umbrella gripe btw is that showrunner dan erickson's figurative innie is actually Ricken and he won't admit it and until he does we are never going to see the show that severance Could Be. like ricken is a pretentious nightmare who is insulated from the consequences of his own actions. he's also got a fascinating way with words (fond, derogatory) and a heart that yearns for love and he is really trying to Say Something. ok well that's what this show is. accept this and reconcile with yourself Dan Erickson (or should I say DAN: SO RICKEN??? boom anagrammed!!) or keep displacing all your sins onto that one character and doom this show to eternal alienation from its own core themes.

i think we can all admit that pacing in this season sucks and they had enough time to do it better. and the thing is imo if you were really committed to storytelling you would have to cut some of the most fun/fanservicey individual scenes of the season. i can see why you might choose not to do that! like for instance the baby goats thing. i get it. it looked soooo fun to film with the baby goats. visually the pasture room is great. gwendoline christie is a gift. it's fun! but it doesn't actually uhhh serve the story to spend all that time on it. it doesn't shed any new light. "they are sacrificing the goats because lumon is a creepy cult." we KNOW they are a creepy cult. "lumon thinks innies are non-people who don't experience love and care, but they DO experience love and care and that motivates them." brother we know that too!! "ok but wasn't it all worth it for that heavyweight christie/olafsson finale fight scene." i will concede this point. that ruled.

pacing problems never worse than in "sweet vitriol," an episode i actually enjoyed more than everyone else, but it didn't need to be a standalone and in fact was badly served by the format!! many in your audience have forgotten to give a shit about ms cobel so the revelation that she invented severance doesn't hit for them. splitting her storyline up and dividing it among episodes starting earlier would have kept her more consistently in play and opened up space for underserved character arcs, like dylan aND IRVING—

—because as much fun as burving demon threesome is it is so underbaked and wastes one of the show's coolest characters. WHO IS IRVING. WHY IS HE SLEEPERAGENTING LUMON. you're gonna put him on a train to the farm for old dogs and be like "all was well because love is more important than revenge :)" ??? like sure but again it DOESN'T HIT because it doesn't require the viewer to struggle with WHAT IRVING'S DRIVING FORCE ACTUALLY WAS. and he doesn't even get to kiss. let him kiss!!!!

I actually think having reintegration move at an unpredictable pace and having its side effects be unclear is not the worst idea, and in fact as an allegory for like, real life healing and becoming a Whole Person i maybe even prefer it. but the pacing problems move it beyond "this process is unfolding gradually and erratically" into "we have forgotten this is happening" and it just didn't have to be that way, man. side note there is something fascinating going on with helly's uncomfortable, unwilling quasi-reintegration from the innie side! from the moment she finds herself in front of that gala to hearing jame say he doesn't love his daughter, she is accepting the fact that SHE IS HELENA. she is thinking about how She as a first-person experiencer of the world could find herself in helena's position (which helena—who is less of a grownup than her innie—is still unable/unwilling to do). i've read some criticism of that final scene (which i loved btw) that was like "helly's goal has always been to dismantle lumon, why would she give that up for A Man? wouldn't she push mark s. out the door and be like BURN THIS PLACE TO THE GROUND?" sure, but i think that doesn't engage with helly's arc either—which is not about revolutionary conviction OR about A Man but about about discovering that SHE wants to live, she doesn't want to hang herself in the elevator out of spite, she wants her half-a-life even if it means a degree of complicity with her evil outie. on the other hand, does the WRITING actually engage with helly's arc? or am i getting all that from britt lower??

speaking of making actors do all the work: we as a show are going to grapple with corporate racism and the Black experience :) no we're not :) or are we? ;) you're welcome :)))

i don't love gemma's backstory boiling down to Woman Want Baby. "Greatest Agony for Woman Is Want Baby and Can't Have Baby" is a storyline that makes me personally grimace. but i accept that that's a personal preference and honestly dichen lachman sells her character/s so beautifully that i didn't even remember to bitch about it when i originally wrote this. i just remembered it and had to edit this post because god forbid i don't complain about something. (although. now that i AM complaining about it: putting someone through three years of torture and then being like "we'll prove this fresh consciousness is unaffected by suffering by going all the way back to the baby thing, because 'no baby,' not years of torture and isolation, is the fundamental pain at the root of this woman's being," is...........a choice!!!!! it's a choice. and if it were a deliberate narrative choice, like if it were about how the lumon ideology fundamentally conceives of women, that would be one thing! but i just don't think it is.)

did i mention i really liked this season and had a great time. i did. i am bitching about it because i have a fun time rotating it in my mind. maybe it's actually very brave and artistic to make a show that is not as well-crafted as it could be because then you are opening up intellectual/creative space for your viewers. what about that. if you think about it maybe a slightly less good show is better than a great show. in a way. checkmate haters

[genderkoolaid]

maybe my least favorite anti-autistic stereotype is the trope that autistic people are ultra-rational and thus chock full of bigotry. like house m.d does this*, bones does this, i'm pretty sure the good doctor also did this with their trans episode. allistic showrunners looovee writing an autistic character who says blatantly racist, sexist, ableist, etc. things & justifies it by saying that autistics are simply too Rational and Incapable Of Understanding Emotion to pretend that our current social hierarchies aren't natural!

it sucks for one because it promotes the stereotype that all autistics are hypoempathetic, AND that being hypoempathetic means that you uncritically believe bigotry. but it ALSO sucks because it also promotes the idea that bigotry is driven by rationality and being anti-bigotry is driven by irrational emotions. and that the fight for social justice is really about making people set aside their rational bigoted beliefs because its mean. rather than making arguments based on the actual material evidence of oppression, and how the logic of oppression is deeply flawed and often extremely contradictory because it's only goal is maintaining power. and how that is in fact morally wrong.

my examples are mostly TV but i was thinking about this while rewatching munecat's video debunking evopsych (around 2:47:06). in which an evopsych guy is justifying a misogynistic paper arguing that women are less inclined towards STEM because Evolution, by saying that the author is "Aspy" and thus ~too rational to tone himself down for The Woke~. It's such bullshit and it hides behind aspie supremacy and fantastical ideas of autistic people as robots instead of human beings filled with biases and fallacies and yes, EMOTIONS, in order to push the narrative that bigotry is rational and the left is motivated by our squishy soft womanly irrational empathy rather than the fact that systemic racism objectively exists and misogyny is a self-contradictory mess.

also it's just a way of avoiding the reality of their own bigotry. if misogyny isn't scientifically valid, then that means they must choose to hold misogynistic beliefs, rather then those beliefs being natural. which means they have to actually grapple with the question of whether or not it is moral to maintain a misogynistic system rather than deconstructing it and creating a more equal society. if misogyny is just Nature and Facts and Logic then they can pretend that it's all out of their hands! they want to side-step the question of whether or not its right by arguing making an appeal to evolution as some divine ruler which will destroy our society if we ever deviate from 1950s US social hierarchies.

*to give this show credit, it has other reasons why house is Like That, and he also has plenty of moments where he criticizes the status quo and/or the audience is meant to disagree with his behavior/views. but they still do engage in "house is bigoted and his bigotry is justified by the story" such as in the infamous asexuality episode. but the writers also refused to make him canonically autistic even when they wrote him Like That so who gives a fuck

[avelera]

Theory: Why Jayce had to attack Cult Leader Viktor

It's a lot of conjecture, and I'm possibly reading more into the scene than the show intended, but I keep thinking about why Viktor abandoned Jayce in Arcane in 2.02, only to be glad to see him later and wish to meet in person. So here's what I'm thinking:

We actually got confirmation that "Sky" was the Hexcore all along.

We have Viktor saying that he left because he was "clouded by emotion". (Bookmark this one because I'm going to make the case that it was the opposite: that this moment was actually Viktor's choice and it was to protect Jayce on a subconscious level, because the Hexcore later welcomes Jayce back and wants to see him in person, in an attempt to assimilate him.)

We have some signs that there were weapons blueprints on the table, namely Cait's sniper rifle, which some fans pointed out could have been upsetting for Viktor to see, enough for him to leave. Certainly S1 Viktor was horrified by the idea of Hextech weaponry.

But, Viktor will later offer his assimilation robot army to Ambessa. And his robots are extremely effective Hextech weapons on their own, even if he sees them as peaceful assimilators, they are brutally effective in a pinch, judging just by the fact that it took Mel AND Jayce to take down Viktor's proxy robot in the Council chamber. So there is some hypocrisy shenanigans going on there with "no Hextech weapons." Unless, of course, it's Viktor who is against weapons and the Hexcore who is in favor of them, and sells the idea to Viktor by making the case that robot assimilation is a "peaceful" use of Hextech.

Now, if you go back to the Sky meta shared above, Showrunner Christian Linke says the Hexcore is the one who wants the Glorious Evolution. It's the one that wants to spread and give Viktor more power and influence. And the reason Sky took off was because its mission was done, Viktor had accepted the Glorious Evolution and the power Singed offered. It no longer needed to project "Sky" at him to string him along into doing what it wanted.

In general, there's a lot that's weird about what happens to Viktor after he leaves the lab. A man of science starting a cult is weird. The glowing footsteps he sees on the way to the shimmer victim shanty town are weird. It's notable that shimmer was what was needed for Viktor's own initial fusing with the Hexcore, so going after shimmer addicts is the perfect way to ensure that assimilation, if you're the Hexcore and you want to grow yourself.

We also have Viktor's voice which fades in and out of robotic monstrousness depending on what he's saying. It crackled over it just being "affection" keeping him and Jayce together. As the Machine Herald in 2.09, it mostly stays monstrous, but it drops down into his own voice, in a whisper without the overlay, when he calls the war around them a "senseless conflict". That feels like a true belief held by Viktor, rather than the will of a Hexcore that wants to spread, multiply, and assimilate everything.

And here's the kicker for me: why didn't Viktor heal Jayce when Jayce hugged him in that room? Jayce's wounds were pronounced and horrible from Renni's chainsaw, there's no way Viktor could have missed them. And why didn't he take the opportunity to assimilate Jayce, since they had skin to skin contact?

This is where I'd argue that it's because Viktor still was more himself at that point. And it could be argued that one reason he ran out of that room was to protect Jayce, on a subconscious level, from being assimilated.

The Hexcore-pretending-to-be-Sky needed to gradually seduce Viktor into going along with assimilation. It posed assimilation as healing, it showed Viktor the suffering of the shimmer addicts and the undercity in general. It played to Viktor's life long desire to make the world a better place, but it feels wrong because it's through mysticism rather than science.

And then, I would argue, once it had convinced Viktor to enact its plan by "healing" people to grow its power and influence, it wanted Jayce next as another addition to the cult and perhaps to incorporate one of the few people who could stop it. So it was not Viktor necessarily inviting Jayce back to the commune, it was the Hexcore posing as Viktor. I'm sure part of Viktor did want to see Jayce again, but we have to juxtapose the oddness of that moment with how Viktor soon after the transformation got as far away from Jayce as possible.

It would make sense, then if Wizard Viktor when he gave his instructions to Jayce really did need to be adamant that Jayce destroys Cult Leader Viktor rather than talk to him. Because Cult Leader Viktor was seductive, and he had just enough of real Viktor's motives and personality left to make a seductive case for Jayce that this was the way for Hextech to help the world.

So Jayce couldn't hesitate, he couldn't let Cult Leader Viktor (who is an unknowing instrument of the Hexcore's desire to expand itself) get a word in edgewise because of how quickly that Viktor could probably seduce Jayce into joining him. Hence the brutality and speed of the attack.

Because Cult Leader Viktor did have to be destroyed. The cult was never a good thing. The good that was left in Viktor was heading towards the disappointment of his ideals shortly in any case, either through running out of power, or from Ambessa's imminent attack. Jayce joining Viktor's cult would have doomed the world and the only way to keep him from joining was to fight rather than talk to Viktor, and that went against every fiber of Jayce's being, because Cult Leader Viktor was almost literally designed in a lab to get Jayce to surrender to him rather than fight him.

And I think we should be really suspicious of how freshly transformed Viktor pushed Jayce away, while Cult Leader Viktor wanted to pull him back in, especially with the implication that it was the Hexcore that wanted to assimilate Jayce in that moment, and just how effective it would have been at seducing Jayce into accepting assimilation if not for Future Viktor's explicit warning.

[madonnamadeofasphalt]

EA & Bioware honestly did an incredible job at killing any enthusiasm I had for a new Dragon Age. Fucking hell, man, I've played the first two games so much I could probably go through them with closed eyes and still pick all the right dialogue options to get My Exact Personally Canonized Plot. And the only reason I didn't do the same thing with DA:I is because it was made after EA completely gave up on optimizing their shit so the fucking thing takes up like a billion terabytes of disc space and takes 10 hours to download and install. I honestly think it's the best-written cRPG franchise to ever have a budget that doesn't involve a list of Kickstarter backers or getting an eccentric Estonian billionaire fixated on the project. And the gameplay is also there, I don't really care about that part.

Then they proceeded to fire all the talent that made me love those first three games, and scratch and restart the production twice, and be suspiciously cagey with any details or gameplay footage for a fucking decade, so my hype consistently went down and down. And yet I still managed to hold out some hope that somehow, by some miracle, it wouldn't fucking suck.

I kept that hope until the trailer dropped. You know the one. The one where we see a bearded Varric. This, I think, was the exact moment when I lost any desire to play fucking Veilguard.

Like, first of all, Varric being there at all is already an issue. Leave the man alone. His presence was already kinda forced in DA:I. And after DA:I and Tresspasser, his story couldn't be more finished if he got killed, eaten, shitted out, condemned to hell, redeemed by divine sacrifice, bathed for eternity in the everlasting light. There is no point to Varric anymore. Whatever arc they've given him in Veilguard, and I don't even give a shit enough to read the spoilers before writing this post, it has no business existing. Fuck you. The only reason he's there is because he's a recognizable IP, and when you're a certain kind of soulless corporate moron, you think there's nothing more important than putting a recognizable IP in whatever new bullshit you're trying to peddle. Maybe if you didn't fire every decent writer in your trash fucking company, you'd have someone to tell you about the importance of Ending The Fucking Story When The Story Fucking Ends.

But that's not even the core of the problem. Beard? they gave Varric a Beard? Varric I fucking hate everything that's even tangentially connected to dwarven culture with a passion which is why I've made a point to shave my beard all my life to spite anyone who gives a fuck about it Tethras? beard? you gave him a beard? He changed so much offscreen in the goddamn timeskip between these two games that he got a motherfucking berd? fucshhfdbeard? feadsgfsvarricafgfdh BEARD? yyousftoiuslyhhabevarricasgsfucningbeardandthivkimgosabedineditit?beard????

PS. (edit after finding out spoilers) I've gone to TV Tropes to read up on Varric's role in DATV after writing this (just in case I'm wrong and dumb, and there's actually a deeply compelling narrative reason for his presence), and, well, this shit is cheaper than I thought. And more importantly, just as I thought, there appears to be no justification for the beard beyond "adding a beard is a cliche way to show that a bunch of time has passed, and we didn't care enough to think this shit through". I'm fucking tired, man.

PPS. (edit after reading the rest of big spoilers) This is so much worse than I could even begin to suspect. This is worse than the final season of Game of Thrones. This is the final season of Game of Thrones if they straight-up fired GRRM, burned his notes and hired a showrunner who's only read a one-page summary of the first six seasons. This is fucking depressing, man. I'm genuinely fucking sad. So many subplots that were started over the course of these three games, that were clearly going somewhere, scrapped in favour of a simplistic good vs. evil story that would get rejected by fucking CD-Projekt in 2007 for being too basic. All because the artists who poured their hearts and souls into this bullshit franchise got thrown out like trash by its "owners". Morrigan's kid, the Well of Sorrows, all the implied complexities of Tevinter politics, the Crows, the Old Gods, Andraste. All went to shit. Death to capitalism.

[alicentral]

This is a response to a hotd critical post about the "favouritism towards Greens in screen time ratio", and I think it's so interesting how team black also feel like they're being fucked over by the showrunners when, to me, it's blindingly obvious that it's the other way round.

Not only are the show runners villainising the greens, not the blacks, they've also gone out of their way to make the blacks seem like the badass heroes who can do no wrong, and this is the root of the problem for both team black and team green. It oversimplifies the dance and goes against the themes and message of the whole book, rendering the characters either inconsistent, one-dimensional, and worst of all, flat and boring.

Lets start off with the greens. The argument that the showrunners are "gagging on the greens" doesn't hold up when we actually think about it for more than 2 seconds.

With the source material of hotd being a fictional history book with different biases and perspectives (emphasis on different perspectives), the showrunners have cherry picked what to adapt, and have chosen to take the worst of the greens as the objective truth and erase their good moments as "green propaganda". The main example that comes to mind is aegon. Plenty of other people have talked about this in depth before, but in f&b, aegon raping a girl was a rumour spread by mushroom, a narrator with a clear black bias who wasn't even in kings landing at the time. There was no reason in adapting this rumour other than to demonise aegon, and by extension, team green. The way the scene is framed, it is clear that it was never about dyana, how the rape affected her mentally, emotionally, socially, physically. For a supposedly feminist show, dyana's rape was a throwaway scene, it never had any impact on the story further. So what was the point of the scene other than to tell the audience "look at what a monster aegon is. How can you support someone like that?" And it works.

You can see on social media, any time there's something vaguely positive about the greens, you have hoards of people comment "yeah but he's a rapist" "how can you support a rapist?", etc. It forces you to side with team black. Later in the show, the audience gets to know that aegon's dick burst "like a sausage". Why would the audience need to know this? Aegon's mutilated dick is presented as "karma" for dyana and is only meant to humiliate him. And again, after this revelation, so many people on social media were making fun of his "burnt sausage". They've made a laughingstock of aegon, and as the figurehead of team green, it's clear that we're not meant to side with team green.

Furthermore, in bastardising, and sometimes, even completely erasing the relationships between team green, the showrunners have dehumanised them and made them irredeemable villains, because, again, we were never meant to side with those who "usurped the rightful queen".

The loyalty and commitment the greens had to one another made them such compelling characters and heavily shaped their central motivations and actions. Aegon only took the crown to protect his family. Aemond, after rooks rest, never called himself a king, only lord protecter even though he knows he would've made a better king than aegon. Daeron torched the riverlands to get to his mother and sister and sacked bitterbridge as revenge for his nephew. Helaena offered up her life for her son, and chose to sacrifice maelor because she knew he wouldn't understand what was happening. Their actions may not be necessarily good (and in daeron's case, actually happen to be war crimes), and their motivations may be morally grey, but they're understandable, they're sympathetic, seeing as it was out of love and loyalty, something that 21st century society can relate to. Without these complex and compelling ties, the audience is left asking why would the greens stick together if they all seemingly can't stand each other? Why fight for aegon if he doesn't even seem to care for them? What was the point in having the crown then? As a result, the characterisations feel one-dimensional (helaena being reduced to being just an "innocent" amidst her bloodthirsty family) or inconsistent (alicent. just her entire story arc. it could've been interesting if done right, but alas, no such luck), or rushed (suddenly aemond wants to be king in his own right after defending his brother's claim at storms end).

This isn't to say that team green are perfect, far from it, but the close emotional ties and relationships could've been used to elevate the internal conflicts in the show. We could've had complex characters who aren't necessarily good, but they're family and they stick together despite their personal grievances.

And this isn't even mentioning their bonds with their dragons. Where was vhagar roaring when aemond's eye was cut out? Aegon and sunfyre had the closest bond between dragon and human and that was given to rhaenyra in the show and where is dreamfyre?

One last thing on the greens, they are presented as incompetent and not equipped to rule, which is meant to show how it would be oh so much better if rhaenyra was on the throne. Criston parading meleys' head is framed as stupid as meleys was "a beloved dragon", ignoring the fact that she murdered hundreds of smallfolk at the coronation. Alicent is presented as stupid for thinking that after rooks rest, the small council would appoint her the queen, aegon in the small council was meant to be laughed at. Of course, this begs the question, if the greens were meant to be a mess of a faction with only 3 functioning dragons and now 2 effective dragon riders, how did they hold out against the blacks for so long? It's clear that the showrunners haven't thought this through.

So yeah, i don't really understand what this person was trying to say when they say that the showrunners are "gagging on the greens" when they are demonised, humiliated and stripped of compassion. I would like to say here, nothing i've said about the greens here is new to team green fans, and so many more people have gone into more depth about this.

Lets move onto the blacks. In a conflict where no side was meant to be in the right (who has the right to rule is a beast for another day), where there were no winners, only losers, where a dynastic dispute almost tore down the entire aforementioned dynasty, the blacks are framed as the heroes, the side the audience should root for. If they come off as villainised to the audience, i don't think it was done on purpose.

Opposite to the greens, they're mistakes and flaws are glossed over. I think this is the main reason why team black falls flat as opposed to lack of screen time, which i don't really want to count.

An important example of this is blood and cheese. In f&b, blood and cheese was a horrific event which drove queen helaena mad and, importantly, was meant to murder one of aegon and helaena's sons in revenge for lucerys. A son for a son. It was always meant to be jaehaerys. By making blood and cheese all one big mistake in the show, with aemond as the real target and oops, we can't find him so jaehaerys will do, team black and rhaenyra can't be held accountable for the murder of an innocent 6 year old boy. Moreover, the fact that rhaenyra never knew or sanctioned the murder, and it was all daemon going rogue, rhaenyra is even further removed from the horrific murder of a child, because, of course, our heroine can't be responsible for anything bad, she's meant to be the one in the right!

Furthermore, condal and hess try to force the smallfolk's love of rhaenyra during the dance, contrary to the book, which serves to uphold rhaenyra's right to the throne and show how team black are the right side. During the blockade on kings landing, the smallfolk conveniently forget that she's the one causing the blockade when she sends food through (showing that she could've done that at any time). The cheering for rhaenyra and the riot makes no sense, as again, she was the one who caused the blockade in the first place.

The introduction of the prophecy also is only meant to justify any "wrong" rhaenyra and team black do. The death of the dragonseeds and the smallfolk were all in the name of a prophecy so it's ok. And this is the thing which infuriates me the most, because the prophecy could've been a fascinating aspect of team black's motivations if framed right. The idea of committing atrocities in the name of a believed divine, higher purpose could've been used to expand upon team black's character growth and internal conflict vis a vis the knights templar and the crusades. How do they feel about this? Are they even aware of what they're doing? Alas, the show itself buys into the prophecy, buys into the divine purpose and suddenly, the atrocities aren't presented as "that bad" anyways. All of that to say, the show has never intentionally villainised team black.

So we've established that as the heroes, team black can't do anything wrong, and if they do, it's for a higher purpose, so it's alright. Team black's "emotions and conflicts are made secondary" not to "disposable filler scenes of Greens", but to themselves, or rather, to rhaenyra and her right to rule. So many team black scenes were used to uplift rhaenyra to show how she is the rightful queen. The main two examples of this that stick out to me is baela rebuking jace when he rightfully questions rhaenyra's decisions and daemon's whole harrenhal arc, which serves as his redemption and so he can reaffirm his commitment to rhaenyra's right to rule. Of course it's going to be "a bore" if the main characters, the ones we're meant to be cheering haven't got anything going for them except for cheering on rhaenyra.

There's no character interaction, no character growth, no real internal conflict because from the beginning, team black has been presented as in the right and can do no wrong, so there's no room to grow, no room to develop, not because of lack of screen time. When character development almost breaks through (see: jace questioning rhaenyra), it's quickly quashed, because the audience needs to be reminded that rhaenyra is always right. There's a clear good and bad side that the show is trying to force, which doesn't work in this setting because it reinforces the idea of the divine right of kings, the idea that one person, one family is superior to all others, and that person is rhaenyra here. It undermines the idea that no one was in the right for the atrocities they committed. No one can be justified and that fundamentally, these are not good people, they're interesting characters (or could've been interesting characters), but they're not good people.

So why? Why are the blacks presented as the good side and the greens presented as evil? It all comes down to the fact that the showrunners have propagated the idea that the dance is about a woman's struggle to rule in the face of misogyny, rather than the decline of house targaryen due to their belief in targaryen exceptionalism or the consequences of the pursuit of power. Sure, feminism and misogyny is one aspect of the dance, but it's not a major driving factor. The showrunners have backed themselves into a corner here, because they trying to portray the dance through a modern feminist lens, and so they believe that they can't write women being flawed or evil, and so we get the free, liberated good side and the "misogynistic", conservative bad side.

So in conclusion, it is clear that the showrunners aren't villainising the blacks as this person believes, but the greens. In doing this, they've made a clear cut good and bad side which works to the detriment of both team black and team green. It leads team green's characterisation to be inconsistent and one-dimensional and it chokes team black from having character growth.

Listen, i don't know if team black truly have less screen time than team green, but if they do, it's not the reason why team black falls flat.

[nudityandnerdery]

[Image Description: A series of sixteen tweets by John Rogers @jonrog1 that say:

1) A moment at the Teamsters/UPS rally this morning clarified our current struggle with the studio CEO's (among other bosses). Teamsters got a lot of wins, but one of the main sticking points is the pay for the 65% of local UPS workers who are part-time …

2) If you read the SAG-AFTRA demands, a truly STUNNING amount of their points involve protecting background actors, and trying to improve conditions for the 87% of their union who makes less than $26,000 a year.

3) As WGA members know, this is not a strike for the showrunners. We're trying to fix the fact the the current younger generation of writers can't even afford housing and their pathway to advancement has been cut off.

4) Like … folks, I'm fine. There are maybe two proposals in there that affect me. I'm walking in 90% weather and losing over 50% of my income for the year because I want the younger writers to get what I got at this stage of their careers.

5) Our unions and the CEO's and various negotiators have a fundamental cognitive disconnect. Because CEO's types only succeed by FUCKING THEIR PEERS.

6) Zaslav, Iger , those types of execs, etc have never gone without so a fellow exec or a junior exec could thrive. A fellow exec failing is the moment to use your own leverage to advance past them, if not destroy them.

7) Part of it is the money but part of this, I think, is a genuine inability to grasp even the concepts of any labor action. Because it is always other-directed.

8) So many people treat capitalism as part of nature red in tooth and claw, but it's not. It's a human construct. There are different rules you can play by -- but not if you want to win.

9) The greatest gift capitalism ever granted was the ability to validate selfish behavior as a virtue because that's "just what's necessary, I don't make the rules!" (Look ma, it's reification!)

10) This is where I usually point out that Adam Smith wrote that you have to overpay workers to keep your labor force up, and you need to take into account the psychic damage of capitalism to the workers, and that admiring the rich is the greatest source of moral corruption …

11) But I'll stave off that diversion to just land with … this is a discontinuity of attitudes which I think was once breached by the fact that management USED to come from people who loved building their company or their trade, even if they eventually did management shit.

12) Now, even that thin thread of SYMPATHY (Adam Smith joke, get it? People?) is gone. The CEO's are working off a different scorecard, practically and morally. We're not just playing by wildly divergent rules, our lives and careers are DEFINED by those wildly divergent rules.

13) To them, we are IN FACT being "unreasonable", as our behavior does not make sense in their moral framework. They don't think they're being evil, they think they're playing by the actual rules, and we're nuts.

14) There's not great conclusion to this, other than to note that the bit about making writers homeless was described as "cruel but necessary" because they genuinely don't understand the meaning of cruel, because they are always on the other side of the power dynamic.

15) And if they're ever NOT on the top of the power dynamic, they're not suffering, they're dead. They are un-people in their own eyes.

16) These men are not irrational, but they are deranged. This isn't about money, it's about identity. And in a fight about identity … they will set billions on fire.

Because they can always get more money. But they'll never shed the stink of losing to their lessers."

end of image description]

[girl4music]

I’ve watched the first 3 episodes of ‘She-Ra and the Princesses of Power’ and I’m quite surprised by what I saw for a children’s show. I didn’t realize the main protagonists were the villains and that one of them turned against her own force - the Horde - and best friend to ally with the opposition - the Princesses Rebellion - because she didn’t realize she was being conditioned and fighting on the wrong side. That’s actually quite an elaborate story for a show meant for children. The theme is radicalization. From what I’ve seen so far, it seems to be a show that’s teaching children to think for themselves and develop on their capacity for compassion over blind devotion just in case they’re ever in that unfortunate situation because that happens in real life more often than you would think. Childhood grooming and brainwashing. It’s a big deal and definitely something that should be taught early.

I didn’t expect it to be addressed in a children’s show though. That’s very ambitious and daring. I really like it. TV art/entertainment that takes risks and challenges the status quo is always worth watching and engaging in. Worth my time and attention. That’s a bold move by creator, showrunner and lead writer ND Stevenson. I commend the effort on dealing with important subject matter lightly but honestly. I hope that it can continue.

And even though they’re at odds at the moment, I can definitely see the similarities between Adora and Catra to Xena and Gabrielle. It’s the same level of intimacy. And like Gabrielle with Xena,… hopefully Adora has enough pull and power over Catra to bring her out of her own conditioning and help her realize the same. I reckon that’s going to be the first season’s main story.

How to get her best friend to see the error of her ways and enlist her on the side of the Princesses Rebellion.

As for Catradora…

Can I say they’re enemies-to-lovers?

Or is it more like lovers-to-enemies?

I really don’t know yet. I know they end up together eventually. I just don’t know when. No spoilers please.

[barren-heart]

The Hidden Love Story of What We Do in the Shadows: How The Internet Fell in Love with Harvey Guillen’s Guillermo de la Cruz

I think it’s fair to call this show what it is: a comedy.

The actors have said it’s themselves: the show is 50% improv, 50% script. A lot of what we see is a brilliant collaboration of talent, writing, and the actors saying the funniest thing they can say about something in that moment.

According to Harvey Guillen, some scenes would last 30 minutes each if they didn’t cut it down. That improv is what makes the show what is it: the funniest show on television.

What’s interesting about this little Shit and Fart show (affectionate), is the heart of it all: Guillermo.

Originally the show was looking for an older man to play Nandor’s familiar. The character had worked for his master for 20 years, not 10 as we see in the pilot episode.

Harvey got an audition randomly. At a wine and cheese night of a friend’s, he was invited to audition for the part. It was random, but also, it was fate.

Let me explain.

Harvey Guillen auditioning for the role of Guillermo

(I actually have the full audition tape of Harvey’s if anyone’s interested.) Link below!

Harvey didn’t “fit the part” (Harvey’s words) whatsoever of this character and decided to dress himself to look older, putting on what he calls his Harry Potter glasses and parted his hair down the middle.

The Guillermo we see in the pilot was all Harvey’s idea of what that character should be and the costuming department just ran with it. It’s also fun to point out that to those who don’t know, Harvey created Guillermo’s last name even before he knew he’d play the show’s Vampire Slayer.

I mention this because I don’t think they (showrunner, producers,etc) expected Guillermo to become such a fan favorite. Which kinda explains why his character is the punching bag of season one and why it somewhat changes as seasons go by.

I mean, we don’t even see Guillermo in this season one poster (we don’t see Colin Robinson, either. But I feel like I could write an entirely other post about that character and why I think he’s genuinely the best and most consistently written character on the show. But I won’t right now).

I think they expected Guillermo to be a one-note side kick, which is fine. Many of Harvey’s previous roles were nearly background characters (think Benedict Pickwick in The Magicians).

But, Harvey’s take on the character coupled with his talent at being both comedic and dramatic really shined through. And I think that’s where you start to see that maybe they could do more with him than just being the funny guy in the background.

I also think that’s why you start to see some threading of a more serious plot when it comes to Guillermo’s storyline because of Harvey’s range.

Who would’ve known a funny bit like being a Van Helsing descent in a house full of vampires would get you compelling scenes like the familiar fight The Night Market, Nouveau Théâtre des Vampires, and the Nandor and Guillermo fight in The Portrait?

Harvey mentioned having to train for these and wanted to do his own stunts! And he does them well!

Did they imagine Guillermo being such a badass in the pilot? Probably not. But he is and people took to it. The serious fight scenes (even with bits of comedy filtered in) really stand out in their own as excellent action scenes.

Along with badass scenes, Harvey delivered compelling emotional scenes like Guillermo’s coming out (which Harvey actually cried in as well as other cast and crew, and they had to edit it to not make it too serious), the scene he left Nandor for Celeste, and many scenes in S5’s Exit Interview.

I also think they didn’t anticipate his chemistry with Kayvan Novak. It’s brought up a lot in interviews with them and everyone can tell that they genuinely are really good friends in real life, which makes acting together on screen that much better.

(Funny enough, he was supposed to do a chemistry read with Kayvan before shooting and wasn’t able to meet him until they were on set for the pilot. )

I think in some ways, even though the show wanted it to be a funny Gaston and Lefou type relationship, Kayvan and Harvey had undeniable chemistry you couldn’t deny.

And I think that began to grow with their character’s evolving relationship. From master and servant to friends to sometimes the show and network alluding to them being in a romance (Guillermo’s drunk love confession, Marwa liking what Nandor likes, the Network making videos about shipping Nandermo).

And even Paul Simms (the one who is being grilled for That’s His Boss quote), also said “Guillermo and Nandor is the greatest love story in modern television.”

So yeah, I think originally they started the show with the intention that it was supposed to be similar to the movie that shares its name. The Nandor/Guillermo drama of Shadows the TV show would be so out of place in the movie. The whole Guillermo vampire arc, if it was movie inspired, would not be as dramatic as they have made it in the show.

Looking back to the pilot, I can see that they really tried to make it as close to the source material as possible. But I think it took off in a direction that even the creators didn’t imagine it would go. Just a silly little comedy show about silly little vampires. And don’t get me wrong, it still definitely is.

But the show has evolved. And for better or worse, Nandor and Guillermo’s relationship will be one of the most compelling things about the show and I’m curious where they are going to take it now.

I guess this turned into a bit of an Harvey Guillen appreciation post and honestly, why not? Look at that adorable face.

[barblaz-arts]

HELLOOO!! Im in LOVE with all your Chaggie (and Wenclair obv-) art!! I was wondering if youd be up to share your thoughts on the other hazbin characters? Simply cuz Im very curious and youve been a favourite content creator of mine for a while whose opinions and takes on different things i value A LOT! So id love to hear your thoughts on the rest of the main cast(and more if youre up to it hahha)!

@phantoswordsman15

The main cast huh

Hmmmmm I dont particularly hate them, but I have some opinions that people might not like and I'm aware there's a lot of uh sensitive people in this fandom, so I never said them unprompted

But since you asked!

Alastor

Let's start with the infamous Alastor. I think he's a very entertaining character! His horde of simps annoy tf outta me when they're being misogynistic and homophobic towards Chaggie and Vaggie, but I quite liked him when I make myself forget certain parts of the fandom. He's funny and conniving and intriguing. The fact that he apparently sold his soul is super interesting to me. I'm on board with the people theorizing that he sold his soul to Lilith. I bet he's cozying up with Charlie so that he can use it to break his contract somehow. Feel like he also used the deal with (presumably) Lilith so that he could be strong enough to be the overlord he became.

With that being said, I'm really surprised with the direction they took with him. You'd think that with him being a favorite of the showrunner and the fandom, he would probably be portrayed as the coolest mf in hell. But I really like that it isn't really the case within the show. Certain denizens dont even know him and older overlords like Zestial seems to scare him and Carmilla just dgaf about him. Hell, Alastor's loss to Adam was a lil embarrassing ngl. Like. I know he's one of the oldest human souls and that's why he's powerful but... It's Adam.

Something about him that I noticed is that he seems to be more bark than bite. In particular in his duet with Lucifer, initially Lucifer had the upper hand because he's objectively more powerful, humiliating Alastor with his angel magic, but what Alastor used to his advantage was his words and charisma, as can be expected of a radio host. He's always taunting his enemies, but does it actually make him stronger than them? He "won" that duet with Vox but Valentino said Alastor only"almost beat" him when they had an actual fight. He ruffled Lucifer's feathers but at the end of the day Lucifer is still leagues more powerful than him. He talked big when he was fighting Adam but he almost died and had a breakdown over it.

He's really a lot less "cool" than I expected the show would have him be portrayed as. Kinda pathetic honestly, how he's so insecure and angry whenever he isn't the strongest guy in the room. And i actually really like that! He reminds me a lot of Rumplestilstkin from Once Upon a Time.

Something I kinda hesitate to say tho is... I dont want him redeemed. I dont want him to actually care about the hotel crew and change his ways. I like him as the fucked up man he is and really want to see how fucked up he can be, just so that if he ends up being the huge antagonist, his downfall would be all the more satisfying. Like yunno that moment when Light/Kira was finally defeated? I wanna feel that again.

Angel Dust

I love him! We found his dialogue a lil annoying at first in ep 1 but the writers did a lot better in ep 2. He's a neat guy. His character gives interesting implications for me as to what makes a person a sinner in this show. While you have people like Alastor who obviously ended up where they did because a cannibal murderer, I get the feeling Angel ended up in hell because he was abusing his own body, which is a sad thing to think. If I remember right from my own catholic upbringing, abusing the body is considered a sin because your body is a temple. To think that Angel could be in hell for poisoning himself, not for harming others, is just sad man. I look forward to seeing more of his journey.

I'm not touching on how his SA was tackled btw. While I'm a victim of sexual assault myself, what i experienced was far from what Angel does on a REGULAR basis,so I don't feel like i have any personal or professional right to say anything about it. Not every victim's case is universal anyways. All I can say is, his line about purposefully damaging himself so he could be broken enough to no longer be Valentino's "favorite toy" hit me harder than I ever expected this show to.

Husk

Confession: I... I dont feel all that attached to Husk at all, I am so sorry Husk stans 😭

Okok that feels so mean to say I'm so sorry. I actually hesitated to say anything because I dont want to hurt people's feelings. But since you guys are asking and I dont like not being genuine, I'm telling the truth.

A lot of my feelings about Husk is heavily affected by the fandom anyways to be perfectly fair. Why? Because a lot of criticisms against Vaggie is easily applicable to Husk, maybe even more so, and yet I dont see even the same level of hate towards him that Vaggie received because his chemistry with Angel is so much better than Chaggie... Apparently...

I just dont see Husk as a character outside of being a plot device for Angel's development yunno? I get it, he isn't a main character like the main 4 are(Charlie, Vaggie, Alastor, and Angel), i just find it hard to well and truly like him because of the fandom's double standards. When we found out someone was gonna die in the finale, my brother and I actually thought it was gonna be him because he doesn't have a big enough role to play in the plot to be a HUGE loss, but has a significant enough connection to a main character to have an EFFECT. He very much just felt like the love interest for Angel and nothing else. Which isnt necessarily a bad thing, but is frustrating when i see sooo many people label Vaggie as such(when she isnt!) and hate her SO MUCH for it.

I wanna see more of him tho I really do. Like the man used to be an overlord. He said he wanted to find someone who could relate to "the gruesome ways in which he's damaged" but what does that even mean? Yes i know about the castration but aside from that what suffering is Alastor putting him thru when all he has to do is be a bartender rn? There must be more and I wanna see it and finally feel for him.

Nifty

I love her a lot. That's it. The character ever. Her gremlin energy reminded me so much of Peridot, it's great. Kimiko Glenn did a fantastic job as the comic relief character and I hope she gets her own song next season. Her basically being everyone's little sister was kinda adorable even tho she's probably the scariest person in that hotel next to Alastor. I hope she gets to stab Valentino next. Just kill that MOTHerfucker

[apoloadonisandnarcissus]

The Missing Piece

@rey-jake-therapist and I have been brainstorming and theorizing about what went down at the finale between Sauron and Galadriel.

From my part, I’ll suspend my dislike for the cringeworthy dialogue and the evil theatrics, because, personally, I didn’t like that scene (sorry) and I think it was badly-executed and that’s what causing the trouble here. The show focused more on spectacle than on the emotional weight of that scene, making it look as if Sauron was only manipulating and deceiving her (he wanted the rings and nothing more), and that Galadriel had no inner conflict whatsoever (she stops when she sees Halbrand, but it's for 2 minutes tops). 

Many of you have already mentioned how Sauron forced Galadriel to bind herself to him (by stabbing her with Morgoth’s iron crown) and that his plan was to make her a Ringwraith (like the Nazgûl of the Nine), but she jumped off a cliff (I will always hate this, sorry).

When I first presented my theory that Galadriel would be wounded by Morgoth’s iron crown at the finale and during her fight with Sauron (you can laugh at it, now), I also speculated that she would be left in a state similar to Frodo’s in “Fellowship of the Ring”, when he was injured by a Morgul blade (also forged by Sauron). And this wound will never heal, meaning she’s now bound to the darkness and to Sauron forever (or until she arrives at Valinor at the very end of the story). I have nothing to add here. 

In “Fellowship of the Ring”, when the Witch-king of Angmar stabs Frodo (at the ruins of the Tower of Amon Sûl), the blade dissolved soon afterwards, and a fragment of it remained within Frodo’s wound, working its way towards his heart and threatening to turn him into a ringwraith. He was saved by Elrond at Rivendell, when he was able to remove the shard and heal the wound, but each year on the anniversary of receiving the injury, Frodo became seriously ill, and only his departure to Valinor offered a permanent cure.  

Morgoth’s crown wasn’t missing anything (I believe), but it was created and used by Morgoth himself, meaning it’s power and dark magic is much stronger than in the Morgul-blades Sauron gave to the Nazgûl. Dealing with this will be, probably, Galadriel’s plot in Season 3, and kick-out her “Lady of the Light” arc. Because we all know the "final" result of this wound for Galadriel:

There seems to be a piece missing to complete this puzzle, emotional-wise, and provide this scene with that emotional weight that's lacking. And it always goes back to the “crack theory” of “it was Sauron on that tent scene of 2x07, and not Elrond”.

I’m aware some like this theory, some don’t (mostly because they believe the showrunners would never go there). I’ve already presented enough evidence on why it’s actually Sauron on that scene, so I won’t repeat myself here. If anything, 2x08 provide us with even more clues.

Adar's Death

Adar's death scene in 2x08 appears to parallel a scene we already saw on "Rings of Power". And I'm not talking about the opening scene of 2x01, which is the obvious answer.

In 1x06, when Halbrand/Sauron wants to kill Adar, for the first time, in the middle of the woods, but is stopped from doing so by Galadriel. During this scene, Adar tries to make sense of why this "mortal man" wants to kill him:

"A woman? A child?" Adar asks Halbrand/Sauron.

At this moment, in particular, this interaction was meant to be a clue towards Halbrand’s true identity (��he is Sauron”), because of Adar being the one responsible for destroying his previous physical form in betrayal. Halbrand wants to kill Adar with a spear (Sauron’s weapon of choice). 

However, in 2x07, Adar really does causes pain to the woman (she-elf) that Sauron loves. At the Battle of Eregion, Adar displays Galadriel trapped in a cage, and has one of his Orcs pierce and bled her neck with... a spear. 

And how does Sauron have Adar killed, at the end? In the middle of woods, like he meant to in 1x06. Using his children to cause him pain, and kill him. And Sauron does it in front of Galadriel, the woman he loves and was, previously, hurt by Adar. 

There are more references to 1x06 in 2x08, because when Sauron appears as Halbrand, he repeats to Galadriel his words to her in those same woods he wished to kill Adar.

Hence: this parallel can mean that Sauron, in fact, witnessed Adar flaunting and hurting Galadriel on the battlefield. I actually joked with @rey-jake-therapist about Adar being toasted after he pulled that off, because there was no way Sauron would let him get away with hurting his Queen... and I was right. 

We know, Sauron was at the walls of Eregion at the time, with Celebrimbor and the guards, and they all saw the arrival of the Elven army led by Elrond. And, yet, the show has given us no reaction from Sauron’s part on what was happening to Galadriel, after he spent an entire season obsessing over her. 

Glûg's death

Glûg’s death has "well, well, well, if it isn't the consequences of my own actions" vibes for having betrayed Adar and sided with Sauron, instead.

At first, I thought this plot of having Sauron just talk to the Orcs and gain their loyalty so easily was kind of stupid. But when discussing it with @rey-jake-therapist, we got more insight.

Tolkien never specifically wrote about the Orcs lifespans: we know they aren’t immortal like the moriondor (Adar and the other Elves corrupted by Morgoth) and they reproduce like every other “humanoid” being. Meaning, Glûg has never met Sauron before, and has only heard the tales. He was already suspicious that Adar was sacrificing the Orcs for nothing, with other Orcs believing he was chasing a ghost. Well, when Glûg meets Sauron for the first time, he’s shocked to discover that he’s not terrible or cruel like he was told, but rather “nice” and soft-spoken (even asking his name). And, so, Glûg has the confirmation that Adar was, in fact, wrong and killing off his children for nothing... (well, he came to regret that at the end). 

However, Glûg is the one who places a blade at Galadriel’s neck during the “Adar and Elrond tent scene” in 2x07, and we see Elrond’s reaction to it. And so, if Adar was to give the order, it would have been Glûg who would kill Galadriel in that scene.

More: when “Elrond” taunts Adar about sacrificing the Orcs’ lives, the camera lingers on Glûg’s reaction... and guess who’s the first to side with Sauron in the next episode, and strike the first blow against Adar? 

In 2x08, Sauron kills Glûg after Galadriel throws herself off a cliff and he believes her dead.

Many assume this was done in a rage fit, but this isn’t Sauron’s character. And he already lost control with Celebrimbor in this episode and that’s why, according to Charlie Vickers, he cries in that scene: Sauron recalls his time at Morgoth’s side and doesn’t want to end up destructive and nihilist like his master was.

So I would argue the “rage fit” explanation is not it. Could it be, that Sauron - who is always gaslighting others and in self-denial trying to find justifications for his own actions and project them onto others (as Celebrimbor told him in 2x07) - kills Glûg because this Orc was the last being he saw threatening Galadriel’s life? And projects his own guilt onto him? And how could he know that, unless he was the “Elrond” in the room? Because Sauron is powerful, but he isn’t able to see everything just yet. 

Where do we go from here? 

With this insane among of clues and evidence, and how everything falls into place, there is no way the person in that tent with Adar is Elrond. Because if it is, there are plot holes the size of black holes in the story. If it's in fact Sauron everything fall into place and makes sense. And it would also explain the lack of "emotional weight" on their scene at the finale.

Season 3: there is the possibility the show might hold on to this reveal for next season. Since in 2x08, we see Sauron brutally killing both Celebrimbor and Adar, and later stabbing Galadriel, revealing this plot twist to the audience could be a little “WTF” and even lose its meaning. And it wouldn’t match the vibe they were going for with Sauron’s character in 2x08, especially since Sauron and Celebrimbor was the core of Season 2;

Ambiguous or "abandoned plot": this is my concern.

[matan4il]

Buddie 617 meta

I’m gonna be honest here, this was one of the funniest 911 eps to me. I loved how this ep showed us both Buck and Eddie completely sucking at dating. It was very obvious in Buck’s case, what with each attempt to have quality time with Natalia being ruined by one of his past decisions, but then when he called out Eddie for also sucking at it, Buck wasn’t wrong. Eddie’s attempts seem half-hearted at best. First off, if he really wanted to date, then Tia Pepa’s help and dating apps are actually not that awful as options. Magic might happen there as well. The right person could even stand out more against a sea of not so great choices, turning the dreary experience into a colorful, magical one. But even when Eddie tries on his own, his attempts are LAME. Seriously, there are pastime activities that offer way more potential to start a conversation, and maybe a romance, than the ones Eddie chose. Not only that, these are not his actual hobbies, where he knows he’ll find someone who likes the same thing he does (the way he shares so much with one tall firefighter that we’re all thinking of right now. Eddie’s also being dumb about wanting it to “just happen” as if that’s not exactly what he got with buck. Also, just a friendly reminder that Buddie have been dating for almost 5 years, and they are GREAT at it when it’s with each other).

On top of that, we for real got a guy checking Eddie out (hi, hello, should I start a collection of him checking and being checked out by guys?) as well as him witnessing a woman he was looking at being embraced by another one. Why the hints at being surrounded by queer people? Your guess is as good as mine, but I’m here for it no matter what. ;D Now, I’ve talked before about the ongoing theme of Buddie’s dating life being intertwined in terms of when they start dating someone, or of why they break up, but now in addition to them dating at the same time, we also see them simultaneously sucking at it? Yeah, that takes the connectedness of their dating life up a notch. ~~

Which brings me to one line that grabbed my attention in this ep. THE line that offers the explicit resolution for the most important romantic plot here is the one from Gina, the insurance lady, to Chimney, about not regretting the attempt. Yes, even when the result is bad. That’s what Madney will embrace. One of the biggest obstacles to Buck and Eddie, besides their obliviousness, is the fear of ruining the good thing they have by attempting to take it to the next level. But here we have Chimney being reminded by Gina that it’s worth it, to try. Because the good thing you can have, if it works out? Is worth it. And you never have to live with the “what if” of it all. Now look at Buck and Eddie being once more adorable morons together on the job! Imagine the moment when they stop running around and let themselves try taking it to the next level, because they realize no matter what the result will be, they would never regret the attempt. ~~

Speaking of Buddie paralleling one of the canon couples on the show who were acting lovey dovey in this ep, the way Bobby described what made him and Athena happen reminded me of Buddie connecting. In both cases, there’s an intense and upsetting call, after which one of our first responders turns to find support (Buddie promising to have each other’s back) and comfort (Eddie wants to go grab something to eat together) in the other one. ~~

I did not miss Taylor Kelly, and true to form, she was back because she’s advancing her career by exploiting her personal connection to Buck and the exposure to the 118 it provided her. I’m pretty sure this basically buries any option of any showrunner ever trying to re-set these two as a romance, since it echoed and reinforced Buck’s decision to break up with her. It WAS funny to see her and Lucy cockblock Buck (I do think Lucy’s tone with which she spoke of their past also closes the door on anyone ever trying to set her and Buck up as a serious couple), but what I found to be funniest is that Buck tells Natalia he was trying to figure out the perfect place for their date, and then he took her to the bar where he kissed Lucy. A bar reminiscent of the one where he hooked up with Taylor. Possibly a spot where he hooked with other women during his Buck 1.0 stage based on how it’s THE hang out place for the 118 and we know Buck had no issues hooking up anywhere back then. Natalia, hon. This is not a good sign for your r/s with him. ~~

Speaking of which, there’s an ex who didn’t come back in this ep, but her spirit loomed large over Buck and Natalia IMO, and that is Ali. The reason why she and Buck broke up after 218 is because at the end of the day, she couldn’t accept the choices he had made in his professional life (hoping he would move on from firefighting). In the same way, Natalia revealed in this ep that she can’t accept Buck’s choices in his personal life. A small reminder the only partner we’ve ever witnessed truly seeing and accepting Buck, in every aspect of his life, has been Eddie. ~~

Another funny thing about this (911 is a comedy, y’all) is how Natalia flees the second she comes across Kameron. I mean, this is in addition to the hilarity of the death doula’s first name connecting her to birth and to all things natal, yet she flees the second that she sees a pregnant lady. Because if this is Natalia’s reaction when it comes to a bio kid that Buck explicitly said he is not going to raise, what would she do once she realizes he co-parents a fully grown kid? (and a very sassy one, too. LBR, Natalia doesn’t stand a chance in a show down with either Diaz boy) ~~

Much like Natalia doesn’t seem like the right fit for Buck based on this ep (or based on 616), neither does Marisol. Can I point out the fact that Eddie’s disapproval in the last ep of Buck dating Natalia applies here, too? They both met these women on calls. Second, Eddie wanted it to happen naturally, which is why it’s so lame he tried through all sorts of activities that he’s not ACTUALLY into and wouldn’t continue doing past the initial stage of meeting someone else. And that holds true for Marisol as well. We saw that her brother and her are very into DYI, which I guess was meant to lay the groundwork for Eddie running into her in a DYI shop. But the thing is, Eddie himself isn’t into this! Sure, he can do it, because as a single dad he’s had to, but it’s not something we’ve ever seen him being passionate about. He’s only at this store because of Christopher’s project. And then once more, just like he steps away from Pepa’s help, dating apps and chooses the wost places for a chance romantic connection, he walks away from Marisol even when the whole scene plays out as if she’s the climax of his search throughout this whole ep. This might all hint that despite initial appearances, just like the people he came across while golfing and hiking wouldn’t be the right fit, Marisol wouldn’t be either. Even more importantly, just like Ana at first appeared like she would be perfect for Eddie in 312, starting out in a “it just happened” sort of way and with supposedly being fated because she happened to guess correctly that Eddie stands for Edmundo, this thing with Marisol might look in the moment like it’s exactly what he was looking for, but it will fizzle out as well.

~~ (my weekly meta posts) (my Buddie gifs) (all of my content)

~~ My tag list will follow in the reblog, please let me know if you wanna be added/removed here.

~~ Thank you from the bottom of my heart to the incredible @whosoldherout​​, there are no words to describe how much I love your gifs and appreciate you!

~~ Thank you to anyone supporting these meta posts. I could never express enough how grateful I am and that they continue to exist thanks to you!

[midnight1nk]

If you were to ask me:

Out of all the Puzzlevision episodes we had so far, which is your favorite?

My answer will always be “Once Upon An SMG4”. I mean, who wouldn't want a silly fairytale parody? With the chaotic nature of the show, it just made sense to me. You know what also made sense? Having SMG3 play the princess role, considering he is qualified to be a Disney Princess.

if you think about it, the whole Star Trio could be Disney Princesses…

As a glitchybombs shipper, Mr Puzzles basically gave a fairytale AU for us to work with. And indeed, we could’ve had a 'true love’s kiss' moment. While all of these are good reasons, it's not the main reason why I love it.

I love it because it's a parallel/twisted version of “It's Gotta Be Perfect”.

Every story, no matter how outlandish it seems, is grounded in reality.

Think of any fairytale you know of from the top of your head. Pretty easy, right?

But do you have a solid reason as to why the Evil Queen from Snow White is really evil? Or why Goldilocks was alone in the woods and decided to trespass on private property? Or why didn't the Godmother come sooner to save Cinderella from her abusive family?

Perhaps you can find answers in the depths of the internet and historical literature, but otherwise, it's up for speculation. That's because fairytales are for the sake of entertainment. Therefore, the characters and/or their personalities are reduced to simple roles: good guy, bad guy, etc. Toss in a subtle message about human morality and you got a nice little tale where the good guys win and the bad guys get what they deserve.

For “Once Upon An SMG4”, there's much more than what meets the eye. Follow me as I overanalyze this episode to events that happened in the “It's Gotta Be Perfect” arc, and discuss how they could be alluding to future character interactions, WOTFI 2024, and beyond...

ONCE UPON A Ṕ̷̱E̴̺̽R̵̖̎̕F̵̢̗̈́̀E̴̞̍C̴͈̽T̶͓̘̈́ SMG4

THE NARRATOR

The episode starts off with the first actual character of the story: the narrator. Now, we have no idea who that is.

There isn’t a name on who voiced him in the credits, and it can be easily assumed that it was just some random guy, like the one from the Puzzlevision Movie. But I think it might just be Mr Puzzles. He is the showrunner after all. He could've manipulated the script or be the narrator himself. Either way, he is the one in control, forcing the viewer to see the story through his lens (...or screen I guess).

Anyway, the narrator introduces one of the two main characters of the story:

SMG4

The narrator goes on to describe him as “an ugly, wicked witch who's selfish and cruel…” before Witch!4 proceeds to break his back for doing his evil laugh.

Remember how I said that complex characters were reduced to simpler roles? Four was one of them. In IGBP, Four felt inadequate as a content creator and just wanted to make his audience happy. He had insecurities before the arc, hidden in the back of his mind, but it was because of ‘SMG4... Are You Ok?’ episode that those insecurities have now come to light. As told in IGBP, his videos were a sort of “measure” of his worth. It wasn’t only that his videos weren’t good enough, it was that he wasn’t good enough. Therefore, he felt like he failed in making people happy. That would be his fault.

That was why he was desperate to create the best video ever. Unfortunately, when you are laser-focused on something, the world around you becomes a blur. Four isolated himself from the crew (We’ll get back to this, see: ‘Four’s Villain Song’). He didn’t sleep, didn’t even eat. He didn’t try to take care of himself because, as some of us relate, he thought that ‘if I worked on this a bit more, just another second more, maybe it’ll be perfect and I can finally finish it’, having his necessities as an afterthought or even ”reward”. It drove him to his breaking point in the ‘SMG4: MAR10 Day’ episode. It wasn't his intention to shut everyone out nor was it to hurt anyone. But, because he wasn’t in the right headspace, he lashed out at his friends.

As Mr Puzzles’ script stated, Four acted “selfish and cruel”, all for the perfect video. Mr Puzzles already perceived SMG4 in a negative light by calling the show “the stupidest” thing he’d ever seen. This was merely ‘evidence’ for Mr Puzzles to say, “See? This is why you shouldn’t be rooting for SMG4. He is a villain and he got what he deserved”. Four is a villain, that was all Mr Puzzles perceived him as, here in ‘Once Upon an SMG4’ (See: ‘You Look Peak, Brother”, for more). For his character, it makes a lot of sense. Mr Puzzles didn’t have friends growing up so he didn’t understand how Four’s insecurities were really affecting him.

However, a certain purple meme guardian did connect with Four. Speaking of which, the narrator introduces the second main character of the story:

SMG3

The narrator describes Three as “a beautiful princess pure of heart” and that he had “unparalleled beauty, embodying every romantic dream”. Insert Princess!3 having his Disney Princess Moment (TM).

If Mr Puzzles perceives Four being evil, does that mean he perceives Three as the opposite?

Well, sort of. From a storytelling perspective, for every bad guy, there is a good guy. Narrative foils, at times, are parallel to one another. They share similarities in terms of personality or appearance or just wanting the same goal. What better foil to have than Three, Four’s meme guardian partner and former villain.

What about beauty?

Three has repeatedly proclaimed how he's The Rizzler (TM) and how he is far more attractive than Four. In ‘SMG4: We Don’t Talk About What Happened in the Elevator’ episode, Four admitted that Three does have rizz, just as Three admits that he doesn’t hate Four (See: 'Fairest Fight 2024', for more).

Back to Princess!3, he sang how all he wants is money …and-a-sugarda--. While 'wanting to get rich' makes sense for Three’s character, it also doesn’t. Bare with me on this one:

In ‘SMG4: Trash Friends’, it was revealed that Three feels insecure about how he is perceived as Four’s cheap copy. Years ago, he tried being himself in memewarts and afterward. He failed to be recognized, unable to have friends, always being overshadowed by Four. So, in the YouTube Arc, he was obsessed with trying to become like Four. It wasn’t until he took over the channel that he got to experience what it truly felt like to be Four, before he eventually got sent to the Internet Graveyard and there began a whole new journey for him. He’s okay with his character development. In ‘SMG4: You Used To Be Cool’, he realizes that he doesn’t need to prove to anyone who he is, being satisfied with the life he now has.

What does it have to do with money?

Looking back at ‘SMG4: Trash Friends’ and the Meme Factory Arc, we saw that Three’s Coffee & Bombs wasn’t doing so well. It isn’t confirmed if this was of Mr Puzzles’ doing, but regardless, it does bring back some ugly memories for him. For once, he is enjoying the life he built and is currently trying to prove that he is not a mere copy of Four. But he might lose it, just as it happened with Snitch Productions.

He doesn’t want to go back to the life he had before. It isn’t just the café, it’s the possibility that he might lose his friends. Even if he doesn't want to admit it, he is part of the crew, and that is a lot more to lose. So, he has to “rescue” his café financially, to show that he “deserves” to have friends, that he “deserves” this life. Yes, he went through great risks to help his friends when they were in need, especially Four in IGBP. But he still wants to prove it.

(I’ll talk about it more about Three’s character on a later post.)

So, Mr Puzzles wasn’t all wrong; Three was “pure of heart” in a sense, he just has trouble showing his true emotions and being vulnerable again. After all, the first person he was vulnerable to was Terrence and we all know how that went.

And what about Eggdog?

Three literally came out of a flash drive so he doesn't have a biological family (or preprogrammed...because of the cosmology lore?). During the classic era, no one really treated him nicely. So, for Eggdog and additionally Terrence, he treated them with absolute devotion. Always reminding them that they are special, that they're loved. That they are never alone.

The difference was that Three was careful of Eggdog's whereabouts, while Terrence was always with him and minding his own business, including the Revelations movie. Three will always love Terrence, and to prove how good a parent he truly was, Terrence said a final "I love you" to Three.

He wasn't going to make the same mistake with Eggdog. Whenever Eggdog gets hurt, Three comes rushing to his side to ensure he is okay. Three keeps a close eye on him but when it comes to the bug mission, Three would have Eggdog stay at home or have a backup plan if Eggdog does come along. He just can't lose another loved one.

“YOU LOOK PEAK, BROTHER.”

Let’s cut ahead to when Witch!4 was giving compliments to a version of “him” inside the TV. Admittedly, this is just a bit.

HOWEVER, I overanalyze stuff soooooo…...

Remember how I said that Mr Puzzles sees Four in a negative light?

In IGBP, there was the hallway scene with Three, Meggy, and Mario discovering the paintings being replaced with messages. As Three states, these messages were his thoughts, how Four painted himself in a negative light. Four made sure to hide his low self-esteem well from his friends but it always lingered in the shadows.

Mario wasn't wrong: the person who "wrote" them was indeed a good person.

Mr Puzzles, however, showed the opposite. That Four set himself up on a pedestal, as someone who sees himself as righteous. A narcissist. And how? By being the “TV, TV on the Wall” and pretending to be Witch!4 on the screen giving compliments to the actual Witch!4 how perfect he is.

YOU’RE INVITED!

This is more of a parallel than anything. In the story, Princess!3 gets “invited” to King Bob’s Ballin’ Ball, the invite literally being launched to him by Witch!4.

In the IGBP arc, Three got invited to do a collab with Mr Yeast through his stream in ‘SMG4... Are You Ok?’ episode. While Four may have not been the one who brought in Mr Yeast for him, it was because of Four’s crew that made Three went through a new path in his life from the end of the Youtube Arc, being Lord of the Internet Graveyard, and becoming a streamer which got him the collab. So, indirectly, Four brought Mr Yeast to Three.

A (FAILING) PLAN

Fast forward through the story, Princess!3 strolls around the ball, Witch!4 instructs Prince Luigi to give Princess!3 the apple to make him "the ugliest princess" and Witch!4 would become the fairest of them all. As expected, it failed miserably, and Witch!4 had to improvise and come up with a new plan.

In IGBP, Four also had a plan when he was starting to create the perfect video, stocking his room with enough food for him to last. He made multiple attempts to create the video, feeling unsatisfied with every version he made.

MR. LUIGI

OMG, Mr L? Nah, I’m just kidding.

In all seriousness, though, I did find it fascinating that Prince Luigi basically turned Mr Yeast, the catalyst of IGBP. Hmmm….

THE TALLEST TOWER

By Witch!4’s instructions, Mr Luigi kidnaps Princess!3 and puts him in the tallest tower.

In IGBP, there is a scene where the rescuing trio finds SMG4’s classic design before it awakens and traps Three with him, making Meggy and Mario find Four to rescue them both. Curiously, the final showdown with Possessed!4 and Monster!3 waiting for them took place in the tallest tower of Peach’s castle.

A DOLLAR (…AND A BLOCK OF “CHEESE”)

In Mr Yeast fashion, he proposes a challenge that whoever save the princess gets a dollar, before he gets pushed off the tower by Princess!3. Realizing that he might need help, Princess!3 was able to get Mario to save him, promising that one dollar and an additional block of "cheese". In all technicality, Mario was completing the challenge.

In the IGBP arc, Mario completed a challenge created by Mr Yeast, making spaghetti while in a crashing plane. And, would you look at that? Food was involved too!

FOUR'S VILLAIN SONG

Told you we would come back to it! Better than what Disney’s Wish could ever do, Witch!4 sings how great being a villain was and how you just can’t go wrong with a great villain song. An absolute classic.

I do want to point out the first few lines of Four’s musical number:

I’ve gotta be honest with you, There’s many reasons I like being the villain, from just chillin’ to killin’ to tyrannically instilling fear, unto unwilling peasants who crossed my path…

Again, this shouldn’t be taken that seriously, but knowing how Mr Puzzles perceives him to be, this meant a lot more. Four, being the ‘villain’ of IGBP, was “tyrannically instilling fear” unto his friends who ‘prevented’ him from creating the perfect video. This, for the most part, was how Mr Puzzles saw it since IGBP was a horror parody. In reality, the crew was worried for him, not scared of him. Sure, there were moments when they were confused about Four’s extreme behavior but they were more worried about his wellbeing. Mr Puzzles didn’t know what that was like, to have someone worried for another’s wellbeing.

BOOPKINS

Yes, even Boopkins gets a spot on here! In the story, when Mario brought Sir Boopkins to save Princess!3, Princess!3 immediately regrets his life choices. Boopkins, on the other hand, doesn’t listen to what Princess!3’s yelled to Mario and attempts to save him… miserably.

It directly mirrors in IGBP, how Boopkins tried to defeat the keyboard demon with the ‘power of friendship and love’.

Love wins! Love always wins!

[It's Gotta Be Perfect]

He isn't wrong, a lot of the arcs were resolved because of love between friends, family, and partners. The good guys indeed win, but not without sacrifice. They kept their promise, but not without loss.

IGBP was no different. While ‘love always wins’ is true, Boopkins went about it the wrong way, thinking the demon itself would have a change of heart. Three was the one who somehow did it correctly and was able to save Four at the end.

Wow. Love does win, huh?

FAIREST OF THEM ALL

After Sir Boopkins’ failed attempt, Witch!4 comes in, riding a dragon, saying to Princess!3:

“Ha ha! You will never be saved, princess, and I shall be fairest of them all!”

[Once Upon An SMG4]

Do remember that scene?

Good.

Now imagine that moment in IGBP when Four had to choose to save Three or the flash drive that contained the video they made:

You will never be saved, Three, and I will have the perfect video!

…Ain’t that wild?

Then, it begs the question: Did Mr Puzzles want Three to die? Actually, no, he wanted Four dead. Remember back in the movie when the tentacles of the keyboard demon dragged Four back into the desk. Four knew he couldn’t leave so Four begged Three to leave him there and accepted that the whole incident was his fault. And it did seem like the end for him.

Plot twist: Three snapped him (or I guess slapped him) out of it and stayed alongside Four so he could help finish the video. It was because of Three that Four was finally freed from the cursed keyboard and it was because of Three admitting that they are friends that Four made his final decision. If Three wasn’t there, Four would’ve become a monster like Peach did or Four would have to sacrifice Three because he was traumatized to the point that he needs the video.

Perhaps it didn’t go how Mr Puzzles intended it to be but hey, it was entertainment, so he had let it slide for now.

FAIREST FIGHT 2024

Back to the story, Mario proposes that Witch!4 and Princess!3 should have a contest to see who really is the fairest. And so began the Fairest Fight 2024, consisting of three (3) challenges for three (3) judges to see who earns the title of the “fairest of them all”. Let’s begin with the first challenge:

ATTRACTING NOBLE HEROES CHALLENGE

Princess!3 was able to convince one hero with the weak promise of friendship while Witch!4 offering a lifetime sub to his OF, beating Princess!3 this round.

It parallels how it was in the outside world where Three, still trying his best, makes attempts to be popular while Four, already being incredibly popular, can easily attract his audience with his memes. But it also shows how Four is willing to dedicate a lot of his time and effort to making people happy while Three is still cautious about how open he should be to other people.

KISSING A FROG CHALLENGE

Okay, obviously, it's supposed to be a ‘princess and the frog’ reference. Just a bit, but it could mean something more. First off, to get this out of the way, I find it interesting that when Witch!4 tried to kiss a frog, the frog turned into Kermit and practically made him lose the challenge (Three didn’t either btw). It mirrored how in IGBP, Four kept using Kermit clips to make this perfect video, refusing to use any other material which eventually caused him to go insane.

With that out of the way, let’s get to the deep analysis part of this challenge:

As IGBP has taught us, relationships are complicated and complex. It takes time and dedication to stay but it also needs balance. As emotions are involved, it can be hard for others to completely understand the situation but, as Three has done, it’s possible to try.

We already made a connection of this episode being a twist of IGBP, so this could be applied here, how Four and Three approach a supposed relationship, in two ways:

(1) The frogs represent the new people that will enter each of their lives

When Four gets involved romantically and/or platonically with someone new who we call Person A, he can be a bit forward towards this person, but he is willing to commit to it. Person A however would either (1) end the relationship or (2) die. This leaves Four shocked.

When Three gets involved romantically and/or platonically with someone new (Person B), he is willing to risk it all. Usually, he is cautious about what he does but Person B somehow convinced him that they are the exception. Person B, like the poisonous frog, would either (1) use emotional manipulation to hurt 3 to a certain end or (2) be the cause of his death.

(2) The frogs represent each other — the Axol X Melony Theory(???)

That’s right, SMG34 shippers, it’s our time now. While SMG34 ship has been incredibly well-known in the fandom and the people behind the SMG4 show, we know it’s not going to become canon, mostly due to homophobia from certain fans, and the ship isn't meant to be treated seriously. But there are also too many moments that allude to the idea that they can be canon. Even reactors are starting to notice, a few lowkey “ship” them (which is honestly insane). In ‘SMG4: Plane Trip’ episode, Swag and Four had a bit of a bonding moment. Swag mentioned Sonic, his wife, as family. Four mentions how he feels the same (about being in a romantic relationship) and “having someone back home [himself]”, there he is presented with a locket. Again, this could all be a joke with well-known crack ships (memes, Dasani, computer, etc). Strangely though, the punchline never came.

They didn’t have time to put it in.

No, because all it takes is a few seconds to shift to Four’s POV and show THE DAMN PHOTO. BUT THEY DIDN’T!

*proceeds to scream into a pillow*

…Uh, anyway, some reactors suspected the person in the locket was Three. If reactors had the mere thought about Three and Four being together, then you know something really is up between those two. Sure, fandom talk. But like, if someone who you didn’t expect at all says that they might be gay, then the signals they give off must be really loud.

If the slightest chance this ship is ever going to be canon, then the Frog Challenge would be the slickest foreshadowing they had ever done, and yet brings up a whole lot of dread for the SMG34 shippers. At the end of WOTFI 2023, Three drew himself and Four enjoying a cup of coffee together, which seems oddly similar to Melony’s drawing of her and Axol (and vice-versa with Axol’s Confession Page).

If the theory is going to come true and the Kissing A Frog Challenge is going to allude to something, then it could mean two things:

(1) Either Four or Three would be with someone else, leaving the other heartbroken and therefore, their crush on them “died”

(2) Four or Three would confess to the other their feelings, but it would be too late and the other would be destined to die

Oh boy, ok. Let’s take a moment here to take a breather off the screen and pray for the shippers that the Axol X Melony Theory would not come true, regardless if the ship is ever going to be canon.

TRY NOT TO GET KIDNAPPED CHALLENGE

Stepping away from the Kissing Frog Challenge, we hop into this challenge, where the two avoid getting themselves kidnapped by Shrek. Princess!3 came up with the idea to use Witch!4 as a sort of trade, pointing out Witch!4’s features as selling points (with Princess!3 puking at the end there). According to Witch!4, they were "the worst selling points" he ever heard and it still worked. Princess!3 beat the challenge and placed the two of them in a complete tie.

Say it with me now: it’s just a bit.

And yet again I say: hear me out…

It shows that Three accepts Four’s flaws. Sure, there might be things that Three might find annoying about Four but he doesn’t hate Four. Especially, after IGBP, they connected more than ever. When they are in desperate need, they find each other. When one feels down or upset, the other notices. It makes sense, considering that they’re cosmically linked. But somehow, thanks to IGBP, they became close and already saw parts of each other's worst side. Four already accepts that Three is a former villain but Three of all people also accepts Four for who he is.

THE WINNER

The points have been tallied and judges make their decision, declaring Princess!3 as the official winner. Along with the title of being the “fairest”, he gets a wish. Twist of the episode: Three breaks the fourth wall and wishes to escape Mr Puzzles’ control. Then, Godmother Puzzles swoops in and restores the natural order of his script. Again, it’s plain and simple: Three is begging the audience to help them find an escape from this nightmare.

…well…

Notice how the one who broke the tie between the two was Mr Luigi, giving the last point to Princess!3, just as how Mr Yeast preferred to collab with Three instead of Four.

Remember how I said being the fairest is the equivalent of being perfect from that line told by Witch!4? This scene isn’t telling us that Three is perfect, but rather Four is imperfect. For the audience, we know that no one is perfect and that is okay. To quote from the animated show, Arcane:

"In the pursuit of great, we failed to do good."

[Arcane, S1 EP9]

From Mr Puzzles’ perspective and his ideology of being perfect, imperfection sounds like a bad thing.

The part where Princess!3 won was the same way how Three “won” in IGBP. Princess!3 won by getting what he wanted since the beginning of the story: money. Three, being the protagonist of IGBP, the 'good guy', won by beating the demonic keyboard and saving his partner.

.・-: ✧ :--: ✧ :-・.

And that is “Once Upon An SMG4”, a twisted version of “It’s Gotta Be Perfect”. One that Mr Puzzles would have preferred. But it’s not over yet, my dear fellows, as every story has a sequel.

“And SMG4, who knew you could play an antagonist so well! High marks from me.”

[SMG4: Puzzlevision Movie]

A new arc is approaching leading up to WOTFI 2024 and if the 'SMG4: Inside Out' episode has anything to go by, IGBP really affected Four. Perhaps we don't get to see it through his behavior but he still remembers it. (hmm, how curious that Once Upon an SMG4 gets an appearance here...🤔) According to Inside Out 2 movie, orange symbolizes anxiety, meaning that Four is terrified that he might cause another IGBP incident. Naturally, problems can't easily be resolved and at times, they relapse.

In the actual plot of the episode, Four drank that carton of "special brain juice" with Mr Puzzles' face plastered on it. This is a major problem:

(1) Because of Anger taking control of Four's emotions, Four destroyed the carton, getting rid of the only evidence there was for anyone else to make the connection that Mr Puzzles is up to something.

(2) He was alone when he did this. Remember: Three placed a hidden camera in Four's room when he decorated it. It has been confirmed in the actual merch with Three stating in his notebook that "it was a mistake" putting it there. We don't exactly know why he did it, but it can be assumed that he just wanted to keep tabs on Four to make sure another IGBP incident doesn't happen. If he couldn't use the camera, he would stop by to check up on him, making fake excuses on why he came. Except when Four took the carton, it was in the kitchen and Three wasn't able to come over to the castle.

At the end of the episode, we can assume that Mr Puzzles has taken control of Four's mind and used him to his advantage. With WOTFI 2024 coming up and new arcs beyond that, it will be up to the crew to rescue Four once again and stop Mr Puzzles from taking creative control of their real lives...

That is another post for me to work on but in the meantime, that’s just a theory…

AN SMG4 THEORY

🎶Thanks for dropping by🎶

[brigdh]

Okay. My thoughts on the Our Flag Means Death finale. Obviously I'm not very happy with the ending, though I'm also not as upset as some people are. I would say I'm discontent. Unsatisfied. Too aware of how it could have been improved, and a bit bitter that we didn't get a better version, but I also don't hate what we did get.

I know a lot of meta has attributed the problems to a shorter season, and absolutely I would have loved to get 10 episodes instead. I would have loved 22 episodes! Why don't we do that anymore? But I don't think the 8 episode length was the ultimate problem. A) The showrunner and writers knew they had only 8 episodes, so they needed to choose a story that fit into that length, but even more importantly, B) my problem is not that they had too much story for too little time, but actually that they had plenty of time and chose to fill it with too little story.

As I've sat with it over the last few days and thought more about the season's arc, it feels to me like we got eight episodes of filler. Filler episodes can be great! Filler episodes can have some of the funniest lines, the greatest scenes, the most intriguing ideas. But filler episodes do not progress character arcs or major themes, and that's exactly the problem this season had.

The only characters who got arcs this season are Izzy, and to a lesser and more rushed extent, Lucius. Which sure is a choice.

Ed and Stede and their relationship did not meaningfully change from S1. (Okay, yes, they had sex, they said I Love You – but these are external changes, not internal. They don't represent character growth. Stede realized he loved Ed and was telling everyone back in 1x10. Ed clearly would have slept with him in S1 if they'd had a little more time.) Ed and Stede in 2x08 are not different from who they are in 2x01. If Ed had asked Stede to be innkeepers in 2x01, does anyone think Stede wouldn't have immediately agreed? One of the big moments in 2x08 is Ed reading a letter that Stede wrote in 2x01! Stede's exact words from the very beginning of the season! What better way to underline that none of the subsequent seven episodes had important growth or changes?

Another one of 2x08's big shippy moments is Ed and Stede running to each other across a beach – deliberately paralleling the dream Stede had in 2x01. What are we supposed to take from this parallel? My original thought was that we're supposed to see how different the real version is from the dream, but there's honestly not many differences. Neither one has a beard, now? The dream mocked how Stede knew they needed to have a conversation about their relationship that he wanted to avoid, but they don't have a conversation in the "real" version either. They exchange about two sentences (which includes Ed's I Love You, yes, which is a big deal but still isn't a conversation) and then they charge right back into the fight, without discussing anything like Ed abruptly dumping Stede to go be a fisherman, Stede killing Ned Low when Ed asked him not to, their differences of opinion on being pirates, if having sex was a mistake or if that's only a thing Ed said because he was panicking, etc etc. They have just as many issues to address as they did in the dream, but just like the dream they act like everything is magically okay without talking about it!

So I think we're meant to take the beach-run parallels as "here's what Stede's been wanting, and after waiting for so long he finally gets it". Which is fine, a very sweet take-away for a finale. But it underlines what I'm saying is the problem of the season: Stede has just been waiting for eight episodes for his dream to come true. Not changing. Not growing. Not doing anything to bring the dream about, other than trying to get himself and Ed into the same physical location. Just... waiting.

This is an extra surprising development, because the show was really good at giving Ed and Stede character arcs in S1! Ed and Stede in 1x10 are significantly different than they were in their first introductions. Also, just to preempt some criticism, by 'progressing' I do not mean 'wrap up literally every loose end and make a firm final ending' – S1's finale is an excellent example of both moving the characters forward and leaving a ton of room for future stories. I wasn't expecting for 2x08 to show us a Stede and Ed who were perfectly on the same page and would never again have a problem. I was expecting them to be somewhat different than they were in 2x01, and I just don't see that.

Instead of arcs, we got little pieces of single-episode growth here and there that never added up to an overall whole. The season brought up a ton of potential arcs for Ed – violence, piracy, guilt, suicide, daddy issues, self-loathing, apologies, redemption, his tendency to idealize escaping into a different life – but didn't do anything with any of these options. Stede had nothing resembling a season arc at all.

Stede works to improve as a captain! Stede kills someone and has regrets! Stede confronts Ed's dark side! <- All potential arcs, but none of which lasted for more than an episode or had consequences. We don't even know what the ending means for Stede: does he want to be an innkeeper because he failed as a pirate in 2x07? Because piracy was always just a displaced search for love, and now that he has love, he doesn't need piracy? What does the crew of the Revenge leaving mean to him? Stede's understanding of their new arrangement literally happens off-screen and we're left to fumble at guesses for its significance to him as an individual.

Ed and Stede's last big conversation in the season is their break-up fight in 2x07, which is a shocking way to send off your main couple in a rom-com. Yes, there's the I Love You on the beach (again: two sentences) and the brief 'let's try to be innkeepers' conversation at the very end, but that's it for them in 2x08, except for their inclusion in some brief large group conversations about their fighting skills and the plan for escaping the British. How can you end your rom-com with the main couple exchanging only a paragraph's worth of dialogue in the finale? None of the stuff was brought up in the fishing fight in 2x07 is ever addressed at all!

Again, I don't think this is solely a matter of time crunch. Instead of using the eight episodes to progress the two main characters, we got a bunch of filler episodes that used the time in amusing side tangents instead of forward progress. I don't think that's the inevitable result of having to work with eight episodes.

Look, I can come up with a better Ed/Stede relationship arc without needing more episodes, and despite only thinking about this for a couple days and not having an entire writing room to work with:

(Note: this only addresses the Ed/Stede relationship. It doesn't fix Stede completely lacking an independent character arc and Ed having about ten thousand of them, none of which went anywhere.)

In 2x05 to 2x07, I would make Ed's motivations in their relationship very clearly that he's pushing Stede away so he doesn't get hurt again. Basically play up Ed's comment about "I was all in" in 2x04, and make him determined not to get 'all in' this time around. This aligns the "let's take it slow" conversation in 2x05, the "sex was a mistake" in 2x06, and Ed running away to be a fisherman in 2x07 into a single arc. He wants Stede, but he's afraid of what that wanting will do to him. He's trying to find a way to have a relationship without making himself vulnerable. He keeps pushing off commitment and openness.

Then, in 2x08, I'd make it more explicit that Ed thinks/fears Stede is dead when he sees the pirate ships burning. I think it's subtext in the episode as-is, but give him a line or two to make it really clear. Ed and Stede still see each other on the beach, have their dramatic run to each other, and Ed says, "I love you". Now this moment is Ed acknowledging his love, exactly what he's been avoiding for the last three episodes.

Near the end of the episode, Ed and Stede have a conversation where Ed says something like, "I didn't want to get hurt again, I was afraid of the risk of falling in love and you leaving again, but thinking you were dead made me realize that never loving you would be worse" (but better written, ha, this is a tumblr post that's already too long). (Also possibly you could tie in Izzy's death here to underline both Ed and Stede not wanting to lose another person they care about, if we must have that plot point for some reason.) We actually get to see Ed asking Stede to come be innkeepers with him, paralleling asking him to run away to China (and paralleling NOT asking Stede to a fisherman), Stede voices some of his worries (paralleling him keeping them inside in 1x09, but also giving him a chance to explain what piracy and love mean to him and why he'd give up one for the other), but ultimately they agree that they at least want to try.

This both puts them into a much clearer place for a happy ending, has clear growth from S1 and the beginning of this season, but also leaves open a ton of room for S3, because welp, it turns out trying to have a relationship entails all sorts of problems! Especially with these two. It also would make me feel like they'd at least addressed some of the issues between them.

Right now I feel like S3 will have to spend at least the first few episodes running through exactly the same "don't talk – break up – get back together dramatically" arc that Stede and Ed have already done twice but have never discussed and never learned from. I liked it, but I don't need to see it yet again. That will – ironically – feel like yet more wasted time, more episodes that are just churning through beats without moving the characters forward. I wanted them to have new, different fights in S3, but now I don't even feel like they've made enough progress to have a fresh set of problems.

[lemotmo]

For the LonsStar worry crowd.

Q. I did not watch Lone Star but everything I heard/saw gave me terrible secondhand embarrassment and I hate that he's brought some of those writers over to 911. I don't want them writing for my cast.

A. You all do know that the writers are not the ones who decide the plots, right? They're not the ones who decided it should rain frogs, or an asteroid should hit Texas. That would be the show runner. That would be Timothy. The writers do not create the plot. The writers get an outline of the story the show runner and creators want to tell, depending on the show sometimes the director will also get a say. They get told what story and character beats the episode needs to hit and then they have to write a script using the information and instructions they were given. I did watch LoneStar. I watched it from first episode to last episode. And no it is not the same quality as 911, but I don't think Tim wanted it to be that kind of show. I think he wanted it to be a more camp version of the 911 universe. And yes, many of the plotlines were utterly ridiculous, but the relationships between the characters, which is the most important element of the 911 universe, were generally well done. The relationship between Grace and Judd was beautiful. They were amazing and the episodes written about them and their backstory were some of the best ones of the entire series. The character arc overall for Judd was well done. He didn't work the last season because Grace was gone and his character felt lost without her. TK and Carlos were also done well. They got cute, flirty, playful moments, but they were also given relationship growth from season to season. Carlos was woefully underused in general but, his relationship with TK, as well as the friendships he developed with the rest of the 126 were well done for the most part. Charles and Tommy (their Tommy was top tier, she was a badass) was beautiful as well, the relationship they gave her when trying to move on following his death was also well done until the last season when FOX and Tim just didn't care. The friendship between Paul and Marjan was one of the best relationships on the show. That should have been the pair they put together, it was a missed opportunity but their friendship was good. Nancy and Mateo were kind of the outliers. I liked Mateo but never really loved Nancy. They did not work at all together. The problem on LoneStar was Rob Lowe and his noticeable insistence that Captain Strand get focus even in episodes that had nothing to do with him really. He was literally shoehorned into every episode and suffocated the air around him. And I'm sorry but 911 had/has some bad writers as well. They have people who should be replaced. I understand I am a broken record at this point but Kristen is a terrible writer. Go back and look at the episodes she's written, but you need to look no further than the season finales of season 6 and 7. Those were god awful episodes. And she wrote both of them. There is absolutely no reason to freak out about some of the LoneStar writers moving over to 911. If it turns out they can't write for the characters then obviously that would need to be addressed but their work on LoneStar doesn't mean they can't write for this show. The fact they were able to cultivate the relationships they did given some of the plots they were dealing with actually speak pretty well of their capabilities.

Thank you Nonny! 🤗

You guys all know that I haven't watched Lone Star, so I'm just going to follow Ali's judgement here. Experience has taught me that she is really great at making excellent points. 😋

I talked briefly about this topic before though and I also think we should just give these people a fair chance to prove themselves. The plot itself is set out by the showrunner and the writers have to follow that plotline, whether they like it or not. So maybe we should just wait and see how it goes? 🤷‍♀️

Heads up! For anyone who is giving me the shifty eyes for reposting Ali's updates instead of reblogging. Read this.

Remember, no hate in comments, reblogs or inboxes. Let's keep it civil and respectful. Thank you.

If you are interested in more of Ali’s posts, you can find all of her posts so far under the tag: anonymous blog I love.

[bunmurdock]

hey y’all.

in light of the dario scardapane interview in sfx magazine and the leaks over the past weeks and months, i’ve got a new tag for those who want to block for future reference:

#ddba critical

that's all. carry on, friends <3

oh hi.

you opened the keep reading. my ddba critical thoughts over the past few months are going here.

okay. so. i’m worried. as most of us are.

the biggest red flag for me is the shift from a showrunner-driven, long-form storytelling structure (which defined netflix’s daredevil) to a traditional pilot-based approach. and yeah, i get it, things change, different studios have different methods, whatever. but daredevil worked because of how intentional it was—every season was meticulously plotted, every character arc had weight, every moment felt like it built toward something.

the original show had showrunners like steven s. deknight (season 1) and erik oleson (season 3), and you can tell they had control over the vision. the slow-burn storytelling, the multi-threaded plots, the way the character development felt earned rather than rushed. even season 2, which was messy, still had ambition. and now we’re going from that to… a more iterative, studio-driven model where they’ll tweak things based on what’s working. where they might prioritize "what’s popular" over what’s actually thematically rich. it’s hard to see how that leads to something with the same depth.

and then there’s the action. i like good action. daredevil had phenomenal action. but action was never the point. some of the best moments in the show were just conversations. matt and father lantom discussing faith. the rooftop conversations with frank and claire. fisk's "good samaritan" speech (dare i say this is the most powerful monologue season 1). frank's graveyard speech. matt's "job" speech. the very first scene of the show. where you can feel the weight of internal conflict. the tension in those scenes, the way the characters sit with their choices, the weight of it all—that’s what made the show special. they lingered. they mattered. but everything we’re hearing makes born again sound more like the punisher—brutal, ultraviolent, more action-packed, which... fine, i guess, but the punisher was never as strong narratively as daredevil.

and then there’s the visual style. netflix’s daredevil was gorgeous. dark, moody, noir. it had a distinct visual language that made it feel different from other superhero shows. but born again... we don’t really know what it’s going to look like yet. early set photos and now the recent comments that report that it will be "less stylized,"... is giving more standard mcu. and that worries me because the look of netflix’s daredevil wasn’t just aesthetic. it was part of the storytelling. the way they shot matt’s perspective, the way the lighting played into his isolation, the way fights felt real because of how they were framed—if they lose that, they lose part of what made the show feel so visceral.

also, foggy. scardapane—very glaringly—fails to address foggy. foggy was one of the most important relationships in matt’s life, and his absence would be a massive shift.

so yeah. i don’t know. i was really hoping for something more in line with what oleson (and deknight) did. continually introspective, more character-driven, more willing to sit with the hard stuff—even if tackling different topics or subject matter. not the other way around. i'm not a fan of "daredevil, but faster, bloodier, and larger-scale." i don’t want to lose the things that made the original series so compelling.

i want to be wrong. i hope i’m wrong. but right now, i just can’t shake the feelingzzzzzz

reminder that all future ddba critical posts will be under #ddba critical for easy blocking and filtering.

idk if anyone reads these so allow me to insert a random poll: